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Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Mastering: Mathias Durand

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Stéphane Ouzounoff, Bernard Bruges-Renard

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg

SIDE A
Contrée (2013), 20'

SIDE B
Allégeance volatile (2002), 8'46
Esquive (2010), 10'10

The mastering of these tracks was done by Mathias Durand at François Lê Xuân's Studio 101, in Paris. I would like to warmly thank him for this.

Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.

Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.

This is, indeed, a 'volatile allegiance' and 'avoidance' from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer.

He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. "Something" rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).

The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l'air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last.

Part of the Atøms √ë¢tœrs Pix£ls Gh©sts™ series with The Designers Republic™.


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Info:
Valance Drakes and Kero team up for their first collaborative endeavor. The EP, Abstract Thought is an evident fusion of both artist’s unique styles, bringing together elements of glitch, Hip hop, Detroit techno, and a whole lot of space vibes.


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My hands float before my face, drifting in defiance of gravity, willfulness brought on by forces beyond my own. Things stop very abruptly with a crash the shakes my eyes in their very sockets, rattling reverberation pushing painfully through my skull.


One thousand days in space feels like nothing and everything all at once. Children grow, faces fill with wrinkles and I stay still.


Until my eyes begin to shake and everything turns to television static flashing somewhere inches behind vision. Is someone stepping on my throat?


I’ve crashed into something hard and barren. Is that electricity I see, clinging to my hands?


I spring across an earth or planet or meteorite that crumbles beneath my boots and sways in the air moving so swiftly about my body, dust flying up into the visor of the helmet that saves me, threatening cracks, ruckus.


I can hear my heartbeat in here. I wonder if this is what it sounds like in the womb. The rope connecting me to the ship is something like an umbilical cord. Is it not? Maybe it’s a vacuum. Maybe I’m not born yet after all.

A very rare remix package of STL's original material from Sebastian Mullaert on very limited edition 12" vinyl.

When I get a request to do a remix, I take that as an invitation… an invitation to express.

The sounds from the original composition become doors / gates… stepping stones for me to travel into this very moment and investigate how it is always changing (that changing being me).

I start working with the sounds… looping, playing, shaping… like a ceramist working with the clay, a painter working with the brush and paint, or the baker working with the dough. This process becomes a mantra; a meditation, and my studio becomes filled with sounds and rhythms… echoes from the original song, filtered by this very moment, temporary passing through "someone" being called Sebastian Mullaert or Wa Wu We.
Expression taking place and there are "NO MORE WORDS". Music becomes being, just Being.

STL is one of my absolute favorite artists, this specific invitation felt very special to me and the journey around the creation of the remix has been very deep.

Now I invite You to take part of it, let your consciousness express this very moment through the experience of the music. Again, being is just Being.

Much love
Sebastian Mullaert & Wa Wu We & …

Born out of a chance encounter in 2012 that led to a lasting friendship, Rhythm Section Int'l & producer, DJ, label boss, radio host, and record store owner Ruf Dug join forces to present 'The Committee'. Sitting somewhere between fictional band and studio collaboration, the record is the first fully in-house production for Rhythm Section, recorded start to finish at their own South East London studio and featuring vocals from label founder Bradley Zero and label mate FYI Chris's Chris Watson.

Right from the studio's initial creation, Ruf Dug felt inspired by the space's unique musical identity, jumping at the opportunity to create a collaborative record there over a two week studio residency. And between his DJ residencies at Pikes, Gottwood and NTS radio the Manchester-via-Ibiza computer game freak and renowned vinyl digger found the time to meld his wide range of influences. Having been a key driving force behind Be With's Holy Grail reissue of Bô'vel's - Check 4 U , Ruffy has more than earned his stripes as a boss level Street Soul collector, pre-empting the resurgent interest in the genre, which began in the mid 80s and is still a popular sound in Manchester today. This new release draws parallels between the DIY attitude of Street Soul labels like TSR, Intrigue, Jam Today & Elite and the modus operandi of the RS studio.

A wholly synergetic work, the project's title 'The Committee' reflects the collaborative nature of this release, as Ruf Dug states: 'Authorship is a strange concept at the best of times but this genuinely is a group effort and I very much enjoyed feeling like just one piece of a larger entity - the complete opposite to my usual production experience of being all alone in my room for days at a time.' The EP also features additional production from Rhythm Section's own Mali Baden-Powell, who DJ's and produces as Z Lovecraft and comes from a background in Street Soul music, his father was also in legendary UK acid jazz collective D'Influence. In addition, the record features a dynamic range of vocalists: sultry deliveries from Natalie Wildgoose and Sienna Mustafa, a rap from her sister Nadina, and the vocal debuts of FYI Chris's Chris Watson and Bradley Zero. 'I had been joking with Bradley that he needed to be on the record somehow and he did appear, playing an egg shaker at one point, but his singing wasn't in the least bit planned... I got back from lunch, and the next thing you know he just starts singing...So I dragged him reluctantly down the corridor to the studio and that's it- now he's a pop star!'

Also playfully melding digidub, soul, chicago house and acid jazz, the release not only marks a new chapter in the development of the Rhythm Section sound, but also catalogues a crucial turning Point in Ruf Dug's musical development. Still oozing with the cheeky DIY approach that won his own label, RUF KUTZ an army of fans, this latest Collab steps things up and opens a whole new realm of possibilities for one of Manchester's favourite sons.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Digital transfer: Jonathan Fitoussi & Diego Losa

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Jacques Brissot, ARR

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg
Remerciements: Brunhild Ferrari

SIDE A
Music Promenade (1964-1969), 20'29

Electroacoustic Music
World premiere for the Théâtre de la musique, March 16, 1970
" Hétéro-Concert ""

Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl.
The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.

SIDE B
Unheimlich Schön (1971), 15'40

Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden.
Voice: Ilse Mengel.

"How does a young woman breathe when thinking about something else "
To be listened to at a low volume.

After the praise for Morning Worship, released back in 2015 on Royal Oak, Portuguese duo Sabre returns to releases with the EP "Fora de Turf", pointing directly towards the dance floor. There is in "Fora de Turf" a certain idea of transient existence as a series of car journeys cruising the night with no clear sense of direction, recalling the gradual disappearance of public space and loss of community. The weight of Kraut references such as Kraftwerk's Autobahn or Stratosfear by Tangerine Dream is somehow clear in its alignment with a 1995 Carl Craig who had just released Landcruising

On the A side, 'Condor Sense' and 'Sem Terra'. The first one is a banger built around broken beats and repetitive synth chords that guide us through the drone landscapes on the background, very clearly marked by the 808's rhythms. The second one is anchored in a broken kick and on a growing acid line, punctuated by warm chords and some sliced pads that reminds us of the pulsating heart of the city of Detroit.

On the B side, "Condor Senses" and "Driving Bruno" got some sort of a gliding character. "Condor Senses" is the only track on the EP to accept the classic four-on-the-floor to guide some dubby chords along a quieter landscape where organic and natural sounds lurk. Is it dawn arriving No. On the last track of the album, "Driving Bruno," Sabre get in the car and step on the throttle, full speed, on a bassline that could resemble some synthwave releases if synthwave had been lucky enough to be born a decade earlier and in the center of the state of Michigan.

Véronique Sanson is one of the most famous French pop oriented female
singer, songwriter, and composer of the 80s. She began her career in the 70s,
and was the girlfriend of genius composer Michel Berger. Her world turnt
upside down when she met Stephen Stills of Crossby Stills & Nash. One Day,
during a recording session in Paris, she left the studio pretending to go buy
cigarettes, but never came back... She flew overnight to the USA, where she
married Stephen Stills. In LA, she records new music with superstar
composers such as Ray Parker JR and Harvey Mason. "On m'attend là-bas",
produced in 1974, was one of the single of the album Le Maudit.
Funky French League is an intergenerational collective (based in Paris)
formed by Young Pulse (Gamm) , Dabeull (Roche Musique), Arthur Chaps,
Woody Braun (Malka Family), Mr Willy, DJ Asko et Uncle T (Groove
Deluxe). All coming from different universe from hip-hop, to electronic music,
but united by their love for the groove and the funk.

Since Danielle Mana's 2017 debut EP for Hyperdub, 'Creature', which was a taut, evocative suite of beatless, almost neo-classical electronics, we now find his music has caught an alien virus and started hallucinating. On 'Seven Steps Behind', the borders between reality and the weird have collapsed on each other, and with each listen through its zigzagging course, you're rewarded by its strange twists and turns. 'Seven Steps Behind' is an electronic album that doesn't always sound electronic; a great deal of the record has been created to sound like prepared pianos, harpsichords, cellos and flutes. At other times, sampled acoustic instruments and specially recorded sessions have been processed through software and careful editing. It's this sophisticated layering of contrasting versions of the same sources that help give this record its uncanny balance. The album also plays with your sense of time in its mostly drum-free hall of mirrors, pulling from minimalism, chamber music, dark jazz, and synthesiser experiments. Mana's singing voice also makes it's debut here, albeit adorned by abrasive FXs. His lyrics are encrypted in noise, in fitting with the music's chimeric character, casting images for the listener to decipher. His heavily manipulated voice enters on second track 'Myopia For The Future', sounding something like a singing motorbike pitched over bouncing ostinatos, or on 'No Body's inhuman, word-less range, where it's impossible to tell where the human finishes and the machine starts. Or in the case of 'Leverage For Survival' it's animal and machine. Here, as with the album's eponymous final track, a sensory assault subsides to reveal a heart-wrenching melancholy that anchors the record. Listening to 'Seven Steps Behind' is like stepping into a dream, with all the curious emotions and buried meaning that involves. Yet for all its restless, shifting energy it manages to hold both dissonance and melody in sweet proportion.

In the last few years London has become the centre of the Jazz Renaissance. A

new burst of energy and attitude brought by young musicians, equally inspired

by the likes of John Coltrane, Pharaoh Sanders or Sun Ra, as well as

Madvillain, J Dilla, Flying Lotus and Floating Points, has brought a welcomed

freshness to the London Scene. This exciting new environment brought a group

of young musicians together, all with a mutual desire to discover a new form of

expression. Together they created Cykada.

New York's indie disco freaks Phenomenal Handclap Band is back with a second single on Toy Tonics: Jail. With remixes by Detroit's Waajeed and Marcel Vogel of Lumberjacks in Hell. Including a club edit by Toy Tonics head honcho Kapote. The band was responsible for one of Toy Tonics' biggest tracks in 2018: Judge Not: The Ray Mang version became a hit on open minded dancefloors around the globe: with support from DJ's like DJ Harvey, Cassius and Gilles Peterson (who put it int his - best track of the year' list) but also more house DJ's like Berlin's Keine Musik Crew, Soundstream or Superpitcher. The band's members are kind of heroes to many connoisseurs of the funk/ disco scene. The band leader Daniel Collas was playing keys in Amy Winehouse legendary backing band. Other members are connected to Mark Ronson's crew or San Francisco's Stones Throw universe.. just to give u the bigger picture. With The Phenomenal Handclap Band they blend the unique vibe of 1970ies Power-Soul in the traditon of Charles Stepney and Rotary Connection with today's new disco vibe. Parcels, Toro Y Moi, Roosevelt are not that far. Important fact: All played live, no samples. Mixed by the champs at DFA. The band is part of Toy Tonics's masterplan to expand their dancevibes into more live played scenarios.. stepping out of the strict DJ context. Fun fact Paul McCartney wrote the band a letter saying how much he loved their music when he first heard the band on BBC Radio 1.

* Welcome to the DUB SOUND from Jamaica. The vocal records cut back to the bones of bass & drums, with the instruments and vocals faded in and out sometimes with echo and reverb to make a great new VERSION!!. Although remembered as an early 70's phenomenom, the dubbed sound can be dated back as early as 1968. But by the mid- seveties it became the norm for records to carry a Version (dub) b-side and in fact many records were brought for this reason especially if they were known to come from the hands of the dub master himself King Tubby. So sit back and enjoy this dub excursion, many from the hands of King Tubby but all classics in their own right.
1 Why Fight The Dub
2 Conversation Dub
3 A Better Version
4 General Dub
5 The Jehovah Version
6 Care Free Dub
7 A Wicked Dub
8 A Truthful Dub
9 Rocking Dub
10 Step Inna Dub Style
11 A Good Version
12 My Brethren In Dub
13 Rub This Dub
14 Creation of Dub
15 Invasion Dub*
16 A Lonely Dub*
*CDBonus Tracks

We Are Mattimatti. Two Mattis Living In Different Countries - Sweden (malmö) And Germany (berlin). We Travel Around The World Playing Music While Asking Ourselves, 'who Are We'. The Answer Seems To Change Just As Our Surroundings Do. But The Music Stays With Us And So Does The Friendship. It Is Cliché That It's Hard To Put A Label On Music. And To Say It Has Almost Become A Cliche Itself. But Whole Meaning Of Music Is To Listen To It And Create Your Own World By It. To Create One's Own World One Needs Space. Space That Is Not Interrupted By Either Style Or Defining Categories. Mattimatti Is An Attempt To Step Into That Space Creating Music That Is Solely Built On Improvisation. Our Music Is An Invitation To Places Not Yet Known, Where Rhythmic, Suggestive And Meditative Soundscapes Meet The Present Moment. Music Represents Many Things For Us. First Of All, It Is In-sync With Our Friendship, When The Relationship Is Stuck So Is Our Music. Our Music Is Therapy. We Need To Be Authentic With The Music In Order To Have A Real Friendship And The Other Way Around. As Friends And Musicians We Welcome The Unexpected. This Has Lead Us To Places Where We Never Would Have Ended Up In If It Weren't For The Music. In That Way, Music And Life Walk Hand In Hand. If We Dare To Be Real About It. We Are Living In A World Full Of Confusion When It Comes To Identity. It's Easy To Loose Yourself. All Of A Sudden You Are Standing There Playing Music But Missing The Music At The Same Time, Or Hanging Out With Your Best Friend While Missing The Friendship. We Are Trying To Stay Connected. It Is A Constant Task. We Lose It But Then We Find It Again, Just Like Everybody Else. Sometimes It Ends Up In Music For The Moment. Sometimes It Ends Up In The Shape Of A Record. We Met On The Streets Of Berlin In Spring 2013 While One Of Us Was Playing On The Streets. After We Played The First Time Together, There Was No Question That We Would Travel A Musical Journey Together From That Day. Mattimatti Was Initiated. On Our Quest We Began Playing Improvised Tunes On Sitar And Hang On The Street While Travelling Through Sweden And Germany. This Lead Us To Be Invited To Numerous Festivals All Over Europe While Constantly Developing Our Music And Sound. Since Then Our Set Has Added New Instruments Such As A Drum Kit With Hang, African Harps, Sitar, Guitar, Harmonica, Clarinet, Hank Drum And Vocals On Top Of It Extending The Sound With A Space Echo. The Long, Intimate Tunes That We Are Creating Have An Original Structure And Sound. There Is A Certain Present Resting In The Music Which Is Hard To Describe But Easy To Experience If You Listen To It. Our Live Concerts Have Been Dubbed Mythical, Hypnotic, Magic And Epic. Traveling Is Our Biggest Influence On Music. Mattimatti Are Now Both Based In Berlin & Malmoe And Work Together With The Contemporary Circus, Dance And Music Group - kollektiv Knaster .

Last year saw The Last Poets celebrate their 50-year anniversary with the righteous, politically-charged poetic record, "Understand What Black Is". Now to continue the party, Brighton production-maestro Prince Fatty has reworked the album with a fresh twist and blend of smooth, dub-delights. Set to land on the 29th March, the revolution marches on - this is "Understand What Dub Is".

After Prince Fatty's involvement in the production of the original project, he was the perfect person to help update the record with five decades of experience for a new audience to enjoy. The ten tracks of "Understand What Black Is" depict a relevant, historical philosophy of identity and race that has followed The Poets over the last 50 years. Since the origins of the civil rights movements back in the late 60's, Abiodun Oyewole and Umar Bin Hassan (two of the longest-standing group members) have provided social commentaries and a voice to African-American consciousness that has now been heard on a global scale.

Their raps, exploitations and insights quickly evolved into the origins of hip-hop in Harlem, New York back in 1968, and now in 2019 they continue to voice their dedication to the cause with the backing of slick rock-steady infused beats to keep things moving. Having had their work sampled by the likes of NWA, Dr Dre, Kanye West, Snoop Dogg and countless others is just a testament to the timeless sounds and prophecy they have created, and now Prince Fatty has stepped up to put his stamp on it.

Prince Fatty's ever-reliable work gives "Understand What Black Is" another lease of life as he maintains an undeniably slick groove throughout. Both therapeutic and warm, the soulful rhythms of "Understand What Dub Is" provide the perfect platform for The Last Poets to delve into everything from Trump's inauguration, nods to Biggie Smalls and respect to Prince. The calm, collective and downright thought-provoking words go hand-in-hand with the roots-driven reggae medleys with ease - this is dub in its rawest form.

Not only do these songs explore personal struggles and individual endeavours, they also represent a collective of deprived aspects of humanity and socialism, that perhaps now need to be pointed out more than ever. Although there is a variation of sound, the overlying topics remain a constant - it is time to "Understand What Black Is" once more.

In 1959 Michel Giacometti moved to Portugal and dedicated the following thirty years of his life recording traditional music all over the country. In the present decade Portuguese music has been thriving and finally travelling abroad, long gone are the days those hidden gems were kept in secret in this distant corner of Europe. The discovery of current Portuguese music sparked an interest to Portuguese music, past and present.
With both of those ideas in mind, Giacometti and the interest in Portuguese music, 'Antologia de Música Atípica Portuguesa' creates an anthology of current sounds to the future. You can see it as history being made or a broad catalog of sounds that live and breathe the experimental and electronic that is happening in Portugal. The first step happened two years ago with the releasing of the first volume on this anthology, 'O Trabalho' ('The Labour') and we now move onto Vol. 2, 'Regiões' ('Regions'), with each track connecting with a different province from Portugal.
Some names return to this volume, like Live Low with the beautifully haunting 'Montemor' or Gonzo (our own Gonçalo F. Cardoso), affirming his path in building detailed and processed field recordings music. More than a list of names, or songs, this second volume of 'Antologia de Música Atípica Portuguesa' recreates a passage throughout different landscapes of Portugal, constantly leaving a trail of past, present and future. The trail doesn't limit itself to the music, but to the traditions contained in the sounds and the stories spelled by the words.
The beautifully slowed haunting-waltz 'Por Riba', by Síria (Diana Combo), sets everything in motion and builds the way to Random Gods' upbeat march 'Gazulo à Estronca da Santosa'. 'Malta Inquieta' (Ondness) embraces the most modern/contemporary side of this volume, proving that 'Regiões' goes beyond the idea of catalog or even its own concept of 'anthology' and provides music that's hard to categorize or even judge by modern standards. We are not afraid to say it: 'Malta Inquieta' is an experimental jazz-electronic modern gem.
It's followed by the guitar of Rui Carvalho, aka Filho da Mãe, with 'Manta', closing the A side with one of his enchantments. B side strikes with the aforementioned 'Montemor', setting the tone for a different trip, building up on more abstract and freeform music by Banha da Cobra ('Asylo'), Fantama ('Lamento das Beiras') and the track by Gonzo. 'Regiões' finishes with the right tone, fields recordings worked by Luís Antero, that tie the connection between Giacometti and the now - with the now still happening and building up on the story of the future 'Antologia de Música Atípica Portuguesa'.

° +

Under pseudonym "Jean Eon,' Johnny Quinn Alston is the artist behind the project _ - / _ EON, a performance endeavor born out of an intense personal and familial experience in 2011.

_ - / _ EON is a portrait of the various manifestations of energy throughout the wide span of time and space we inhabit, from human experience to multidimensional mystery, as well as a peek into the many emanations that eternal power can create.

Jean Eon is merely a human form attempting to channel what bits of existential mystery he can interpret into sensual experiential form. He aspires to be as comfortable as possible with existence as a flawed, but striving, human being, and is not to be confused with the immortal and cosmically balanced EON itself.

_ - / _ EON is larger than Jean, and the EON is also you, we, and everything in between. We are all already avatars of the EON, and this project makes an attempt to shape truths of the great æther from which we are carved and will presumably* return to, however bittersweet or glorious that eternal promise may be.

+ °

* do we ever really die

+ °

The music released under NEW YORK TRAX 08 results from physical expression as . _ - / _ . EON focuses on channeling physiognomy over dictation. The EP explores pre-existing textural combinations discovered and rescued from stone as opposed to built step by step.

The initial inspiration for this EP arose from driving past randomly unfolding rural scenes. A majority of . _ - / _ . EON's resulting work similarly gravitates towards a series of landscapes discovering each other rather than 'arrangements' played on repeat.

In the back of your head, you know those blinking aircraft warning lights on towers, but how mysterious and ominous they look before you discover what they really are On the surface, this project represents the sound of being struck by the sight of something for the first time, and the ominous, transfixing, thrill of not knowing what it is.

Véronique Sanson is one of the most famous French pop oriented female singer, songwriter, and composer of the 80s. She began her career in the 70s, and was the girlfriend of genius composer Michel Berger. Her world turnt upside down when she met Stephen Stills of Crossby Stills & Nash. One Day, during a recording session in Paris, she left the studio pretending to go buy
cigarettes, but never came back... She flew overnight to the USA, where she married Stephen Stills. In LA, she records new music with superstar composers such as Ray Parker JR and Harvey Mason. "Bernard's Song", produced in 1976, was the first single of the double gold album Hollywood.Funky French League is an intergenerational collective (based in Paris) formed by Young Pulse (Gamm) , Dabeull (Roche Musique), Arthur Chaps,
Woody Braun (Malka Family), Mr Willy, DJ Asko et Uncle T (Groove Deluxe). All coming from different universe from hip-hop, to electronic music, but united by their love for the groove and the funk

Lakker Return To R&s With Their Stunning New Album, Época. Following 2016's Conceptual 8 Track Maxi-ep struggle And Emerge' (using Field Recordings Of Tv And Radio Broadcasts From The Dutch National Av Archive) Época Is A Bracing Return To Form, Combining Caustic Electronics With Fresh Inspiration From The Prepared Piano Of John Cage, Plaintive Folk Melodies, The Explorative Label Sublime Frequencies And The Raw Rhythms Of Kampala's Nyege Nyege Tapes. 

Following A Restorative Creative Break To Pursue Their Own Solo Projects (as Arad And Eomac Respectively) The Duo Finally Returned To The Studio, Finding Themselves Working More Closely Than Ever Before. "we Wrote This Record Together, In The Studio As A Duo." Ian Explains "previous Records Involved A Lot Of Time Working On Tracks Individually, But Época Was Written Almost Entirely Together In The Studio - It Felt Much More Fun, More Organic And Democratic." We Allowed It To Happen Rather Than Push Or Pressure It" Dara Adds.

The Natural Evolution Of The Tracks And Their Rougher, Looser Production Sound Parallels The Duo's Interest In Two Separate Ideas: Ambient And Natural Sound, Especially The Background Noise - A Sense Of Time And Place - That Is Inherent In Old Recordings Of Folk And Classical Music, And An Interest In Herd Dynamics And Flock Patterns / Murmurations, Both In The Natural World And In Human Society. The Movements Which Affect The World At Large Through Cultural And Political Shifts. "like The First Starling That Causes A Wave In A Murmuration," Ian Explains "we Are Really Interested In How This Is Also Reflected In Human Society - A New Idea Appears And Then Reaches Critical Mass And Resonates Through Society As A Whole, And Change Happens (positive Or Negative)."

The Rich And Deep Work Of Época Finds The Duo Reinvigorated From Their Hiatus, Using Their Own Voices Extensively For The First Time, Alongsides Regular Vocal Collaborator Eileen Carpio. As Dara Explains "we Had Been Experimenting With Our Own Voices In Our Solo Music, So It Felt Like This Was The Moment To Step Out From Behind The Curtain And Put Our Own Vocals Front And Centre In A More Natural Way". This Leads To An At Times More Melodic And Poppier Feeling, Balanced Out By The Off Kilter Rhythms And Blasts Of Feedback And Weathered Reverbs That Intertwine Throughout The Record. 

Once Again The Duo Look To The Outside World For Sonic Inspiration. Alongside The Use Of Physical Modelling Synths The Album Contains Recordings And Samples Of Violin, Guitar And Bodhrán, The Stringboard Of A Piano At Ems Stockholm, Phone Recordings Of Family Gatherings In Dublin And 1970's Dance Music From Jaipur. 
  
'época' Is A Rich, Challenging Album Of Diverse And Intense Soundscapes That Expands On The Scope Of Lakker's Already Multifaceted Music That Finds Them At The Peak Of Their Artistic Powers.

'we Are Living Through Volatile Times, And As Musicians It Is Impossible To Avoid That Being Reflected In Our Work. Época Is A Our Personal Response To The Atmosphere Of These Times And The External Political And Cultural Events That Are Shaping Our World. Some Positive And Hopeful, Some Despondent And Angry, And Some Reflective And Introspective.' 

1 colored white LP in single sleeve with 3mm spine. Printed inner-sleeve. Collectors edition CD album included.

Vinyl (Limited Colored Edition)

Bananarama"s fifth album "Please Yourself" was released in 1993 by London Music Stream and is the first album which features the band as a duo. The album includes the singles: "Movin On", "Last Thing On My Mind", "More, More, More"
Bananarama are often cited as the UK"s most successful ever girl group with 5 UK singles and 10 top 10's.
They were the girl group that defined the eighties with their run of pop hits which sound tracked the lives of fans around the world. The news of Bananarama"s reunion, after nearly 30 years, was met with universal approval and saw the band celebrated all over again. In 2017 the trio reassembled for a UK Tour in a pop reunion only dreamt of in the wildest imaginations by many quarters. The band reunited in their original line up for the first time in years. For many Siobhan stepping back into her natural habitat once again is pop"s very own version of Morrissey and Marr re-uniting. The band play their final dates as a trio this summer in a run of gigs including Edinburgh Castle, British Summer Time and Smukfest.

Special Remarks: 1 colored pink LP in single sleeve with 3mm spine. Printed inner-sleeve. Collectors edition CD album included.

Vinyl (Limited Colored Edition)

Bananarama"s fifth album "Pop Life" was released in 1991. It is the only album released which features Jacquie O"Sullivan who replaced Siobhan Faley in Bananarama upon her departure in 1988
The album includes the singles: "Preacher Man", "Long Train Running", "Only Your Love", "Tripping On Your Love".
Bananarama are often cited as the UK"s most successful ever girl group with 5 UK singles and 10 top 10's.
They were the girl group that defined the eighties with their run of pop hits which sound tracked the lives of fans around the world. The news of Bananarama"s reunion, after nearly 30 years, was met with universal approval and saw the band celebrated all over again. In 2017 the trio reassembled for a UK Tour in a pop reunion only dreamt of in the wildest imaginations by many quarters. The band reunited in their original line up for the first time in years. For many Siobhan stepping back into her natural habitat once again is pop"s very own version of Morrissey and Marr re-uniting. The band play their final dates as a trio this summer in a run of gigs including Edinburgh Castle, British Summer Time and Smukfest.

Khaliphonic 11 Is A Truly Epic Release From One Of Our Most Prolific Artists, Brendon Moeller Aka Echologist, Aka Beat Pharmacy. In Just The Last Two Years, Moeller Has Released On Labels As Varied As Echocord, Silent Season, Kynant, And Rohs!, To Name Only The Most Well-known. Recognized Globally For A Singularly Organic And Dubwise Approach To Techno, We Are Proud To Have A Close Working Relationship With An Artist Who Coaxes Humanity And Warmth From Machines Like Few Others. The Dub Purpose Ep Is One Of His Finest Achievements.

As We Planned A Third Zamzam Release From Our Favorite Well Of Hardware Sonics, Four Tracks Emerged As Comprising A Set That Simply Did Not Want To Be Separated. The Four Tunes That Make Up This Ep Felt Like Chapters In A Single Gorgeous Narrative, And So A 12' Was Born.

We Asked Brendon How Dub Influences His Process, And What This Ep Specifically Is About. He Replied:

"dub Facilitates Whatever Vision I Have With Music, Which Is One Of The Reasons I Incorporate A Dub Approach In Everything I Do. Whether Infusing Nyabinghi Rhythms With Epic Strings, Roots Dub With Industrial Dread Or Grungy Modular Antics With Stepping Vibes, Dub Is The Glue That Keeps It Together. The Inspiration Behind These Tracks Are On-u Sound, Wordsound And Bill Laswell, Travellers Who Understood The Possibilities Of Dub."

The Dub Purpose Ep Does In Four Tunes What Many Lps Struggle To Do In Eight - It Builds A Cohesive Narrative Arc That Moves From Menace, To Exploration, Through Mystery, Closing With Beauty. And Just Wait Til You Hear It On A Proper Sound...

Mastered By Sam Precise.

Komos Records are proud to present the first time reissue of a cult French private press rarity at the intersection of jazz, percussion and experimental sounds.

'Hypnotic percussion tracks and organic soundscapes drawing on African, Asian, Indian & South American traditions, recorded deep in the French countryside in 1984."

- Founded by long-time friends Gerard Kurdjian and Stéphane Olivier alongside compatriot Christian Berthier in 1983, Nakara Percussions was a trio from the south of France, fascinated with percussion instruments, rhythms and textures from across the world.

- Steeped in Jazz and ethnographic recordings, the trio designed and built their own instruments and played across the South of France throughout the 80s, recording a single album in the tiny village of Alliens in 1984.

- Self-produced and mainly sold at gigs, the record reflects the inquisitive, experimental approach of the group and has become a cult album among DJs and music lovers for its blend of complex rhythms and organic soundscapes, taking in everything from Brazilian batucada to Indian tabla rhythms by way of West African thumb pianos and the drums of the Maghreb.

- The track 'Balimba' has become a dancefloor classic, finding a home in the sets of openminded techno DJs as well as on the jazz dance and tropical scenes.

Man Power's Me Me Me signs up long-time friend Ian Blevins for his long overdue label debut. Blevins's originals are backed by stellar remixes from Austin Ato and Kiwi.

Blevins hails from the North East of England and has released on ESP Institute, Futureboogie, Not An Animal and Culprit. The prolific producer was a long time resident of the legendary We Love Space in Ibiza and is an enduring favourite on the UK scene with plenty of musical tricks up his sleeves.

'Both tracks on offer showcase the mongrel sound that I hear coming out of the North East region,' Says Man Power. 'Partly tough, partly playful, not simply techno, not simply house, and certainly nowhere near the most common contraction of the two words.'

Innovative opener 'The Serpent' is a suitably snaking, slithering groove with acid twitches, rubbery drums and raw percussive energy. It pings about in dynamic fashion and really keeps you on edge. First up to remix, Austin Ato makes his return to the label after his huge 'The Sound Of' EP in summer 2018 and gives further credence to Man Power's suspicion of his impending super stardom. He takes the 'The Serpent' on a luscious and deep trajectory that would make Larry Heard proud.

The second standout original is 'Unse', a dark stomper with cosmic rays that strike right to the heart of the dance floor. It's menacing and absorbing music that is steely and unlike anything else. To remix is 17 Steps regular Kiwi, who is responsible for two of Man Power's favourite tracks of 2018. Here he continues his run of astounding form while taking 'Unse' in a tougher and more robust direction that will really make you sweat.

As ever this is a brilliant and stylistically diverse package from Me Me Me.

Acclaimed UK producer, Cella Records label operator, and swiftly aspiring talent Turner has already stirred up the scene with quality shells more than once with his own acclaimed productions, receiving air-play from venerated key figures such as Mala or Youngsta. Laying down the law for its first three releases, it's time to showcase his undoubtedly equally effective A&R skill - welcoming none other than the Rochdale-based artist duo BFM (Bloodklart Fiyah Mandem) to the label roster. Consisting of JFO and Sativa, their collaborative output cuts through the noise - support from the likes of Grime veteran Slimzee and physical releases via Glassy Records and Hooded Up. Now stepping back on the controls to set the new year ablaze in style, BFM delivers a total of four extensively weighty cuts for Cella's fourth vinyl release. As the needle picks up the records' first grooves, 'Magic Carpet' sets path on a ride into a distant and barren territory - at once being enamored by its contemplative atmosphere. Unraveling its dynamic interplay of sound and silence, the authentic old-school instrumentation and lavishly saturated low-frequency surges keep us coming back for more. Catching a swift breath, 'Niyaz' lures us into spheres of droning reverberations - phasing in and out amidst vigorous square-wave leads and meticulously crafted foley effects - conveying its story with full force on a minimal platter. No exception to the rule, 'Shade Riddim' conjures another isomere of their signature ambience - wailing voices, enigmatic strings leading the way through dimly lit, high-pressure alleys. Droning along as conclusive proof of this releases' unquestionable intensity, 'Limitless' wraps up the madness - delivering a fourth, flawlessly executed bass-weight meditation. Timeless music on a twelve-inch platter.

Following on from last year's releases by Neue Grafik and Selectors Assemble, CoOp Presents step into 2019 with a new 4-track EP courtesy of Oliver Night; a DJ, producer & singer born and raised in North London.

In addition to joining the Selectors Assemble family recently, Oliver is a member and producer of Roots Manuva's Banana Klan. He established himself as a DJ some 15 years ago, and has since played across the capital, from the Tate Modern to Boiler Room. His music has been supported in the past by the likes of Tony Humphries, Kerri Chandler & Seth Troxler,

This four-tracker illustrates Oliver's diverse range of influences, from the initial inspiration of his Jamaican uncle, musician Hughie Izachaar (who worked with Lee Scratch Perry & others), through to his passion for London's broken beat movement. Oliver's sound epitomises tru-skool UK sound-system ethics; grounded in reggae and dub production sensibilities, whilst built solidly for the bruk and house music dances of today.

The set kicks off with title track, 'Make Believe', featuring the powerhouse vocals of BB.JAMES aka Bethany Barnett Bywater, who's had previous releases with EVM128, Spoek Mathambo and Waze & Odyssey. London-based singer BB is a talent to watch in her own right, as proven on this monster of a track, which has all the ingredients to crossover & damage dancefloors underground and over. Sassy soulful vocals ride a woofer-shattering b-line and synth stabs with devastating effect - a sureshot future anthem.

Next up is 'Swing For Life', an instrumental jazz-house affair, which features the talents of Vancouver-born trumpeter, Jay Phelps - a highly-prolific, highly-acclaimed musician in the jazz world, who found his base in the capital over a decade ago and has since worked with a veritable who's who of international jazz artists, including Courtney Pine, Wynton Marsalis, Amy Winehouse, Hugh Masakela & George Benson, to name a few.

Finally, the flipside brings with it two versions of the cut 'U Got To', remixed by Selectors Assemble family, Cengiz, and label founders IG Culture (fresh from receiving a 'Lifetime Achievement Award' at the 2019 Worldwide Awards) and Alex Phountzi (formerly of Bugz In The Attic) aka NameBrandSound, delivering more of their signature bassweight business. Oliver unleashes his own vocal talents on this track, deftly demonstrating a rich, soulful Omar-esque quality to his voice, and completing a truly heavyweight debut for the label.

This record is huge. Essential business, no BS. A truly firing start to the new year for CoOp Presents.

Limited vinyl & digital available on ********

Rescued from a haze of drugs, alcohol and questionable women comes a potent blend of heavy Chicago Funk, Modern Soul & Psychedelia. Influential recordings from the group's sought-after Funk classics have been sampled by Beck, The Chemical Brothers, Jim Jones, Raekwon & Leaders of The New School.

Previously unreleased Rasputin's Stash from the forthcoming Stash album due out in April. 'Make Up Your Mind' is a contagious rhythm with Jimi Hendrix-style fuzzed out guitar riffs echoing sweet soul vocals and a brass section tight enough to please any Tower of Power fan. On the b-side is a slow-jam Soul-Steppers classic 'You Are My Everything'

Cut directly to vinyl from the recently found master tapes, this music presents material from the band at their artistic peak and the last recordings before Rasputin's Stash members went on to record Crystal Winds First Flight and Attitude, Belief & Determination

Both Stephen Vitiello and Taylor Deupree are seasoned collaborators. Each new collaboration is a new context, a new conversation and a unique opportunity to learn. Vitiello has worked with musicians such as Scanner, Steve Roden, Ryuichi Sakamoto and Machinefabriek. As an artist often
represented in galleries and large scale sound installations he has also had the frequent opportunity to work with visual artists from the likes of Tony Oursler to Julie Mehretu and Joan Jonas. Deupree has a long history of collaboration including early works with Christopher Willits and Richard Chartier as well as Marcus Fischer, Ryuichi Sakamoto, and Bon Iver's S. Carey. Fridman Variations is Vitiello and Deupree's third release
together and continues their tradition of exploring their unique form of experimental improvisation.
Stemming from a live performance at NYC's Fridman Gallery, Fridman Variations was co-produced by the gallery and will remain as part of the gallery's publications. Fridman Gallery is a visual exhibition space that also boasts a unique dedication to experimental music through their annual New Ear Festival, at which Vitiello and Deupree performed and recorded the main piece for this album.
Side A of Fridman Variations is the live recording, edited for vinyl while side B contains two pieces made with some of the same source material as the live performance and intended to be related, but entirely new, works. Guitar, modular synthesizer and a small tape synthesizer are at the heart of these songs. The improved layers draw on buried melodies and hint of feld recordings and found textures. Not overly melodic, not
overly noisy, Vitiello and Deupree like to fnd the edge between the pretty and the obscure, often suggesting more than laying their intentions bare. This type of sound is one that the duo often explores as an opportunity for Deupree to adventure beyond his melodic comfort zone and for Vitiello to work and experiment with new instruments and how they interact with his signature guitar.
One of the biggest inspirations to the artists for this work was the hushed and dreamy state of the audience during the performance. The late-night ambience added to the immersive quality of the surround speakers and helped to channel creativity and a sense of sharing
Both artists feel that recording live performances is an opportunity to capture a unique moment that simply won't happen again. Despite a performance's faws or imperfections the energy and interaction is a special moment in time for the performers and audience. The opportunity to not only document it for the listeners who were present but also to be able to share the moment with those who weren't there is a positive one.
To further be able to expand on the ideas in the controlled studio environment serves to enrich the experience and further the communication.

Heavy-weather, beyond-good-and-evil soundsystem poetics, channelling raw and rootical techno, Isolationist abstraction, and dub at its most turbulent and raw-nerved and space-time-warping. New worlds ahead... Equal parts tuff, tail-thrashing dancehall pressure - see 'Hell Dub' - and art-of-darkness ambience and introspection, culminating in the slow-burning, third-eye-opening 23-minute dreamweapon, 'Vertigo'. Part of the Young Echo crew, Ossia embodies the best tradition of Bristol underground music in that he doesn't pay much mind to tradition, just does his own thing. Yes, Devil's Dance shares DNA with those sullen masterpieces we will always associate with the city, from blunted 90s street-soul/hip-hop to sub-loaded dubstep - but like his forebears Ossia is ultimately a mongrel breed, drawing from his own, very contemporary and idiosyncratic well of influences: grime, jazz, steppers, dub, post-punk and industrial abrasion, concrète minimalism... Devil's Dance could easily be not just a forbidding, but a suffocating proposition. But even at its most angst-ridden it feels lithe and aerodynamic, its darker impulses both intensified, and offset, by a pure soundboy's delight in detail and colour and higher dancefloor mechanics. The music pulses with energy, a fever to communicate...and Raki Singh (violin), Jasmine (vocals) and Ollie Moore (saxophone) add vivid flesh-tone to the punishing, plasmic electronics. The record was mixed at an infamous, subterranean Bristolian recording studio, using an arsenal of spring and plate reverbs, modded pedals, tape-delays and compressors: systems of black magic crucial to the album's intense presence and physicality and carefully modulated dread. In the end what we are witnessing, and experiencing vicariously, is a purging, an exorcism: find the devil, dance with the devil... and then chase, chase, chase him out of the earth

Label boss Paul steps up with a new but not surprising moniker "DinSync". No stranger to the label as one half of Helltown Acid Milita, the DinSync project is Paul's first solo outing in over a decade. The title track "FUTUREACID" is deep, moody and represents the sound of Helsingborg style electro infused acid. Following up is "THE REMAINS" which is more futureacid but on a dubbed out tip. On the flip we have "BLACK HOLE HEART" with one of Paul's signature style baselines (think "We are Here" from RE30301) infused with tribal percussion and dark overtones. This one is is for the late night heavyweight selection. Finally we end the set with the minimal vibes of "USE". Mastered by 6BIT Deep in Copenhagen and pressed on heavy-weight vinyl, what is FUTUREACID have a listen.

Clutching At Straws is a brand new label established by Brian Ring. Born in Cork, Ireland. Ring has been residing in Berlin for over 4 years, during which time he has lent his dancefloor-focused, predominantly house sounds to a range of renowned labels including Freerange. Running Back and Bordello A Parigi. A producer who values a vehement quality-over-quantity approach, Clutching At Straws represents the first time Ring has helmed his own imprint. Featuring two originals as well as a remix from London producer Kiwi, the Reflections EP is most definitely deserving of the wait.

We kick off with 'Acid Sunrise', a classy house cut that envelops the listener in a warm glow from the off. Full of colourful motifs throughout, it's part acid/part Balearic-tinged sound is the perfect antidote to Europe's current climes. Characterised by a nimble, catchy-as-hell baseline, this one is pure dynamite of the sort that will sound at its most pronounced as the first signs of morning begin to enter the dancefloor.

Next up is Kiwi, a producer who's been making power moves of his own lately thanks to a host of well-received cuts for the likes of Jennifer Cardini's Correspondent, Tennis' Life & Death and Optimo's Optimo Music. His dramatic reinterpretation of Ring's 'Forest Walk' , is a highbrow gem that's full of gorgeous melodies and all-round positive vibes, with the man in charge changing the narrative quite exceptionally toward the track's final phases.

Culminating the record is the sounds of 'Emergency Tool', a real statement track that's sure to leave DJs and dancers in a frenzy over the next few months. An upfront banger of the sort that wonderfully incorporates both house and techno elements, it starts off on a fairly innocuous tip before unfurling into an uptempo beast. Full of clever bells and a vocal that demands us to 'move!' (as well as a wailing cop siren that only heightens the sense of mania), 'Emergency Tool' is a track that's destined to be used by discerning DJs when they really have to step things up a notch.

Limited to 150 copies.

From four individual parts, with distinct musical pasts but also
overlapping histories, a new unified chapter begins with Piroshka and
the quartet's thrilling debut album 'Brickbat'.
The album is named after the word for a missile, which nails the
record's heavyweight lyrics if not the music's gorgeous, bittersweet
and euphoric pop. Think of 'Brickbat' as a wolf in sheep's clothing -
which suits the name Piroshka, the Hungarian take on the wolf
terrorised fairytale hero Little Red Riding Hood - a subtle nod, too, to
a certain red hairdo that stood out in the 1990s Brit-guitar-pop
scene...
The four band members are former Lush vocalist / guitarist (and
former redhead) Miki Berenyi, former Moose guitarist KJ 'Moose'
McKillop, Modern English bassist Mick Conroy and former Elastica
drummer Justin Welch. The connections between them are a
veritably tangled family tree. Before they lived together and raised a
family, Miki and Moose were notable figures on the so-called
shoegaze scene, while Elastica were Britpop peers. After post-punk
pioneers Modern English split for a second time, Mick became a
latterday member of Moose, while Justin joined the reformed Lush in
2015. And when Lush required a bassist for what proved to be their
final show (in Manchester) in November 2016, Mick stepped in.
It was the rehearsals for that Manchester show that laid the
foundations for Piroshka. 'We sounded great!' says Justin. 'Like a
proper punk band. Mick brings a huge amount of enthusiasm and
livens up the room, and I thought, this is the kind of band I want to
be in again.' Mick agreed. 'I'd seen Lush so many times, it was like
playing with old friends. Miki agreed it was good fun too. And with
Moose available, we thought, let's all have a bash, see what
happens.'
Though 'Brickbat' kicks off with a squeal of feedback, the album is far
from a proper punk record, with as much sublime delicacy as physical
force, with guitars to the fore but also electronic flourishes in all
manner of spaces. Combined, they drive the nuggety melodic bombs
long associated with Miki's songwriting
LP format includes digital download code.

Paul DeMarinis is a key figure in the history of electronic music since the 1970s. Collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. Black Truffle is thrilled to announce the release of a double-LP collection, selected in collaboration with the artist, focussing on DeMarinis's exploration of synthesized voice and the digital analysis and manipulation of speech sounds. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a revelatory look into DeMarinis's alternately accessible and uncompromising production between 1978 and 1995. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura playing of Anne Klingensmith with strings of letters spat out by a Speak n' Spell to the accompaniment of the randomised melodic patterns of DeMarinis's homebuilt electronic instrument 'The Pygmy Gamelan', the record then dispenses with the live human voice in favour of its recorded and synthetic doubles. We follow DeMarinis's restless probing of the possibilities of new technologies, from the hacked Speak n' Spell (which gives us the austere 'Et Tu, Klaatu' 1979, another duet with Klingensmith, this time on bowed psaltery, in which the toy's synthetic voice is stretched into an alien song) through to the use of digital audio samples manipulated with home computer technology in the early 1990s (including a remarkable dream-like collage piece that weaves a rare recording of Stalin's voice and bird-like electronic twittering derived from its formant-glides into a rich tapestry of samples reflective of the dictator's musical life). In between we get a rich sampling of DeMarinis's signature work with speech melodies - usually unnoticed melodic inflections that lie within speech patterns - which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of textual and vocal sources, which range from the hilarious to the menacing ('Cincinatti (1830-1850)' sets a detailed description of butchering techniques, for example) and an equally broad range of musical conceptions, combining elements as seemingly unlikely as Beethoven's Opus 31 pianos sonatas and the sounds of 80s synth pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterises his work with vocal synthesis, this is 'a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic'. Presented in a deluxe gatefold sleeve with archival images and liner notes by Paul DeMarinis. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like 'acid folk' and 'soft rock', it's difficult to imagine a time when the legendary Susan Christie album didn't exist. When Finders Keepers Records first shared the unheard 60's songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan's new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an 'instant classic'. Which is why it's hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP.

The oft over used term mythical applies to this album on many levels. Perhaps it's the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960's copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where's My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase 'unbelievable' as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market... No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan's won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday... could easily allude to the haunting melodies that sat in the can on John Hill's studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it's future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender - at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60's America simply wasn't ready for. It is just over 12 years since champion record rustler Keith D'Arcy (who you'll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it's almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades.

Whether this album has been on your wish-list for what seems like a lifetime, or you are taking a plunge into this deep puddle for the first time, when the needle drops on the first track you'll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.

BENJAMIN FINGER, JAMES PLOTKIN and MIA ZABELKA craft a mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory.

"Pleasure-Voltage" was born in the mind (and studio) of BENJAMIN FINGER - a composer, electronic music producer, DJ, photographer and film-maker based in Oslo / Norway who in recent years has become quite a prolific artist, expanding his stylistic palette from piano miniatures and off-kilter pop experiments to lysergic, dream-like sound collages spiced with gentle warmth and sublime melody. These ingredients are also characteristic on this latest work where FINGER set the musical frame before passing it on to his inspired collaborators: MIA ZABELKA who for decades now has been involved in countless projects, be it as musician (violin / electronics), curator or founder of the international sound art centre klang.haus and who has worked with a.o. JOHN ZORN, FRED FRITH, ELECTRIC INDIGO, ROBIN RIMBAUD (SCANNER), DÄLEK or PHIL MINTON. And last but not least there's JAMES PLOTKIN who entered the scene with his first band OLD LADY DRIVERS (or OLD) on EARACHE in 1987 and later was a member of KHANATE (with a.o. STEPHEN O'MALLEY) while also exploring the areas of dark ambient and electronics by working with or remixing SCORN / MICK HARRIS, K.K: NULL and many more.

On "Pleasure-Voltage" which had its live-premiere at the REWIRE festival 2018, the trio craftsa mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory somewhere between ambient / drone / psychedelia.

The first part of various artists samplers featuring numerous gems from the Big Shot archives.

From the vaults of seminal Canadian house label Big Shot we're proud to present a fully legitimate and remastered selection of classics and obscurities from the labels enviable catalogue and the masterful crew of Nick Fiorucci, Komix & co. Leaning on the late 80's and early 90's output of the label and featuring cuts from some of the first releases. Amy Jackson, whose sultry 1989 jam 'Let Me Loose' is a class example of the deepest vocal House done right kicks off proceedings, followed by Jillian Mendez's classic 'Don't Know What You're Missing', another '89 vocal burner punctuated by classic piano's and synth lines. These tracks are the real deal! On the b-side we are treated to In-Dex's classic 'Give Me A Sign', a perfect blend of Freestyle attitude and early House atmosphere that hits the spot just right. Finishing this essential collection of tracks is Dionne's tough and classy 'Come Get My Lovin', another classic Komix production that rolls nice with stepping drum machines and smooth organ riffs. All in all - this EP is an old school House heads dream right here, essential cuts from end to end.

Keep an eye out for more high quality Big Shot reissues, all remastered from the original source materials and with the full involvement of the rights holders. A collaboration between Above Board distribution and Big Shot records, Canada. Remastered by Optimum Mastering, Bristol UK. 2018.

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

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

Benjamin Barouh, June 2018

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

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

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

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

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

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

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

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

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

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

A 7 inch with two monster jams featuring Format-440 and Puppy Smooth. A classic disco rap track on side A, with the production of Format-440 and the vocals of the New York MC Puppy Smooth. And a soft instrumental boogie jam on side B signed by Format-440.

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

Born in the city of madness Berlin, the multimedia artist and DJ Black Lotus steps up from being a secret hint for extatic and rough DJ sets in the local scene and enters the world of recorded music.

After playing many Berlin underground clubs like Griessmühle, KitKat or Suicide Circus she finally makes her debut release on FLASH Recordings with three tripping, parahypnotic and clearly floor oriented Techno tracks as well as a hard hitting remix by the label-head Florian Meindl.

all tracks written and produced by black lotus in berlin 2018. Additional Remix work by Florian Meindl.

The second release on 4GN3S (pronounced Agnes) is an angular and shadowy 5-track EP by The Golden FIlter. The 'Dislocation' EP is five pariahic pieces paying equal homage to minimal wave, post-punk, no wave, and electro, but retaining Stephen and Penelope's inventive presence. Before 'Talk Talk Talk' became a 2018 summer festival anthem by accident, it was always meant to be the lead track on this EP. Like Siouxsie vs early Human League, but heavier. Originally available only as an extremely limited edition duplate at Rye Wax, 'All The Way In' is a jittery electro beat workout sounding as if Anne Clark were fronting Drexciya. Beatless and odd, 'Dislocation' first premiered on Fort Romeau's Essential Mix on BBC Radio 1. It's Part art-piece, part word association, and part No Wave experimentalism. A mutating arpeggiated bass and an ominous tone drive 'Cut My Hair' into a incongruously sci-fi dark dance netherworld. 'Temple' is classic Golden Filter, with modular bass blurbs, soft vocals, and an 808 beat doused in analog reverb. Dance music to sit in the corner and think to.

Keysound Recordings are proud to present an EP from one of the UK's most exciting production talents, Otik.
The EP consists of four original productions on vinyl 'Top Ten', 'Latex', 'Notion' and 'True Level,' plus on the digital a refix of 'Top Ten' from label co-owner Blackdown 'Top Ten.'. Collectively they are weighty contributions to the space emerging between techno and bass music currently being forged by labels such as Timedance, Hessle Audio, 3024 and Ilian Tape. 'And Keysound of course haha...' adds Otik. 'I've been very inspired by these labels'. 'I'm based in North East London but I'm originally from Bristol. I've been producing since the age of about 15 but didn't really get into UK dance music until the age of 18,' he adds. In recent times, Otik's released on 17 Steps, Dusky's label, DEXT Recordings, Durkle Disco, Push & Run, Tessier-Ashpool and Infinite Machine. He will also be releasing on Nous Disques later this year.

RIYL HIDDEN CAMERAS/ARTHUR RUSSELL

Since his recording debut as Choir Boy in 2016, Adam Klopp mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti.

The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.

Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

Now available for the first time in wide release, Passive With Desire is a proper introduction to Klopp's unique storytelling, orated by his full, rangeful vocals. The expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette. The repackaged LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. The first pressing comes in limited editions of 100 on Clear/Black/Red Splatter, 400 on Metallic Red, and standard black vinyl.

Key Selling Points:
- Expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette.- LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. - LP comes with download- Reissue of debut album

'The ancient nightmare is come again!'
This latest visitation of The Hitchhiker's Guide to the Galaxy:
Tertiary Phase comes on heavyweight coloured vinyl,
sumptuously packaged in the style of the galactically
successful Primary Phase and Secondary Phase LP
releases.
For the first time ever on vinyl, here are Episodes 13 to 18
of the BBC radio series. First broadcast in 2004, the Tertiary
Phase is based upon the Douglas Adams's third novel Life,
the Universe and Everything. This is also the first ever
publication of the original radio edits of the Tertiary Phase,
as heard on their original broadcast.
When Arthur Dent and Ford Prefect hitch a lift away from
Prehistory on a Chesterfield sofa, it's the beginning of a
galactic quest that takes in Lord's Cricket Ground, deadly
cricket bat-wielding robots, a spaceship that looks like an
Italian bistro, a planet of sentient mattresses, a wretched
soul who keeps being murdered, a giant spaceborne
computer, and much, much, more. Reunited with Marvin,
Zaphod, Trillian and Slartibartfast, they must prevent the
Krikkitmen from retrieving the Wikkit Key and unleashing
terror upon the Universe.
Starring Peter Jones and William Franklyn as The Book,
with Simon Jones as Arthur Dent, Geoffrey McGivern as
Ford Prefect, Mark Wing-Davey as Zaphod Beeblebrox,
Susan Sheridan as Trillian and Stephen Moore as Marvin
the Paranoid Android, with a guest cast including Richard
Griffiths, Leslie Phillips, Joanna Lumley, Toby Longworth,
Michael Fenton Stevens, Henry Blofeld, Fred Trueman and
the voice of Douglas Adams himself, with music by Philip
Pope and Paul 'Wix' Wickens. Adapted, Directed and Co
Produced by Dirk Maggs
Three 180g heavyweight yellow vinyl discs are presented in
illustrated wallets inside a rigid, bound 20 page book, with
exclusive sleeve notes written by producer Dirk Maggs and
Jem Roberts, Douglas Adams's official biographer.
'Howzat!'

After the solo album Paths Of The Errant Gaze in 2016 Reinier van Houdt returns to Hallow Ground with Igitur Carbon Copies - an album based on the unfinished gothic tale Igitur, a collection of texts that eventually was abandoned by its author Stéphane Mallarmé in 1869.

Connecting with Mallarmé's obsessions about chance and destiny, Igitur Carbon Copies is the fragmentation of all the roots that ran under its predecessor Paths Of The Errant Gaze and brings these to a provisional close: guided by David Tibet's voice reading the reworked text we descend through spheres of deserted anthems, disembodied voices, morse signals, crank calls, corroded tapes, radio statics, stones, while doing counting games. Here the acoustical spaces are manifold, blended or shifted in a heartbeat, where far and near, up and down are relative, where Riemann's god is pointless and angels are enjoying their space. Here perception is a vice that constantly hallucinates realities.

Reinier van Houdt started experimenting with taperecorders, radio's and objects at a young age. Later he studied piano at the Liszt Academy in Budapest and the Royal Conservatory in The Hague. He developed a fascination for all matters that defy notation: sound, timing, space, physicality, memory, noise, environment - points beyond composition, interpretation and improvisation. He has built himself an unusual repertoire that consistently resulted from personal quests; from composing with non-musical sources, from collaborations with composers and musicians, from research in archives or from unorthodox studies of classical music. He has collaborated with artists like Francisco López, Maria de Alvear, Robert Ashley, Luc Ferrari, Annea Lockwood, Alvin Curran, John Cage, Christian Marclay, Walter Marchetti, Charlemagne Palestine and joined the legendary outsider-collective Current 93 in 2012.

'Futuro perfecto' is the evocative first release by UNIVAC for Femur. In it the passion for machine-like, cold and harsh sounds are being dug into in this new work, which takes him a step further in his rewarded trajectory. The selection is varied and unclassifiable and, despite diverse influences, the sound maintains its personal and non-transferable touch.

Berlin's Ecke Records returns with its second release this December, coming courtesy of Squallfront who offer up their two-track EP, 'Stormin''.

Ecke Records's Xantrax & Johnny Counce aka Squallfront (as the pair like to be referred to when alone in a darkened room) bring you their debut two-tracker. The artwork is the second in a series of works by Ben Fables. Each piece is handcrafted be the man himself and standing as a visual interpretation of the music itself, a theme that will continue with the label.

A-Side 'The Bells' Straddles the boundaries between Electro, Rave & UK Bass with a twisted arrangement laid out over seven-minutes via syncopated, dynamic drums, murky bass tones and choppy rave style string samples.

On the flip-side we have 'The Crack' laying focus on off-kilter, groove-step percussion and the emergence of 8-bit style chords hinting towards the deep-dystopian electronica days of old. The composition was recorded in 'the cave', an old underground wine cellar in the south of France. The distorted cracking comes from a dusty old analogue electric organ, bugging-out whilst gained the max. Playing powerful chords on the lower keys caused the inner workings & chassis of the old organ to shake profusely adding a further distinctive character to this already forward thinking production.

Squallfront's 'Stormin' EP' is out on Ecke Records 4th December 2018. With a party to celebrate the release planned for the 7th December, Ecke has invited UntilMyHeartStops' Joe Ellis down for an evening of deep, rolling rhythms.

Soundwalk Collective is a multi-disciplinary audio-visual collective founded by Stephan Crasneanscki, including members Simone Merli and Kamran Sadeghi.

The Collective's approach to composition combines anthropology, ethnography, non- linear narrative, psycho-geography, the observation of nature, and explorations in recording and synthesis. The source material of their works is always linked to specific locations, natural or artificial, and requires long periods of investigative travel and field work.

Their recent projects include a collaboration with Patti Smith and reworking the archive of recordings on Jean-Luc Godard's film set.

For the 8th Marionette publication, Soundwalk Collective present 'Death Must Die'. A sound piece that began in 2004 and ended up as a composition for the PS1 radio in NY. For this New release the Collective has revisited the piece in a more musical way.

'Death Must Die' is based on Stephan Crasneanscki's multiple visits to the sacred Indian city of Varanasi, originally known as Kashi and Banares. Sacred texts maintain that Varanasi isn't even a city, but rather a lingam of celestial light, the subtle and cosmic form of Lord Shiva which manifested itself as a city for the sake of seekers of liberation. To bathe in the holy Ganga is to be purified of your sins. To die in Varanasi, is to attain liberation and to bring an end to the cycle of rebirth known as transmigration. Determined to capture the elusive reality of this ancient city, Stephan has day by day recorded and re-imagined his understanding of how to perceive the continuously moving stream of the holy Ganga; performing a simple form of sadhana, which request is to be very alert but also to allow your mind to be quiet, making it easier to slip into the streams, and into the current that both the city and the river are offering.

'Death Must Die' begins before the rising of the sun and reproduces the cycle of a day in Varanasi, going down the river that is believed to be the divinity descended to this Earth in the form of water. She grants us happiness and salvation. The composition attempts to emulate the vibration of Kashi that encourages the kind of interiority that enables a person to get a better perspective on reality than one might have, while constantly being in the current of human life. A vibration dedicated to eliminating the distinction between human and non-human, between alive and dead, between light and dark.

Big news on the Apparel Tronic side. We're here to celebrate another step forward of our newest label introducing the 7th release on the catalogue & 2nd on vinyl, by an artist we really admire and we're delighted to have on board with us: Julian Habib aka Inkswel, on this project with his alias 'That Dude Inkswel'. The man himself created an 8 tracks LP which truly represents our spirit of experimentation, this time round steering towards a more jazzy influenced hip-hop, shaped up staying true to the sound we love. 'The Sound' LP features dope collaborations such as the Detroit vocalist and multi-instrumentalist Brownstudy singing on the opening and title track, the amazing progressive artist Maia Von Lekow giving her voice for B1 track 'Mother' alongside Mista Monk, the superb Han Litz's flute and Trujillo on Kellin' it & also Divine Species on 'Galaxies' and Mr. Shem rapping on A3 track 'Dedicated to Mr. Schem'. This work is a bold and captivating selection of different styles belonging to the same soul orchestrated by Inkswel and his musical mastermind, listening to 'The Sound' is like jumping on a caravan for a journey where every track is a different stop: crunching beats, deep bass lines, psychedelic melodies. The ingredients for this amazing recipe are all coming from different parts of the planet, a place that Inskwel seem to have written on his palms seen his capability of bringing different music influences under the same roof, where he finally invited Apparel Tronic to hang for a bit.
racks such as 'Snooker Club' and 'Viejos' delve into more caliginous, IDM territory. The result is a rich and varied collection that demonstrates Apparel Music's unwavering ability to continue to keep listeners guessing.

D-Leria returns to the scene more than a year after debuting on Berlin-based label Delirio, releasing a collection of work produced between 2014 and 2018; ten tracks which mark a new beginning for this young Italian producer, sweeping between heavy ambient excursions to hypnotic/ tribal techno, modernized and polished off in his own way.'Driving to Nowhere' is the summation of an extended journey; a year-long hiatus due to unforeseen health concerns allowed time to meditate and consider his past experiences in Italy's various underground electronic music scenes, and the potential directions inspired by thriving Berlin.
From 2014 to 2017 he released several EP's, each developing upon this new style, until joining the young label Delirio as both a musician and a manager. With Delirio he has hosted artists such as Stanislav Tolkackev, Roberto Bosco, Plaster, Retina.it and more, with a unique agenda to record precisely produced music live, instead of laboring in the studio to achieve over-polished audio. His first album inaugurates the beginning of the new DLP catalog, which will be dedicated to LPs, albums and other projects released on 12-inch vinyl. Through these 10 tracks D-Leria experiments with various production methods, as in 'Makumba' where he precisely combines the kick drum with a tight bass line in a 12-step sequence, making the track fluid and never predictable. 'Reborn' is an even more ambitious undertaking, initially recorded on tape before being sent back to the mixer via Hi Fi stereo, D-Leria modulated the cassette coil with a bic pen to create a unique 'detune' effect. 'From the Ground' and 'Driving to Nowhere', both made through the same setup, combine tribal voices and moans, combining an ethereal ambience with drums and analog percussion, connecting the rhythm directly to the soul. The opening track 'Libero' is dedicated to himself, while 'Her Smile' and 'Uragano' are both dedicated to the person that was closest to him in his last period of stop and realization of the album, where he expresses his most deep moments in the first, and more difficult in the second.
Just like in most of the EP already released on Delirio, Giuseppe Tillieci aka Neel took care of the mastering of the tracks, while the artist has taken care of the smallest details from the production, to the mixing, to the graphics and also to the titles of the tracks, which refer to personal thoughts and events that happened during this long journey to nowhere.

Berlins premiere Bass Collective continue their march into history with yet another TKO vinyl from regular contributor Bridge Guy. His 4 originals are joined by an absolute hammer of Deepness from Jesse Bru who steps up to remix Psilocybin.

Bridge Guy is exploring Deeper sounds in this EP and Isopropyl opens proceedings with a trip of clattering percussion and synth work, all with a laid back slant. Deep enough for the heads but with a sound that just pulls you in.

The theme is somewhat continued in Lone Frenchman, but where the previous track takes a step to the left, The Lone Frenchman turns right and gets his rhythmic jam on. Tightening up the groove and laying the dancefloor to waste.

Psilocybin really pulls the bass and groove centre stage, bouncy and warm and with a whole load of rhythm in the boot. This one is for the turning point right in the middle of the night where things start to get a little more freaky.

Cheese on Toast, drops things back a touch. Thick tones and a more relaxing vibe perfect for losing yourself in, as the last of Bridge Guys originals rounds out a remarkably vibey EP.

Closing out the package we have Jesse Bru's storming remix of Psilocybin, easily up their with some of the best lo-fi House of the past few years. Jesse rings his own vocal work and really heats things up. Peak time killer.

Returning for his second full-length LP of 2018, DJ Bone steps up once more to his own Subject Detroit imprint to present 'Beyond', a full-length and physical rumination on his own emotive and psychedelic contribution to contemporary techno. Loaded with the dynamics, charisma and widescreen appeal of his finest work, 'Beyond' sees Bone enter a musical state that reflects it's ambitious title, celebrating underground ideals in a style that could only be his own.

The second in a trilogy of albums to be completed in early 2019, 'Beyond' is culled from a sequence of no less than fifty tracks completed by the esteemed Detroit DJ and producer upon returning to his home city in 2017. With it being "unfathomable" to release an LP of that length, Bone has nonetheless captured this wave of creativity and a reconnection with his home city, along with the cathartic sense of soul and energy at the heart of his attitude to dance music.

Across 'Beyond' listeners can sink into an unrelenting sequence of tracks that speak from his experimental, musical and always unexpected mind. LP opener 'Dreamers 7' reaffirms his taste for offbeat electronics shot through with rigid dance floor dynamism; a theme reaffirmed quite literally on the forceful centrepiece, 'With A Vengeance'. Elsewhere, Bone delights in blurring the lines between exotic, futurist ambience on tracks such as 'Techno Aint Techno' and 'Ahhh Life', while further cementing his reputation as master of sheer, unrelenting rhythm on 'True Definition' and 'Rosedale Park'.

On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."

Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it's easy to hear the reverential quality of sacred music in her songs. "A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you're singing, it becomes really overwhelming," Tomberlin says. "I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn't know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind That's what's influenced how I write."

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.

a1 | Any Other Way
a2 | Untitled 1
a3 | Tornado
a4 | You Are Here
a5 | A Video Game
b1 | I'm Not Scared
b2 | Seventeen
b3 | Self Help
b4 | Untitled 2
b5 | February

'Sounds from the Great House! Outernational Sounds proudly presents a Nimbus West spirit jazz essential: the Creative Arts Ensemble's classic debut One Step Out. Mastered at 45rpm on double vinyl for enhanced sound, this release features all tracks at full length for the first time on wax.

One of the most sought after and highly regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, the Creative Art Ensemble's One Step Out is a timeless work of spiritualised jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group.

A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through PAPA tenorist Michael Session, who took him to the famous 'Great House' at 2412 South Western Ave., LA - a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. 'When I walked in there,' recalled Kaeef, 'it was like this whole rush came over me, just from going in the front door...It was like a very, very warm feeling of love. I went and I came out with 'Flashback of Time', and that was my first arrangement.'

Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook - his piece 'New Horizon' would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But 'Flashback of Time' would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. 'I would like to form a group that would be an extension of the Pan Afrikan Peoples Arkestra,' he told Tapscott. The group was to be known as the Creative Arts Ensemble, and One Step Out, released in 1981 by Nimbus West, was their debut.

Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody 'Sonship' Theus and altoist Gary Bias, with veterans Henry 'The Skipper' Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energised independent jazz music. Community uplift and sacred vision straight from the Great House, back on vinyl for the first time since 1981!

"In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the bands name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!' (Kawabata Makoto 2018)
 
Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows.
 
In recent years, they've experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...
 
'Reverse Of Rebirth In Universe' sees the band return to their old label Riot Season for the first time since 2012's 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.
 
Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.
 
If you stepped off the AMT ride over the years, possibly overwhelmed by the amount of releases they were once firing out ... it could be time to step back on it and check out where they're currently at. In a world that's more messed up than ever, we could all use a little break away from the norm, and nobody takes you as far away from the norm as possible as Acid Mothers Temple & The Melting Paraiso U.F.O.
 

Following a succession of twelves on labels run by Delta Funktionen & La-4a, plus outings on Hypercolour in recent years also, Berlin-based MorElian returns to her Fever AM imprint, (ran with her partner Rhyw) for its third release with the 'Move Like Atoms' EP.

'Doss Groove' rides peaky percussive breaks over a wash of melancholic pads, while ear-ripping flecks of modular percussion shift around on 'Move Like Atoms'.

Flip for B1 'Russian Wave Group'; a heavily armoured, low-end yet atmospheric pacy stepper, as B2 'Agora' closes out the EP with tightly compressed synths and rugged melodic textures, concluding another stellar release for one of the year's most exciting breakthrough artists.

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

A collection of Jamaican doo wop & R&B records taken from the late 50s and early 60s. These records represent a period in which soundsystems were just starting to dominate the island, with Duke Reid and Sir Coxsone stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Jimmy Cliff, Derrick Harriott, Alton Ellis and more, and they provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably proflific and unparalleled for an island of it's size.

Following the recent 'Aset Forever EP' by label bosses Dusky, 17 Steps announces its next release in the form of the 'Off Peak EP' by innovative Russian duo Formally Unknown.

The three broken beat originals will be familiar to anyone who has seen label owners' Dusky DJ recently.

Lead track 'Off Peak' offsets a breakdown of deep, Detroit-nodding chords with thunderous bass, modular bleeps and broken percussion that will test the outer limits of any sound system.

On the remix, Warehouse Music's Mella Dee flips the original with 4x4 kicks, spacey pads and layered percussion that glides in and out seamlessly, providing the EP with a hazy, dubbed out techno gem.

Industrial broken beat jam 'Burnin' again blends atmospheric chords with chopped samples to create a carefully crafted leftfield trip that feels like the perfect soundtrack to an industrial How It's Made video.

Closing things off 'Arp Three' brings things to a darker, stripped back close in a panic alarm buzz of broken bass and twisted FX - with distant rave divas crackling through the mix.

Available as either a 3CD/1 Blu-ray set or a 6LP/1 Blu-ray set, both packages include:

· The original album, now newly remastered by Bernie Grundman from the original analog tapes. For the LP set, Grundman prepared an all analog direct to disc vinyl transfer of the album, preserving the authenticity.

· Electric Ladyland: The Early Takes, which presents 20 never before heard demos and studio outtakes. Included are incredibly intimate demos for song ideas Hendrix recorded himself on a reel-to-reel tape at the Drake Hotel, as well as early recording session studio takes featuring guest appearances from Buddy Miles, Stephen Stills and Al Kooper. Full tracklist included below.

· Jimi Hendrix Experience: Live At the Hollywood Bowl 9/14/68: Part of Experience Hendrix's Dagger Records official bootleg series, this live album documents their triumphant Los Angeles concert held a few weeks before Electric Ladyland was released. The recently discovered two-track soundboard recording captures the energy that had the audience in such a frenzy that many concert goers jumped into the reflecting pool that separated the bandstand from the seats. Full tracklist below. Experience Hendrix's Dagger Records releases are physical only so this will ONLY be available as part of the physical release with no digital.

· Blu-Ray: includes the acclaimed full-length documentary At Last... The Beginning: The Making of Electric Ladyland, the first ever 5.1 surround sound mix of the original album overseen by Hendrix's original engineer Eddie Kramer plus the original stereo mixes in uncompressed 24 bit/96 kz high resolution audio. NOTE: unfortunately due to unforeseen circumstances the documentary will not have translated subtitles.

· Electric Ladyland 50th Anniversary Deluxe Edition includes a full color, 48-page book containing Jimi's handwritten lyrics, poem and instructions to his record label, as well as never before published photos from the recording sessions that were shot by Eddie Kramer himself. Also included are essays by celebrated journalist David Fricke and Hendrix authority John McDermott

· All contained in a numbered luxe casemade book for CD+Blu-Ray release and casemade lifttop box for the LP+Blu-Ray release with new cover art which is true to Hendrix's original vision of the album's cover: a Linda (McCartney) Eastman photograph of the band and children at the statue of Alice In Wonderland in New York's Central Park.

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

This 2 track single provides just a hint of what delights the full Raregroove Spectrum album contains - Lance explains that much of the inspiration for the re-works comes from his experience as a DJ; "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

First up is a reinterpretation of a super obscure deep funk acetate 45 released by Keb Darge, Egg Roll - the follow on track is Lance's take on The Soul Vibrations The Dump.
The forthcoming album reaches further - and includes James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Footshooter is the moniker of London based producer, DJ and musician Barney Whittaker. His style blends skippy, broken beat production with live instrumentation to create an organic, rich sound and he frequently collaborates with emcees, poets and vocalists exploring different tones and moods.

His last record, Strange Days EP (released on Famous Friends), gained regular plays on NTS, Balamii, WorldWide FM and, most recently, by Bonobo in a DJ set at his NYC Boiler Room.

'Technicolour Nights', due out on YAM Records later this year, is a meditation on long evenings & nights out and how they vary in atmosphere, mood and colour. Opening with the aptly named and ethereal 'Intro', the EP quickly jumps into sunshine territory with 'Juan's Stairwell' before 'On Telegraph Hill' brings the heads down for a meditative two-step groover to close up the A-side.

On the flip, Footshooter flexes his 160bpm muscles on 'Mars' with the help of London based vocalist and MC And Is Phi, before dropping the tempo just a touch on 'Rotations', a steppy, Rhodes-laden journey through London nightlife. 'Our Love' lowers the tempo even further to bring the EP to a close on a bittersweet note.

Double LP on heavyweight 180 gram audiophile black vinyl in a wide spined sleeve with new artwork layout. Re-mastered by John Rivers at Woodbine Studios especially for vinyl release. Includes a bonus track not on the CD version and new artwork design. Never has a record been so aptly titled, or so perfectly descriptive of a band's particular vision of the universe. For all that, the original appearance of Taking Drugs was in fact a bootleg on the semi-legendary/semi-notorious Father Yod imprint in 1990, later supplemented with contemporary outtakes and cuts for the Bomp reissue in 1994 and one further song for the Space Age version in 2000. The original seven tracks, dated January 1986 and the first recordings to feature Pete Bain on bass, are collectively known as the Northampton Demos, understandably named for the recording location in a studio outside said English city. Both Sonic and Pierce have been on record as long preferring these takes to the eventual versions that surfaced for the most part on Sound of Confusion. Certainly it's a fine set of performances, showing a definite step toward the more familiar sound of the group and away from the rougher takes on For All the Fucked Up Children of the World. "The Sound of Confusion," aka "Walkin' With Jesus," rips along with fierce energy, Pierce's singing and the rampaging, primitive wail and rumble of the band just wonderful. "Losing Touch With My Mind" takes things to an even higher level, a huge wallop of feedback and beat (Natty Brooker's drumming in particular delivers just what the doctor ordered), Pierce delivering the lines with a flat, cutting drawl. On the slightly lighter tip, "Come Down Easy" is more or less fully in place (aside from singing about it being 1986!), possessing a more upfront but less vocally distinct feel than the Perfect Prescription take. The tracks that surfaced on the later reissues come from a variety of different sessions, including the original take on "Feel So Good" and a good live version of "Things'll Never Be the Same," one of several cuts featuring Brooker's drumming replacement Rosco.

Format: 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, sticker, liner notes - First ever reissue of important Swiss jazz album Stuff Combe 5 + Percussion by Stuff Combe available on 180g vinyl mastered at half speed, with liner notes by Alain Morisod. - For fans of jazz, soul jazz, funk, sci-fi, bossa nova, spaced out sounds, jazz ensembles, collective wizardry, deep solos, Swiss magic, Francy Boland, Benny Bailey, Geneva Tracklisting A1 Space Trip A2 Boss Turquoise B1 Eastern Blue B2 St-Thomas Info We Release Jazz is very happy to present its fourth release (following Ryo Fukui's Scenery and Mellow Dream and Le Cercle Rouge's soundtrack by Eric Demarsan), the official reissue of 1974's Stuff Combe 5 + Percussion, a hard to find soul jazz jewel from a cast of illustrious jazzmen led by glorious Swiss drummer Stuff Combe. The limited edition 180g vinyl LP is mastered at half speed, cut at Emil Berliner Studios, housed in a black and silver Stoughton tip-on sleeve, and comes with liner notes. Recorded in Geneva, Stuff Combe 5 + Percussion finds Stuff Combe conducting an all-star ensemble consisting of Bob Jacquillard on bass, Francy Boland (The Chet Baker Quintet, arranger for Count Basie, Benny Goodman and the list goes on) on piano and electric piano, bebop and hard-bop legend Benny Bailey on trumpet, and Tony D'Adario on saxophone. The sessions ooze with funk, spaced out sounds, breathtaking solos, and moments of absolute collective wizardry. It's soul jazz at its best with sci-fi and bossa excursions! Born in Bern in 1924, Etienne Stephen Jean Gustave 'Stuff' Combe had a wonderfully prolific career, playing all over Europe and the US and working with Buck Clayton, Bill Coleman, Stan Getz, Kenny Clarke, Oscar Pettiford , Art Taylor, Dizzy Reece, and Lucky Thompson just to name a few.

In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.

Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.

'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'

Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.

Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.

Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Amaro Freitas - Piano

Hugo Medeiros - Drums & Percussion

Jean Elton - Double Bass

Henrique Albino - Baritone Sax, Flutes & Clarinet

All compositions by Amaro Freitas

Produced by Amaro Freitas

Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil

Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil

Executive producer and management: Laercio Costa

eedwant welcome Bristol born, Berlin based Geoff Wright aka Kemback (Omena/Futureboogie) to the label.

By day, Kemback teaches music production classes to students in Berlin, with such a musical background behind him, his latest EP Moving Through Clouds is every bit exquisite as you'd think. Opening with the luscious 'I Need You', hi-hat, bongos and sumptuous strings are just some of the elements that blend together seamlessly, a touch of modern jazz-house. The experimental combinations continue on 'Stepping Back', a heavy breaks track coupled with harps and saxophones. Whilst the hazy pads of 'Moving Through Clouds' goes down a more atmospheric route. The EP includes remixes from Soulphiction and Kim Brown (Needwant).

Over the past ten years the Needwant mantra has been to push the very best in new talent, hav-ing provided the platform for the likes of Kiwi, The Mekanism, Maxxi Soundsystem, The Revenge and many more.

A girl stands at an arcade machine, her eyes fixed on the glowing screen with her back turned on the world. She seems to be alone, somehow lost and yet at one with herself. The cover art (by Carmen Alt-Chaplin) for Peter Zirbs' debut album as a solo artist conveys escapism - being totally immersed in another reality, in the virtual world. His equally futuristic and retro-futuristic aesthetic is permeated with melancholy. What if we really don't exist

Peter Zirbs himself also knows how to escape: how to hunker down in the studio, hide from the outside and lose himself in the music. He emphasizes that such an escape is healing, leading to the world of the romantic. The Viennese musician and producer has always felt most comfortable straddling genres, whether techno and rock in previous band projects, or now as a solo artist combining post-minimalist dramatic synth/piano ("Firmament") with modern wave pop ("Are You Reality") and poignant ballad-kitsch ("Dreamescape"). Here there are subtle changes in emphasis gracing otherwise repetitive harmonies; there a true appreciation of pop. Ten songs - five with lyrics, five without - some threatening, some heartbreaking, all stirring. They project a world - sometimes concrete, sometimes abstract - in which can be found beauty and disquiet, love and fear, failure and perseverance. A world one is happy to get lost in while the cinema in one's head tells its own stories. (by Manuel Fronhofer)

As part of the Viennese rave and techno scene of the 1990s, multi-instrumentalist and electronic producer Peter Zirbs has released music under several pseudonyms, produced and remixed various artists, and scored a range of experimental films. He has broken down genre boundaries over the years with the variety of his output. The circle closes now. In 2018 Peter Zirbs finally steps into the spotlight as a solo artist.

"What If We Do not Exist" by Peter Zirbs is released on 19th October 2018 by Fabrique Records. Guest vocalists include Monika Heidemann (Heidemann, The Phenomenal Handclap Band, The Juan MacLean / DFA Records), Tom Walkden (Wolventrix) and Gerard McNeice.

From a golden period of Philly soul comes one of the most classic 'two step' and 'rare groove' releases from the PIR label's group The Futures. 'Ain't No Time Fa Something' (also released in error as 'Ain't Got Time Fa Nuthin'') remains a timeless spin for DJs, and became rare on 7' since the growth in popularity of the revived format. The track has also been sampled sevent times, first by Jamiroquai in 1994 in 'Morning Glory', and most recently Flamingos is in 'Cruise Control'. The flip of this 7' release 'Party Time Man' came from the same period and is both the group's biggest commercial hits and has become a significant revival itself over the last ten years, equally rare on original 7' single.

Fifteen track completion of deep biguines and Gwo Ka from the '60s French West Indies. The vinyl edition included a 4 page booklet + download code.

Biguine is a rhythmic style of music that originated in Guadeloupe and Martinique in the 19th century, which fuses 19th-century French ballroom

dance steps with African rhythms. Gwo Ka is found among all ethnic and religious groups of Guadeloupean society.

It combines responsorial singing in Guadeloupean Creole, rhythms played on the Ka drums and dancing. Gwo Ka is the musical and cultural product of the

region's African ancestry, forcibly brought to the Caribbean through slavery. Gwo Ka exists only in Guadeloupe, which is a very different island from much of

the Caribbean, in that it remains a 'department' of its original colonial master, France. Here the currency is the Euro and the baker sells croissants and café

au lait. This constant 'European-ising' of the island means that Gwo Ka plays a fundamental and important role in the defining of Guadeloupean identity.

'Antilles' Méchant Bateau', a low-tempo number with a bolero feel, indeed a pure case of the blues, and a terrific saxophone solo. What else would you

expect to set the tone for this selection, in which beguine regains its original colours, in the darkness of the Gwo Ka drums. This 45 by André Mahy, released

under the Aux Ondes sublabel, was recorded in the 1960s at Célini's, one of Guadeloupe's two main houses. Through its drum rolls and harrowing chant, it

recalled how, long before the mid-1960s, the Antilles' history was written in an ocean of teardrops - namely the Black Atlantic.

Marti Caine's infamous Point Of View is a groovy blend of slow-mo funk, dark disco and precise pop. Originally released on BBC Records in 1981, it has attracted a considerable cult following this century. The odd charity shop score aside, it has been impossible to find a copy for less than eye-watering sums (often selling for over £200) and, as such, it's an honour to present the first officially licensed vinyl reissue of this sublime record. Featuring expert liner notes written by Bill Brewster - perhaps the record's most notable champion - this lovingly curated release is limited to just 500 copies.

Marti Caine was a popular UK TV entertainer in the late 1970s onwards and Point Of View presented her with an opportunity to proceed in a hip direction by working with British R&B heavyweight Barry Blue. His legendary reputation was secured with a string of great records, among them the first three Heatwave albums, the Balearic hit "Afro Dizzi Act" by Cry Cisco and the cult smash "Breakin' In" by Javaroo. However, despite the array of talent working on the album, Point Of View sank without trace at the time. It's something that Blue attributes to the bizarre way BBC Records worked, and he entertainingly expands upon this within the liner notes.

Musically, the highlights are many and memorable. Its most notorious track is the sublime soul stepper "Love The Way You Love Me", the reason most people covet this album so profoundly. However, from the dark dubby disco of "Snowbird City" to the moody ballad "Love Is Running Through Me", the lesser heralded tracks are nothing short of exquisite. Indeed, the chugging elegance of sleazy disco opener "Can I Speak To The World Please" showcases a string-drenched strutting-funk that would've been enviable the world over. It's that good.

The outlandish artwork - presenting a striking, green-eyed Marti treating a tiger to a headlock - has been faithfully restored and is arguably worth the price of admission alone. With access to the original tape transfers, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Sadly, Marti died of lymphatic cancer at the tragically early age of 50 in 1995, so is not here to experience what we hope will be a long overdue reappraisal of the hitherto underheard genius of Marti Caine, the singer

Fast-moving Times, In Which Popularity And Quality Are Often Equated Or Commonly Confused With One Another, Aids And Abets This Imitation Game Some Call Conformity, Others Professionalism. In The End, Both Paths Will End Up In Predictability. Here's Where Stathis Kalatzis, Aka Mr. Statik, Comes To Play. The Resident At Athens' Multi-purpose Cultural Space Six D.o.g.s Has Not Only Been One Of The Scene's Pivotal Figures, But Since He Started To Release His First Solo Releases In The Mid-00s, The Now Berlin-based Greek Dj Has Earned A Reputation For Being A Trend-ignoring, Unconventional Producer.

Whether His Output For Bpitch Control, Rotary Cocktail, Or Even Last Year's Debut Ep "rogue
Cherub" For Away - Mr. Statik Enjoys Thinking Outside The Box By Crossing His Diverse Pop-cultural Interests And Pulling In Expertise And Perspective From Beyond The Usual Functional Formulas. After A Decade Of Not Staying In One Comfort Zone Or Sticking To One Musical Direction, He Finds Himself More Comfortable In His Producer Shoes Presenting His Debut Album "metamorphose". Housing A Few Film References In This For Mr. Statik Typical Nebulous Fashion, The Ten Tracks Not Only Carrying The Narrative Potential Of An Imaginary Score, But Primarily Exploring A Versatile Array Of Influences, Themes, And Contradictions (which Mr. Statik As An Illustrator Also United On The Albums' Artwork). Ranging From The Sci-fi Infused Album Opener "insomnia", The First Non-dancefloor Piece He Ever Produced Around 7 Years Ago, Over "atastrophe", An Homage To Ancient Greek Theater, To Collaborate With Others Such As Beatrice Ballabile, Jan Niklas Jansen (locas In Love), And Rbma Alumnus Claude Speeed, Who Contributed Synth Work On "soulfur".

"metamorphose" Succeeds In Constantly Changing Its Tones, While Maintaining An Emotional
Frame, In Which Mr. Statik's Melancholic, Introvert, At Times Hopeful And Euphoric, Bottom End
Inclined Electronic Music Can Elaborate.

Mr. Statik On His Album Debut:

"i Have Always Tried To Approach Producing As Storytelling Exercises. This Allowed Me To
Experiment Finding Myself In Uncharted Territories, More Specifically In Music That Doesn't
Necessarily Fit To A Dance Floor - Unless It's A Very Adventurous One. 'metamorphose'' Is Loyal To That Mindset. I Usually Draw Inspiration From Cinema And Comic Books And Have Always Been Fascinated With Sci-fi, South Asian Culture, Surrealism And The Dreamworld. Initially The Album Was Supposed To Be A Collage Of The Various Influences That Had Shaped My Life, But Ended Up Being Something Very Different. During The Conceptualization And Recording Process A Lot Of Things Around Us Have Changed, Primarily For The Worse. I Became More And More Sensitive And Susceptible To Pessimism And Trendy Visions Of 'dystopian Futurism', So That The Lp Emerged Being An Exercise In Positivity: 'metamorphose' Is A Verb Describing The Act Of
Conversion, But In Greeklish It Is Describes The Urge Towards Others To Start Transforming Their
Environment, In This Case For The Better."

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

Quest, transit, chaos, mutation, transfiguration, ascension and illumination. These are some of the steps followed in the journey of life that are embodied on each track of the album Adonai. The solo debut of the multi-instrumentalist composer Marco Paul condenses a career of more than ten years, in which, the search for the truth of oneself and authentic sound has traveled and nurtured from different genres and cultures. Adonai is an odyssey that combines sounds and images of the earthly and oneiric worlds: an audiovisual work that opens several windows to the different perceptions of the facts that make up the life of the human being.

After 9 years of constant international touring, 6 albums and more than 400 live performances with the bands Sour Soul, Ratbot and Funk My Jesus, as well as the conception and musicalization of the award-winning short films "Undermine" and "24K All You Need Is Gold", Marco Paul decided to retire to an island in the Caribbean, where he found and refined his sound. Thus, between 2014 and 2016 he created the music for Adonai, a work produced by Aitor Etxebarria under the label of Forbidden Colours.

The recording includes guest musicians from different countries such as Aitor Etxebarria (synthesizer, electronic magic) and Hibai Etxebarria (double bass) from the Basque Country; Michael Alan Hams (drums and percussion) and Joe D'Etienne (trumpet) from the United States; and Fatima Gozlan from Hungary (Ney and Derbake).

The consummation of the work is a mid length film created in 2018. It consists of 5 chapters directed by 5 different directors.

The audiovisual journey begins with the conception of the philosophical "Filius", an alchemical symbol that represents the inner child, which transforms the experiences of life into the soul's gold. Later, in "Sylvian" (title that refers to the brain fissure that contains the auditory cortex), by listening to the subtle message that surrounds us, our consciousness and perception expand. Then, in "Tiamat", the pristine chaos that gave birth to the gods, embodies chaos, the confusion generated by the multiple voices: on one hand the moral and imposed precepts, on the other hand, the inner voice that seeks the liberation of the infinite possibilities. In "Hawa", through the recognition of the power of solitude and introspection self-reflective awareness is reached. Finally "Adonai" is the ascension to enlightenment: the further connection with the absolute. As an encore (only available in vinyl) "Teurári" is a gift: a tiny flower where all the points of the universe merge.

Comma And A.fruit Land Two Unadulterated Bangers On Rua Sound, Backed With The Unmistakable Sounds Of Tmsv And Itoa On Remix Duties.

Oakland's Comma Roars Out Of The Blocks On His Rua Debut With A Crushed-up Glitchy Cut Entitled Gasworks. Comma Rams The Heavier End Of The West Coast Beat Scene Into The Uk Hardcore Continuum, On A Track Buzzing With Furious Energy.

If You Don't Know Itoa Yet - It's Time To Catch Up. Exit Record's Latest Addition Brings His Singular Production Style To The Remix With Whip-sharp Drums, A Colourful Sound Design, And Fresh, Unconventional Arrangements.

A Producer In Ascendency, Russia's A.fruit Serves Up The Darkness On The Flip With A Stepping Growler, Sodden With Bass. Her Production Is Tightly Bound Together By D.e.'s Intense Vocal And Delivers A Punch.

Rua Regular Tmsv Picks Up The Pace On The Remix, Rounding Off The Ep With Dancehall-infused Dread-rave Vibes, Like Only He Can.

Support From Deft, Fixate, Tim Parker, Breaka, Mister Shifter, Dolenz, Yorobi, Executive Steve, Coco Bryce, Hyroglifics And More.

The Leap is the new project of Dutch producers Tripeo & Doka who are now taking the logical next step in their musical journey and present an EP that touches on genres all across the electronic board. The Leap is about more than just music, which will reflect in the track titles. Current developments in the world take center stage and inspiration is taken out of politics, literature, media, (green) activism and much more.

The opening track 'Shock Doctrine' is a slow building yet powerful piece of gloomy, hypnotic techno, followed by the exceptionally deep and undulating 'Borrowed Time' that combines soft atmospheric textures with distinct fragile melodies and could easily be the soundtrack of a dystopian reality. On the flip side the duo showcases once again seamless production skills and with 'Green Capital' they set a nostalgic mood, a trancey journey filled with crisp hi-hats and snares, resulting in an effective techno tool. The mind bending closing track 'Sustainable Communities' creates dance floor tension with its piercing metallic synthlines & just like the whole EP it provokes the listener to think outside of the techno sphere.

After a barnstorming live reunion which saw them play to ecstatic audiences across Europe throughout 2017, Britain's giants of electronic music Orbital are back, with new music and an upgrade of the legendary live show that transformed festivals across the world.

First single Tiny Foldable Cities opened the account, an intricate piece of electro-hypnotica, takes their signature sound forward into a new and fascinating phase, heralding their first new album in five years, Monsters Exist.

Throughout 2018 they play a string of high-profile festival dates and headline shows across Europe, featuring new material alongside classics like 'Chime', 'Belfast' and 'Impact'.

This surge of creativity shows how reunited brothers Paul and Phil Hartnoll have rebuilt one of electronic music's best-loved partnerships after Orbital's surprisingly bitter break-up in 2012. They'd been onstage with Stephen Hawking at the Paralympics, in front of the whole world. They'd remixed Madonna. They'd played Glastonbury many times and travelled the world yet were driven apart by music's strange and infamous brother-vs-brother dynamic. But now the brothers have a pact: whatever happens, Orbital does not stop. They've learned to talk and accept each other. As Paul says, "If we were both the same, then it wouldn't be Orbital."

RLydmor is Copenhagen based Jenny Rossander, an electronic producer, composer, singer, songwriter and general troublemaker. Now she's about to release her third solo album "I Told You I'd Tell Them Our Story", a multi-layered piece of modern electronic pop music.
In her sounds and with her words, Rossander captures a reflective description of her surroundings and invites the listener to follow her on a very personal journey.
After her first steps with her two solo albums, that have been released in Denmark only, to much applause, the first international coming out was the 'Seven Dreams Of Fire" album as Lydmor & Bon Homme (with Tomas Høffding from WhoMadeWho). In 2016 Lydmor suddenly disappeared to Shanghai for several months. Her life in the Chinese metropolis inspired her to write a piece of modern electronic pop music which will be released as her new solo album "I Told You I'd Tell Them Our Story" in September. "There is a fearless madness in her that might have waited for too long to finally break out." (Nothing But Hope And Passion). With lots of initiative, Lydmor has made her dream come true to tour most of the world with her music. No matter if she plays an acclaimed festival, a famous club or the tiny living room of her greatest fans, every single one of Lydmor's shows means a highly intense experience. With her irresistible voice and unabashed honesty Lydmor places the little hooks of her melodies and lyrics into the electronic soundscape and she will flirt, dance, cry, scream and hug her way into your heart.

After her first two albums - A Pile of Empty Tapes (2012) and Y (2015) - which were only released in Denmark, Lydmor's new record will be released internationally for the first time by hfn music. "I Told You I'd Tell Them Our Story" is a rite of passage captured in intense moments experienced on the edge of the world and on the edge of one self. Lydmor lived in Shanghai for several months in 2016 and the Chinese metropolis inspired her to completely redefine her artistic expression and to write this new album.