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As humans living on the planet today, we have become so removed from our original, natural habitat—the forest—that we forget our wild roots, our primal, animal origins. Music is one of the things that can bring us back to that place, that can put us in contact with a felt world of instinct, immediacy, and presence: a world where language and the problem-solving mind are not needed, where the music keeps your mind and body in the present moment, and the point of dancing becomes the dance of our inner wildness and animality itself. Hans Berg's Sounds of the Forest Forgotten affirms that music can bring us to a state of mind and body that can help us feel what we've forgotten from the forest. The overlaying project of the album is to conjure musical and conceptual resonances between mysticism and nature, summoning the incredible depth and force of nature that we usually miss, especially living in contemporary urban cities. Sounds of the Forest Forgotten channels the creativity, playfulness, and freedom of a life both before and beyond ours through the sounds of analog and digital synthesizers, a modular system, drum machines, and computers. Recorded between Hans's studios in Berlin and on the Swedish countryside, the album similarly shuttles between contemplative and ecstatic, between delicate and powerful, mixing sublime psychedelic techno compositions like 'Emerald Sea' with acidic dance-floor bangers like 'Storm' and 'Milk Thistle,' all nestled between contemplative and textural ambient compositions like 'Butterfly' and 'Glow Worm.' Berg is known for his enthralling productions and energetic livesets that capture dance floors with his particular brand of hypnotic techno, replete with angular lines, affecting melodies, pulsating basslines, and big drums. He also produces atmospheric scores and ambient soundscapes to accompany the video art and installations of long-term collaborator and celebrated artist Nathalie Djurberg. Berg's live sets have found a home in nightclubs around the world, with recent gigs in Berlin, Stockholm, New York, Tokyo, and Melbourne, to name a few. In addition to 2MR, he has released his solo work on record labels including Ian Pooley's imprint Montage, Klasse Recordings, and The Vinyl Factory. His ongoing collaboration with fellow Swede Johanna Knutsson - as Knutsson/Berg - has led them to start the label UFO Station Recordings, on which they release their own material. The duo also has released on labels such as Idle Hands, Default Position, Kann, and Random Island.

Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

Just four years after their debut album Carbeth, Trembling Bells are amassing a formidable body of work at a startling velocity. Just twelve months after the release of their critically acclaimed third album The Constant Pageant, the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells' drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts' No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie 'Prince' Billy band. The drummer's eagerness to experience new epiphanies yielded unforgettable memories. In Big Sur, he recalls, 'we took mushrooms at midnight, then visited a natural hot spring built into the dramatic cliffs overlooking the Pacific Ocean. The stars were as vivid as frozen fireworks.' All of which is worth dwelling on, because without that background of mutual openness and empathy, it's hard to imagine The Marble Downs existing.

Neilson recalls a conversation about a 'collaboration' in the summer of 2010, though stresses that it 'was nothing too formal at first'. By the end of that year, a limited-edition seven-inch New Year's Eve Is The Loneliest Night of the Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren't terribly helpful this time around. Yes, Trembling Bells' love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, My Husband's Got No Courage In Him. Then there is Blackwall's musical setting of Dorothy Parker's poem Excursion Into Assonance — and the thorough-going new-found classicism of Neilson's increasingly assured songwriting. Albeit delivered with Trembling Bells' rain-lashed sense of abandon, Love Is A Velvet Noose sounds like a standard of sorts — a warped consequence of Neilson's increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. 'I'm not saying I stand any chance of emulating them,' he adds, 'but the appreciation is definitely there.'

The knowledge that Oldham and Blackwall would be sharing centre-stage on The Marble Downs gave Neilson extra impetus to flex his songwriting muscles. I Can Tell You're Leaving finds both vocalists on irresistible form, dissecting their dying relationship with no heed to the other's feelings. 'You treat me like a child,' sings Oldham. 'I need a man,' she responds, barely catching breath. 'Now like Merle Haggard, you'll see the fighting side of me,' he later promises. 'I guess that's one of the lighter moments on the album,' ponders Neilson, 'I was trying to get a Planet Waves-era Bob Dylan feel there, with the piano and walking bassline.'

Here and elsewhere, the band — Blackwall, Neilson, bassist Simon Shaw and guitarist Mike Hastings — has never sounded more psychically attuned to one-other. On the slow-reveal sonic establishing shot of I Made A Date (With An Open Vein), two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. The electrifying free-folk portent of Riding — a revival of the Palace Brothers classic — is no less compelling, calling to mind the words of broadcaster Stuart Maconie when he praised Trembling Bells for their ability to invoke simultaneously 'the charm of folk music and the power of rock.' Ditto Ain't Nothing Wrong With A Little Longing, in which Neilson slams down a four-to-the-floor beat over a synergy of demonic krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue.

With nine songs gone and one remaining, the album's sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb's 1970 solo masterpiece Robin's Reign, Lord Bless All sees Trembling Bells tease out the hymnal qualities of Gibb's original with a slow volcanic upswell which — on four minutes — explodes into heavy psychedelic technicolour. What pleases Alex Neilson when he listens back is 'a sense of a common vocabulary and identity being forged.' If, by that, he means that there isn't another band on the planet that quite sounds like Trembling Bells, it would be hard to disagree. The evidence is right here.

'I didn't know anything about Trembling Bells. I just heard them and was knocked out. I instantly became a fan.' Paul Weller

'Trembling Bells are my kind of band.' Joe Boyd

"Jesus fucking shit! These jamz claw so hard at the tatties below methinks the Lord misnamed them, having intended to say Trembling BALLS." Will Oldham

'A poetic incantation of British identity far brighter than Michael Gove's GCSE syllabus.' Stewart Lee

'This time, I'm attempting to reclaim the art of songwriting from the charity shop bargain bin.' Alex Neilson

Virtuoso compositions, subtle synthetic atmospheres, voices oscillating between pure intentions and dreamlike fantasy, a confusion of feelings and desires, time and space...Garden of Love, the 3rd album by electro duo Scratch Massive makes an impression from the first moments that you hear its enigmatic beauty. Like a ghost train moving along a tightrope - between shadow and light, failure and redemption, violence and melancholy - this fourth studio album reaffirms the Parisian DJ/Producer duo style/vibe with their hybrid sounds and sensory experiences. For 15 years, Maud Geffray and Sebastien Chenut have maintained artistic and aesthetic control as they participated in the 'revolution of the dancefloors'. In the early 2000s, 'Made in France' electro became known for its hedonism and as the savior of an entire techno generation ready to fight (or at least on the dancefloor!) for a future that was increasingly frustrating and hypothetical.


On first glance, Garden of Love, appears to be an invitation to love and peace, however, nothing is ever that simple, as the album cover evokes a multitude of interpretations. The lyrics speak to the depths of the soul, covering a range of emotion from love, emotions, and fears ... Garden of Love is for our hearts and bodies to become receptive again: the disenchanted poetry of the Last Dance, the sumptuous opening track set against a backdrop of electro-pop murmured in the light and shadows as painful caress; the psychedelic scent of Sunken (a duet recorded with the complicit and poisonous voice of Léonie Pernet); and the dark-tech shores of "Fantome X" with the evanescent and hypnotic pop clarity of Feel The Void (both magnified by the vocals of Romain Thominot of the Reims pop band Grindi Manberg). Scratch Massive draws the outline of an electronic music in search of redemption - reinventing their icy grooves and confronting it with a naive elegance and a disillusioned romanticism that embodies our time.

Alex creates with Tum Tum the soundtrack of a dreamed teen movie and sings for the lonely hearts that beat behind their screens.

The hero of this film ventures into the meanders of a digital jungle, a digital psychedelism where words come into resonance with sounds, structures deform, because behind the pop evidence of Tum Tum lies a desire deconstruction of pre-established forms.

As much influenced by the break-up songs of the Everly Brothers as by Ryuichi Sakamoto's compositions, by Kitano's films, and by Ninja Kids, Tum Tum is a map of Alex Van Pelt's influences that finds its form in an intimate patchwork.

"The simplest line is always the best," he says in the song Endless Rain that closes Tum Tum. A formula worthy of Lao-Tseu, which sums up well the poetics of the guitarist of French band Coming Soon, Alex Van Pelt: it is in a refined language that responds to the kaleidoscopic profusion of his music that Alex tells these eight romances, in search of a Way to to follow. We listen to it with pleasure, and let it guide us through the labyrinth of our mediated lives.

A fresh balearic production born during summer 2018, while breathing our hometown's tropical breeze in Italy.

Khalab's 'Album of The Year' has been re-worked!

Ahead of a full remix LP (Summer 2019) On the Corner have opened the vault on 2019 hitters.
This 12' scorches the terrain built by 'Black Noise 2084'.
Hieroglyphic Being dominates the dancefloor with his 10 min sweater.
Afrikan Sciences launch off from Khalab's afrocentric soundscapes into a futuristic cosmos.
Blood, Wine or Honey strip it back, break it down and leave bassments trembling with the
weighty jungle blows.

After a stellar year for Khalab and On the Corner these three remixes bring knock-out blows
for 2019 dancefloors.

Hieroglyphic Being's 10 min sledgehammer shakes the floor as the mythical producer runs a
profound groove with three 808s pummelling the spine of Khalab's track.

On the B side, Afrikan Sciences uses the Afrocentric theme of the original to strip it back and
propel it into the cosmos.

Khalab's 'Black Noise 2084' has already racked up 'Album of the Year' status and we're giving
you a first glimpse of this earth scorching, dance destroyer that will prepare an onslaught for
2019.

The second album from SpaceArk. More brilliant self-released, private-press jazz/soul from 1976 Los Angeles.

'SpaceArk Is' came out on Color World records in 1976, on a limited run of about 5,000 copies. It followed their self-titled debut (also available now on Mr Bongo) on the same original label, the year before.

For a handful of years in the Seventies, SpaceArk was one of the most promising and electrifying bands in Southern California. Although their music was far greater than the sum of its parts, those parts made for a very original style. R&b, soul, rock, pop, jazz, classical ... it all came together in blissful stream of intricate compositions that swept up crowds from US military bases to Northern Soul clubs around the UK.

SpaceArk wrote and performed more than 100 songs during their time together. Most of them were not recorded and are now either lost or forgotten.

Official Mr Bongo reissue with liner notes by Amar Patel. Licensed direct from Peter Silberg.

It's been a minute since we heard last from Montreal's CLARIAN on KOMPAKT (KOM 356 - ANKH EP ) but by no means has his universe stopped expanding as he released the 2017 full length SYNTH WAVE (BALANCED) and collaborated with TIGA on STAY CLOSE and THEY JUST WANT 2 B U (w/ JAMIE PRINCIPE and FELIX DA HOUSECAT) singles. We welcome back CLARIAN with TIME SAFARI. The majority of the EP was a 2 year long process from recordings made in South Africa as a team effort ofRICHARD MARSHALL, BLANE VENTER and of course CLARIAN (along with many locals along the way) with the 'ambient aspect' of the EP finished in India in summer 2018. By no means is this EP to be perceived as experimental recordings as each club track has a theme that is loyal to the dance floor with a goal of incorporated ambient recordings to create an immersive environment. The aim CLARIAN has with TIME SAFARI is to attempt to empower the idea that club music can go beyond simply being labeled as a genre and club motif but can also explore alternative, creative and most of all be a conduit to bring unity through all variations of art mediums into the night life scene. The ambient aspect of TIME SAFARI is CLARIAN's homage to his heroes. Think if TUXEDOMOON collaborated with CARL SAGAN to create a weirdo version of COSMOS. In the case of this EP - a mega brief journey of human evolution through South Africa.

Naeth makes his debut on new Irish label Move Slow Records following an EP release on Memphis label Future Everything in 2017. The Dublin-based producer wears his 90s and early 2000s influences on his sleeve and has delivered something truly special with this two-track house EP that journeys into breaks.
Produced in the middle of a rare Irish heatwave, the title track Poolhall Lovers brims with the optimism of school day summers, while the B-side It's My Job veers into the more sombre side of this promising young producer's talents.
The release is accompanied by artwork and a series of animations by Mason London (former Boiler Room art director).

As Metronomy work on their forthcoming sixth album, they take a moment to reflect on the 10th anniversary of their breakthrough album 'Nights Out'. Metronomy's Joseph Mount has delved into the archives for 'Nights Out: 10th Anniversary Edition' which will be released on February 8th on Because Music.

It features the original critically acclaimed album alongside a second LP which expands upon Mount's vision with a set of unreleased demos, rarities and b-sides - many of which make their first appearance on vinyl. Two of the highlights come with alternative versions which have become staples of the Metronomy live set: a bedtime dub version of 'Holiday' which takes it into a darker, glitchier direction, and a French-language version of 'Heartbreaker'.

Mount's Francophile leanings are also explored in Breakbot's remix of 'A Thing For Me', which contrasts French touch vibes with Mount's distinctly English-accented vocals. Previously issued on an exclusive Rough Trade bonus disc, 'Over' is an instrumental of cinematic scale, while the disc closes with four previously unreleased demos including the leftfield minimalism of 'Das Booty'.

Although Metronomy's 2006's debut album 'Pip Paine (Pay The £5000 You Owe)' was discovered by those in the know, it was 'Nights Out' that captured the imagination of a much wider audience. Mount achieved the seemingly impossible: he highlighted both the joyous atmosphere of a big night out and a taste of the resultant comedown in a set that playfully veered towards being a concept album.

About Nights Out Joseph Mount says: 'Oscar reminded me the other day how I said to him on completing Radio Ladio 'I think I've just written my first number 1'. I hadn't. We also reminisced about the day we borrowed the Honda Insight for the album artwork: I found the owner on an enthusiast chat room, we gave his daughter two Kate Nash tickets and a meet and greet with Kate in exchange for a few shots with the vehicle... simpler times. Shout out to Myspace.'

Metronomy's most recent album 'Summer 08' was released in 2016 to widespread critical acclaim. DIY described it as a 'pure-pop odyssey' and NME concluded, 'Mount has done it again. He could write music about the impact of Brexit on the UK's trade with China and make it sound amazing. He's that good.'

Metronomy bring 2018 to a close when they play Edinburgh's Hogmanay Street Party on December 31st. The 65,000 capacity show is headlined by Franz Ferdinand and completed by Free Love.

Nicewon kicks off 2019 with the 'Live on DuPont EP' from Christian James. Christian drops three new cuts, stamped with unmistakable mid-west vibes, fresh from flyover USA and pulls in a super-phat remix, from one of London's most exciting producer's- Cody Currie. Following up on his SummerSota EP, he stays true to his roots with driving drum-grooves, heavy use of samplers and drum machines, with some great synth work and pulls it all together by jamming it out- live. Cody Currie brings that floor-stompin attitude to this remix and cracks the WHIP with those beloved filter disco vibes, for all the heads. This EP kicks some serious Minneapolis warehouse flavor, to fit all corners of the dancefloor. We hope you enjoy NCWN04!

Produced in Minneapolis. Mastered by Rob Small Mastering ( Leeds, UK ). Artwork by Jeff Swiff.

Tarawangsawelas are a musical duo from Bandung, mainly performing a contemporary version of Tarawangsa, the sacred music from Sundanese West Java. Here they are joined by their teacher and maestro, Pak Pupung Supena, together with, Pak Jaja, on Sekalipon. Wanci is a minimalist, cosmic album composed with a careful modern interpretation of one of the most mystical and spiritual genres in Indonesia. A gorgeous and infectious six track album. TIP!
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Producer Rabih Beaini says "Last year, Europalia Festival commissioned me to work on a musical project with local musicians from Indonesia and develop a performance to tour during Europalia 2017. I chose to work with Tarawangsa, the sacred music from Sundanese West Java. Tarawangsa is played on two string instruments: a rababa-like two-stringed bowed instrument itself called Tarawangsa, and the Jentreng, a seven-stringed kecapi-like instrument. Typically from Rancakalong village in Sumedang, West Java, Tarawangsa is played as part of a ritual consisting of almost eight hours of music and dance, complete with offerings and prayers. During a performance, a selection from the forty two known Tarawangsa pieces slowly build up from a cosmic slow groove to more repetitive and hypnotic rhythms, inevitably bringing the listener and dancer to a trance state. During the residency I had the great honor to be able to develop new structures and pieces together with Tarawangsawelas, recording them in Bandung, and ultimately having them joined by their teacher and Tarawangsa maestro Pak Pupung Supena together with Pak Jaja on jentreng. This album is a modern description for one of the local Indonesian music scene, but mainly it is an offering for the Tarawangsa ritual, like the food and incense and the prayers, and the messages of the ancestors to the people of Rancakalong."

Composed and performed by Teguh Permana, Wisnu Ridwana and Rabih Beaini, except Sekalipun (traditional) performed by Pupung Supena, Jaja Rohmat, Teguh Permana & Wisnu Ridwana.
Recorded in Bandung, march 2017
Produced, mixed and arranged by Rabih Beaini.
Mastered by Neel at Enisslab.
Cover design by George Sowden, curated by M-L-XL,

Editorial venture to France for ED025 with four expertly edited, blissful gems from Parisian producer, Chevals.

The A side hits with two hazy cuts of sun drenched disco house. 'Left Behind' swells with filtered tales of lost love radiating a bittersweet warmth. Rich bass melodies and clipped funk guitars shine through as thoughts drift away across glistening seas. 'Eye Of Love' is served up next, equally as impassioned with buzzing synths, basking Spanish guitars and joy-filled chords and congas give a sense of desert islands where day-to-day life is only a figment of the imagination.

Flip it over and 'The Line' hits with a pumped up, soulful bassline that solos and sidewinds with brazen hats as its accomplice. Squelching keys and deft Rhodes touches add luscious harmonies to leave listeners lulled by its masterful flow.

Last up, 'Time' takes a pensive, eyes closed trip - delicate vocals, summery synth lines and glimmering samples washing away the worries as they wander over the airwaves.

Soundway Records present a special summer tribute double a-side 12" with two tracks from African musicians that both passed away within a couple of months of each other at the end of 2013 / start of 2014. Both tracks are perfect smooth summer tropical DJ fodder for the dancefloor.

On the first side South African singer Shaluza Max's massive Mashkandi / house anthem from 2002 gets a first release on vinyl. This track was a huge hit in South Africa and around the world on its release. With a soaring Zulu vocal and big sound it's a fitting reminder of a very talented musician who worked as a very well respected producer, composer and arranger who died tragically young at the age of 47 in January of 2014.

On the flip we drop a fairly unknown track from the mid 1980s from one of the biggest names in African music, Tabu Ley Rochereau. With a kind of almost balearic proto-house congolese pop cut with drum machines, and trademark sweet congo horn section, Hafi Deo is a beautiful track that fell into obscurity by perhaps being too smooth for the world music crowd in the mid 80s. Tabu Ley passed away in November 2013 in his late 70s with over 250 albums and 3000 songs to his name. A true pioneer of the congolese soukous sound, he was also one of the most influential African musicians of his generation.

Due to popular demand, 22a presents the out of print Ruby Rushton LP's from 2017, in a deluxe gatefold vinyl format, strictly limited to 500 copies.

The Tenderlonious led jazz quartet Ruby Rushton and their 22a imprint have been at the forefront of the UK jazz scene since the release of their debut album 'Two For Joy' in 2015. The band transport you back to the 70s Headhunters era, whilst still adopting the spiritual concepts of John Coltrane and Yusef Lateef. Audiences can expect to be treated to high energy compositions, fusing flavours of afro beat, hip hop, and Latin jazz.

Both Trudi's Songbook Volume One and Two were met with mass acclaim in the summer and autumn of 2017. They received regular airtime and support from DJ's, tastemakers and radio stations across the world, including Gilles Peterson, Benji B, Bradley Zero, Jazz FM, BBC Radio 6 Music, Worldwide FM, NTS and many more. The huge support for the albums led to Trudi's Songbook: Volume Two being nominated for Jazz album of the year at the 2018 Gilles Peterson Worldwide Awards.

With a brand new album due for release in March 2019, this limited edition, 2xLP, deluxe gatefold issue of Trudi's Songbook: Volume One and Two closes this chapter for the band and paves the way for new material.

It gives me the greatest honour to finally be able to announce the release of this amazing triple vinyl masterpiece by log(m) and Laraaji on Invisible, Inc.

It's been over a decade since Laraaji first joined forces with log(m) in their Canadian studio in early 2007. In those ten years the trio recorded many hours of music. Over time these recordings, beginning essentially as live jams, were polished, dissected, processed, re-arranged and then finely and painstakingly distilled down to the 105 minutes of music that now form this album, which finally reached completion just earlier this year. The wait has been more than worth it.

The Onrush Of Eternity is a melding of minds like no other. Ever the pioneer of experimental ambience, Laraaji's signature hammered dulcimer, zither, mbira, auto harp, sruthi drone box and of course his exceedingly positive vibes are here combined with log(m)'s unique vision of gronky hi-tech psychedelic space dub. The resultant voyage into deeply meditative ambience and trance-inducing dub is as unexpected an outcome as it is a bona fide "Eureka" moment. It sounds neither like log(m) OR Laraaji....but of course like both. It is one of those rare collaborations that is, without a doubt, even greater than the sum of its already great parts.

Log(m) started making waves in the early '90s as Legion Of Green Men with their visually striking 12"s, complete with eternal opuscules (locked grooves) and mathematically inspired titles, all lovingly issued on their own Post Contemporary imprint. These deservedly got the attention of Richie Hawtin who promptly asked the duo for an album on his own classic Plus 8 Records. 20+ years later and the music (much like their name) has morphed into something more sophisticated: even more complex, atmospheric and deeper than ever.

Laraaji's reputation of course precedes him: he first came to wider attention when Brian Eno released his "Day Of Radiance" as part 3 of his Ambient Series in 1980. Since then, Laraaji has released over 40 albums, yet his stellar path seems still to be on the ascendant - a recent landmark being the 2017 "Sun" series of albums for the wonderful All Saints' Records.

This unique triple LP in tri-fold sleeve is limited to 200 copies on coloured vinyl and 300 copies on black vinyl featuring ten of log(m)'s signature eternal opuscules and cryptic engravings on all three discs.

From Mississippi, Veatrice Thomas moved to Los Angeles and in 1967 began recording as Ty Karim. She worked closely with her writer/producer husband Kent Harris since her debut single 'Lighten Up Baby' through to the rare groove/modern soul masterpiece 'Keep On Doin'' first released in 1980. Both the 7' and 12' have been highly desirable on the collectors scene, exchanging hands for vast sums of money. This is pure quality, as you would expect from Expansion. Features co-lead vocals by George Griffin.

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.

Following a split tape with Ondness on Discrepant's imprint Sucata Tapes , Serpente returns to Tormenta Electrica after its debut with 'Rituais 101' . A circular suite in four interchangeable parts, 'A Noiva ' projects itself as a gateway into off kilter hypnosis summoned from ecstatic polyrhythms, jungle debris, dub tactics and the occasional 4/4 thump via free jazz streams of consciousness. A drawn out percussion workout around the communal fire. Come along. We're here.

Anderson .Paak's new album, Oxnard, is a nod to the Southern California city where Anderson grew up. It is the Grammy-nominated artist's 3rd studio album and the first to be released on Dr. Dre's label Aftermath Entertainment. Oxnard will include his latest single, 'Tints' featuring Kendrick Lamar along with album features from J. Cole, Pusha T and many more. Earlier this year, Anderson .Paak shared with Rolling Stone that "... this is the album (he) dreamed of making in high school, when (he) was listening to (Jay-Z)'s The Blueprint, The Game's The Documentary, and (Kanye West)'s The College Dropout."

In the cracks that sprawl between electronic and analog music, visual art, and craft creation, Yamila dances on the edge of sound and conceptual heights. The Spanish composer, cellist, singer and producer is based between Belgium, Holland and Spain. In recent years Yamila has created music for contemporary dance productions in places such as The Gothenburg Opera, Netherlands Dans Theater, and Dance Forum Taipei, among others. Her projects have been presented at festivals such as Sonic Acts Festival (Amsterdam), Arts Electronica (Linz), Seoul International Computer Music Festival, STRP Festival (Eindhoven), and Today's Art festival (The Hague) to name a few.

With 'Iras Fajro' (Forbidden Colours), her debut album, Yamila, summons in 11 songs with the strength of electronic sounds in front of a fragile voice that at times unfolds in small coral clusters. The brilliant electronic arpeggios and rhythms dissolve in the velvety voices of the cello, which are sometimes intertwined with the creations of two collaborators, the British producer and composer Clark (Warp) and the multifaceted ex- flamenco Nin~o de Elche (Sony).

My love wears forbidden colours My life believes My love wears forbidden colours My life believes in you once again

Vinyl version of the CD format that was released 1December 14th. "The Mint" receiving radio support across Beats 1, Radio 1, ILR specialists. Video plays at Vevo and MTV. Online/social media activity. Ads, features and reviews across all press. Poster campaign.

A never before released version of a truly, legendary house record from the late great Frankie Knuckles...working in collaboration with The Frankie Knuckles Foundation who will receive 50% of the profits from this project, SoSure Music is proud to present the Director's Cut re-production of 'Baby Wants To Ride'. Alongside this, a vinyl exclusive edit by Jimmy Edgar, which was originally a tribute release after Frankie's passing in 2014, finally gets an official release.

2011 saw the launch of Frankie and long-time production partner Eric Kupper's 'Director's Cut' project, with the aim to release new music, whilst re-producing classic cuts to fit with the modern dancefloor. SoSure Music is now working alongside Eric Kupper and Hector Romero, with the blessing of both Def Mix and The Frankie Knuckles Foundation, to bring a renewed focus to some of this material.

First up, the illustrious, evocative 1987 anthem, 'Baby Wants To Ride'. Rightly regarded as a masterpiece of early Chicago house and a pioneering classic through and through. Knuckles and Kupper extend the intro and outro to allow for those sweeping blends, whilst adding deft touches and reprogrammed lines to give a crisper, more detailed feel to this sumptuous slice of definitive house music. Couple that with newly spiritualised vocals and fresh erotic ad libs from Jamie Principle and prepare to rekindle that infectious energy 32 years down the line.

On the B side, Jimmy Edgar showcases his trademark touch to provide a fresh spin on the original whilst staying true to its essence. Reworking the arps, adding atmospheric drops and crunchy percussive elements, whilst holding off on the iconic vocal till the last section, all combine to give this version a unique, big room character that nods to the past, yet reinterprets for the present. A fitting tribute from an artist whose own productions are clearly laced with influence from Frankie Knuckles.

2018 played host to a bumper crop of sounds from some of Philly's grittiest, including Great Circles mainstays M//R and Chaperone. To close out the year that was, we are pleased to present Heckadecimal's 'Murder Tape.'

A Minneapolis-based producer and acid auteur, Heckadecimal has been a fixture within the vibrant Midwestern electronic music community for nearly 20 years. Founder of the legendary 'Anti-human' events and co-curator of the ever-prolific Always Human Tapes imprint - alongside Ryan Wurst and Peter Lansky - Heckadecimal's reputation is one of unrelenting creativity and tireless advocacy for sonic experimentation. His work has found its way to light via a slew of pseudonyms and stage monikers, including The Worm, noface and Wonder Sirens.

In short - Heckadecimal lives and breathes the sonic matter that he leaves pouring out of studio monitors, busted bar systems and finely tuned rave stacks, wherever his travels take him.
Live performance lies at the core of Heckadecimal's practice. When he stormed through Inciting HQ in Philly earlier this summer, he took command over an arsenal of hardware that reminded us of how Octave One or Shawn Rudiman might show up. These were machines that he had lived with; touched with custom modifications, hand-drawn stickers and pockmarks incurred in battle, one got the sense that the gear was a personal extension of the artist.

Perhaps it's a bit maudlin, but we feel a certain kinship with this project. Indeed, these tracks at times feel very much of a piece with the gnarled tonalities in which our stable typically traffics; all low-slung riddims that reach at equal lengths towards mutated IDM aesthetics and post-Packard Plant techno extrusions. These are future perfect grooves that glide along under the vast Midwestern sky, providing a fertile communication conduit with the City of Brotherly Love.

Give thanks for acid. Great Circles will see you in the New Year..

Split album by Joe Corfield and Slim, two of UKs most promising beatmakers. It's the follow-up to the 'KO-OP 1' album by Smoke Trees and Juan Rios on KO-OP, the sub-label and community dedicated to the art of beatmaking founded by reknown hip-hop label Melting Pot Music from Cologne, Germany.

When we started KO-OP in the summer of 2017, little did we knew where this journey would take us to. Ever since we had the pleasure to work with 21 artists from all over the world and have put out almost 80 tracks on lp, tape and digital. Now we are happy to share with you KO-OP 2 - a split album by two of our favourite producers from the UK: Slim and Joe Corfield. Slim is one half of London rap group Summers Sons. The Sons are signed to MPM where they have released two albums ('Undertones' & 'Uhuru').

In February 2019 Summers Sons will play their first German tour together with Children of Zeus. Slim has released instrumental cuts on KO-OP, Brownswood and Banoffee Pie, plus a beattape on Yogocop Records. Joe Corfield hails from Birmingham and has released a string of albums via Radio Juicy and Yogocop.

He is coming with his very own sound. Futuristic and soulful, with a great ear to detail. It was actually Flofilz' idea to have them both on one record. 'KO-OP 2' will be released on one LP with two individual covers by Rahel Süßkind, a Berlin based artist (and part of Money $ex Records) who is responsible for all KO-OP artwork.

Pete 'Bassman' Bain, one of the founding members of the UK cult psych rock band Spacemen 3, formed Alpha Stone after Spacemen 3 and his other band The Darkside split up in the mid-nineties. In 1996 the band recorded the album 'Stereophonic Pop Art Music' and it was released on Bomp! Records on Compact Disc. The album hasn't had a 'proper' vinyl release until now, 2018, when Hoga Nord Rekords continues their collaboration with Pete Bassman by releasing the album.

You can clearly hear that Pete Bassman was the driving force behind Alpha Stone; fuzz, synthesiser -sweeps, programmed drums and processed vocals are the cornerstones in Alpha Stone's sound. Raga-like mantras, heard in Farmer C, lies track to track with more percussion driven grooves and psychedelic pop oriented songs. The album's sound has obviously survived the 20+ years shelved in obscurity and proves the 'Drugby' sound still vital!

It's always hard to sum up a bands particular sound in a few words, but you could say that if you put guitar and bass, synthesisers, a drum machine, and Julian Copes record collection in the hands of an alien, you've got Alpha Stone!

Following the best-selling first volume, Robert Ouimet returns to Basic Fingers with a second 12" volume of edits. Another essential selection of extends and amends from a real connoisseur

BIOGRAPHY

Ouimet's career as a deejay started in the early 1970's
His obvious talent for moving and grooving the crowd was soon noticed and he was approached to join the in-house staff of a newly opened club on Stanley St. called The Limelight where he remained as their principal deejay from 1973 to 1981.

In 1977 Robert also went on to win Billboard Magazine's Best Canadian DJ Award. Similarly he received Gold records for introducing his public to such artists as Boney M, Donna Summer, Musique and Gino Soccio to name but a few, plus a special commemorative plaque/mirror from the Saturday Night Fever soundtrack.

Robert was also the driving force behind the Montreal live performances of The Salsoul Orchestra, James Brown, Grance Jones, to name but a few. He co-produced many records licensed in the US by such labels as TK Records, RFC/Warner Bros., Arista, and Quality Records of Canada.

Layton Giordani steps up for his first solo EP of 2018. In terms of pedigrees, it doesn't get finer than Layton Giordani.

The Brooklyn-born DJ/producer followed up his lauded debut album of 2017, with a collaboration with Danny Tenaglia to close out the year and marked the summer of 2018 with a three-way collaboration with Adam Beyer and Green Velvet, 'Space Date'.
The period has been a big one for Layton personally, also. From humble beginnings in his native NYC as an Output resident, to being thrust into the bustle of the European club and festival circuit, he's enjoyed a stint living in Amsterdam, growing and developing over this time. All these experiences have had a fundamental influence on him and his music.

The four-track EP 'Phase II' represents a new chapter for this exciting talent. Beginning with 'New York to Amsterdam', a track that draws inspiration from the Yves Deruyter's classic 'Back To Earth', Layton's work packs a memorable punch as tough acidic undertones and brain scrambling synth effects undulate raising the intensity, making it a perfect opener for Adam Beyer when he played Berghain earlier this year. Following this, 'Enter the Stratosphere' is steely electro-tinged techno paired with atmospheric licks of melody, awhile maintaining the artist's trademark low-end chug. On the B side, 'Body Language' follows, a track written when Layton was scrubbed out of touring for a month courtesy of a shattered elbow from a skating accident. Not wasting the downtime, he's crafted a cut that's sleek, sexy and smart, with a seductive vocal and rousing melodic riff that runs throughout. Closing out the EP, 'Black Mirror', stays true to its dystopic name, a stomping rave cut that pummels dancefloors with a menacing lead synth that's purpose built for the cold months ahead. A classy conclusion to an EP from one of techno's brightest talents.

Norwegian artist Tarjei Nyga°rd first touched on the ESP Institute spectrum in 2016 with a limited red flexidisc of Bleusa that accompanied issue 21 of New York City's acclaimed Love Injection fanzine, and since then, his poetic music has been a staple in our arsenal (especially during Summer), for its ability to effectively direct moods is second to none. Across the four tracks on this debut EP, Tarjei paints quite viscerally using the most fundamental of tools—melodic and rhythmic hooks—and as obvious as this may sound on paper, its his deliberate approach to songwriting that brings these productions to life. Bleusa is literally dripping with a sense fantasy and adventure—island pads, golden bent notes, even a cameo bird-call from the infamous Acid House loon—yet Tarjei exhibits a mature level of restraint, a highly sophisticated sleaze recognizable to refined pleasure-seekers. Forus Echo furthers this notion but expands into full-blown rapids of ecstasy, rolling over soft-thumping percussion that mimics the human heart while smothering the listener in euphoric waves of pads and delays. Side B shifts us from the melodic dynamic heard thus far over to a strong rhythmic palette, not acknowledging any specific reference point but loosely hearkening back to early-era turntablism, the demented title track Lost In Lindos is a aquatic beat thats both deep and buoyant, the type of liquid tool that works at any BPM. Øylie closes the EP with a signature ESP vibe that has us lying on our backs, drawing finger pictures in the opium smoke above, feeling the warm embrace of collective consciousness while telepathically harmonizing our plans for a bright utopian future.

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

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.

Les Disques du Crepuscule presents Signals Into Space, a brand new studio album by acclaimed electronic duo Ultramarine. SIS is their seventh album, having debuted on Crepuscule back in 1990.
The new long player was conceived by Ian Cooper and Paul Hammond over a three year period and features four songs co-written with North American musician Anna Domino, a firm favourite of the group since her leftfield pop releases on Crepuscule and Factory in the 1980s. 'For this project we wanted to do something more ambitious and perhaps more accessible than our last album in 2013,' explains Paul. 'We were keen to start collaborating with other musicians again, as well as develop our method of performance-based writing and recording, which is partly improvised.'
 Signals Into Space also features contributions from saxophonist Iain Ballamy (ECM, Food, Loose Tubes) and percussionist & vibraphone player Ric Elsworth. It was recorded and mixed in London with Andy Ramsay (Stereolab) and mastered by Noel Summerville.
 'To some extent Signals Into Space is an escapist record,' reveals Ian. 'Our rehearsal space is a small windowless room on an industrial estate in Essex. Possibly as a result we ended up with a collection of visually suggestive tracks, conjuring mental images of cities, deserts and tropical islands, which gradually came into focus as Anna's lyrical ideas developed. So while the music might have been conceived in a closed space it's imbued with a positive spirit - looking outwards, seeking contact.'
 Cover art by Studio Heretic. Available on CD, digital and vinyl LP (vinyl format includes a free digital copy on MP3).

A doctor by day and a musician by night, Leon x Leon has been producing songs in his
Parisian home studio since 2013, where house, italo-disco and boogie are mixing. When he
was younger, he was immersed in music by taking jazz drum lessons at the conservatory,
and especially by seeing his father, a sound engineer, who had been building his own
synthesizers since the 1970s. As a tribute, he used one of these unique synthesizers on a
title of the disc.
After a remarkable remix of Cerrone's "Funk Makossa" and several tracks on various from
'Red Laser Disco', he released his project My Solar Brass on the same English label in
2017. Organizer of many Parisian parties, he also participated in the founding of the
publishing label 'Good Plus". With the release of Rokanbo on Cracki Records, Leon x
Leon signs a mature EP with the influence of different styles.
The first eponymous title is a manifesto mixing Acid, House and Zouk. As soon as we
launch the track, the pop & acid 80's sounds takes us to another world... A UFO from the
Islands! The other parts of the EP don't leave us in the lurch! 'Formant Sweep' delivers a
soft and groovy bass that responds to an endless, spatial synthetic takeoff. On 'Red
Footpath', the harder kick cleverly blends with an atmospheric blanket and a bright, lively
flute solo straight from an abandoned piece of bamboo on a deserted beach. After that,
'Jungle Juice' lets a crazy keyboard solo resonate in the middle of tropical fauna and flora,
and finally on 'Horizon', the EP ends in beauty with an airy atmosphere. This last piece
sounds like a beautiful sunset at the end of a long summer day.
Through all these tracks, Rokanbo EP offers us a clever contrast between synthetic notes
and the warmth of tropical groove, and places our gaze towards the horizon, seeking the
groove to disturb its line on the infinite sea.

Envee is well known producer not only in Poland.

He is releasing music since 2001.

You may know him from remixes for Compost, Jazz & Milk, Sonar Kollektiv, Wah Wah 45, GAMM and many more.

Now he is back with first album since 2008!

Come on journey from ambient, broken beat, dub to swing, spoken word or some hip-hop.

16 unreleased tracks on two vinyl records with poster inside. Only 300 copies worldwide!

'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!'

Raised in the outskirts of Paris, his career has embraced music, fashion and film and established Kiddy as a key figure in Paris's LGBTQ community and the voguing and ballroom scenes.

'One Trick Pony' sees Kiddy working with such talents as Rouge Mary (Hercules & Love Affair) Be Honest, Burn The House Down & One Friend and Crookers Dickmatized. Citing gospel and hip-hop, 90s Chicago and Detroit as influences,

Kiddy has delivered an album with house DNA at it's core whilst embracing a pop sensibility. It explores intimate, personal topics - unrequited love, paternal desertion and acceptance of one's body.

'I define myself as a house-music artist. Queer is limiting. My music reflects my everyday life. I talk about me and being black and gay. My songs are about love. They're not political, but my work is.

The lead single Dicktamized is about 'toxic relationships, the ones you know you would be best to remove yourself but you're almost hypnotised into thinking if the sex is good you should carry on.' 'It is taken from the soundtrack

of Gaspar Noe's latest and critically acclaimed movie 'Climax' premiered at this year's Cannes Film Festival and also featuring Kiddy. Kiddy Smile is supporting Beth Ditto around Europe from May to July 2018.

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