quête:sr

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Svart Records reissue of Morbus Chron’s game-changing atmospheric Death Metal album “Sweven”, together with the remastered ltd ed. EP “Saunter Through The Shroud”. Gatefold sleeve with original Sweven booklet included. Pressed on black vinyl and limited dark green vinyl (400 copies). On “Sweven”, Morbus Chron carved out their very own territory of unorthodox death metal, far beyond their raw and simple initial style, adding many uncanny acoustic parts to create a nightmare world of utter horror. Together with producer Fred Estby (ex- Dismember), the band found a warm, yet haunting sound to go with their vision. The resulting soundscapes spread out like a wasteland of death and terror, sending chills down the hardest of spines. Guitar and drum patterns flow in various directions, building cathedrals of darkness in which tormented vocals echo in agony. The EP ‘A Saunter through the Shroud’, was a revelation upon its release in July 2012, displaying tremendous progression from previous efforts. Instead of playing it safe, sticking to traditional death metal patterns, Morbus Chron had started to transcend the genre to incorporate elements of progressive rock as well as black metal. With patterns oozing of Voivod, Atheist and Darkthrone, as well as Death and Autopsy, Morbus Chron was on their way to something majestic. Possessing unrelenting integrity, the band shunned all trends to go further into the unknown with “Sweven”. Smell the coffin with these two pioneering recordings, available in one lush package for the first time! Morbus Chron’s idiosyncratic legacy has never sounded or looked finer.

Svart Records reissue of Morbus Chron’s game-changing atmospheric Death Metal album “Sweven”, together with the remastered ltd ed. EP “Saunter Through The Shroud”. Gatefold sleeve with original Sweven booklet included. Pressed on black vinyl and limited dark green vinyl (400 copies). On “Sweven”, Morbus Chron carved out their very own territory of unorthodox death metal, far beyond their raw and simple initial style, adding many uncanny acoustic parts to create a nightmare world of utter horror. Together with producer Fred Estby (ex- Dismember), the band found a warm, yet haunting sound to go with their vision. The resulting soundscapes spread out like a wasteland of death and terror, sending chills down the hardest of spines. Guitar and drum patterns flow in various directions, building cathedrals of darkness in which tormented vocals echo in agony. The EP ‘A Saunter through the Shroud’, was a revelation upon its release in July 2012, displaying tremendous progression from previous efforts. Instead of playing it safe, sticking to traditional death metal patterns, Morbus Chron had started to transcend the genre to incorporate elements of progressive rock as well as black metal. With patterns oozing of Voivod, Atheist and Darkthrone, as well as Death and Autopsy, Morbus Chron was on their way to something majestic. Possessing unrelenting integrity, the band shunned all trends to go further into the unknown with “Sweven”. Smell the coffin with these two pioneering recordings, available in one lush package for the first time! Morbus Chron’s idiosyncratic legacy has never sounded or looked finer.

The rare French metal cult album finally reissued and bundled together with ten tracks taken from demo tapes. With extensive liner notes by Olivier ‘Zoltar’ Badin. One of mid-80’s heavy-metal characteristics was how it didn’t bother mincing with words. KREATOR had an album called Pleasure To Kill, IRON MAIDEN were celebrating killers and a certain number of the beast, METALLICA introduction letter to the world was bluntly titled Kill’em All, DESTRUCTION was called, well, DESTRUCTION and were promising us an ‘infernal overkill’ or, worst, a ‘bestial invasion from hell’ etc. Plain, simple, direct, in one word: METAL. And in a way, you could use that one single word to describe ADX debut. From its title Exécution (that doesn’t require much translation does it?) to its striking artwork or, of course, its galloping music, it turned overnight the rest of the other wise vibrant French heavy metal scene into old farts stuck in the past.

This journey, this slowly drifting sonic meditation, is an 'inner soundscape', a dialogue between the senses, the conscience and the world, inside / outside, interconnected. Like waking up from a long dream, and being stuck into its echo. The April Sessions immerges the listener into a drone-ish universe, full of random acousmatic events, inner monologues and a vast and unwritten subjective map to be drawn.

The April Sessions has been living in a seedy hotel in Brussels for a few months. She listens to the sparse traffic outside her window, locked in and locked down. 'Everything is constructed', she says to herself, 'even the sound of a solitary aircraft at 25,000 feet traverses the sky no further out than the inside of my skull'. Other weird sonic phenomena criss-cross the inner cosmos of her brain and streak across her private sky like comets. And then there is the unshakeable presence of that inner monologue, known to her variously as the Tacit Dictator, the Subvocaliser and, nightmarishly enough, the voice of the Merlucid Hake. (Anthony Moore, St Leonards, 10th of March 2021)

Anthony Moore, Dirk Specht and Tobias Grewenig have known each other and worked together since the early 2000s. They have collectively participated in a number of projects including live performances and recordings. In 2016, as part of The Missing Present Band, they released the live LP 'The Present Is Missing' on A-Musik. The following year they released 'Ore Talks', a double LP, realised in collaboration with Therapeutische Hörgruppe Köln.

Anthony Moore was born in 1948, founded the band Slapp Happy (circa 1972) with Peter Blegvad and Dagmar Krause, then worked alongside a.o. Fred Frith and Tim Hodgkinson in the unclassifiable band Henry Cow. He released several solo albums, composed soundtracks for experimental movies. His path also crossed Kevin Ayers's, Pink Floyd's, Richard Wright's. He was appointed professor for research into sound and music in the context of new media at the Academy of Media Arts in Cologne, Germany. He still continues to write and perform.

Dirk Specht is a sound artist, musician and curator. He studied architecture and media art and is active in the fields of sound works for choreography, radio drama, sound art, film and video art soundtracks. He published releases with several bands and projects. He has been an assistant for research into sound from 2011 to 2016 at the Academy of Media Arts in Cologne, and is a founding member of Therapeutische Hörgruppe Köln.

Tobias Grewenig studied at the Academy of Media Arts in Cologne. He primarily deals with non-linearity in his audiovisual installative works and performances, including projects with the artist group 'Therapeutische Hörgruppe Köln', the ensemble 'The Knob, The Finger & The It' and the improvisation collective "Frequenzwechsel". The conception and development of electronic instruments and code is a key component of his artistic work. He lives and works in Cologne.

Official vinyl reissue of this early Children of Bodom cult classic. Remastered by Anssi Kippo at Astia Studios, and featuring a few bonus tracks on an extra disc.

Official vinyl reissue of this early Children of Bodom cult classic. Remastered by Anssi Kippo at Astia Studios, and featuring a few bonus tracks on an extra disc.

Sub Rosa presents in their Early Electronic series, the final chapter of music by Beglian key composer of early electronic experiments, André Stordeur (1941-2020). Side A features a previously unreleased, stark and poignant composition from 1979; while the B side is vibrant and almost playful of pieces from the 2000s.

André Stordeur His musical career started in 1973 with a tape composition for the soundtrack to a film on Gordon Matta-Clark titled Office Baroque. Later in the 1970s, he participated to avantgarde music ensemble Studio voor Experimentele Muziek, founded in Antwerp, Flanders, by Joris De Laet. Since 1980, Stordeur composes exclusively on Serge synthesizer, either a Serge series 79 and a Serge prototype 1980, which was especially built for him by Serge Tcherepnin himself. In 1981, Stordeur composed the music of Belgian film director Christian Mesnil's documentary Du Zaïre au Congo. He studied at IRCAM in 1981 with David Wessel and then flew to the US to study with Morton Subotnick. Stordeur became an influential sound synthesis teacher and, in 1997, completed his Art of Analog Modular Synthesis by Voltage Control,4 a guide to everything modular.

Oberheim While 'Oberheim' is the centerpiece of this LP, we pressed for the first time on vinyl three pieces from the session André called 'Synthesis Studies,' previously featuring on Complete Analog and Digital Electronic Music, 1978-2000. 'I was helped in my studies by a must-have book: The Techniques of Electronic Music, by Thomas Wells and Eric Vogel (University Stores, 1974). That book aside, I learned synthesis on my own. After a trip to India in 1968, I discovered Indian music and took tabla and sitar classes in New Delhi; my teachers were students of Chatur Lal and Ravi Shankar. Later, in the 2000s, while living in the US, I tried to recreate through synthesis all the Indian musical instruments I loved so much.' 'Drone' is one of his most spectacular works.

No one album could ever capture the claustrophobia-to-catharsis of an Eyehategod show, but this compilation of live tracks and demos comes as close as it gets. Giving you an idea of Eyehategod’s uncompromising, single minded purity of expression and exertion of raw nerve, “10 Year Of Abuse” is a monumental document all the way from the demo era to their later, legendary relentless live tour set. Many other bands have tried unsuccessfully to emulate Eyehategod and have never quite captured their dynamic. Formed in 1988 in New Orleans they have become one of the most well known bands to emerge from the NOLA metal scene. Eyehategod note bands like Melvins, The Obsessed, Discharge, Black Flag, Black Sabbath and Saint Vitus as major influences, but are often mentioned in the same breath as any of these legendary bands. Drawing comparisons to Grindcore, Crust Punk and Sludge Metal, their heavy bluesy, detuned rock and roll has been a lynchpin for the misanthropic and disenfranchised. Eyehategod has released five studio albums to date with a sixth in the works and have toured all over the world in a career spanning over thirty years. Though the band has never released a live album, we are left with “10 Years” as the only official witnessing document to decades of decimating live sonic abuse. Released on May 29, 2001, “10 Years” spans seven live tracks from their European tour in 2000, a live radio show from August 1994 and four songs from an early 1990 demo. The result is a feedback-laced window into that wonderful, brutal Eyehategod “sound”, that addictive, lower-than-low note that nestles somewhere in the pit of your burning, alcohol-soaked, nauseated stomach. The booklet alone is a delight for anyone who worships at the altar of Eyehategod’s oppressively heavy, crushing riffs.

From the rampaging start of the EP, "Eternal Remorse", not a single note, guttural vocal, or fierce drum hit is out of place. The emerging greek artist Boris Barksdale, portraits the overall feeling of militaristic order encompasses music and vocal samples. The musical equivalent of that image, industrial society's restless march to oblivion rendered as an infinite dance track, as aggressively vibrant as it is alienated.

Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark.

Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground and after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega and many more. Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time.

Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City. A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from DJ Sneak, Wamdue Project, Louie Vega (Sole Fusion), Essence and more all feature on part 2 in their unedited, 12" mix glory.

Fully legit, remastered and selected with love courtesy of Strictly Rhythm and Above Board distribution for 2020. Happy birthday Strictly Rhythm!

On October 12, 1929, Kathryn Culp and Sammie Lee Brown had the idea to name their first-born baby Napoleon. With such a vital beginning, little Nappy was already predestined to hit the mark, so from a very young age he stood out for his vocal qualities, well cultivated in gospel, which he practiced assiduously in The First Mount Zion Baptist Church run by his father.

To Mr. Brown's chagrin, after his first forays into religious music participating in vocal gospel groups such as The Golden Crowns, Golden Bell Quintet and The Heavenly Lights, with whom he recorded his first single for Savoy in 1954, the young Napoleon decided to try his hand at secular music, convinced by Herman Lubinsky, the big boss man of the New Jersey label.

In this way, between 1954 and 1962, Napoleon recorded a total of 28 singles at Savoy, clearly marking the transition from Rhythm & Blues to Rock’n’Roll, and also his subsequent jump to Soul, being the natural link between the late 40s southerners like Wynonie Harris or Big Joe Turner and artists like Jackie Wilson or James Brown, who cemented the black sounds of the 60s.

This LP includes a compilation of some of his best songs at Savoy, high class rock'n'roll, with a lot of dancefloor favourites like DON'T BE ANGRY, compiled in its two versions, or JUST A LITTLE LOVIN ', but also his more Bluesy sides, with songs like the fabulous DOWN IN THE ALLEY, which would be recorded years later by that certain singer born in Tupelo, Mississippi, that many times declared how much he dug Nappy Brown’s Rhythm & Blues.

In the same bluesy way Nappy wrote the iconic THE RIGHT TIME, one of the first stones of the Soul cathedral, originally recorded by Nappy on 1957, and revised one year before by Ray Charles. Ray’s version, renamed Night Time Is The Right Time, would be included as the main theme of the award-winning film IN THE HEAT OF THE NIGHT. We´ve also included Nappy’s own answer to this song, recorded in 1961 and titled as ANY TIME IS THE RIGHT TIME.

Finally can´t avoid to name some of the backing musicians you´ll hear in these tracks, Sam ‘The Man’ Taylor, Mickey Baker, Panama Francis… have a look on notes bellow, oh boy! the A-Team of the mid-century New York Rhythm & Blues!

Nappy disappeared from the music scene in 1962, remaining anonymous until 1969, when he would return to Rhythm & Blues on Elephant Records with an LP whose title could not be more eloquent: THANK YOU FOR NOTHING.

Since then, Nappy was very active until his death in 2008, alternating his love for gospel and Rhythm & Blues, touring the United States and Europe and releasing no less than a dozen LPs.

Winter Family is a duo made up of Ruth Rosenthal and Xavier Klaine, who met in Jaffa in 2004. Their dark, saturated and dense music is described as "Death Swing", "Weird Wave" or "Funeral Pop".

They recorded new parts of this new album in St Martin church of Maxéville, France. Xavier: "I recorded the pipe organ there, inspired by the Alsatian philanthropist organist Albert Schweitzer whose slow, bombastic performances, limited by faulty technique have always touched me deeply. In 2006, my aunt Loulou agrees to lend me the keys to the church. Ten years later, Loulou passes away, I play on this same pipe organ during her funeral. During the fall of 2018, in her room with old floral wallpapers, so cold, that I empty, surrounded by her missals and huge crucifixes I remix this pipe organs and the voice of Ruth. Through this late remixing, we wanted to deliver this woman from her agony, her eyes turned to the milkish Lotharingia sky and beyond, trying to illustrate this Catholic France of yesterday, as vain and terrifying as a month of November in this cold and humid garden, within reach of the incessant song of the A31 highway."

Far Out Recordings is delighted to present Mora!, and for the first time ever on vinyl Mora! II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years with an expanded Detroit jazz brass section was shelved for decades to follow. A pan-American melting pot of hypnotic afro-cuban rhythms, frenetic batucadas and fiery sambas, Mora I & II are holy grails of latin jazz, masterminded by an unsung hero of the genre.

Born in Washington DC, 1947, Francisco Mora Jr is the eldest child of two highly prominent Mexican artists, Francisco Mora Sr and Elizabeth Catlett, to whom this project was dedicated. Being born into a mixed heritage bohemian family provided Mora Jr with what he called a “creative, progressive, and healthy arts environment”, building the foundations for a fascinating career journey ahead. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. Once he’d completed his studies in 1973, he very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour the world for the next seven years, a decent innings within a group famous for its constantly evolving line up.

Settling in Detroit after his years with the Arkestra, Francisco set to work on his self-titled debut, gathering an ensemble of musicians that included keyboardist Kenny Cox, founder of the legendary Strata Records, esteemed bassist Rodney Whitaker of the Roy Hargrove Quintet and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora’s own words the album intended to “manifest the African heritage presence in the American continent.” Epitomising this outlook, album opener ‘Afra Jum’ deploys a melody based on Haitian, African and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of afro-cuban inspired percussion.

The sequel Mora II was recorded shortly after with an expanded line up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, Hank Crawford, Eddie Russ and Wendell Harrison. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter ‘Amazona’, led by the rich vocals of Francisco’s wife Teresa Mora. The ‘Afra Jum’ concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum, but only now has it been given the high quality vinyl treatment it so deserves, presented as the sequel to Mora! as originally intended.

Through the 90s and into the the 21st century Mora would continue his Pan-American explorations, moving toward a more electronic afro-futurist direction as part of Detroit techno pioneer Carl Craig’s Innerzone Orchestra. Mora also worked with Carl Craig, moog synth wizard Craig Taborn, and his former Arkestra colleague, the legendary Marshall Allen, to form the Innerzone Orchestra spin-off Outerzone, released in 2007 on Premier Cru Records. Mora I & II will be out as two vinyl LPs, CD and digitally 16th April 2021.

Brand new album of pure bass and breaks ingenuity from the consistently brilliant Brighton, UK-based producer, who has had previous releases on Sneaker Social Club and is tipped for forthcoming work on Moving Shadow and Planet Mu shortly. Featuring art by RAYS with handstyle track titles on the vinyl edition by REQ TDK.

Blue Marbled Vinyl

Majestic superb ep. LTD 303 copies. Printed sleeve... With one side Acid Hardcore and one side electro acide... Harder than the usual electro stuff... and more creative as well

Recorded in late 1996 and released in early 1997, this first album from the power Brussels based trio Rawfrücht, defies and questions the definition of genres, eras and musical movements. Ranging from minimal meditative dronish soundscapes, perfect for introspective journeys, to more 'groovy' moments, from noise rock to free rock-but-not-postrock unstable patterns - sometimes even within a single track - this album is a ride on undefined roads, no maps allowed, just instinct and the energy to always go further and deeper into charting new sonic territoriesŠ

After the release of this first untitled album, names like those of Marc Ribot, Sonic Youth or King Crimson were frequently associated to it.

But this doesn't really define what this album, released for the first time on LP, really is about. Two guitars and drums. Swell Maps meet Parliament, shades of Hendrix. Can-erisms catching up with the ramblings of Gastr Del Sol. Secret & reserved side in the best tradition of the Chicago School: Tortoise, Rome etc.

Rawfrücht was: Hugues Warin and Teuk Henri (Sharko, Juniper Boots) on guitars and Thomas Van Cottom (Cabane, Venus) on drums. First time released on vinyl!

British artist Robin Rimbaud (Scanner) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics innovative and inspirational works of contemporary electronic music. Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Wayne McGregor, Mike Kelley, Carsten Nicolai, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.

Rimbaud first met Belgian artist Hans Op de Beeck at Le Fresnoy Studio national des Arts Contemporains when they were both Visiting Professors in 2012. Op de Beeck lives and works in Brussels, Belgium and creates sculpture, installations, video, photography, animated films, drawing, painting, and writing. His various works show the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from everyday life.

The artists found an immediate creative connection, and a year after meeting Staging Silence (2) was completed. In 2019, they returned to the theme and created Staging Silence (3).

Each of the films is realised through the same principles, as two pairs of anonymous hands construct and deconstruct fictional interiors and landscapes on a mini film set of just three-square metres in size. The films take the viewer on a visual journey through depopulated, enigmatic and often melancholic, but nonetheless playful, small-scaled places, which are built up and taken down before the eye of the camera.

Ranging from hyper-realistic fictional land and cityscapes to absurd, almost surreal, dreamscapes, the various locations are connected by the sense of mystery and melancholy that pervades them. And at every moment Rimbaud's score is amplifying and illustrating these moments, from tragedy to nostalgia, witty to optimistic.

Introspective and lyrical, Staging Silence offers us a world of mystery and intrigue, held together by nature and time. This is a very humane works experienced at a time when many of us feel disconnected from the world around us. The peculiar silence that permeates this hauntingly beautiful work is very much an illustration of our times, anticipating a future in the past. Staging Silence is an exquisite study in dreamlike abstract ambience, a kaleidoscope of sounds and tones that engage the head and the heart.

Salgari Records strikes back with a brand new release on vinyl from East Africa: Uhuru Republic’s “Muda” EP is now available for pre order.

Electronic fat beats blended with Sigeli, Afrofuturism and Gogo Music. Mantric Mganga Mkuu sounds and organic grooves together in a journey into East African vibes featuring Msafiri Zawose, Marleen Xplastaz and Kirundo.

A deluxe vinyl reissue of Demigod's 2002 album Shadow Mechanics. This version comes with a gatefold sleeve and is limited to 500 hand-numbered copies on violet splatter vinyl. Demigod’s criminally underrated second album of cult Finnish Death Metal from 2002 released on vinyl for the first time! Melodic, brooding and doom-laden death metal, punctuated with full-fledged scorchers such as the fierce and blasting "Gates of Lamentation", makes Shadow Mechanics an unpredictable treat, way ahead of its time. This seven-Finn act's potent, driving obscure death metal dispenses pure surges of metal-laced adrenaline thanks to the gruesome vocals and a monstrous Finnvox production. Layering the album with more solemn and atmospheric cuts, Shadow Mechanics shows Demigod pushing at the boundaries of their sound and the conventions of the scene at the time. Pressed in a limited quantity of 500 hand-numbered copies on violet splatter vinyl, with a gatefold sleeve and old-school classic Demigod logo replacing the typeface of the original CD issue, this highly collectible new Svart Records pressing is a treasure for any self-respecting Finnish Death Metal connoisseur to complete their collection.

This new album (the tenth in their discography) was born from two ambitions: to pay tribute to Soft Machine's Third on form (4 sides / 4 titles) and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The 4 long pieces of this double concept album were developed over 2 years and each has a different style and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto.

Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy FoxŠ). Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times. In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon... From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this ruleŠ

Eternal Tears of Sorrow's long career kicked off with the more thrash metalish debut album in 1997, but it was on the 1998 follow-up Vilda Mánnu ("Wild Moon" in the Sami language of indigenous Lapplandish people) that the band really carved their own niche amid the crowded metal scene. Hailing from Finnish Lappland, ETOS are best known for well-crafted, fierce but melancholic melodic death metal with symphonic overtones, of which this album, their Spinefarm Records debut, is a prime example. This pressing comes in a gatefold sleeve and has been carefully remastered for vinyl.

Their second album arrived 1994, they had a lot of followers around after their 1992 debut (Kaksi).
Playing on the big stages in Europa - Roskilde, Pink Pop and more, this became a big success. Now on vinyl for the first time, with one side of the 2LP set including bonus material.

These newly remastered editions of Bill Fox’s second album are the first since its 1998 release, including the first-ever vinyl pressing. Listeners will hear a wider soundstage, more detail, and improved listenability. Recorded on 4-track cassette, the fidelity belies the sophistication and nuance of the songwriting, This adept remaster by John Golden Sr helps bring definition to the intimate, at-home feel of the album. It sparkles.Very similar in feel and quality to Fox’s debut album, much of Transit Byzantium draws from the same group of recordings. It has the same feel of musical inevitability, that the songs exist beyond time itself, their eventual manifestation guaranteed by Apollo. He could’ve given them to the Everly Brothers, or the Byrds, or the Who, but instead they were channeled through an everyman from Cleveland with an aversion to the limelight. And while a traditional folk influence colors several songs, even those possess the indelible stamp of Fox’s charismatic voice and personality. Although nearly entirely acoustic and with minimal percussion, these eighteen songs cycle through a remarkable variety of textures and moods.While much has quite rightly been written about the god-tier songwriting here (“Song of a Drunken Nightingale,” “My Baby Crying,” “I’ll Give It Away” for starters), it should also be noted that this is a guitar player’s record, though more in terms of conception than flash. Lines of harmony and counterpoint wander between parts, sublime in their invention though sometimes crudely documented.

Red Marbled Vinyl

WEBUILDMACHINES presents “Machines of Deliverance”, a limited edition various artist LP celebrating 50 releases of evolutionary, multi-layered, experimental electronic music and contemporary techno. Offering an expansive stylistic palette from around the world, the artists presented embrace the ethos of the label’s past, present, and future with eight tracks of cinematic, industrial-themed, techno. Suited for the dance floor and repeated listening, with meticulously crafted sound design and precision programming throughout, this release is a unique and inspired addition to the WEBUILDMACHINES catalog. A Side: Headless Horseman (Berlin, DE) – Shift in Time Tunnel (Minneapolis, US) – Everything is Changing Opus Daemonii (Chicago, US) – Quantum Rift Axkan (Los Angeles, US) – Empty B Side: SKD (Riga, LV) – Hellbound in Paradise Sramaana (Lyon, FR) – Sicmundus C-KAY (Tokyo, JP) – Time to Crumble Soseol (Seoul, KR) – Volnost (DIGI ONLY) Faceless (Shanghai, CN) – Four Over Three Linbo (Shanghai, CN) – Falsity Became Our Sport Mastered by Gio at Artefacts Mastering / Berlin Artwork by R. Miller

Der in Kyoto geborene Multiinstrumentalist, Komponist und rappende Songschreiber Sen Morimoto veröffentlicht sein selbstbetiteltes zweites Album. Zu hören ist darauf nicht nur er, sondern ebenso die Hauptakteure der Indie-Szene seiner aktuellen Heimatstadt Chicago: Lala Lala, Nnamdï, Kaina, Joseph Chilliams, Qari sowie die nationale Youth Poet-Preisträgerin Kara Jackson als auch die japanische Elektro-Musikerin Aaamyyy. Die gesamte Produktion und Instrumentierung des Albums stammt von Morimoto selbst, das mit rhythmischen Verschiebungen, unerwarteten Harmonien, Arpeggios und schnell gleitenden Saxophon-Leads so reichhaltig wie eine Jon Brion-Produktion klingt. Seit der Veröffentlichung seines introspektiven Jazz-Rap-Debüts "Cannonball!" vor zwei Jahren war Morimoto sehr beschäftigt. Er tourte gleichermaßen mit seiner eigenen Musik als auch als Mitglied des hochgelobten Chicagoer Jazz-Kollektivs Reservoir durch die Welt und war außerdem mit Lala Lala und Kaina unterwegs. Zusammen mit ähnlich gesinnten Musikern wie Nnamdï und Glenn Curran betreibt SEN MORIMOTO seit 2016 das Chicagoer Label Sooper Records, das mit Veröffentlichungen wie Kainas Debüt "Next To The Sun" und Nnamdïs "Brat" im letzten Jahr auf sich aufmerksam machte.

The mantra from day one has been striking a balance between the nightlife sound system and the living room listening experience. Time Capsule celebrates ten years of this ethos in a gorgeous 10x7" boxset.

The Fall is a deconstruction of November by Dennis Johnson.

Written for solo piano in 1959, November is the first example of minimalist music composition and was the inspiration for La Monte Young's The Well-Tuned Piano (1964). The 66 minute piece is a collaboration between legendary artist Lustmord and renowned classical pianist Nicolas Horvath, in which they reduces Johnson's original November to its core element and place it in a landscape of complimentary sound. The Fall echo's November but with further resonance.

Recorded in May-June 2019 in Los Angeles, and Misy-sur-Yonne, France.

Lustmord
Active since 1980, born of the original 'industrial' scene of the period. With its own distinctive approach, blurring the line between music and sound design Lustmord's work has featured in 45 motion pictures including The Crow and Underworld and also in video games, television and commercials. Recently Lustmord scored the music for Paul Schrader's movie First Reformed. While Lustmord is often credited for creating the 'dark ambient' genre there is much more nuance to its work than what that label implies. The music is not dark, but is a light that shines into and upon the darkness. Notable collaborations amongst many include Tool, Melvins, Jarboe, John Balance of Coil, Clock DVA, Chris & Cosey, Paul Haslinger, Karin Park and Robert Rich.

Nicolas Horvath
An unusual artist with an unconventional résumé, pianist and electroacoustic composer Nicolas Horvath is known for his boundariesless musical explorations. Horvath is both an enthusiastic promoter of contemporary music - he has commissioned numerous works (including no fewer than 120 as part of his Homages to Philip Glass project in 2014) and collaborated with leading contemporary composers from around the world, including Alvin Lucier, Mamoru Fujieda, Jaan Rääts, Alvin Curran and Valentyn Silvestrov - and a rediscoverer of forgotten or neglected composers such as Moondog, Nobuo Uematsu, Germaine Tailleferre, François-Adrien Boieldieu, Hélène de Montgeroult, Jean Catoire, Karl August Hermann.

Slick jungle, low-slung broken beat and even a deep house banger, 'Interlocked' assembles 8 tracks of some of the purest old-school vibes by a veteran of the scene under a brand new alias for a frustrated and precarious (post)-lockdown summer. Tapping the drama and energy of the largely pre-generic party days of '91-94 - a halcyon time of transition in which Drumskull himself, as a life-long skater otherwise stoked on the the raw energy of 80s skate video soundtracks - to Black Flag, JFA, Minor Threat, Stupids et al, to Primus, Gang Starr and Meat Beat Manifesto, made the passage into syncopated machine funk, to sub bass, time-stretched breaks and automated beat production.

Physically drumming in a couple of skate punk bands in the early 90s, exposure to hardcore and early jungle tapes in '93 by DJ Dimension and DJ Rob (Leeds Orbit, UK), amongst countless others, inspired an archetypal move to sell his drum kit so as to land a set of Technics 1210s. Spinning techno and jungle on the local free party scene and clubs as part of a DJ collective from '94-96, crafting early tunes on Amiga ProTracker software, and shortly after running club nights in mid-90s London with Mo' Wax and Ninja Tune artists, Drumskull expresses the eclecticism of the era across 8 big tracks of previously unreleased material. Evoking all the energy and excitement of being involved in those early years of dance culture, 'Interlocked' powerfully yet playfully connects then to now, reveling in a sense of timelessness, mutation and hybridity.

Album photography by Amir Zaki from his book with legendary Skateboarder Tony Hawk and author Peter Zellner 'California Concrete: A Landscape of Skateparks (2019). Graffiti lettering by original UK stylemaster and beatmaker REQ TDK.

Wonderful. „I wanted my first long form album to represent the joys of life, strength of positivity, the wonderfulness of nature, and celebrate how music plays an intricate part in sewing all of that together.“
From the subtle rhythmic brush strokes of South American music to the sounds of Bern’s underground scene. Mirabile Dictu pulls from those spheres of influence and more to succinctly capture the translation of Adriano’s surname perfectly.

Svart Records is proud to present the original soundtrack to the supernatural thriller series Requiem! Debuted by BBC One in the UK and NETFLIX globally, psychological horror series Requiem became an instant hit, not least because of it’s haunting, spine-tingling score. Conjured by award-winning composers Dominik Scherrer (The Missing, Ripper Street & Marple), and Natasha Khan of Bat For Lashes, Requiem is an eerie landscape of sharp, scraping cello, soothing harps and tense string sections. From the urban uncanny to folk horror, there is a distinct atmosphere in the fresh collaborative dynamic between the British-Swiss decorated grandmaster of unique television series soundtracks Scherrer, and the rising enigma of alt-pop, twice Mercury Music Prize-nominated singer/songwriter Khan. Of their alchemical and otherworldly creative chemistry, composer Dominik Scherrer recalls: “Natasha Khan and I spent some weeks in my studio in Brick Lane, coming up with themes and recording outlandish vocals and terrifying sounds. There is a cheeky element to the show, as well as a genuinely scary one. Together with a pastoral spookiness of the cello and strings themes started to give Requiem its own unique atmosphere. We experimented with deviant playing techniques and unconventional recording approaches, to complete a moody air of retro horror and pastoral spook.” Available for the first time on CD and LP, this highly celebrated “spooksome” score harkens back to the 1970s lo-fi soundtracks from BBC’s Radiophonic Workshop or 1970s horror soundtracks. Winning an Ivor Novello award for the “Best TV Soundtrack” in 2019, Requiem is a one of a kind treasure, now rightfully preserved and beautifully presented on lush vinyl and CD format by Svart Records. “Requiem promises much, not least in way of sound. Nominally just another spooksome BBC tingler – old castle in Wales, birds flying into windows, locked room, pagan symbols, creepy locals – it is rendered a whole cut above by not having the heroine’s every move into peril foreshadowed by dissonant eek-eek string” (The Guardian)

Orange Vinyl

'I see myself as a receiving unit-sensing my surroundings, processing the emotions of others and myself, never knowing what's true or untrue, never knowing if I have processed things in the right or wrong way, because somehow, one's decisions will always be influenced by something or someone else. The emotional and physical contortions that society puppeteers us into manifesting.'
- yunis

From Mille Plateaux to Leaf, Staubgold and Raster-Noton, ~scape, or on his own label Ripatti, the Finnish artist Sasu Ripatti aka Vladislav Delay has been exploring various iterations of the dub culture vs. electronica, since 1997. His sonic crafts and unique signature sound has been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective or AGF.

Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being, influenced, Vladislav Delay is building a drifting and coherent sound enigma.

Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project.

The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar and Shakespeare.

In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip.

This became a tribute to the 'dub spirit', but in a very personal way, far beyond any influence or "the obvious". 500-PUSH-UP is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments - for instance - such as Lee Perry's 'Scientist Rids The World Of The Evil Curse Of The Vampires' or the On U-Sound productions.

After setting the souls on fire with the exciting “Madera Negra EP” from Nina Simmons, Salgari Records is back on vinyl with Chalanga to dive yourself in the sea of emotions of “Paradisea EP”.

Afro Cosmic House surrounded by hypnotic beats and shamanic saxophones, organic grooves and ancestral flutes.

Legendary UK graff writer and beatmaker REQ returns to vinyl for the first time in almost 20 years since his Warp and Skint releases. Classic b-boy break manipulation and scuffed electronics are infused here with all the mischief of Smudge's influence on his work in their ongoing creative collaboration. Sure fire remixes from The Fear Ratio (aka Mark Broom & James Ruskin) and rising star and Sneaker Social Club / Moving Shadow signee ETCH, who some many know is the nephew of JAS who REQ painted with in Brighton's TDK crew in the 90s… as JB said: "Bring on the juice".

Compilation album curated by Kaitlyn Aurelia Smith

The directive for the composers featured on Breathing Instruments was, in effect, to accentuate the ways in which instruments sound like they are breathing. Some have recreated the literal experience of feeling or hearing the human breath. Others take a more abstract approach, where “breathing” is more motif than object of emulation.

From hushed pulsations and distant vocals in Kathryn Shuman’s ‘Objects creating a womb-like environment to Julianna Barwick’s blissful ‘Newborn’ the tracks give sonic form to the experience of emerging from the womb.

There is also a striking concurrence of woodland sounds throughout this collection from the ghostly tones of Emily A Srague’s ‘Flew’ to Cool Maritime and Kaitlyn Aurelia Smith’s dew dripped ‘Daybreak’.

Meanwhile the undulating seascape of Geotic’s ‘Uncaught’ conjures moments of Evening Star by Fripp/ Eno, but supplants that album’s crystalline production with the warm crackle of vinyl.
If we learn anything from Breathing Instruments it is that we are inextricable from the natural world.

Ramrock Red Records are incredibly excited to present Kameelah Waheed – straight outta New Jersey. Brought to our attention by London DJ/promoter, Barry King, Kameelah immediately delighted us with her direct, no messin’ delivery, compelling, earworm hooks and beautifully crafted lyrics.

Teaming up with Kelly Murray on co-production on the ‘Original Version’, Kameelah unleashes a stripped back, jazzy hip-hop vibe punctuated with a Donald Byrd’ish trumpet riff. The North Street gang take the Donald Byrd flavour a step further with a full on nod to the Mizzell Brothers in the first North Street West dusty funk production. Releasing digitally around April 24th as a five track EP with a further 7” vinyl release around May/June, ‘Holding On’ is set to tick a lot of musical heads boxes.

Growing up in an Islamic household, sneaking snippets of worldly music into her household was close to pulling off a major heist during Kameelah’s teenage years. She was introduced to the world of sound from MTV, rap and house music and the live bands of the 80's courtesy of her older sister, along with tribal and island music that her mother played. Kameelah was encouraged to consider song writing as a career option when she received an opportunity to write for Bunny Sigler of Philadelphia International Records. Heading up the hip-hop rock band band, Gov’t Cheaze in 2000, Kameelah performed at Philadelphia’s Black Lily Film Festival as well as a set at the very first Roots Picnic.

Previous releases have included ‘Traveling’ by Kameelah Waheed & GC, produced by Larry Gold, featured on the ‘Beat Generation Compilation’ released on BBE, making the Top 10 Most Played on UK urban radio stations. In 2011, Kameelah Waheed and Government Cheaze signed with indie label, Philly Through My Ear (PTME) founded by Will Smith Sr. The self-titled CD can be found on iTunes.

Following a high-pressure drop on Sneaker Social Club in 2019, bass-toting instigator Low End Activist steps up with his most expansive release yet.

His sound is a perfect amalgam of elements from the hardcore continuum – at times a dark and malevolent brainstorm of grubby drums dragged through crusty samplers, future-weary textural scrapes, moody splashes of pads and of course bucketloads of crushing subs, lows and low mids all designed to rock you from the waist down. You'll hear spectres of culture past lurking in the shadows – a trip hop skit from a gaunt figure here, a riotous brawl of grime MCs there – and feel the decades of soundsystem absorption seeping off the platters. It's like the LEA reached capacity and these productions were what happened when the sponge got squeezed.

One voice cuts a more prominent figure up front though – the peerless Flowdan, lending some powerful bars to Game Theory. What needs to be said about the Pay As You Go / Roll Deep mastermind you don't already know? His flow is mightier than any sword you care to step with.

Speaking of platters, this particular release marks the first vinyl pressing for Seagrave since the BOA 12" Warp Purpose Vol. 1 back in 2015 (slated for a repress – don't sleep!). It's an occasion worth toasting, building on a powerful and varied catalogue of sub-heavy sonics operating well outside the mainstream in service to naught but the sound, all packaged in a full-colour sleeve. As an expansive double pack of seven sure shots, it's also a fitting document of a subversive operative bringing some devastating angles to the hardcore tradition.

- Oli Warwick.

Mental Tribe and techno EP, dark and progressive deep sounds... Fatal !

Theresa Stroetges has and always will be a traveler. Under the name Golden Diskó Ship or as a member of bands like Soft Grid or the improv collective Epiphany Now!, the Berlin-based multi-instrumentalist has continuously been moving through the fringes of experimental music, but also extensively explored the possibilities of tried and tested formulas - whether folk, rock, techno or pop. With her fourth solo album, her first for the Karaoke Kalk label, the Golden Diskó Ship is yet again venturing into unknown territory. »Araceae« is inspired by environmental changes and the eerie feelings that arise when faced with natural beauty - when everything seems perfect on the surface but something feels off underneath it all. As a whole, it is notably more focused on electronic grooves that provide the foundation for Stroetges’s poetic long-form storytelling.

Partially conceived during a residency in India, »Araceae« is the first Golden Diskó Ship record to feature two guest musicians. For »Wildly Floral, Slightly Damp,« Stroetges collaborated with percussionist Dripta Samajder who with his Sri Khol contributes complex rhythms to a driving beat that wouldn’t be out of place in the record bags of daring DJs. Sophia Trollmann takes over saxophone duties for »Ortolan,« a riveting coming-together of intricate, IDM-flavoured techno and jazz-inspired improvisation. Both are integral standout tracks on an album that clearly follows a holistic plan. Already the opener »Clouds of Neon Limelight« dips into anthemic synth pop territory, but unfolds into a great saga full of ominous undertones and Stroetges’s trademark: layered vocals that at once evoke feelings of uncanniness and intimacy.

It’s a juxtaposition that runs throughout »Araceae,« thus enforcing the album’s overall themes of sensual experience and alienation. »Game of Biryani« for example lends some of its musical structures from pop music, calling into question traditional songwriting conventions which here reappear as irritating echo effects rather than recycled old tropes. With the lush »Limping over the Prairies« and the adventurous »Glow-in-the-Dark Gloves,« Stroetges further challenges her audience by applying noise and a heavy dose of autotune respectively to disorientating effect.

The couple makes for an impressive finale of an album that scrutinises our ideas of what is natural - whether in music or the world around us. »Araceae« was inspired by the travels of its creator, but also sets out to ascertain what lies beyond everything that eyes or ears can perceive.

Gigs vor 60.000 Menschen, 2,5 Millionen verkaufte Singles, vier Mal für die 1LIVE Krone nominiert, drei Mal für den Echo, 2017 den Echo in der Kategorie Dance National gewonnen, dreimal am Stück die Pole-Position der Airplaycharts: Die Karriere des international erfolgreichen DJs Alle Farben hat ihren Zenit noch längst nicht erreicht. Doch wie legt man einen solchen Senkrechtstart hin und schafft es, dass die Flamme immer weiter brennt?

Alle Farben ist ein Künstler, der vielleicht in Farben denkt. Ganz sicher aber nicht in Grenzen. Verschiedene Genres, Live-Musiker, Sänger, Orte: es gibt nichts, dass er sich nicht vorstellen kann. Er hat Shows im Dschungel von Thailand gespielt oder im Flugzeug über den Wolken. Ebenso legendär sind seine 6 Stunden Sessions. Der Name ist ein Versprechen: 8000 Menschen tanzen, während Alle Farben sechs Stunden ohne Unterbrechung auflegt. Unterstützung bekommt er von verschiedenen Künstlern, die er sich stündlich auf die Bühne holt: ob Sänger, klassisch ausgebildete Musiker oder unerwartete Instrumente Alle Farben liebt es, sein Publikum zu überraschen. Alles kann, nichts muss, aber eines wird es sicher nie: langweilig.

Überraschen wird Alle Farben auch mit seinem dritten Studioalbum. Sticker On My Suitcase zeigt einen großen, und inzwischen auch wichtigen Aspekt in seinem Leben: das Reisen. In den letzten Jahren immer on tour hat er gelernt, dass nicht immer das Ziel das Ziel ist. Und Reisen mehr als nur Fortbewegung. Unterwegs zu sein, ist genauso mein Leben, wie irgendwo anzukommen. Das Video seiner neuesten Single Fading drehten Alle Farben und sein Team in einer aufwendigen Produktion in Los Angeles. Wieder ein Sticker mehr auf dem Koffer, wieder eine Reise, die zeigt: Das Ziel ist die Reise selbst auf der Route Richtung Erfolg.

Sludge machine music slapped through the infinite mixing desk by SRS - the combined mind of Sunun and Robin Stewart. At any pointData Fossil'sgiddy industrial riddims could collapse under their own weight. There are Sunun inputs and there are Robin Stewart inputs - but everything is offered up to their machines gladly for an output of nu-human-beat. Voices drift through the mix in hushed Italian and Robin's gruff roboticized drawl, floating dub chords left hanging for cavernous subs and rattled bones, distant harps and arps, a sudden blast of trills. 'Spit Fossil' itself is a clipped noise-pop wonder - the aural equivalent of a lights-on Avon dancefloor with only the weirdest left standing.



Recorded on the rooftop of a housing project called Camelot in 2018, the two Bristol locals debuted the live / unplanned collaboration in an inflatable arena called 'Toldo' in the Brunswick Club ballroom (RIP). Then again at Young Echo at the Cube Microplex - a night where it's said anything is possible (Sunun even dubbed Guest's live human heartbeat there recently….). IfData Fossilis hard to describe - it's just the sound of the musical freedom of a city that will never run dry.



It's a high Bokeh honour to welcome Sunun back after we helped release her 2018 debut,Ooid EP. Her live show continues to be the most inspiring re-use of dub principles we've witnessed (again and again). Time only grows her music outwards causing the Young Echo collective to demand she join them. SinceOoid,she's released a 12" of MPC wonders with close Bristol pals Cold Light.


Recently bearing his dub-side to all that didn't know on Trilogy Tapes'Time Travel EP, Robin Stewart is half of world conquering techno-cult Giant Swan. Also a veteran of Rwdfwd stable of imprints (Fuckpunk and NoCorner) - his music DNA is equal parts shoegaze and steppas. In 2020 he was officially recognised for having the largest collection of Bokeh t shirts.

After a short hiatus Maps Of Hyperspace returns with his sophomore followup to "Superspace". "Against All Ends" folds elements of drone, dubtechno, and spatial ambience, into a snug ohm meditative blanket and slow burns like an incense stick.

It’s a family affair on the second Growing Bin 7”, as Peter & Patrick Jahn enjoy some father and son boogie with a smooth split release. A sunblushed moocher served two ways, this disc is designed for horizontal dancing…
Rooting around the cupboards in his family home outside Nuremberg, Patrick Jahn unearthed a dusty box of cassettes, saved for posterity but eventually forgotten. Somewhere between ‘True Blue’ and ‘Brothers In Arms’ was a faded C60 full of unreleased demos by his father Peter, recorded in the mid to late 80s. Back then Jahn Sr owned a pub club called Schrank (Cupboard to the Anglophones), with an upstairs office he used as a music studio. In amongst naïve synthesiser experiments and carefree noodling was a Balearic boogie bomb, all strolling synth bass, clipped funk guitar and seaside melancholy – like Brenda Ray on a Wim Wenders soundtrack.
Too impressed to keep it a secret, Patrick played the cut to Carsten “Erobique” Meyer, when he was over there jamming, and Hamburg’s premier funk freak suggested this might be of interest to his likeminded hometown freak Basso. Instantly in love, the Growing Bin boss suggested Patrick provide his own version for the flipside, and so it was, reborn with percussive sway, moonlit keys and beefy bass tones for the next generation. Here’s to the Jahn family, father and son but brothers in calms…
Patrick Ryder

Samosa Records 10 is the brand new spin off label from Samosa Records concentrating on 2 choice cuts from some of the finest producers at the label one each side of a 10” vinyl. It also see’s Samosa announce an exciting collaboration with another of the finest labels out there Tropical Disco who will be handling the digital release for this one down the line.

Launching the brand new imprint it’s only fitting for the label bosses De Gama and Les Inferno to lead things out.

First up is De Gama’s Sometimes Sometimes which see’s him creating a much more reflective track than his previous powerful peak-time percussive club jams. Despite its ever so bluesy laid-back sentiments it’s no less a sublime outing. Velvety smooth the lead vocal is definitely one of those once heard never forgotten magical musical moments. It’s a track of simplicity, a smooth bassline, subtle guitar licks and the wonderful vocal performance. It’s an entrancing life affirming track which has all the hallmarks of a track which absolutely must be listened to again and again. And yeah, maybe just one more time!

Over on the flip Les Inferno takes us off towards classic Philly territory with an equally subtle but ever so funky slice of feel-good disco in ‘Yeah C’Mon’. Smooth percussion, an ever so danceable bassline, brilliantly performed yet subtle keys and another absolute monster vocal. And did we forget to mention the disco flute? Yeah Disco flute, does it get any better. We think not?

This is a 10” which is quite simply undeniable. You must have this in your collection right now because you will need to listen to it time and again. Samosa continues its quest to dominate the disco vinyl landscape with yet another ridiculously superb release.

What are you waiting for just order this and thank us later.

It was 50 years ago that a talented local musician named Lamont Butler started to create an album that would combine love, happiness and joy. Lamont’s only official album release It’s Time For A Change has been very popular for record collectors around the world but never saw the wider success it truly deserved.

Born 1949 in Louisville, Kentucky; Lamont Butler was drawn to music and dance from the very beginning. He was the son of a well-known gospel, blues and R&B singer and pianist Clifford Butler Sr, receiving an early education in what’s required to be a touring musician.

It quickly became apparent that Lamont had a wonderful voice and was pushed to the front despite no being fully confident yet of his singing ability. Lamont performed on the gospel circuit for a number of years cutting his teeth with groups such as The Enterprise, The Dynamics and The New Beginnings eventually going solo with Lamont Butler and The Spirit of Truth.

It was whilst he was singing and performing during this period that he started to write his own songs and think about putting together an album bringing together all of his influences from R&B, jazz, soul and of course gospel. The result is very raw, almost low-fi sound of It’s Time For A Change, released nearly 10 years after Lamont started to pen the first tracks and it gained relative success. He toured the album around churches in Louisville with tracks such as Love One Another, Time For A Change and Ungodly War quickly becoming firm favourites within the churches of Louisville.

Miles Away Records are pleased to working with Lamont and to be issuing a long overdue album reissue of It’s Time For A Change on LP and CD. Remastered with care by Nick Robbins at Sound Mastering and complete with in-depth sleeve notes.

“Miss Honey” by Moi Rene was an underground New York anthem during the early 90’s. While the artist and the song never fully got the acclaim it deserved, it’s originality and authenticity was strong enough to sustain its reputation as a must have track for any DJ who wanted to inject some raw and real NYC underground vibes into their set.

Through a series of memorable releases, the production team known as SRVD has emerged as one of the worldwide DJ community’s most original and innovative talents. Consisting of renowned producer Radio Slave and Performance arsist Partrick Mason, SRVD has done a remix that retains the New York-in-the-90’s edge of the vocal, while adding a techno – laced rocket fueled beat and synth that have made the track an immediate favorite of headlining DJ’s worldwide. Entitled Moi Honey, the SRVD remix package consists of a vocal and instrumental version.

Matt Karmil's fifth album is a meditative collection of woozy loops and soft focus house. STS371 is the follow-up to IDLE033, - - - -, ++++ and 2018's acclaimed Will. Matt Karmil is British born - growing up in the rural town of Salisbury, near Stonehenge. Suffering a prolonged illness as a child, he spent much time indoors whiling away the long hours by playing with a classical guitar. Eventually he was well enough to see the world that had almost left him behind, and he spent his early twenties as an international traveller, DJing, record collecting and working as a producer-engineer in London, Paris, Stockholm and Berlin. In 2012 he decided to settle on Cologne âÇ" a city famed for its excellent club scene and ultra-minimal take on techno via the collective of artists and producers around the Kompakt label. With a studio established in Cologne, Matt made his LP debut with the well received (but hard to Google) "----", combining dusty samples and elegant tape hiss with scuba-diving grooves and minimalist vibes. In the same year he released the jubilant club anthem 'So You Say' on Tim Sweeney's Beats In Space label and remixed John Talabot and Axel Boman's (Talaboman) single 'Sideral'. Recent years have seen a raft of new releases from Matt, remixing XPress 2 for Skint, the albums idle 033 and ++++, as well as 12"s for YumAc Records, Idle Hands, Endless Flight and Studio Barnhus, received with great reviews in publications from The Wire to Resident Advisor and beyond. 2016 also saw Matt much in demand for his skills in engineering, mixing and mastering, working extensively with Matias Aguayo for Crammed Discs, Kornel Kovacs for Studio Barnhus and Talaboman for R&S, among many others. At the invitation of artist Christine Sun Kim, Matt composed a sub-20Hz piece for Bounce House at Sound Live Tokyo 2015, while his video collaboration with Boston's MIT Media Lab, Time Moods, was premiered in late 2017.

AFU-RA comes back with the project "Urban Chemistry" mixing Hip-Hop, Reggae and Soul, produced by Digital Cut, to be released in February 2020 on X-Ray Production. On this new album, AFU-RA has invited one or more guests on each of the 18 tracks such as Sizzla, Jah Mason, Keny Arkana, Lord Kossity, Big Shug or Mann... Thanks to an exclusive collaboration with the brand Canna, all songs have been filmed in 15 cities in 8 different countries.

Hailing from the New-York underground Hip-Hop scene, AFU-RA has sold more than 700,000 copies of its first 4 albums. Through these projects, he has collaborated with many artists such as Guru and DJ Premier but also Wu-Tang's RZA and GZA, Ky-Mani Marley, Saian Supa Crew ... to name a few. Over the years, the former member of the Gang Starr Foundation has created a style of his own: striking flows on militant and conscious lyrics and a visual universe inspired by martial arts.

Intheboothsteps up with a diverse 3rd release. Nat Wendell kicks it off with a deep, bumpy groove complimented by a hint of soul. Alex Arnoutsteps up with a sleazy, rough, analogue type track to close the A side. The flip sidesees a Paolo Rocco edit of a remix Pijynmandid for Chez Damier and Ben Vedren'sproject H2H, while the record closes with a Pijynman original filledwithcorky jazz samples and chops. All in all the label sticks to it'sroots style selectionthatcatersstrictly to the house heads.

Mutual Intentions is proud to present “Mutual Friends" - their first compilation. The compilation is put to life by Stian Stu from Mutual Intentions and features top notch, jazzy hiphop beats from producers
such as FloFilz, Bluestaeb, Fredfades, Elaquent, Ol’ Burger Beats, SRAW, 10.4 ROG, Yogisoul and many more. Artwork by Boiler Room’s own Joe Prytherch.

Any jazz lover will tell you that one of the main considerations in their appreciation of jazz is spontaneity, and the freedom it gives to improvise. In jazz, freedom is everything.

Here we have a record that was recorded simply because some musicians met in the studio one day in 1996. They were not under instruction, they had no plans. What they had was the presence of mind to make music with one another, free to collaborate and spontaneously create new sounds.

Drummer Harbans Srih tells us about 'Short story from Tabla, Drums & Trumpet': "We were tracking some funky jazz with a full band.
All left at the end except for Pandit and myself. As there was a bit of time left I said to Pandit to have some fun tracking tabla and drums. Engineer pressed the record button and off we went without any prior rehearsal. This take is the result. Colin had turned up, took one listen and said he'd like to play trumpet on it. Again without any particular discussion he went in and recorded this take, resulting in this fusion of Indo-Jazz."

... And then in 2003, 'Oye Maia' came about: "We met at the recording studio one afternoon. I had an idea of recording an Indian themed track and had brought along a kalimba. I showed it to Shanti who started to play it. It was suggested that he recorded a 2 bar loop while Pandit and I performed alongside. Shanti then improvised on trumpet utilising Indian phrasing. The track was named after his daughter Maia, and translated it means 'Listen Maia'."

Available for the first time outside Japan, Phosphorescent Dreams is another epic album of symphonic schizophrenic avant-rock from Univers Zéro. Originally released in 2014 - only on CD - through the Japanese label Arcàngelo.

Phosphorescent Dreams presents at the same time, in the same track, even on a single moment, the complex musical schemes and ways of Univers Zéro, ranging from maximalism to minimalism, classical avant-garde with a 2020 vibe in a constant flux.

In a blend of tension constantly emerging from a subtle dialogue between avant-rock and contemporary influences, harmonies and dissonance, Phosphorescent Dreams is a balanced formula of old-school know-how reshaped almost 40 years after the released of the seminal LP Univers Zéro.

Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music - most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.

With half a dozen releases under his belt Glo Phase moves his warm analog shuffles into the wax frontier with this 7" single of downtempo jams.

The Tokyo based producer Yoshinori Hayashi will release his new EP, ‘Y’, on November 8th via Smalltown Supersound. The EP will be his first release since his debut LP, Ambivalence, from last year which received a glowing 4.0 review from Resident Advisor.
Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. Thus far, Hayashi has released a string of 12”s on labels including Going Good Records, Jinn Records, Lovers Rock, Gravity Grafittiand Moscoman’s Disco Halal. Previous work by Hayashi has been called “a complex patchwork of studio gear, live instruments, dusty jazz records and smartly cut library sounds, whose textures are soft and inviting. But its arrangements are constantly ruffled, squeezed, brushed and pinched—which is to say, nothing stays still for long” (Resident Advisor).

Indigenous:
music; homegrown, unadulterated, absolute
Drivetrain (Detroit, USA) – Alice
Derrick Thompson delivers a dark and moody banger of minimal groundwork and amplified momentum, culminating in acidic intensity.
Detune (Ghent, BELGIUM) – Maple Fever
Autographed by an unshakably solid bass line, with an ornamented shower of sumptuous pads raining down over a panoramic 4/4 beat terrain.
G-Prod (Bordeaux, FRANCE) – Motif
The toxic rhythm is indisputable and the alluring chord progression is seductive in this energized elastic groove.
Jace Syntax (Glasgow, SCOTLAND) – Hologram World
Submersed in a sea of luxurious strings, a tribal explosion regulates a merciless bass riff, peppered with sweet melodic inflection.

Von Brüchen und Kämpfen: Das Berliner Electro/Pop-Duo Yeah But No kündigt sein zweites Langspielalbum "Demons" an.
Yeah But No sind Douglas Greed und Fabian Kuss. Elektronische Musik mit klassischen Songstrukturen zu einem klugen und mitreißenden Hörgenuss verschmelzen, ist schon immer das Anliegen der beiden. Die Stücke des neuen Albums "Demons" kreisen um innere und äußere Konflikte und Gegensätze und zeigen die Band von einer dunkleren und detailreicher ausgearbeiteten Seite als auf ihren vorherigen Veröffentlichungen, und erweitern das breite Spektrum der Band von elegantem Deep House über friemelige Electronica bis hin zu hypnotischem Techno und großartiger Popmusik.
- LP: schwarzes Vinyl, Gatefold-Cover, 4c-Innersleeve mit Lyrics, Downlode-Code liegt bei

Having spent the past few years quietly building up a dedicated crowd of followers and dancers as a club night, Scenic Route step out for their first offering as a label with three expertly crafted club cuts from Desert Sound Colony, an artist whose pumping productions have provided some of the parties’ most memorable moments. Since his debut release in 2014 on New York’s Scissor & Thread, Desert Sound Colony (real name Liam Wachs) has been refining a deeply personal club sound with releases for the likes of Futureboogie, Me Me Me, his own Holding Hands imprint and most notably of late, Nick Höppner’s Touch From A Distance. In addition to his productions garnering support from the likes of Midland, Raresh, Andrew Weatherall and Lena Willikens, Wachs himself is also a highly sought after DJ whose skills have seen him land bookings at some of the world’s most well respected clubs and festivals, including two stints at Berlin’s Panorama Bar already this year.

His prowess as a DJ has undoubtedly informed the music featured on the Cartographer EP. All three tracks are primarily designed for club use yet their intricate arrangements and undulating instrumentation ensure they remain captivating, despite the effectiveness of their functionality. The EP’s opener, “The Cartographer”, is a sleazy machine-driven odyssey, continuously building and evolving until snapping back into its original groove with a vengeance. “Gypsy Moth” sees Wachs team up with fellow Holding Hands affiliate Guava (real name Bradley Hutchings) for a dangerously syncopated drum workout doused in warped agogo bells, spliced vocals and a two-note bassline with a distinctly London flavor. Rounding the release off is “Budapest”. The combined power of the track’s interlocking kick and bass provide a solid stage for Desert Sound Colony to unleash an eerie arp and pads combo alongside a flurry of stuttering percussion and twisted samples while intermittently sprinkled with an unintelligible and downright ominous pitched down voice.

Glenn Astro conquers new territories with Naturals, fusing elements of Balearic and leftfield house with tribal and acid sounds on Tartelet Records.

In an impressively short amount of time, Glenn Astro has created a musical universe that’s entirely his. With full-length releases making waves on Ninja Tune and Apollo Rec, the sister label of R&SRecordings, the Berlin-based musician assembles a perfect pastiche of influences on his forthcoming EP Naturals, coming out on Copenhagen’s Tartelet Records this September.

Exploring the outer fringes of the Balearic sonic spectrum, Naturals delves into unexpected sound territories without losing touch with planet home. Sub-heavy drums mix with private oceanic field recordings, futuristic synth, and effect pedal workouts, delivering a four-track EP that is novel but honest to the bone.

“I tried not to take any direct influence from any particular music I was listening to,” Glenn Astro says. “Instead, I tried concentrating on where the instruments and effects were taking me, experimenting with different ways of using the gear that I know so well.”

Inspired by Sicily’s natural beauty, the juxtaposition of its rough landscapes and clear blue waters, Naturals takes listeners on a journey into unfamiliar sound; a conscious diversion from his usual style and yet an instant dance floor cracker infused with the artist’s signature panache.

“I made most of the record while being in Sicily,” he says. “In retrospect, it is easy to hear that the volcanic landscapes contrasting the idyllic beaches were a major influence.”

The EP opener “Naturals (Unsweetened Mix)” is a beautiful freak – a peak-time cut – starting out with tranquil ambient melodies and water drop percussion followed by a beasty acid line and slick drum programming. Next, “Naturals (Dance Mix)” slows it down to 116 BPM, taking a completely different route with a hypnotic dance between tribal and dub – a wonderfully weird closer.

On the flip side, “Slarutan (Pristine Mix)” emerges au natural with Sicilian field recordings, layered pads, playful melodies, and crisp drum programming. Saving the best for last, “Slarutan (Water Mix)” dips its toes into the early days of dance music, shifting into futuristic, ambient dub territory with divine melodies and filtered percussion.

“This one is for the plants and the trees. Return to planet Tartelet,” Glenn Astro says.

Jatinder Singh Durhailay and David Edren released Tea Notes as a cassette back in April of 2018. London-based Jatinder Singh Durhailay is a painter and student of Indian Classical music. He has trained in both the sitar and the Hindi singing technique, Dhrupad. He also plays two traditional Sikh instruments; the bowed, stringed Dilruba and Taus. Poetic Pastel Press issued his solo debut, The Last Ballad Of Mardana, in 2017. David Edren`s expertise lies with machines and modular synthesis. His Kosmische and New Age-Inspired electronics have featured on numerous cassettes, and compilations, produced for imprints from the current Belgian underground, such as Jj Funhouse, Social Harmony, and Ultra Eczema. These recordings appearing, since the turn of the millennium, either under his own name, or the moniker DSR Lines. Jatinder and David’s collaboration, Tea Notes, is a celebration, a meditation, on both the beverage, and the communal time shared imbibing. The coming together to partake in its ritual. Each of the six tracks represents a different infusion. The opening piece is a tribute to semi-oxidised Oolong, from China`s Wuyi Mountains, with hammered dulcimer-like glissando. Gongs shimmering, gently crashing, as if signaling a change in the weather. A calm of thin, stretched synths and Ai angels introduces Tulsi from India. The Holy Basil of Hinduism, used in the worship of Vishnu, Krishna, and Rama. A traditional herb of Ayurveda and Siddha medicine. Automated arpeggiated sequences raising a vibrating wall of hallucinatory sound. Pairing swooning strings with a racing robot heart. Ceylon is a modern twist on the classical raga. Serving to tell the story of a tea smuggled into Sri Lanka in the 19th century. Plants stolen from South West China, where the brew had been enjoyed since the days of the Shang Dynasty (1766 to 1122 BC). The contraband founding fresh industry in its new home when the indigenous coffee crops failed. Muted organ and sleepy, treated sine wave microtones describe Kava, the Polynesian fireweed root, whose extract serves as both sedative and euphoriant.Shincha are the first young leaves of the season. Picked in Southern Japan and steamed to prevent oxidization, retain their flavour and green / gold colour. Their musical counterpart finds Edren establishing an ecclesiastical drone, while Durhailay`s strings chart an ancient romantic ache. Sonic stars shine. Singing out to the infinite, the universe, before dissolving into knots of Radiophonic Workshop noise.Melodies treated with subtle sustain and delay denote Pu-Ehr, from the Yunnan province. The only truly fermented black tea - made distinctive by the action of bacteria, moulds, and yeasts. Its musical themes hovering in the vapour trails, the atmospheres, they themselves create. Spiraling, soaring, reaching for the heavens, while pretty music box glitches - tiny chimes turned in on themselves. Catching, reflecting, like light at play on fresh running water. (words: Robert Harris)

Inner space centurion and local star command operative Tommy Walker III returns with a new mission directive this DATE...
Hardwiring to the Red Laser network and initiating an advanced, beta-tested programme of futuro-manctalo cybernetics, TWIII's meta-level hybridisation of Italian synth disco & northern English rave styles, combined with an expert deciphering of modernised club dynamics has resulted in a faultless system capable of withstanding the most extreme sonic test environments. RL30's eight tracks are RL Corp. operation-certified to work alongside Human2.0's electrostatic discharge profile. Universally approved usage for sentient earth dwellers offering portals into dancefloor ecstasy and inter-dimensional transcendence. This programme begins with 'Pocsy', and sees euphoric holograms burst through galloping Italo mechanics, fusing retro-tinged optimism with a nu-age release. 'Shoiab' (named after a fellow starship captain tasked to MCR and in alliance with RL Corp...) unleashes red shifted synths and carnal cowbells for the cyberotic lap-dancers to get jizzy too. 'Autopilot' allows the on-board crew to reassemble, a well automated array of arpeggios guiding the shuttle during the first phase, until reconsolidating in the latter stages for full-on interdimensional 5-D funk jam. 'Lightwork' is pure RL endorsed synth-jizz, erupting out of Tommy's arsenal like a mis-timed giant alien cumshot; minus any Manga references.
'Astral Projectile Vomit' address a common problem endemic to protectors of our star cluster; then channels a shiny, serpentine chrome sequence and thrusts it down the rainbow road for maximum belly aches.
More hydraulic collisions between electronic disc-boogie and newly mined atomic particles from passing asteroids ensures Srg. Walker has enough mainroom material to keep the Sharons and Traceys of the main hub dancing in between injections of dimethyltryptamine. Closing with a trio of humanoid hits that'll have Jonny5 ordering kryptonite margaritas for the entire ship, Tommy Walker celebrates with the cosmic conge, 'Gary Blast'.
RL Corp is confident RL30's internal algorithm is a future-proofed, cross-species platform for auditory excitement, and will continue to stimulate listeners across a multitude of environments.

Two minds on a sonic rendezvous best describes our first split release. Off Land and Diahgonal swap remixing duties on each other’s respective songs. Aegirine from Off Land’s On Earth album undergoes a mild mood shift once put thru Diahgonal’s lens flare. Movement B from Diahgonal’s Spiral album gets an ambient makeover courtesy of Off Land.

Two outstanding performers, Carlos Santana and Alice Coltrane, collaborated to record their fantastic trip through time called Illuminations. Santana’s interest in the Indian culture and different musical styles led him to the musician Alice Coltrane. They shared their vision of expressing their spirituality through music. Illuminations is the wonderful outcoming of the work they recorded together. Guitar, harp and saxophone forming the strong basis on which this album is founded. “Angel Of Sunlight “is the album’s centrepiece, showcasing the outer limits of their musical ideas. It was Santana’s ultimate trip into the jazz, as he stepped back into the commercial music only a few years later. The package includes an insert.

Hot on the heels of their second release comes a third essential offering from SRVD aka Radio Slave & Patrick Mason.

The Rekids boss linked with Patrick Mason—a young creative at the forefront of Berlin’s art, fashion, dance music and LGBT scene—back in 2018 after they struck up a friendship in Panorama Bar. Now their superb studio work continues to bear fruit inspired by New York’s vogue scene, and these latest two tracks are perfect impactful once more.

The hard-hitting techno opener ‘Talking 2 B Mad’ is built on rock solid drums that never let up. Industrial synth fizzes twisted vocal loops and icy hi hats add detail to the most physical groove, which cannot fail to get you moving. On the flip, ‘Twitch' is just as physical and direct, this time with big synths suspending you in midair as the hammering drums seem to grow in size. It’s frenzied techno that is designed to make you sweat.

This Ltd edition vinyl release see’s a 50 track digital album whittled down to an 8 track sampler encompassing what label bosses Vinyl Junkie and Rachael E.C have determined to be the tracks that represent them best. The selection is predominantly on the junglist tip with a sprinkling of Drum & Bass here and there, which is basically what their label Ghetto Dub is all about.

The proceedings are kicked off by Birmingham born but Bristol based jungle overlord, the man they call Aries, who comes in with a real deep and bass heavy roller called Pre-Rolled, guaranteed to get everyone on their feet and feelin’ the vibes. This is followed by a rising star of the UK jungle scene; Java, who brings in the amens with a ragga style vocal lick for his track Screwface, which has been slaying dancefloors on dub for the last couple of months. Another artist that is really making a BIG name for himself lately is Veak. He comes in HARD with his first offering Lawd A Mercy which is a definite pull up track with a filthy bassline that will nail your head to the dancefloor. X-E-Dos concludes the first vinyl with Feel For Me which is a hard hitting but atmospheric drum fuelled workout, keeping the vibes rolling and maintaining the energy levels perfectly.

Enter the second vinyl and Veak is back, this time teaming up with another UK jungle don; Kumarachi. The combination of these two production masterminds has manifested something quite special in this awesome track Chrome Siren. Punchy in your face amens laced with more killer bass riffs and a mesmerising female vocal make this a definite for the front of your box. Sypmtom steps up next and adds that dark techy vibe like only he knows how; Come Mash Up maintains the jungle vibe but goes on a journey into the realms of drum & bass. Galvatrons track, Buss Up Shot is pure jungle, no doubt about that. Chopped up amens and a deep rumbling bassline are complemented with a beautifully melodic piano section. Last but by no means least, the man like SR takes the limelight with another wicked amen workout. Special Ops VIP gives a nod to the mid 90’s for sure… Wicked oldskool vibes and a sure fire hit with all the junglists that remember those times.

King Britt appears as Sraddha for the second release on Rekids offshoot
Stranger In The Night entitled ‘Believe EP’, following a notable debut release
from Radio Slave.

King Britt, of course, is a long-time house head who brings his Philly roots and a
real sense of musical soul to his timeless and feel good grooves. Here he
introduces Sraddha on four fantastic new cuts that ooze quality from start to finish.
Fantastic opener ‘Believe’ is a shimmering house cut with well treated vocals that
bring an eerie quality to the warm, deep drums. The ‘No Drums’ version is an
intimate bit of late-night mood-setting that creates a dreamy ambiance.

The excellent ‘Memories’ is perfectly off-balance deep house, with live sounding
drums and gorgeous synth puddles, deft leads and a romantic feel that is perfect
for cosy dance floors. Last of all, the gorgeous ‘You’re All I Need’ sinks you into a
reverie over eight soft-focus minutes of persuasive hand claps and withering
chords, subtle sci-fi motifs and plenty of real musicality that is often all too rare in
modern house music.

Once again King Britt’s unique sense of class really shines through on these most
authentic and soulful house tracks.

Reinhard Voigt returns to his own label KOMPAKT with another episode of satiric techno to enlighten today’s current trend of deadpan dance music. Since the 1990’s, Reinhard has brought an unparalleled spirit into the techno scene through outrageously energetic live shows and the many releases under alias such as SRI, Pentax plus of course his ongoing collaboration Voigt & Voigt together with esteemed brother, Wolfgang Voigt. Reinhard embraces all that wildlife has to offer with “Was wir spüren”. Starting things off with the future afterparty anthem, “Das singende, klingende Ding” the bass drum is there to guide the lost and found through a voracious bee storm as the rooster crows gloriously towards duck quacking oblivion. “Tausendmal zu viel” fits perfectly as the soundtrack for to the artwork created by Mareena von Cube – a tormented hymn loops its way to the warriors of the never world. “Der Mann, der nie nach Deutz kam” is classic Reinhard Voigt techno at peak-time point. A throttling bass drum is voraciously fuelled by the jungle twilight.

4 underwater trippers extracted from another planet featuring Konsistent, Second Life, Jack Patern & Andy Rantzen.

Transcendence was not only Alice Coltrane's last studio album for Warner Bros., it would also be her last studio work for nearly three decades. While Eternity and Radha-Krsna Nama Sankirtana followed the composer's muse through an exciting range of musical styles and influences, Transcendence is perhaps the most fully realized of the three LPs, synthesizing the best elements of each into a monumental whole.

Side one consists of intimate compositions with Alice's pointillist harp enhanced by intricate string arrangements. At times, the emotional climaxes in "Radhe Shyam" and the title track sound like the score to an epic film. This would be the closest Coltrane ever came to chamber music, yet rendered with her uniquely spiritual tint.

Side two moves into celestial territory with uplifting chants, light handclaps and bluesy organ. These call-and-response chants, featuring members from her Ashram, completely embody both African-American gospel and Hindu devotional traditions, an uncanny fusion that is transformed through Alice's pure spirit.

What runs through the album's two musical halves is a powerful sense of devotion and discovery. At this point in her life, Coltrane was on a journey toward truth through sound, and Transcendence gives the listener a front row seat to this quest.

The latest addition to the James Holden archive is an album of solo synth work originally written to accompany the critically-acclaimed documentary 'A Cambodian Spring': fourteen tracks of pulsing melancholy, foreboding drone and even the occasional burst of beatless trance in the form of the uplifting arpeggios of surefire album highlight 'Solidarity Theme'.

Picking up where his classic 2013 album 'The Inheritors' left off (and giving album closer 'Self-Playing Schmaltz' a new cinematic airing) Holden's debut soundtrack project combines the sound palette of his beloved Prophet 600 with a cranky old Hammond organ to showcase the full breadth of his musical tastes across the epic documentary format.

Includes download code and sleeve notes by 'Imaginary Cities' author Darran Anderson.

Jaka Forma completes the Seltron 400 trilogy on Warsaw's MOST. The quirky sounds of their previous two releases - Zabawa Trwa and Trans i Bas - have garnered support from music lovers and heavyweight selectors alike (with Helena Hauff, Veronica Vasicka and Marco Passarani among them).

The duo continue to weave their sonic story upping the tempo on the breakbeat-driven roller Kiepska Forma. The track comes with a more contained techno mix as well, entitled Forma Swietna. The b-side carries Jakze Srogo - a firm crowd favorite from the Seltron live show, and a nod of sorts to the sound and times of electroclash, even though we won't argue that the tune is anything but pure Seltron 400.

Honey...rich And Flavorful, Hitting The Deepest Sweet Spot.

Drivetrain (detroit, Usa) - Inside You
Label Founder, Derrick Thompson Sets It Off With A Primetime Floor Filler.
The Gravitational Pull Of The Bass Riff Encapsulates The Vocal Hook As The Keyboard Refrain Perfectly Aligns With An Aggressive Percussion Track.

Rennie Foster (vancouver, Canada) - Detroit City
Demonstrating A Much Deeper Persona, The Sultry Piano Sets A Moody Atmosphere. Luxuriant Strings And Expressive Bell Tones Conjugate As The Vocal Signature Pays Homage To The City Of Inspiration.

Melodymann (ghent, Belgium) - Nobody Else
Explicitly Designed For Maximum Body Movement, A Solid Percussion Theme Is Immediately Established. Soon An Animated Chord Progression Is Introduced,
Then Showered With Kinetic Vocal Samples For Amalgamated Electricity.

Mark Ryal (sitges, Spain) - Imperfect Perfection
This Elegantly Fluid Soiree Debut Parades A Sphere Of Warm Pads Throughout.
Articulated Harmonies, Elastically Weave A Blissful Sonic Terrain Atop An Unyielding Groove Framework.

The third installment of Cod3 QR, which launched at the end of 2018.
Head to their Instagram page (ig: cod3qr) for clues to the artist identities of Cod3QR001, 002 and 003!

Louis captures the secret life of techno in all his compositions. On Metronomik, his stripped 808 grooves emulate the harsh time keeping of life',s metronome. Warm, gentle washes and
thoughtful melodies remind us of who we are in this time/space. Ideal for home listening or inspired movement.

The Conspiracy Hailed From Mount Pleasant, A College Town In The Center Of Michigan. Originally Formed As The Allusions, They Became Nino & The Nomads Before Changing Their Name To The Conspiracy In 1966. For The Next Few Years The Group Stayed Busy On The Live Circuit. "we Were Booked All Over The State," Remembers Singer Aquilino Soriano. "every Weekend We'd Be Somewhere. We Were About Two And A Half Hours From Detroit, So We'd Go Down South, We'd Go Up North, We'd Go Everywhere. There Was This Network Of Teen Clubs Where Kids Didn't Have To Be 21 And Everybody Could Go. It Was Fantastic." In 1967 The Group Had What Aquilino Describes As "probably Our Apex Moment". Kustom Amplifiers Sponsored A Statewide Battle Of The Bands Tournament, And The Conspiracy Battled Through Several Rounds Of Competition To Make It All The Way To The Finals In Saginaw. "it Was A Statewide Thing That Culminated There," Remembers Aquilino. "question Mark & The Mysterians And A Couple Of Others That Were Notables Were Also In It - And We Won It! We Got Our Award From Bob Seger." The Prize Was Thousands Of Dollars Worth Of Gigs And A Tuck And Roll Kustom Pa System, Which The Band Put To Use As They Moved Forward Into 1968, Brimming With Confidence. A Roving Capitol A&r Man Caught Their Show In Cadillac, Michigan, And Encouraged Them To Write Some Original Songs And Go Into The Studio. So In 1968 That's What They Did. `dream World' And `with You' Were Recorded At A Studio In Grand Rapids And The Session Turned Out Exceptionally Well. "it Just Floored Me That We Didn't Sit Down And Write Some More Songs," Says Aquilino, "because I Thought We Did A Pretty Good Job." `dream World' Is Particularly Great With A Soulful Lead Vocal, An Insistent Fuzz Guitar Line, Waves Of Hammond Organ, A Catchy, Harmonized Chorus And An Insistent Dance Groove. Shades Of The Doors, The Young Rascals, The Blues Magoos And Src. A Mixdown Of The Tape Was Forwarded To Their Contact At Capitol Records, But Ultimately No Deal Was Signed. "we Were Just Starting To Separate From High School," Remembers Aquilino. "it Was The Start Of That Transition. I Was Class Of '67, They Were Class Of `68. There Was The War In Vietnam. You Could Go To College To Avoid The Draft. It Was A Lot Of Decisions And I Guess What Happened Is Nothing Really Happened From Us Recording. I Mean They Liked It, They Made Us An Offer, But I Think That The Parents Weren't Really Happy With That. I Think That There Was Some Dissent In The Band Too." The Conspiracy Broke Up In Early 1969 And The Tape Of The Only Original Songs They Ever Played Remained Unreleased And Unheard Until 2018, When Soriano Brought The Original 1" 8-track Session Tape Into Earthling Studios In El Cajon, California, Where It Was Mixed And Mastered By Mike Kamoo For This Release. "getting This Out On Vinyl - It's What We Dreamed Of!" Aquilino Grins. "even If It Took Fifty Years To Happen!" Mike Stax