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Producers at the heart of the broken beat revival, EVM128 and James Rudie met through the CDR project, and soon after started to mess about collaborating with Gonzi. After coining the concept of INPUT, they found a home via Tony Thorpe at Studio Rockers and the seed was sewn. The concept is simple, make a beat, pass it on, and let someone else add to it. Its about letting go of self and letting the music go somewhere it wouldn't have gone otherwise. It was a labour of love until each track felt right. Talented musicians, producers, singers and rappers came on board to fulfill the brief, and the end product is a modern day broken masterpiece. It's about collaboration, whether in the mixing and arrangement, performance, keys, percussion, synth, bass, - everything was a joint effort.

INPUT is released on Studio Rockers on 19th July 2019 as a double vinyl release.

A LITTLE ON THE ARTISTS INVOLVED :

Written by curator EVM128, James Rudie and Gonzi are both killer producers who met me at CDR and also became part of Co-Op presents Selectors Assemble with IG Culture and Alex Phountzi. You can hear them both on Naughty Groove and Gonzi on Gut Level.

ISHFAQ is an elusive producer that has been making beats for time but is still under the radar. He's a force to be reckoned with. Watch him cos he's dangerous! Hear him all over Naughty Groove on Keys and on Complete Me ft Natalie May. He just knows where to fit into a tune... He has an acute ear!

TurboJazz met me after Djing together in Milan and working together on remix jobs, where I remixed Turbo's 'Please You' ft David Blank on Local talk Records. In return Turbojazz remixed the EVM Beyond ft Uk Soul legend, OMAR. It was only natural to get them involved with this project.

iLL Smith aka MR K is a heavyweight producer making serious waves in the new Dubstep 140 low end scene. He gave me a couple tracks that were broken beat he had been sitting on and said "You should do something with these". One of which is GOLD which I only really added a Clap to and worked the arrangement and first mix down. I called on Daz I Kue for a rapper I'd heard on one of his tracks which had the right energy. Daz hooked me up with Nesha Nycee, a fierce rapper from Atlanta Georgia. She smashed it straight away and the tune just worked. This was probably the easiest out of all of them!

Nesha Nycee is a REAL rapper.

Shy One is a friend of mine and has worked with me on music a few times in the past. I always love when she sends me a beat, she has that lo fi dirty grime kind of approach, then I add my style to it and it just seemed to bode well. We worked together on Mother Nature on the Nova LP and this track for INPUT (One Design) which we were sitting on for a while. Tony got Steve Edwards (All Seeing I, Sheffield) on the vocals. This was an unexpected turn on this track that we couldn't have imagined, but it worked! This track is the epitome of INPUT in that, it went somewhere completely different!

Steve Edwards is a singer songwriter from Sheffield who works on projects with All seeing I. He has a great energy and the lyrics made me cry! Really amazing heartfelt lyrics that speak of now and has a positive uplifting vibe to it that we can all relate to. It will stick in your head for ages believe me.

Natalie May met me through soundcloud. She's been releasing UK Funky tracks for a while and worked with Rudimental. She reached out to me after hearing the Nova LP and the stuff on CoOp presents. She went to the studio with me after already writing to some instrumentals. Very professional and on point in the studio. Her voice is sweet and the perfect juxtaposition to the rough bass and drums on 'Complete Me' and when ISHFAQ got his hands on it, well... Nuf said really !

Daiva from the Lithuanian band KeyMono has worked with me for a good few years. We met in Lithuania when I was teaching music production to young people through MTV, I met their manager Istvan. She was on my Naked Truth EP and the Nova LP. I Love working with Daiva she's great! Her voice is amazing as is her professionalism. She sounds somewhere between Erykah Badu, Little Dragon and Fatima. She's always my go to for any collaboration! Hear her on 'The Edge'. The lyrics were written by Kermit (Black Grape / Ruthless Rap Assassins).

Renato Paris.. wow ! I mean what!!? We sent the backing track and two days later he sent back the vocal and we fell over! He has a voice that echo's Stevie Wonder and Omar! Really professional work ethic too. Still cant get over how good he is. This guy can REALLY sing and play keys. Watch out for more from me and Renato... Bruk meets RnB / Jazz.

We have created something special and unique where you can hear each persons input in the

tracks. We love it and hope you will too.

'Junction' - a six track EP produced entirely by Samrai & Platt - features vocalists from Jamaica, Ireland & the UK and rounds off an excellent 12 months for the label & crew who've toured across North America, Mexico and Europe in 2017.

The set kicks off with ST favourite Alexx A-Game (originally voiced at his studio in Kingston in 2016) urging listeners to 'free up' their mind and souls and let the 'good times take control'. It sets the tone for upcoming Jamaican talent Blvk H3ro to step up on the soulful party number 'Can't Wait' (recorded at Equiknoxx's studios in Vineyard Town in 2016), which has been a staple in Swing Ting sets over the last 18 months.

Slowing the pace is 'Addiction', a link up with Irish artist and frequent Murlo collaborator Gemma Dunleavy who lays down an impressive vocal over the skittering drums, muted guitar and glistening keys. The listen is interrupted momentarily for an interlude from Gavsborg whose moving voicemail is accompanied by a poignant piano line from JP aka Without Understanding. One for the clubs - 'Turn it Up' features Equiknoxx's Shanique Marie riding a stripped funky-esque riddim with ease.

Fittingly the set closes with 'Contagious' which finds two of Manchester's finest vocalists - Fox & Tyler Daley searching for an escape from the reality of our turbulent times over a refined yet sparkling production. The 12' vinyl will be limited to 200 copies.

Support from: Murlo, Toddla T, Jamz Supernova, HDD & Equiknoxx across NTS Radio & BBC Radio 1 / 1xtra.

‘Autonomy’ is a fiercely independent album and serves as a testimony to the united couple’s instinctive DIY attitude; for 10 years now, everything The Golden Filter has done from, producing, mixing, releasing, to shooting videos and press shots is a sovereign endeavour. Here, the duo finds themselves at a point of fearless positivity and an unbreakable creative synchronicity. This is undoubtedly one of their most focused and ambitious releases so far.

Born out of their own self-contained studio in Peckham, free from external influence, Penelope and Stephen set about on a mission of self-searching and solipsism drawing influence from their love and unity that sternly defies the damage caused by the ever-growing daily trauma of capitalism and politics. Staunchly feminist and optimistically reflecting on the growing human disconnect from reality, ‘Autonomy’ pulls subtly from the gloomier sides of British life and culture, The Golden Filter’s home now for the last four years.

‘Autonomy’ mines dark and experimental electronic tones; simultaneously conjuring dystopian synthscapes, EBM, post-punk, motoric electro and minimal wave. ‘Coercion’ is a mournful new wave cut that places Penelope’s recent brand of “inky dream pop” underpinned by Stephen’s pulsating synths as the perfect soundtrack to the rapture.

Tracks like ‘Autonomy’ and ‘Infinity’ find The Golden Filter in more familiar territory, thrusting post-punk electronics that straddle the gap between Panorama Bar staples and wayward, thought provoking art-pop. ‘Electric Light’ is an updated homage to old-school sounds of Siouxsie and New Order that take on the duo’s message of finding light in the dark and remaining open minded to each other as humans. Album closer ‘All The Queens’ is the most front-facing example of the duo’s political inspirations; imagining a new world, reborn under the rule of divine femininity.

Long time underground innovator Illja Rudman returns with "Sagittarii", a fourth fantastic studio album and his second on Bearfunk.

As boss of both Red Music and Imogen Recordings, as well as being a skilled DJ and diverse producer, Rudman has been an integral part of dance music for years. The Croatian effortlessly veers from electro to disco to house with his own colourful sense of melody and club-ready grooves and has done so on more than 70 releases on labels like Classic, Rong, Electric Minds and Is It Balearic Recordings. This superb new album lands just a year after

his last, "Paradigma", and is another subtle evolution in his style but one that continues to deal in authentic analogue textures with flashes of throwback funk and disco gold and a slick sense of boogie.

Things open up with the glistening future-retro chords of "Dreamscape Planet" a quick,upbeat cut that is ready made for dancing in the sun with its majestic strings and nimble basslines. "Cosmia (Regal Mix)" is another bit of engagingly urgent disco funk with clipped drums racing along beneath heart melting chords. The stylish "If I Keep My Eyes Closed (Mezzanine Mix)" slows things down, with a snaking bassline and wallowing chords making for more cosy and intimate listening while "Synthia 2000" is a more playful cut with wiggling bass and withering chords that bend space and time as you get down and boogie.

The gorgeous glossiness continues with another tight bit of disco-funk lushness on "6th Floor Entrance (Guardians Gate Mix)" and "S.O.S. Flight Theme" serves up some rugged bass lines and mad xylophone patterns on top of corrugated drums that will get any club in a spin this summer. Closing things down in the tropical tinged exotica of "Techniques & Tactics (Nocturnal Mix)" with its long legged drums, blissful Balearic vibes and superb sunset stylings.

This is an album that brims with cosmic disco energy, emotion and excellence from start to finish.

For our fourth installment of the “Roar Groove meets Dirt Crew” series we present you this new set of shimmering and dubbed out Revenge cuts. After the last episode Graeme has been very busy working his “live” studio setup to come up with a whole range of new jams of which we have selected the below four tracks. We think these best represent his unique style and once you hear these in a club you instantly know “That’s a Revenge Tune”, something we have always loved about his sound.

The opening “Like an Ending” is a trippy, melancholic-euphoric track driven by a Moog Voyager bass line and classic House keys and vibe. The original recording was an 11 minute live take that he has been able to capture the essence off and narrow it down to this thumping club jam.

The A2 is all about those good times and it reminds us a lot of early 90s “French Touch”, filtering House at it’s best, it keeps running around in your head and with it’s slower pace we are sure this one will do especially well on the early morning dance floors and high summer sun drenched beaches.

On the other side we enter darker and more dubbed out territories. Here is the first track in Graeme’s words “This one had been knocking around for a couple of years in various forms, but it wasn’t really until I stripped it all back and let the arpeggiated synth do it’s thing that it really seemed to gel. It’s really the rhythm of the whole thing, I ended up scrapping extra hi-hats and stuff that was just getting in the way.” And we have to mention that we personally love that marimba! This track is like a spaceship floating the skies and eventually touching down.

To close out this new work we have one of these typical stab-y Revenge chuggers, loose and floating, synth lines underlaid by a distinctive beat, it has kind of a breakbeat feel to it and with the improvising on those synths and melodies on top of it all it’s a true Dub House track.

Summer is here and this record sets the pace and tone! Enjoy!

The Portuguese say that ‘saudade’, the emotional state of nostalgia and the emotional thrills it can trigger, is an extremely powerful thing. It’s certainly hit Tom Trago hard in recent times, with the Dutch producer naming his new self- released single – his first since 2017 – after this distinctively warm and fuzzy heightened emotional state.

Trago’s nostalgia pangs were a direct response to his new life on the Netherlands’ North Sea-facing West Coast, a move that provided the musical inspiration for his 2018 album “Bergen”. While happy in his new home studio, Trago found his mind wandering back to countless happy days and nights spent jamming with friends and contemporaries in his basement studio beneath Volkshotel in Amsterdam.

“Saudade”, Trago’s latest single, was made during one of those all-night Amsterdam studio sessions alongside JP Enfant, a DJ/producer best known for his residency at De School and releases on his LET Recordings. The A- side “Main Mix” fizzes with excitement and the possibilities of the night ahead. Sentimental, emotion-stirring chords, lilting lead lines, chiming melodies and ecstatic electronics rise above a chunky, hot-stepping drum machine rhythm. It’s nostalgic but immediate: a musical marriage of two giddy producers living for the moment.

On the flip you’ll find the “Ambient Mix” set to soundtrack slow-burn sunrises the world over. All immersive synthesizer chords, yearning musical motifs and seductive melodies, it sees Trago delivering a suitably tactile and loved-up soundtrack with which to usher in the dawn of a new day.

Back in stock!!


Reissue of this HEAVY Ghana disco / rap / boogie tune..., BIIG one!! Comes with a instrumental cover version by Welsh group Drymbago on the flip..

Soundway Records reissues Free Youth’s long sought-after 1985 single “We Can Move”, their only release - fully restored, remastered and available for the first time on digital and 12” vinyl. “We Can Move” is the first known iteration of Ghanaian hip hop, emerging at the dawn of ‘hip-life’ (hip hop meets highlife).

Free Youth comprised three main members: Terry “Sir Robot” Bright, Lenny “Nii Addy” Dimple, and Abednego “King Abed” Ayim Bright. In the early 80s they began performing in clubs and parties across Accra, with friends and other dancers occasionally joining them on stage – including Reggie Rockstone, who later went on to find commercial success.

In 1985, the band were approached by a producer and invited to record at a local studio. Without having written down any music, Terry, Lenny and Abed sang the parts and beatboxed the rhythms to the session musicians prior to recording. Out of this session came “We Can Move”, a blend of hip-hop and Afro-funk with a proto disco-boogie beat, punchy trumpet riffs and melodic rapping.
Included in the Soundway reissue is an exclusive instrumental cover version of “We Can Move” from Welsh ensemble Drymbago. This replaces the original B side track “Freedom Video Centre”, which was an advertising jingle for a business associated with their former producer.

Balmagie Jam Rock consists of 16 unreleased dub mixes from the dub master King Tubby. All the original songs were written and produced by Roy Cousins from the Royals. Featuring a virtual who's who of reggae from the classic era -- Sly & Robbie, Lloyd Parkes, Pablo Black, Lloyd Charmers, Ansel Collins, Earl Lindo, Tony Chin, Geoffery Chung, Ernest Rangin, Earl 'Chinna' Smith,Bobby Ellis, Tommy McCook and many more. With the voices of Prince Farl, I Roy, The Royals, and Baba Dread. Recorded between 1966 and 1979 at Dynamic, Channel One and Randy's studios, mixed and voiced at King Tubbv's.

Southern Lord announce the next Caspar Brötzmann Massaker reissues in the ongoing series, continuing with Der Abend Der Schwarzen Folklore and Koksofen this July. Read on for more insight into these albums, and for information about incoming live dates supporting Sunn O))).

Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 years. With his Berlin-based trio Massaker, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental ‘sonic waste’, such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving. 

Even today, as the art of noise has reached a level of sophistication that no one could have imagined 30 years ago, Caspar Brötzmann Massaker’s music is resoundingly singular. Ultra heavy riffs and beats, ominous tribal chants and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling.

Koksofen (which translates as blast furnace), originally released in 1993, has become one of Massaker’s most popular albums. Like it’s predecessor, ...Schwarzen Folklore, the album took shape in Massaker’s rehearsal room below the Berlin subway station Schlesisches Tor, and was recorded at Conny Plank’s studio near Cologne, with Plank’s former associates Ingo Krauss and Bruno Gephard producing. 
 
There’s a different kind of intensity to Koksofen. The features of Massaker’s sound are in full bloom.  Mountainous noises tower up and crash down, and tormented sounds rise from ominously seething grounds, haunting the entire song-scape. The feel of doom and dread hangs heavily over the five songs, and the title song rumbles, shrieks and wails, plagued by Caspar’s guttural growls of war, suffering and death.
 
Caspar recalls one anecdote from shortly after the original release whereby Bassist Edu Delgado called him asking to turn on the TV, thus discovering that “Hymne“ was being used as background music to a report about the death penalty in the US. A different kind of intensity indeed. 
Reflecting on the album to this day Caspar remarks “Koksofen is still a mystery to me,'' he continues “I can still feel the troubled times in these songs.” - the effects are certainly potent for the listener too. And the album undoubtedly affirms Massaker as the fiercely original and compellingly raw musicians that they are.  

Platform 23 returns with the reissue of songs from Canadian project, Vini Vidi Vici. With just one privately pressed mini-album in 1989 that bridged the gap between the later years of New Wave and the early vestiges of House, the music included in this edited EP highlights a thriving Montreal scene in its heyday.

Vini Vidi Vici was created out of two different music backgrounds. Paul Klopstock was a classical pianist, while Mario Langlois was a DJ, self-taught musician and radio producer, who came together when both worked at the underground arts / club Le Lezard. Starting in 1986 the space mixed painting, drag shows and bands alongside the latest alternative sounds, from Rap to New Beat, Electro to Acid Jazz.

As House and Techno started to filter through, Mario (aka Ave Mario) and the other resident DJs laid the ground of what was to come. From this Paul and Mario collaborated from late 1987 through in to 1988 and created the mini-album, however this EP concentrates on the duo's self penned work.

Recorded at Oliver Sudden Production studio, the A side is made up the raw House of 'Club Stuff" and Native American meets avant percussion of 'Vini Vidi Vici'. Showing a confidence and experimentation beyond their years, the two tracks production and all round hypnotic danceability, highlight why original copies are so prized (and expensive).

The B side follows with two tracks recorded in Mario's home closet studio. Lo-fi to the max and improvised, the no wave / world beat experience of title cut, 'Ou Sommes Nous' and the proto-electro-wave of 'AA HHH' are like something again, a mesmerising fusion and quite unique.

Self pressed, the project ventured to live performance and (sadly unreleased) remix work, before the partners went their separate ways, however this archival document can be seen as their own special conquest.

Recorded on 27th May 1965 at the Van Gelder Studio, Englewood Cliffs, New Jersey.Recorded right in the middle of Dexter’s golden Blue Note period. Featuring an all-star band of Freddie Hubbard (trumpet), Barry Harris (piano), Bob Cranshaw (bass) and Billy Higgins (drums). Dexter’s take on the famous ballad ‘I’m A Fool To Want You’ has become one of his trademark pieces. Elsewhere, the album features three fine Dexter originals (‘Hanky Panky’, ‘Jodi’ and the title track) plus ‘Devilette’ and ‘Lady Iris B’.

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

“Acid Sensible EP” released by Johnkôôl Records is a compilation of tracks composed by french producer Botine (already seen on Acid Avengers Records) along those formative years. It is truly the fruit of back-and-forths between the stage and studio environment from 2013 to 2016.

The term Acid Sensible first appeared in Clément’s graphic work as he developed his musical adventures. It’s a tale in which pets, organized in a micro-society produce music that will free them from humans and their alienating lifestyle. Acid Sensible is how they name that musical genre they created and that Botine appropriated himself. Built on a complex mix of influences, Acid Sensible is a careful and melodious pop balance between new-beat rhythms and meditative sounds sourced from IDM, Braindance, Psychedelic Rock and Krautrock.

Most of the tracks on the EP were composed on analog devices. The recording was done in one take only, thus preserving its powerful esthetic sourced from the live environment.

The trumpet/flugelhorn legend’s 1960 album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey, on 19th June 1960. Featuring Tina Brooks (tenor sax), McCoy Tyner (piano), Sam Jones (bass) and Clifford Jarvis (drums). Features classic self-penned pieces such as the title track and ‘Hub’s Nub’, plus unique takes on the standards ‘But Beautiful’, ‘All Or Nothing At All’ and ‘One Mint Julep’. Produced by Blue Note co-founder Alfred Lion.
The famous album cover designed and photographed by other co-founder Francis Wolff.
Liner notes by the much-respected, recently-deceased jazz writer Ira Gitler.

Returning for his third appearance on Frigio, Maurizio Martinucci (aka TeZ, Most Significant Beat and permanent member of Clock DVA since 2010) introduces one of his darkest works to date. Forged in his studio/lab in Amsterdam, the Italian artist casts three works of industrial paranoia with none other than Clock DVA delivering a very special remix.

The same intensity, the same fevered energy that permeated Dusk, is plain to hear in this production. Pulsating drums are pierced by metallic groans and choking voices for the alienating assault that is “Amna.” Clock DVA take on this factory floor demon, soothing and reworking the original. Keys cascade against throbbing basslines and stuttering rhythms, vocals by Adi Newton taking the form of a poem that circles and swoops in a track of brimming with a primal force. Stalking chords introduce “Dene.” A lancing beat lashes a lone string, static and resonance building as layers of machine noise make their inhuman presence known. The end comes from the hull of an abandoned ship, or so it sounds. Aquatic echo swirls around a spread of sunken snares, shrieks and slicing through the crash and squeal of wrought iron. Primordial music from the mind of Pragma.

The guitarist’s acclaimed 1961 debut. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey, on 28th January 1961. Featuring Baby Face Willette (organ) and Ben Dixon (drums). A smouldering soul-jazz/organ trio classic. Featuring three Green originals (‘Miss Ann’s Tempo’, ‘Blues For Willarene’, ‘A Wee Bit O’ Green’), one Willette tune (‘Baby’s Minor Lope’) and two standards (‘Ain’t Nobody’s Business If I Do’, ‘Lullaby Of The Leaves’).
Cover photographed by Francis Wolff and designed by Reid Miles.
The first of Green’s 30 Blue Note solo albums and over 30 appearances as a sideman.

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

Dark Entries continues celebrating our 10 year anniversary with ‘Preservation Bias’, a compilation of lost songs and rarities from Linea Aspera out June 28th. The group formed in London in November 2011 by Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for producing, recording and mixing the electronics. We released their debut self titled album in June 2012 that was followed by a posthumous vinyl reissue of their tour cassette “II” on Weyrd Son Records in 2013. For all recordings Ryan utilizes an analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from 1980s electronic body music, synth-pop, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera is the muscle attachment on the back of the femur and translates to 'rough line' in Latin. ‘Preservation Bias’ features all three songs from the limited ‘II’ tour cassette EP, four songs from the 2012 self-titled limited cassette EP and one song from the Desire Records 2013 compilation ‘And You Will Find Them In The Basement’. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each LP is housed in jacket designed by Niall Greaves and includes a double-sided insert with lyrics.

L’Illustration Musicale, Sonimage, Técipress-In Editions (Timing), Musax, Freesound,
Montparnasse 2000 in France but also De Wolfe and Chappell in England, every of these
sound illustration labels have in common to bring out as a legendary spectre the name of Jacky
Giordano and his aliases. Widespread practice in the library music world, Joachim Sherylee,
chosen for the In Motion album, is one of his plentiful aliases (with José Pharos, Jacky
Nodaro, Gruppo Sounds, Rubba...) used by the french composer, that we regain as well for
Black Devil with Bernard Fèvre or even for the Shifters with Yan Tregger.
For his enthronement on the mythical English label De Wolfe, it's under the obscure name of
the Rubba collective that Jacky Giordano aka Joachim Sherylee sneaked in the londonian De
Wolfe studios with the companionship of British colleagues such as John Hyde (aka John
Saunders, James Harrington, Astral sounds or even Wozo) and his wife Monice Hyde (aka
Monica Beale), Alan Howe (aka John Collins), Robert Poole and Tim Broughton.
Published in 1980, the In Motion: Modern Progressive Group Sounds Played By Rubba LP
and its minimalistic and utilitarian red record cover which contains 13 tracks, mainly composed
by Joachim "Giordano" Sherylee and was never reissued since then. This record became cult
over time; it will have taken that the Hip-Hop world seizes it in order to dig out from the
disregarded and underestimated musical gems graveyard. First of all with beatmaker Madlib
and Freddie Gibbs in 2011 with the track “Thuggin'”, in which he sampled the track “Way Star”,
also used more recently by Mil and the rapper Westside Gunn on his track “Brains Flew” by
(1964 Version).
Nearly 40 years after, the Farfalla Records label, after publishing Timing Archives, presents
another aspect more progressive and psychedelic of the multi-faceted composer Jacky
Giordano by fully reissuing at last this coveted, mysterious and mesmerizing "Rubba". Very
desired by crate-diggers, In Motion appears in the want-list of plenty enthusiasts in this
enigmatic world of the library music. (Erwann Pacaud)

George & Glen Miller’s 1979 hit “Easing” - encapsulating late 70s New York in its blend of disco, soul and Caribbean soca... BIG tune! Version on the flip..

The Miller brothers’ musical journey began in Trinidad and Tobago in the early 70s. During their teenage years they formed The Groovy Millers - a five piece band made up of George, Glen and their three siblings. After a chance meeting with Lord Shorty, they went on to collaborate with one of the Soca stars of the time and firmly plant their feet in the Soca scene of the musically rich Caribbean island.

Of the five siblings it was George and Glen that pursued a career in music, and in the late 70s the two brothers made the move to North America to develop their music style. Disco dominated the airwaves at the time and a studio session with the prolific Frankie McIntosh resulted in the masterpiece that is Easing. Drawing influence from the blossoming disco and soul scene, George and Glen added Caribbean flavour to the New York sound to startling effect. Soft, subtle keys and guitars are punctuated with layered trumpet and violin riffs, complimenting George’s silken, restrained vocal. Frankie McIntosh’s arrangement shines through with what might be his finest work, placing this track on the mantle with other New York classics of the time.

This is a serious collaboration, two internationally acclaimed artists joining forces on a series of new recordings and live shows showcasing the unending diversity & innovation present in UK Reggae & Dub.

First up is “Sound System Girl” - digging deep into Sandra’s Sound System History on a future sounding re-cut of the Cuss Cuss Riddim , on the flip side ‘Fyah Bun’ is stepping spiritual dub music at it’s best.

Sandra Cross needs no introduction, she is a true legend whose career begun at the age of 14 with a no.1 hit in the UK Reggae charts. Since then she has gone on to be one of THE defining female voices of British Reggae. Sandra’s award winning career has seen her hook up with the likes of Mad Professor and Sly & Robbie for a near endless round of hit singles & albums.
Vibronics, the future sound of dub, have been vibrating the world with bass since 1996. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label as well as a host of albums, singles and remixes for a myriad of other labels such as Jarring Effects, Dubhead and Jah Tubbys. In the studio they have worked with Michael Prophet, Iration Steppas, Macka B, Aba Shanti, Brain Damage, High Tone, Big Youth, Gaudi and an almost endless list of dub & reggae luminaries.

New LP from French beat-makers La Fine Equipe featuring Illa J, T3, 20Syl, Mr J Medeiros, Georgia Anne Muldrow, Fakear ...

Let's be clear: La Fine Equipe is a band. The numerous hats wore by its four members are so various that it could mislead one's. Indeed, surrounding Blanka, oOgo, Chomsky and Mr. Gib, there are recording studios, collaborations, lives, side-projects... There is also and especially a whole universe built during the past ten years around their passion for beatmaking, embodied by the release of « 5th Season », new album.
So yes, La Fine Equipe is a band, but it's also much more than that.

Since their creation in 2006 and their first album « La Boulangerie » two years later, the four producers became inevitable when you think about a new scene breaking the barriers between musical genders. Hip Hop is at the heart of their craft, corner stone of their musical background and inspirations where the paths of J Dilla, Madlib, Flying Lotus, Kaytranada and the turntablists A-Trak, C2C and Birdy Nam Nam are crossing ways. Two things gather La Fine Equipe and those big names, the constant need of collaboration with other artists, and this thirst of discovery, main feature of the digger.

From 2008 to 2014, La Fine Equipe mastered its craft with the « Boulangerie », compilation gathering 34 beatmakers on 113 tracks. They also work on the creation of the label Nowadays Records (Fakear, Skence, Unno, Clément Bazin, Leska, Douchka...) and released more than 75 EPs and LPs in five years.
With an outrageous number of shows across the world, tour in Asia, South America, collaborations with several international artists... Their success changed the game: Whereas many producers coming from this environment where isolated, La Fine Equipe federated a growing scene and became its reference.
After years spent paving the way for other artists and creating a structure that could support the growth of a musical scene, they decided to go further and launch a new era with « 5th Season ».

Because the band works with eight hands and four brains, there's nothing surprising in the fact that the album sounds like a condensed of each and everyone inspirations and experiences, from hip hop and sampling, to electronica, jazz and Latinas inspirations. If homogeneity is the new trend, La Fine Equipe isn't ready to sacrifice its wishes to fit the mould.

« 5th Season » is also a glance at the world looking over our planet's current state, the cosmos, the vegetal and these things that are greater and stronger than us, and the things and behaviour that could led to our loss.
It's an almost apocalyptic vision of our future, but full of optimism at the same time. There is something solar and cinematographic in this album, a format that goes beyond the one chosen before, closer to playlist and compilations such as the three Boulangerie opuses remind us.

Loyal to their status of ambassadors, the four beatmakers keep on inviting other artists to complete their universe. Illa J and T3, respectively brother and partner (Slum Village) of the late J. Dilla, make the connection between a glorious past and the future embodied by La Fine Equipe on the track « The Source ». With « Aurora », it's the solemn and mystical voice of Madjo that take this electro-pop track to another level. The American rapper Mr. J. Medeiros on the boom bap anthem « What Eva », the Montrealer ZeFire on « Typical », each and every artists brings its stone to the edifice of « 5th Season », giving to the album a limitless and freed musical richness.

But to release an album isn't enough. In parallel, each member of La Fine Equipe continues to fulfil its multiples tasks and work on a new concept live show bringing a scenic and visual show in addition to their music. It is what the artists looking toward the future do, and La Fine Equipe is looking straight ahead.

_________________________________________________________________________

TRACK BY TRACK

AURORA (Ft. Madjo)
Already remixed by the quatuor on the beautiful track « Choose The Heart », it's Madjo's turn to be invited by La Fine Equipe for a collaboration. Her mystical voice, which fragility paradoxically seems to strengthen its power, turns the track into an epic pop anthem.

NOBU (Ft. Grems & 20syl)
The association of these three names seems obvious, like a family reunion. Grems did the visual of the anniversary box of La Boulangerie, 20syl (C2C, Hocus Pocus) was one of the beatmakers who took part in the project.
This time, the two big brothers are side by side behind the mic, for the first French speaking collaboration of La Fine Equipe.
On this trapy/footwork beat, the two rappers ring the alarm before it's too late to save our house, the earth.

THE SOURCE (Ft. T3 & Illa J)
In the family of Hip Hop jewels of 5th Season, here is one coming from the USA. Fans of J Dilla and Slum Village since the first hour, La Fine Equipe pays its respects to its influences by inviting T3 and Illa J. Respectively member of Slum Village and brother of the legendary Detroit producer, these two MCs build a bridge between the eras and let their sharpened flows confuse our perception of time.

5TH SEASON (Ft. Fakear)
A second collaboration with their little brother from the Nowadays Family, Fakear. Eponymous title, it represents the universe of both entities, true road trip through Fakearians melodies and La Fine Equipe's funk declined in five seasons.

TYPICAL BOY (Ft. ZeFire)
With « Typical Boy », La Fine Equipe express its love for House music with chopped rhythms and a heavy but swaying bass line. The freed track oscillate between power and lightness. A beat that quickly becomes ZeFire's playground. The Montreal singer, already heard on Her's tracks, brings a missing r'n'b touch to create the perfect chemistry.

Coming out of London and the South West of England, Hey Colossus are one of Europe's great live bands. Since 2003 the 6-piece has been driving around the continent with their “pirate ship” backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor’s waiting room in Salford, an industrial unit in Liege and a vast field next to a river in Portugal. Wherever they may roam.

Four Bibles is their twelfth studio album and the first to be released by London label ALTER, whose sole proprietor (the electronic producer Helm) encountered the group at their first gig in 2003. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011’s RRR for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialling down the effects and using reverb / delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics and violin (by Daniel O'Sullivan of This is not This Heat / Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this.

From the weight of “Memory Gore”, to the subtlety and swag of “It's a Low”, via the sonic extremes of “Palm Hex/Arndale Chins” this is exactly as the band are live; raging & rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod...bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul - Hey Colossus have never sounded fresher or more on point.

Picture Vinyl "A balance between things that you know people will like and things that you think people will like" is what John Peel had to say on his BBC homepage about Apparat's music programming concept. Apparat then appeared at the Peel Session in May of 2004 substituting like with die for in JP's statement. Indeed, it's sad but true: John Peel passed away a few months later to a heart attack while vacationing in Peru. Apparat could only find a more fitting farewell mood with the rerecording of his session: a sonic dedication to the huge mentor John Peel from Shitkatapult and their people.

Apparat is known as a fluctuating mood-maker by way of his computer companion. In this case he leaves his garb behind. Apparat swings the composer's stick with emotion to give yearning its segway by conducting pieces of lonely melancholic beauty with godly discretion. New strings are thanks to the violin and cello of Kathrin Pfänder and Lisa Stepf aka Complexácord, whose soul-drenched expression lets your mind sway.

The trio harmonizes with dream-like perfection. It reminds one once again of the experimental modus operandi combining classical instruments with electronic music. Singer Raz Ohara and clarinet/sax player Hormel Eastwood find their chosen virtuous and emotional space on this promising cloud. What remains are warm dark drops of elegiac pop the pour down the back of your heart.

This Apparat John Peel Session was remastered by Bo Kondren at Calyx Studios in February 2019 incl. the digital bonus track - Komponent as Telefon Tel Aviv Remix.
The physical appears as picture disc featuring the wonderful original design by Hanna Zeckau & Carsten Aermes on vinyl.
The original release from 2005 (Strike 153) also contained more Remixes by Bus, Rechenzentrum and Apparat himself.

fter Liquid Liquid disbanded in 1985 I continued to record electronic music at my home studio inEdison,New Jerseybut I decided to mix the songs for "Concepts" at another studio so I could have another set of ears to help with the mixes. I was lucky when I looked in the local music ads that I to find Gabriel Farm Studios inPrinceton,New Jerseyowned and operated by Andy Gomory. Andy was a true talent, a keyboardist and arranger, we hit it off immediately. After he recorded my mixes we would record songs together. Andy played drum machines and keyboards while I played percussion, keyboards, & guitar and we both sang. When Andy and I parted ways in the late 1980's I decided to add both drums and percussion as well as overdubs from guest musicians many of which are included on this album. The albums timeframe ends in the year 2004. The later recordings have a jazz feel to it yet still had dance music elements mixed in. The title track "Primitive Substance" really sets the tone as you hear the great playing of Michael Gribbrook on Frugel horn/Trumpet and Gerry Carboy on bass. Also, my favorite song on the recording "Forgiveness" has David Axelrod (not the famous one) playing beautiful melodic bass guitar thru out.

Special thanks to Euan Fryer of "Athensof the North" for releasing this album. As I listened to the songs I decided to use for this recording it brought back memories of the hours spent adding the extra sounds and instruments to the point where I wanted to listen to them again and again to see what I missed hearing . Keep a close ear this might happen to you after hearing "Primitive Substance".

Thanks for listening!

Dennis Young/April 2019

Project Runaway brings together two of Tel Aviv's new breed of talented DJ / producers in a meeting of tripped out, expansive, psychedelic, club music. Landing on Especial to expand horizons is Met, their debut EP of deep, percussive dubs for late night tribes. A name on many leftfield lips, Alek Lee's journey continues following two acclaimed solo releases for the wonderful Antinote crew and new project, Shame On Us (alongside Naduve and Yovav Arzi) for that brightest star, Hivern Discs. Teaming up with the sound production skills of Stephan Bazbaz they create Project Runaway. Holding down his own citywide residencies, Bazbaz has developed a studio mastery of minimal dub, crispy house and trippy techno via a growing stream releases on numerous labels, as well as setting up his own No Wave records in 2016. After their welcoming, simple, yet wall quacking remix of Persian (EES031), Met, or 'dead' in Hebrew, bring their strands together as one sound. In original form, a vibrating drum takes on bass backbone is broadened with tight layers of percussion overtones and warped vocal interplay. Lee's psychedelic imaginings are a perfect fit across Bazbaz's wide production expanse, before horns raise the heat to extreme. For deeper DJs and big system dwellers, Met (Dub) does as it should, stripping away and opening wide. Hand percussion and vox ride the channels, coming in and out of the mix, while dub stabs transfix and could run for days. A meeting of minds, drums, psychedelics and pure club love.

The inventors of lo-fi indie rock return with a 15-track blast of melodic melancholy, all delivered by the smudged middle finger of Dinosaur Jr original Lou Barlow…

“The auteur of the subterranean lovesick blues.” Houston Press

Their first studio album since 2013’s ‘Defend Yourself’ and their first release with Fire Records, Lou Barlow, Jason Loewenstein and Bob D'Amico return with a smorgasbord of beautifully dysfunctional tunes harking back to their finest college rock anthems.

It’s Barlow at his introverted songwriting best; matter-of-factly delivering a stream of self-questioning stories, punctuated by detuned guitars, spine-tingling time changes and throwaway one liners.
A grainy post grunge postcard wrapped in bittersweet melodies with an aftertaste that’s pure heartbreak.
More songs about growing up wrong for those who continue to act surprised at life itself - all illegibly handwritten and lovingly submitted to vinyl.

- One 140 gram RED Vinyl Disc in plain white paper inner sleeve

- 4/color Single-pocket jacket - shared with 093624903444

- 4/c over 4/c Lyric Insert - shared with 093624903444

- 2/c (PMS 186 + Black) 2.0' x 4.0' FYE Exclusive Marketing Sticker

- 1/c (Black) UPC sticker and affix directly on jacket over existing barcode.

Global superstar Michael Bublé is scheduled to release(pronounced love) as his first studio album in two years on November 16th following a two year break from public life to spend time with his family.

The Canadian singer-songwriter returned to the studio with a new perspective on life and a renewed commitment to honouring the music he has always loved.

I didn't anticipate returning to recording or performing and I was fine with that. My entire world view has changed completely these last few years. I wanted to spend all my time with my wife and kids. That was my focus. During that time, I also learned how much love and humanity is out in the world from the prayers and good wishes we received. But slowly, along with understanding what my priorities in life are, I began to feel a new commitment to express the emotions and lessons I've embraced. Whether I am the narrator, the observer, the main character, the dreamer, the broken hearted guy at a bar or having the night of a lifetime, I have stories to tell on this record. It's all there in the songs. I have had so many blessings in life and one of them is that I hold the torch to keep these songs alive for generations to come. I take the responsibility very seriously. My end game for the new record was to create a series of short cinematic stories for each song I chose and have it stand on its own. I'm so proud of what we accomplished,' commented Bublé.

Bublé co-produced his new album and brings new love to several rich classics from the American Songbook. The album opens with the idealistic and dreamy 'When I Fall In Love.' It also includes a haunting take on another Rogers & Hart standard, 'My Funny Valentine.' Other standouts are an ebullient 'When You're Smiling,' a swinging 'Such A Night' as well as Bublé's hand-picked favorites including 'Unforgettable,' 'Help Me Make It Through The Night,' and 'I Only Have Eyes For You.' Two standout tracks are Charlie Puth's swinging 'Love You Anymore' and an achingly poignant 'La Vie En Rose' -a Bublé duet featuring singer Cecile McLorin Salvant. A touching Bublépenned original 'Forever Now' demonstrates his songwriting skills, which were previously shown in such Bubléwritten hits like 'Home,' 'Haven't Met You Yet' and 'Everything.' The album closes with a show-stopping version of 'Where or When.'

was produced by David Foster, longtime collaborator Jochem van der Saag and Michael Bublé. The trio brought Bublé's visions to life with luscious arrangements surrounding his rich vocals. Michael Bublé has sold over 60 million records worldwide, performed hundreds of sold-out shows around the globe, and won four Grammys and multiple Juno Awards during the course of his extraordinary career.

Mount Liberation Unlimited are Tom and Niklas, two Swedes from space who have spent the last 5 years

carving out a particularly vivid niche in contemporary electronic music. Their previous work has seen them

connect with an impressive list of global dance powerhouses: New York's Beats In Space, Melbourne's

Superconscious and Munich's Permanent Vacation have all released 12'' heat from the duo, while their

hometown buddies at Studio Barnhus provided an outlet for what has been perhaps their biggest and boldest

release yet, 2017's double smash single Double Dance Lover. Their live shows are fervent, fast-paced and very

multi-instrumental affairs, performed non-stop at an increasingly prestigious list of clubs and festivals, serving

as prime examples of the MLU boys' core obsession: the interaction of human rhythm and electronic pulse.

They have their own great little radio show on Gilles Peterson's Worldwide FM! Australia loves them! They

got their artist friend Tom-Hadar Elde to sculpt their heads for their debut album cover!

That self-titled debut, to be released May 31 on Studio Barnhus, has been in progress since the very formation

of the MLU project in 2014. It contains some of their earliest work and of course their very latest – all perfected

at the Neve desk of legendary Gothenburg studio Svenska Grammofonstudion, in cahoots with mix engineer

Christoffer Berg (Depeche Mode, Robyn, Fever Ray).

The result is a sonically fascinating, endlessly generous and straight up FUN record that takes the listener on a

joyride through bittersweet stoner disco, frenzied scando-kraut jams and some of the sweetest dance pop to

come out of Sweden this side of Super Trouper.

The record is preceded by a limited 10'' release of album track Climb Me Up, complete with an exclusive club

mix of the song.

"The Shanklin Sessions came out of the Shanklin Road studio that Andy Sims shared with one of his partners from Soft Rocks, Bobby Coulman.
Acid Jan started it's life as a Jan Hammer edit that Andy was doing for one of Soft Rock's Disco Powerplay releases. There were a few parts that never made the final cut, but were too good to leave, so Andy got friend Jaime Read in to jam with the left over bits, and from that Acid Jan was born (none of the Jan's original parts made it to this finished re-incarnation).
Acid Jan found it's way onto Cynic label boss Felix's USB and subsequently was played at every festival/club that Felix played for about a year. When Andy heard Felix playing it at Alfresco Festival in 2016, they decided to release it on Cynic.
In search of a B side for the release, Andy dug out the other DAT's from the session Acid Jan was recorded at, and found Sitars over Shanklin, a suitably oddball track to grace the other side.
A little piece of Chicago via India recorded in Brighton."

third reissue of fumio itabashi on mule.

“rise and shine live at the aketa’s” is his 2nd release on 1977 which is recorded at legendary jazz club in tokyo.

but this album was actually recorded before his first release “toh”, so this album is his first album in fact.

“jumping board” on a side is japanese hard bop classic and itabashi’s cover version of “my funny valentine” is very sweet and elegant.

main track(for us)” rise and shine” is one of his best work. it reminds us pharaoh sanders if he plays piano…

limited initial press. don’t sleep!

Lloyd Parks is one of the greatest bass player in Jamaican music history, but he’s also a brilliant singer. He started his singer carrier in 1967 at Studio One with The Termites and then had numerous hits with songs like “Officially”, “Slaving”, “Ordinary Man”, “Mafia” or “We’ll Get Over It”. In 2013, Fruits Records producer Mathias Liengme travelled to Jamaica to record The Inspirators album, an all stars group gathering Leroy “Horsemouth” Wallace, Lloyd Parks, Earl “Chinna” Smith and Anthony “Sangie” Davis playing and singing together. Taken from these recording sessions, Lloyd Parks’ “No Bother Chuck It Pon Me” is for the first time available on 7” record including a wicked dub version on the B side by Roberto Sánchez.

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

* MIRAGES is the brainchild of Jean-Benoît Dunckel(AIR) and Jonathan Fitoussi.
* Spawning from Xavier Veilhan’s Studio Venezia at the 57th Venice Biennale and completing in Jean-Benoit’s studio in Paris.
* Collaboration between Jean-Benoit (AIR) and Jonathan Fitoussi.
* 12″ 180g heavyweight clear vinyl
* White printed artwork by Jean-Philippe Talaga
* Photos by Diane Arques
* Ltd Ed. of 500

“Synthesizers amassed through the years, which on this album, conceived with precision and care over the course of one year, reveal their essence –and more importantly, their soul, going from very cinematographic parts to very direct others. Between start and finish, a singular floating and inventive pop music unfolds. An upgraded form of instrumental electronic music, that takes the listener very far, and very high, perfectly mixing both musicians world, like fruitful pictures arisen from a desert that forgot to be arid. Their mirages are inventive, their mirages are fertile.” Joseph Ghosn

Meda Fury welcomes Tom Wrankmore aka Eliphino to the imprint for a stunning EP of thunderous breaks, 303’s and serious sub-bass pressure. Hailing originally from the Leeds, but with wider travels to settle down in both London and Berlin, Wrankmore’s music embraces hip-hop, rave, and UK garage. He now serves up
a pungent confection pitched between the Hessle Audio crew, Joy O and Demdike
Stare’s most recent efforts. Having released heaters for Brownswood and Hoya Hoya over the years, Eliphino now debuts as part of the Meda Fury family with the Realistic Sex EP.

Wrankmore has been locked away in his studio for the last 1.5 years, abstaining from gigging and releasing records to knuckle down and produce, emerging with a new darker edge and a much more hardcore sound. Tom explains: “The theme of the EP
is trusting your intuition in an information flooded world. I’ve collaborated with visual
artists Tom Pounder & Jon Harris who have created two videos for the release, one for Disc Rhythm and one for Realistic Sex." Meda Fury boss Nick Williams; “Tom's new music epitomises to me what modern club tracks should sound like - wild, energetic, deadly. He’s discovered his own dark new world of sound fusing breakbeat, acid, speed garage and even industrial stylings”

This the first release of this newly formed label, product of the studio collaboration between the experienced music duo.

A1 holds a special place since it was one of their first productions, defining their sound and workflow in the studio. Driving energy, crispy drum sounds and well crafted pads make this one a perfect track for the early morning hours. B1 is one of these tracks that stay glued in your mind and you can't stop humming their melody. Evolving basslines, forceful kick drums and an elegant lead make 'Backup' one to remember. B2 is showcasing the duos attention to detail when it comes to minimalism in music making. Few elements arranged in a way that make the track progress flawlessly to a proper mind bending groove.

Focus and hard work ethic are the key elements of this collaboration. During endless studio sessions the duo has defined their characteristic sound and more material will be coming out soon. Staying quiet. Working hard. Together

'Boomerang' was first recorded in 1979, when the Broomfield Corporate Jam leader was attempting to plot a solo career. It was the first cut Aaron Broomfield recorded under his own name - Initially, at the family band's home studio, Kilimanjaro, and later at professional studios in L.A and Miami - but it was never released.

'I always wanted to be able to share 'Boomerang' with my fans some day - I didn't release it back then because I thought the time wasn't right,' Broomfield explains. 'It was so different to what was considered commercial then and felt ahead of its time.'

Before deciding against releasing it, Broomfield had two test pressings made. It was the accidental discovery of the
one remaining record by digger Arun Brown (the other perished when Broomfield's Kilimanjaro studio was damaged by a fire in 1996) that set in motion the chain of events that finally led to its release.

The jacket boasts a written essay by Broomfield himself, telling the remarkable story behind the song. The wax
features the two versions of Boomerang, of which both were meticulously restored and re-mastered by celebrated
Australian sound engineer, Dan Elleson.

Head to side A for the 'test press' version, a cosmic, starry-eyed chunk of elastic Miami disco-funk where the
Broomfield family's killer instrumentation - all rubbery bass, deep space synths and crunchy Clavinet motifs - arcs
around the sound space like a boomerang in flight. The vocal arrangement, in which Aaron Broomfield's conscious
lyrics come through loud and clear, brings it home. On the flipside, you'll hear how dynamic the band was through the

'Demo Version' - a relaxed, loose and spacey groover that sounds as ahead of its time in 2018 as it would have when it was recorded in 1979.

'Benjamin Lew was an enlightened amateur, in the noble and almost Renaissance-like sense of the word: he dabbled with equal grace in photography, writing, visual arts ... and worked part-time as a cocktail mixer in a tropical bar which was one of the favourite watering holes of Brussels' thriving artistic community of the early '80s. Tuxedomoon had just moved to Brussels, and Steven Brown was among the many musicians, designers & artists who patronized the bar. Benjamin had a secret passion: he wasn't a musician, but had acquired a small analog computer, with which he had started creating these strange mysterious little pieces. Benjamin played them to Steven and asked him if he'd agree to record with him. Steven was taken with them and accepted. The Douzième Journée was largely created in the studio by both protagonists, with the help of Gilles Martin and myself, in the spring of '82. Listening to his albums (he went on to record four more with Crammed) is like embarking on a dream journey to the Sahara or the Far East. You'd think that some of the pieces feature non-European musicians or samples but: no... this is just Benjamin's imagination, his synths, and his friends...'

Marc Hollander, Feb. 2019