Search:sun ra

Reform, the Tuscan techno duo, make a return to Etruria Beat to follow up the success of 2017's 'Checkmate' EP, remixed by Amelie Lens and their recent EP on Second State with a huge new offering - Unconventional Spaces.

Reform present three fresh originals, backed by a massive rework from Etruria boss Luca Agnelli.

Unconventional Spaces is a melodic and timeless work, perfect for a magic sunrise closing set. Luca delivers a heavier rework, creating a special atmosphere with powerful chords that drift back and forth.

Just This is characterised by a raw triple stab, a vocal laid down by the guys themselves and an emotional and mysterious break. Closing the EP is Span, which is composed of bouncing tom samples, straight hats and a moogy bass that develops throughout the arrangement, a perfect peaktime number and strong finalé.

Les Disques du Crepuscule presents The Wood, a brand new studio album by Scottish singer and songwriter Paul Haig, previously frontman with cult Postcard post punk legends Josef K.

Paul's fourth solo album for Crepuscule since 1983 was written and recorded over a three year period between 2015 and 2018, and explores glitchy, twisty sonic territories in the vein of Four Tet, Floating Points and Love Over Entropy.

'We can think of the wood or forest as a metaphor for the mystery of the human psyche,' says Paul. 'Like the human soul, it can be a place of hidden meanings and unrevealed secrets. I wanted to try and evoke this through the music and worked hard on finding the right balance of electronic and organic sound samples across a broad range of musical genres.'

Cover art by Kendris MacLeod. Design by Emma Quinn Design. Available on CD and vinyl LP (vinyl format includes a free digital copy on MP3).

Daniel Terndrup Is A Los Angeles-based Dj And Producer. A Longtime Record Collector And
Digger, Daniel Has Become A Local Authority On Bygone Music. He Hosts Regular Radio Shows
On Dublab (crosseyed & Painless) And Nts (heat-wave) While Also Throwing A Weekly Party
For Heat-wave In Collaboration With Wyatt Potts At Former Hollywood Stripclub, Gold
Diggers. Daniel Started Making Music A Decade Ago As One Half Of Cosmic Kids. Alongside
Ron Poznansky, He Made A Name For Himself Producing Heady House And Astral Dance Tunes,
And Releasing Records With Cult Labels Throne Of Blood, Let's Play House And Dfa. In Addition
To Racking Up Plays On Original Cuts, The Duo Was Regularly Tapped To Deliver Remixes For
Heavyweights Like The Rapture, Holy Ghost!, Poolside And Superhumanoids.
After A Handful Of Releases With Cosmic Kids, Daniel Pivoted Toward His Own Project As Daniel
T. His Solo Output Is Inspired By Everything That You Might Find Leafing Through His Record
Collection: Funk, Post Punk, New Age And Pop Of Yesteryear (think: Compass Point All Stars To
Yellow Magic Orchestra). The Music He Releases As Daniel T. Is A Reflection Of His Global Taste,
But Indelibly Filtered Through His Southern California Surroundings

Blurb Attached
Following His 2015 Solo Debut Tetrachromat, Released On Friends Of Friends Sister Label
Young Adults, Daniel T. Returns With A New Album Called Heliotrope, Out This Summer On
Cascine. In Contrast To The Steady Dance-oriented Tempos Of Tetrachromat, Heliotrope
Moves Across More Dynamic Landscapes, All United Under Daniel's Sun-soaked Sensibility.
From The Breezy Bounce Of call,' To The Lithe Cover Of Tatsuro Yamashita's Classic windy
Lady,' He Effortlessly Wades Into Pop Territory. Elsewhere, On The Neon Glow Of moonlight
Bounce' (inspired By Dan's Near-religious Love Of Roller-skating) And The Ebullient First Single
'heat-wave', His Trademark Mid-tempo Swing Shines As Bright As His Synths. Heliotrope Is A
Reflection Of His Global Taste, But Indelibly Filtered Through His Southern California
Surroundings

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

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

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

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

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

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

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

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

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

Feedback - Web Web - oracle :

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

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

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

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

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

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

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

Kinobe scored one of the biggest chill-out club hits of the Noughties, the deathless 'Slip Into Something More Comfortable'. Known from dancefloors, club backrooms, bars, radio spins, Café del Mar compilations and TV spots the world over - most famously the 'femme fatale' Kronenbourg beer advert - 'Slip...' established the duo at the forefront of a scene that still includes Groove Armada, Air, Röyksopp and Zero 7. Now Kinobe are back in a big way. Founder member and songwriter Julius Waters is now joined by Chuck Norman, multi-instrumentalist, producer and programmer who has worked with the Pet Shop Boys, Peter Gabriel and Robbie Williams. Norman has beefed up the classic Kinobe sound, while adding a pop sensibility to a raft of sparkling new material destined to soundtrack 2018 and beyond. On August 31st 2018 comes Golden Age, the first Kinobe album in 9 years. Lead single 'Little Words' might just be one of the tunes of year, a Donny Hathaway-esque, soulful slice of too-slow-to-disco that nods towards 60s hipster groovy. At once instantly familiar and brand new, a heartfelt three-and-a-half-minute pop-dance floorfiller - with a hook once heard, never forgotten. Elsewhere the Stephen Hague mixed 'End Of The Road' is a huge gospel-tinged ballad destined to own daytime radio, 'Skyhigh' is a gorgeously haunting sundowner, 'Heartstring' is all cosmic soundtrack strings while 'Sunray' is Kinobe at their very best, with its irresistible hooks, washes of melody and downtempo beats. Golden Age is shaping up to be the chilled album of the year, a thirteen-track soundscape of sparkling songs and idiosyncratic instrumentals that is vintage Kinobe. With live shows and festival appearances planned through the rest of the year, the return of Kinobe is only just beginning. Welcome to the Golden Age.

Thomas Fehlmann steps away as co-member of The Orb following two acclaimed full lengths on Kompakt (COW - 2016, Moonbuilding 2703 AD - 2015) and embarks back on his solo career with a career defining album 'Los Lagos' - from Detroit to Schaffel techno he conducts a broad spectrum of electronic music into a seamless flow.

Thomas Fehlmann has been active since the late 1970's from Palais Schaumburg, the Tresor defnining trio 3MB (with Moritz von Oswald and Juan Atkins), Ocean Club (together with Gudrun Gut) and of course The Orb.

Artwork direction and design by DESIGNERS REPUBLIC.

'Los Lagos' is Thomas Fehlmann's seventh solo full-length, his 4th for Kompakt following his Berlin inspired 2010 full length 'Gute Luft'. in the musician's own words it's about "checking the juice".

Establishing a picture of his current artistic condition, as suggested by the title - los lagos / die lage / the situation (literally translating to 'the lakes' but taking the meaning of 'wassup' in the context of a relaxed discussion between friends), the album refers to Fehlmann's "musical motivation, dreams and wishes" through the language of music exclusively: a way to "allow myself to techno" he says, "to techno as a means to deconstruct and rebuild again. Set up an area of tension, loose it in the flow of the grooves. Magnifying some detail out of proportion, regroup around that and slowly knit a texture. Expand."

"It was time to take a bend and head where the sun rises or sets, wherever my heart drives me." This is pretty much the kind of decision Thomas Fehlmann has made. 61 and shining, longstanding member of The Orb, multi-talented composer and boundless experimentalist, had to make in the twilight of his collaboration with Alex Paterson, eager to taste the flavours of the unknown on his own again. "It was the moment when felxibility would have become compromise'. Far from being the demise of their joint dream, this was bound to split it in two distinct, parallel fantasies - rich of their own singularity.

As goes with that essential love of his for the free-flowing nature of electronic music, a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, experimenting with an unpredictable outcome", 'Los Lagos' "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk". As he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective ; not afraid to leap from a deep, dubbed-out hypnotism ('Window', 'Morrislouis', 'Freiluft') to the playfulness of '90s-style bleepy schaffel ('Tempelhof' featuring Max Loderbauer), through out-there, muscle-flexing dancefloor cuts ('Triggerism') onto the calmness of ambient ('Geworden').

In need to keep his inner balance in check, Fehlmann committed himself to "switch off the control" and follow his intuition, which isn't so much of an easy process as he also wanted to incorporate the side disturbances experienced: "it's a complex process of search and destroy to bring out a new beauty trying to expand my vocabulary". With 'Los Lagos', Fehlmann looked at finding "the structure that's surprising, disturbing and rewarding". The artwork for the record, courtesy of contemporary artist and friend Albert Oehlen whom he shares lots of artistic ambitions with, echoes the producer's "funky use of shape and space, sludge and clarity" like a second skin. A search for light and harmony that Fehlmann sums up eloquently: "Does your inner musical voice respond", that is the question. Then "doors open up in unexpected corners, rays of light appear; you follow through and you're in - in your oasis."

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

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

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

Cat.no.: De 222
Format: Ep

Tracklisting

Portuguese multi-instrumentalist SAIR and American vocalist and boogie producer Adam Chini are known for their respected releases on the most go-to boogie labels of the moment, like Omega Supreme, Star Creature Universal and Hobo Camp.

They've now teamed up to deliver 2 stunning slices of modern Synthy Soul on Boogie Café's Neon sister label. With Adam's dope vocals on the A and the SAIRs jazzy instrumental on the flip... this is already getting early support from headz worldwide.

DJ Support:

Liquid Pegasus, Razor'n'Tape, Danny Spence / Austin Boogie Crew (ABC Records), Andrew Morgan (PPU Recordings / Ear Cave), Boogie80, Marcia Carr (Mi-Soul Radio), Dennis Probert (Ghetto Disco/ Liverpool Disco Festival), Natasha Kitty Katt Probert (Suncenbeat/Ghetto Disco/ Liverpool Disco Festival), E.Live (Elivity), Pepe Hausius (Born To Shine), Paul Conroy (Soul Train Radio), Mike Vitti (Mi-Soul Radio), Deli Gee (The Touch), Vex Kiddy (Royale Athlete, Germany), Yam Who (ISM/Midnight Riot), Gwizski (Omega Supreme Records), Dave Jarvis (Love Vinyl), Teddy Mike (Neon Finger), Feel The Real Soundsystem.

RAWAX welcomes Sepp to the Family! We're happy to present you the "Ritm Timpan EP" as it's one of the most wanted releases this year. Many people heard it for the first time at Sunwaves last month where it was on massive support by Petre Inspirescu & Raresh as one of the festivals key tracks!

At first, it's difficult to pinpoint exactly what makes Our Girl so special, or why the Brighton-formed, London-based trio's music stands out within a busy crowd of fellow guitar-wielding-types. But if an explanation didn't jump out when they first emerged with a debut EP of mighty fuzz-soaked songs in November 2016, it surfaces with 'Stranger Today', a debut album of personal, emotional juggernauts that could have only been made by these three people: Guitarist / vocalist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson.

Since forming in Nathan and Tyler's Brighton home four years ago - Wilson joining as a late recruit when she was wowed by a demo of their self-titled debut track, and 'Stranger Today''s opener - Our Girl's members have only had pockets of time to work together. A day booked in a local studio here, a soundcheck there, full-time jobs and other projects meant the three rarely had a concentrated, collective patch. This changed in September 2017, when they stayed in Eve Studios in Stockport for a week, recording with Bill Ryder-Jones. Their week in Stockport became a crucial catalyst for what would follow. Ryder-Jones is a guitar virtuoso himself ('He did stuff neither me or Soph had ever seen anyone do before,' Tyler remarks), and he became an unofficial fourth member of the group.

'Stranger Today' is a special debut for several reasons: First, because it's the sound of a band beginning to grasp their own value and place in the world. Secondly, because you can hear the trio's hunger to finally get in the same room and put to tape years' worth of scrapbooks, half-finished ideas, and a slowly-forming feel for how their first album would actually sound. 'What band isn't itching to make their debut But it's quite frightening, knowing you're about to do it,' Wilson remembers.

The real clincher, however, is Our Girl's dynamic, and how it plays out across 'Stranger Today'. Best friends in person, the trio share the same close kinship and chemistry on record. On one side is Nathan's visceral lyricism, which has a habit of detailing and chipping away at precise moments; the first heart-flutter of a new crush; the moment a long-term friendship begins to ebb away. Around her, Tyler and Wilson's rhythm section carefully mirrors each feeling Nathan conveys. When she sings pointedly about love ('I Really Like It'), she's backed by a major-key afterglow. When the subject turns on its head ('Josephine'), out steps a wall of taut, earth-shaking noise. They each 'serve the song,' in Wilson's words, moving in sync but with their own personal slant. Not least on the closer 'Boring', where all restraint is thrown aside and the trio let out one final, violent thrash. They inhabit a space bigger than the first loves, sleepless nights and growing pains that define this record.

Nathan remembers being in Brighton four years ago, shortly after Our Girl formed, and realising, 'I was finally in the band I wanted to be in.' Almost half a decade later, and this eureka moment is sewn up on 'Stranger Today'. It's the sound of three friends totally at ease in their own space, discontent with being anywhere else; a vibrant document of what it's like to be young, invigorated and amongst people who feel the same.

Beware of the blazing sun when she's orange and transparent.
Overwhelmed with the ecstacy of flight, Icarus soared into the sky like a bird, or rather a god. Drawn by desire for the heavens, he ascended higher and higher towards the sun. When the heat melted the wax on his wings, he fell from the sky and vanished into the dark blue ocean, where feathers, still today, ride the waves of the Icarian Sea. Aimed at dancefloors in sleazy bathhouses, seedy basements and soiled warehouses, Icarus Traxx' first offering takes us back to the mythical days of anonymous, muscular power house. Delivering no less than three takes of 'Commandment' (plus two acapellas), the 12 inch, starring the enigmatic voices of Jesse B. Simple and Charlotte B. Good, supplies a choice cut for every disc jockey.
'Jack 88 Tape Mix' starts things off with a vigorous kick, prosperous strings and the spirited voice of Jesse B. Simple. The oracle proclaims celebration times. Addicted to Jesse's vocal delivery The acapella will guide you through your most ecstatic moments.

The lights go out on 'Get Your Life' just before it wakes you up with a slap to the face. Again, it's Jesse in the vocal booth, groaning his mantra to 'dance, jack and get your life to this' on a bed of erratic kicks, jittery acid and vexed rave stabs.

On the flipside, the celestial Charlotte B. Good glides into the room. Her sensual Spanish stanza gracefully inhabits 'Spanish Fly Reprise', made for horny, high as a kite early mornings. Charlotte alerts you that your time to snatch up your one true love on the dancefloor has nearly expired.. Like a siren, she lures you into her universe with sweet lamenting whispers. Better think twice before you follow.

Apart from being known for founding the infamous vinyl imprint Subaltern Records and for his residency on SUB.FM, Gabriele Romeo aka. Mentha has made quite a name for himself with his Jazz-influenced bass music productions. This LP is a selection of tracks from his vault, showcasing his musical abilities and tasteful compositions in this self-release.

1 - All Or Nothing
Greeting the listener with melancholic yet optimistic vibes is the first track of the LP, 'All Or Nothing'. Setting the loungey and open space feeling for the release, captivating chords and soothing melodies join a potent sub-bass in this introspective overture.

2 - Same Spot ft. Vale
'Same Spot' picks it right up where the first track left it, emerging further into a vast ethereal space. Charming guitars pave the way to uplifting trumpet lines, masterfully executed by Vale. A meditative bass-line seamlessly merges all elements together into a seductive modal composition.

3 - Sunflower
Showing off his instrumental skills yet again, Mentha delivers a sunny and laid-back masterpiece with an apt title, rounded off by a perfectly executed contrast between bumping subs, crispy drums and radiant spaces. Bossa-inspired rhythms bond with Rhodes, jazzy horns and crystal guitars shifting through the realms of major and minor.

4 - Natural Rain
Natural Rain maintains the meditative vibe while entering mysterious spheres of consciousness. Like sunrise in an enchanted forest, this track is magically captivating and keeps the listener under its spell throughout. Oneiric melodies encounter pads and polyrhythms, leading to a climax which completes this mystical journey.

5 - Water March
Like a light breeze on a hot day, Water March takes it easy. Marked by Mentha's very own signature guitar and trumpet, this peaceful march unfolds playfully. While surprising with energetic bass frequencies and instrumental intricacies, this piece shows an insight of the artist's musical roots.

6 - In My Head ft. Aphty Khéa
A psychedelic masterpiece, 'In My Head' sets a strong statement at the end of the release. The unsettling atmosphere of the track is tastefully matched by Aphty Khéa's pristine voice. Creating an eerie yet soothing vibe, this track lets the mind roam freely through time signature changes, dynamic transformations and instrumental layers which remind of Steve Reich.

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

Bill Browns super rare Brownstone release is one for the deep heads, less well known than label mate 'Everyday People' but just as rare and collectable. Shuffling sunshine soul its all about the groove and feeling. 500 copies only. One for the heads.
Bill Brown and Al Hall jr met around 1971, they were both in south central L.A and shared the same apartment building, also in the same building was Doug Carn and brownstone singer billy Wilson. These studio sessions were done at Paramount studios Hollywood where Al Hall jr was working for producer Art Smith a&c music. The main distributor for A&C was Accent records.

Seth Troxler & The Martinez Brothers' Tuskegee Music welcomes Chicago legend K- Alexi Shelby for a new EP that features some essential solo cuts as well as two great collaborations with Tony Lovlesss.K-Alexi is a genuine Chicago great. He's been at the core of the scene since the eighties and releasing his raw grooves on DJ International, Trax and Transmat, as well as his own K Klassik label. He has recently remixed for Seth Troxler's other label, Say It Play It, but is now back serving up the sort of engaging originals that have made him such an enduring star.
Excellent opener 'Cherry K Moon' is a raw slice of deep and soulful tech. The driving bassline melts your mind as afro percussion and driving drums make for a solid groove below. It's one for the late-night hours that will twist and turn any crowd inside out. The superb 'Dark Smile' is less tense and more house oriented in nature, with preacher style vocals up top and busy kicks down low. Live, chattery hand claps bring an organic feel and synth stabs inject looseness that will get hands in the air.
The pressure then builds through the manic Tony Lovlesss collab 'Anal Probe', a powerful techno track with hi tech drums and taught synths freaking you out as they ride up and down the scale. Their second track together 'Fly Shit' is more playful with radiant synths opening it up to the skies and lively, funky drum programming bringing a real sense of a sun kissed terrace party. Last of all, the standout 'Run With Jackals' feat. A.D.M is another heavily percussive track with rattling toms, vocal chants and hammering hits all adding up to a compelling afro-house rhythm. These are all innovate tracks that explore various different moods and grooves with a real sense of quality.

Originally recorded and privately pressed in 1973 on Jazz-Men records, featuring Leon Ndugu Chancler (Drums), James MTUME (Congas) and Larry Nash (Piano), Bobby Rodriguez leads this
stellar line up to perform the seminal 16 minute Latin variation of Freddie Hubbard's 'Little Sunflower'.
This extremely rare and sought after record is re-released for the first time on 180g Virgin Vinyl and presented in heavy weight 'tip-on' sleeves. Pressed and produced in the UK, using the mastering genius of Frank Merritt (Carvery Studios) and cut on the original Neumann Lathe used by Motown Records. Covered in heavy weight 'tip-on' sleeves and presented in screen printed paper counter bags with foil seals. Strictly limited to 1,000 hand numbered pieces, this special collector's edition will be available
through the Jazz Detective Records website and from select records stores worldwide for a limited time

Minialbum EP + Insert CD
An Ardent Heart is a focused techno mini album that brings forward Stefan Goldmann's most dancefloor-centered material in a decade. The tracks push and pull relentlessly. Despite their linear appeal, there is an intricately balanced interplay between the heavy-handed kicks, the bouncy bass accents and the sizzling, yet clear-cut details whipped up by the rallying drums. The peculiar, seemingly 'vocalised' mode of synthesis is maybe the most unifying sonic characteristic of the six tracks and one coda. Formant shaping, vowel filters and airstream perturbations let a wide range of sounding elements speak in the tongues of a cybernetic Babylon. Layered polymetric patterns perforate the aural plane with alien scripts. Clearly structured, yet opaque messages that seem to have traveled for aeons emanate from the red-hot circuitry. They spill into a network of delays, channeled down into labyrinthine corridors, enveloped in electrostatic noise. Most tracks build on chance patterns evoked with hardware sequencers and freeform modulation sources. The resulting synthetic systems are as cohesive as they exhibit vast internal variation and range. Thus balancing simplicity and complexity right in the middle, the results are just as immediately gripping as they can feed sustained attention. A wide palette of distortion and overtones mark the contours of individual elements that seem to have near-physical qualities - as if there were metallic strings, thick membranes, a resonating sphere, all struck by electric mallets, caused to vibrate by mechanical bows and sung by silicone lips.

After a debut outing on International Black last year with his best friend Mallard, LT graduates onto Rhythm Section INTL with a stunning debut solo effort: FOREST FLOOR.Aged just 20 years old, Lewis Taylor aka LT is another prodigal talent from the north of England, whose association with Rhythm Section goes back to his school days. A fan of the label from an early age, Lewis regularly made pilgrimages to the pool hall as soon as he was old enough to do so. It was these visits with his old school friend Mallard (who had recently moved down to London from Derbyshire to study music) which proved to be a formative influence, prompting him to try his hand at production...It turned out he was quite the natural, with his second ever effort as an 18 year old making it onto this very EP. Sitting somewhere between electro, house and techno with a healthy dose of breaks - LT constructs complex arrangements with as much of a nod to the retro summer of love stylings of Lone as to the new age bounce of the Pender Street Steppers. The piano house stabs of 'Untitled (Chesney)' reverberate around chopped breaks and screaming samples, anchored down by bouncy organ bass and FM lead synth which really begs the question: 'How did LT develop such a rich lexicon of club culture references in such a short time' We'd be tempted to believe it was just pure luck, if this mastery of rave aesthetics wasn't repeated throughout the EP...
Mesosphere fizzes with arpeggiated energy before giving way to a magnificent yet subtle drop that will serve festival main stages as well as it will back room clubs. Before the EP is over, LT has one more trick up his sleeve in Forest Floor - the titular track which is the musical equivalent of watching the sun rise through a misty glade after a night spent alone in the wilderness. With this gentle touch, LT proves he's more than another kid on Ableton making bangers - he has breadth, incredible musicality and a rare ability to transcript sceneries into sounds. Finishing with 'North Circular' possibly a reference to the free Parties on the London Orbital or merely just a coincidence you decide.
We couldn't be happier to welcome LT onto the RS INTL roster in what feels like a fulfilment of destiny. It's such a great honour to have nurtured and now introduce the next generation via the Rhythm Section platform.

The Caribbean House Is A New Billy Bogus Project. It's The Perfect Meld Of Creepy Atmospheres, Sunset Grooves, Analog Sensibilities And Incessant Rhythms. Bogus Leads This Collective Formed By Federico Bologna (ohmega Tribe, Technogod) And Cristiano Santini (disciplinatha, Dish-is-nein,). This Triumvirate Of 90's Underground Italian Masterminds Come From The World Of Electronica, Noise Rock And Psychedelia. Here They All Combine To Rise Again Rise And Unite To Create Something Entirely New.

And So To The Music. Their Debut Lp Opens Up With The Dark And Haunting "night Drive". Recent Single "gong Bong" Is Next. It Is One Part Slo-mo Disco, One Part Psychedelic Moondance And One Part Sci-fi Horror Movie. If The First Two Thirds Of The Track Is A Caterpillar Then The Last Third Is A Butterfly As Uplifting Riffs And Swirls Of Layered Keys Bring Things To A Crescendo. "lonely Man" Is A Quirky Detuned Monster Tour-de-force Which Leads Nicely Into "love By Proxy". Layered Keys And Intertwined Arpeggios Mingle To Create The Closest Thing To A Love Song Possible From This Trio.

Flip The Vinyl Over For A Hippy Drive With "jesus Freaks" And Its Groovy Guitar Licks And White Noise Synth Blasts. "nature Nature" Is All About The Pulsing Bass Guitar And Sample Like Guitar Stabs Before Heading Completely Off-piste For A Synth-bass Ending. "africa Addio" Presents Us With Meandering Synth Lines Before Layering On A Waft Of Sound Effects And Spooky Keys. Movie Territory. We Close Off The Lp With The "streets Like Noodles". New Wave Nyc Chic Meets Underground Italy Psych.

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

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

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

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

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

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

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

Official Mr Bongo reissue of the ultra-rare Nigerian disco-boogie, 'Viva Disco', album from 1980.
Originally released on the Afrodisia label, this one is unknown to even the most knowledgable collectors out there.

Tunde Mabadu recorded two albums in the 70's - 'Viva Disco' and 'Bisu' as Tunde Mabadu & His Sunrise. Perfect examples of golden-era Nigerian disco & boogie that still hold their own today.

Paramida's Love On The Rocks imprint readies its eighteenth release, in this, the year of our lord, 2018 - the latest instalment on the ever-evolving, hard-to-define label is a decidedly non-dancefloor oriented, melancholic/euphoric instrumental number from promising Lon-don/Lisbon producers Elles & Violet.

Elles, fresh from her Netil Radio & Rádio Quântica residences, alongside Violet, with a string of releases under her belt on One Eyed Jacks , Cómeme, Paraíso, Snuff Trax and her own imprint, Naive, deliver big time here with A Life Lived In Fear Is Like A Life Half Lived, a warm and bubbling acid future closing time jam that has all the feels of watching the sun rise over the city with your best friends on ecstasy.

Backed with 4 heavyweight remixes from Love On The Rocks fam Kasra V, Prins Emanuel, Etbonz and Massimilano Pagliara. Pure love.

This record comes with a version for every time and mood of a club night: Jo Pariotas Cut of the Original Mix is the ideal warm up tune. Flowing on a synthline that calls Mike Huckabys Waldorf to mind, it is sweet and driving at the same time. The Original Mix by LOVEiTs own Nico Brun might be called - Casual Affair', but comes rolling on a phat wonky rhode that brings the groove! Between the crunchy drums, a relaxed vocal snipped and warm synth unfold like the first rays of sunlight. The JK & LDS reduction is punchy, minimal and dubby - with its pull and release kind of melody and the stuttered vocal sample it works perfect as a peak time DJ tool. Finally, the A.S.S. Amnesia returns Mix is something else entirely... you just have to experience it in its full 8 min breakbeat Aphex Twin-like glory.
- morri313

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

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

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

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

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

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

From the depths of Sydney's underground scene comes Mango - an exciting and talented producer, DJ and multi-instrumentalist who first came to our attention with an incredible live set in 2017 that blew minds and left the room in awe.

MS002 is his first official release, a collection of tracks from the vaults that explore a range of soundscapes made strictly for dancing.

From peak time cuts to sun down/sun up groovers and low slung broken club tracks, all have a uniquely raw energy and swing that only an MPC can produce.

Coming from a background of Hip Hop and Beats, The 'Mood Organ' EP is the sound of a producer stretching out into new territory, expanding on a strong base of sample heavy experiments, maturing his skills and sounds while exploring new influences to deliver a collection of compositions as a statement with serious intent.

A1: The Exceptional Producer Stenny Has Been A Munich Resident For A Few Years To Be As Close As Possible To His Musical Home Port Of Ilian Tape. Here He Once Again Proves What A Perfectly Mixed Supergroovy Breakbeat Board Is.

A2: Janis And Fabian From The Live Duo Aka Trap10 Do Not Hide Their Musical Ideals. In people Zoo' It's Classic But Classy, according To Old Detroit Style And Chicago Tradition.

B1: Jonas Friedlich's Eps On Molten Moods And Four Triangles Are A Good Example Of What Techno's Style Is All About: Tape Delay Is His Weapon Of Choice, Often With Vocals And Rarely Straight Beats. With jazzersizzzze' He Ties In Masterfully To It.

B2: P-t2 Has Become An Integral Part Of The Red Sun (club Rote Sonne) In Just A Few Years, Indulging Her Fondness For The Harder Pace Of Club Music. Accordingly, Their Rfr Post Is An Acid Board, As It Is Written In The Book.

At last, the vinyl reissue of this masterwork, adding two hitherto unreleased gems recorded solo for Charles Fox's Radio 3 programme Jazz in Britain, in the same few months of 1980 as the stunning Aida performances.The phrase 'in the moment' is often bandied about with reference to free improvisation, and indeed there's no better way to describe Derek Bailey's playing. The acoustic guitar is notoriously lacking in natural reverberation — notes barely hang in the air for a couple of seconds before they disappear — which explains the almost non-stop flow of new material in these stellar performances. Bailey knew from one split-second to the next exactly where to find the same pitch on different strings, either as a stopped tone or a ringing harmonic, and there's never a note out of place. 'He who kisses the joy as it flies,' in the words of William Blake, 'Lives in eternity's sunrise' — and this music is forever in the moment, constantly active but never gabby, kissing the joy.One of the special pleasures of the BBC set is the guitarist's own laconic commentary, a deliciously deadpan description of what he's doing while he's doing it — 'I like to think of it... as a kind of music' — and the interaction between words and music is a particular delight. 'You may have noticed a certain lack of variety,' he quips, while unleashing a furiously complex volley. Is it a coincidence that the final seconds recall the famous cycling fifths of the coda to Thelonious Monk's Round Midnight Surely not — for Bailey, like Monk, was a note man par excellence. And they're both still alive and well in eternity's sunrise.

* 7" vinyl
* 300 copies
* Featuring Planet Asia (Cali Agents)

2 songs on a limited edition 45 - 300 copies, all straight SP1200. Both songs featuring Planet Asia with one of the tracks featuring one of PA's friends Waz on the hook.

Fredfades & Sun Raw are keeping alive the gritty, analogue sound with 12-bit drums and loops but with their own unique style. Fred has been working with KingUnderground for the last 3 years and has a flock of releases. Sun Raw from Stockholm, Sweden is new to the crew but about to drop his debut "Beat Weeks". The duo are both part of Mutual Intentions crew and find inspiration from old music, from Jazz, funk, soul, rock and anything they find in the crates.

Planet Asia has been affiliated with KU from early on with a release and some features. Some MC's have been left behind, Asia isn't one of those. He's been kicking out better and better verses since he first showed up on the scene in the early 90's and it doesn't look like he's stopping anytime soon.

When Ann Arbor's Tadd Mullinix began exploring hip-hop under the name Dabrye 20 years ago, he soon honed in on a startling vision of what the genre could be: ingenious, refined, daring. This vision came to life across two albums for Ghostly International — 2001's One/Three and its 2006 follow-up Two/Three— with each record further positioning the quiet Michigan producer as one of his generation's best, equally comfortable creating minimalist instrumental meditations or sharp rap salvos. In the late 2000s, following critical acclaim and accolades from both peers and inspirations (including the late Jay Dee with whom Mullinix collaborated before his untimely passing), Mullinix put the Dabrye moniker on ice and dedicated himself to other genres and ideas. All the while the influence of his work on a new generation of electronic musicians continued to make itself felt in subtle but meaningful ways.

All this changes in 2017 as Dabrye makes his long-awaited return with Three/Three, a razor-sharp rap album that brings to completion a prophetic trilogy. Mullinix's incisive productions provide the backdrop for equally acute rhymes that run the gamut from intergenerational observations and being your best self to back alley deals and having fun in the ride. Guests include indie rap legend DOOM, whose previous collaboration with Dabrye remains a point of reference for many, Wu Tang storyteller Ghostface Killah, L.A word fanatic Jonwayne, and Long Island's rugged surrealist Roc Marciano. Most importantly Three/Three is, much like its predecessor, an unfettered celebration of Detroit-area talent with Guilty Simpson, Phat Kat, Kadence, Quelle Chris, Danny Brown, Shigeto, Clear Soul Forces and more all lending their touch to Dabrye's return.

The blend of American and British dance music, hip-hop sampling, and Jamaican sound clash energy that underpinned Two/Three remains a quiet, guiding principle. At the same time Mullinix rejoices in a refreshed perspective, having had time to incubate ideas and find clarity in the distance between albums and the evolution of scenes.The beats are looser and less angular, more embracing of repetition. Organic techniques inspired by soul and jazz round off some of the harsher sonics. The resulting broad palette of tracks reflects both this evolution and the range of the Dabrye persona: relaxed headnod ("Tunnel Vision"), nervous, slow-motion electro ("The Appetite"), glacial motifs ("Emancipated"), jazzy, cut-up funk ("Sunset"), minimal brutalism ("Electrocutor"), intricate layering ("Culture Shuffle").

Three/Three marks the return of an innovator after close to a decade of silence. Despite what the title might imply, the album isn't the end of the story but rather the completion of a creative arc. Expect more Dabrye in the near future. The game is far from over.

- Final installment of the /Three series, started in 2001
- Guests include Ghostface Killah, Jonwayne, Doom, Danny Brown, Shigeto, and more.
- Media support from: The Wire, FACT Magazine, The Detroit Free Press, Pitchfork, XLR8R
- Past collabs with Jay Dee (J Dilla), MF DOOM, Beans & more
- Vinyl is housed in a matte jacket with black hot foil and includes 24-page zine designed by Michael Cina.

'syncho Sound System & Power' Features The Music Of Nigeria Fuji Machine,
Which Includes Some Of The Country's Finest 'fuji' Master Drummers And Singers, And Is Newly Recorded By Soul Jazz Records In Lagos, Nigeria. Fuji Is The Heavily Percussive And Improvisational Style Of Nigerian Popular Music, At Once Modern And Yet Deeply Rooted In The Traditional Islamic Yoruba Culture Of Nigeria.
Here On This Album Nigeria Fuji Machine's Striking And Powerful Lead Vocalist Taofik Yemi Fagbenro Soars Above A Wild And Energetic Backdrop Of Polyrhythms Played On Traditional Talking Drums, Trap Drums, Electronic And Street Percussion To Create A Powerful Wall Of Intense Sound. Fuji Is A Hi-energy Street Music, Heavily Percussive Which Evolved Out Of The Islamic Celebration Of Ramadan, Which Became A Major Event In Mid-20th Century Lagos. Groups Of Young Men Walked Through Muslim Neighbourhoods At Night Singing Improvised 'wéré' Music To The Accompaniment Of Pots, Pans, Drums, Bells
And Anything Else Available, Waking Believers For The Early Morning Prayer. By The Early 1970s This Music Had Crossed-over Into Popular Nigerian Culture Where It Came To Be Known As Fuji, First Made Popular By The Artist Alhaji Sikiru Ayinde Barrister, As The Music Began To Be Performed Commonly At Parties And Social Events. In The 1970s And 1980s Three Nigerian Artists - King Sunny Adé, Chief Ebonezer Obey And Fela Kuti - All Secured International Major Record Deals Bringing Popularity To The Nigerian Musical Styles Of Juju (adé And Obey) And Afro-beat (fela Kuti's Unique Mixture Of Highlife, Funk And Jazz) Abroad, But In The Process Ignoring Much Of Nigeria's Rich Musical Landscape. Fuji Is, Alongside Highlife, Juju, Afro-beat, Sakara, Afro-reggae, Waka, Igbo Rap, Apala And Numerous Others - One Of These Central Styles Of Nigerian Music. The Singer Barrister Described The Music As Follows: 'fuji Music Is A Combination Of Music Consisting Of Sakara, Apala, Juju, Aro, Afro, Gudugudu, And Possibly Highlife.' Juju Performer King Sunny Adé Described The Difference Between The Two
Styles Of Fuji And Juju Somewhat Competitively Thus: 'fuji Music Is More Or Less Like My Music Without Guitars. It's Like I'm Singing In A Major Key And They Are Singing In A Minor. The Music Itself Is The Music Of Juju Music.' Today Fuji Remains A Powerful Popular Music With Deep And Powerful Islamic Roots
Which Continues To Modernise And Attract New Generations Of Young Nigerians And Nigeria Fuji Machine's 'syncho Sound System & Power' Is A Powerful And Intense Musical Experience. This Album Is Released As A Limited-edition Heavyweight Vinyl Edition (+free Download Code), Deluxe Cd And Digital Format.

Helsinki's We Jazz Records Presents "y-otis", The Debut Lp From Berlin-based Swedish Saxophonist/composer Otis Sandsjö, Joining Forces With Keyboardist Elias Stemeseder, Bassist Petter Eldh And Drummer Tilo Weber. The Album Is A Forward-reaching, Multilayered Collection Of Eight Originals Penned By Sandsjö And Produced By Sandsjö And Eldh. What You Get Is A Form Of "liquid Jazz", Born In An Era Where The Understanding Of Jazz As A Musical Language Has Evolved Way Beyond The Concept Of The Previous "modern". Informed By Hiphop And Electronic Music, "y-otis" Is Pure Jazz In That The Quartet Stays True To Its Constant Mission Of Creating A New Form Of Musical Communication. Sandjö's Circular Sax Riffs, The Album's Rich Production Touch, And The Chopped-up Jazz Form Creates A Musical Concept Which Stays Melodic And Beat-laden While Being "free" Right To The Edge Of Avantgarde. It's As If The Music Is Sampling Itself, Constantly Keeping Ahead Of The Curve In The Musical Lineage Of Jazz.

Otis Sandsjö (b. 1987) Hails From Gothenburg, Sweden. He Is Known Previously For Example For His Inspired Work On Singer Lucia Cadotsch's Globe-trotting Trio Formation "speak Low", Also Featuring "y-otis" Co-producer And Bassist Petter Eldh. Elias Stemeseder Was Dubbed One Of The Top 15 Young European Musicians To Watch By All About Jazz In 2017. Tilo Weber Ranks Among The Most Creative Young Drummers In The Scene. Stemeseder Is Currently Based In New York, While The Remaining Three Musicians Here Live In Berlin. Live On Stage, The Band Performing The Material On The New Release Is Called Y-otis.

Ground is an Osaka native, but his soul is truly that of a nomad, traversing the planet, befriending kindred spirits found in humans, animals and plants. He is exceptionally receptive to the beauty in everything that surrounds him—the incidental music of a city street, the orchestral chaos of a scrambling radio, the syncopated grace of migrating birds, the simplicity of an isolated hand clap—and as his roadmap continuously unfolds, he accumulates a vast catalogue of visceral tools to musically recount his experiences. Sunizm is a cross section of the artist's process—an array of complex microcosms overlapping to comprise a thematic whole—gathering field recordings, found instruments, jagged electronics, synthesized chanting, and weaving all into a dense narrative that appears obsessively constructed yet divinely improvised. Logos is the first of two singles surrounding the album and is complimented with a monster remix by Bartellow (a fellow ESP artist, collaborator and good friend of Ground) as well as a secret weapon b-side entitled Discopazzle, which is exclusive to this single release. Attention all humans, animals and plants, Ground and the ESP Institute present, Sunizm.

J Colleran's majestic lead single 'bERA' began as a simple experiment using pianos and arpeggiators that slowly developed into a shimmering elemental piece. The coinciding video, directed by Gray was inspired by the photography series by Anton Polyakov who documented the people of Transnistria, an independent state affected by the constant intimidation of military conflict.The film shows the slow shifting balance of power from physical force to the over bearing emptiness of a room. Gray describes the featured bodybuilder flexing to a visible lack of audience as 'a shimmering golden symbol of power and also a fragile vessel shaped around a trauma. The presence of a long gaze and the rapid deterioration of strength reveals a true identity.Recent quick-fire single 'O+SOH' served as a transitional primer for the Irish producer and classical pianist, forming the perfect base from which to launch 'Gardenia' — a sweeping experimental soundscape inspired by childhood memories and the natural beauty of his native Ireland.

On A side, electronic music wizards Kompozyt team up with a Dub Legend Lee 'Scratch' Perry to bring you a heavy-hitting and instant bounce-inducing Dub Techno track 'Hidden Force'. Lee Scratch Perry's amazing and charismatic Dub poetry blends superbly with the neat fusion of spacey and subterranean sounds of Kompozyt productions. The single is not to be missed this summer.

On B side, Kompozyt brings you a 7' version of 'Homesick' - Dub and Trip-hop inspired Experimental Electronica with Olgierd Dokalski on the trumpet. Olgierd's incredible performances of real haunting beauty further reinforce the analog, live and improvisational aspect of Kompozyt's music.

Both tracks come from Kompozyt's debut album: 'Synchronicity' - out everywhere now on CD and DL.


Selected Reviews of Kompozyt's Debut Album and the Single

5/5 Decoded Magazine: 'Incredible album 10/10'

4/5 Lars Berhenrot (Deepershades): 'LOVE THIS .. never-ending deepness ..'

5/5 Pierre Ravan: 'Amazing work from the heart'

5/5 Queensradio.org: 'I'll definitely be playing these guys on air'

4/5 Garth Trinidad (KSRW Radio) 'Exquisite score without a film'

5/5 Hoxton FM (London): 'Incredible release!'

4/5 Stereo MCs: 'Nice vibes refreshing'

4/5 Robert Babicz: 'I love dub. in all forms'
5/5 Adam Hannibal (Balanced) : 'Neat fusion of spacey and subterranean sounds. Reminiscent of the Beyond Recs Ambient Dub compilations with some freshness... Well done'
5/5 Al Bradley (3amrecordings): 'This needs full love because it's excellent :) I can really picture myself just letting this play from the first sound to the last & becoming utterly immersed as it flows through! Gorgeous.'
5/5 Bartlomiej Blesznowski- 'One of the best electronic music albums this year'
4/5 Neil Brown (RMFM; Pro Mobile Magazine): 'Some nice tunes to get your head in gear to.'

5/5 Jorn Kirk (DJ Jay Kay) (Faith Sundays): 'very nice album !!! a joy to listen to'

teppas Records presents 'Osaka Steppas' Vol. 3, the third in a series of releases showcasing the Japanese underground dub movement. This edition features Osaka producers Hiroshi and Roots Masashi in collaboration with Spanish producer Ojah and well-respected UK singer Rudey Lee. The Osaka Steppas' raw and unrelenting sound developed in the subterranean clubs of Osaka, a port city famous for its counterculture night life. Inspired not only by the sounds of Jamaica, but also drawing inspiration from UK and European soundsystem culture with enough bassweight to test even the toughest of soundsystems. Presented in a beautifully designed full colour sleeve inspired by the works of the legendary ukiyo-e woodblock artist, Hokusai. This release is not to be missed.

Side A features an earth rocker riddim from Ojah & Hiroshi, with conscious lyrics sung by the legendary Rudey Lee.

Side B features a much sought after dubplate from Osaka producer Roots Masashi, a deep, dark & mystical steppa.

Swinging Flavors is BACK! After releasing material from names such as Simon Off aka Sun People, Moresounds, DJ Madd, Ticklish, Sully, Addison Groove, Itoa and Lynch Kingsley our 7' vinyl series devoted to Bass Culture and dancefloor vibes is back again with the the Sixth One aka BMRSF006. After having a Japan vs USA Chicago Footwork sound clash with DJ Fulltono and DJ Earl's 'Tribal Dancer', now it's time for an atlantic connection - in the name of Bass Music obviously.
On the A Side you'll find Sinistarr's '55555': the Detroit bass producer - with a 10yrs experience in sound design and recently appeared with an astonishing work on legendary dBridge label Exit Records - gives us a pure example of his sonic craziness with a minimal-but-high-impact work, with chopped vocal samples, magic flutes and heavy basses.On the B Side '55555' gets a full treatment by Philip D. Kick: Cosmic Bridge honcho Jim Coles - well known in the worldwide bass scene as Om Unit - surprisingly comes back with his iconic footwork moniker giving to the original vibes a more accentuate rave touch, with hyper speed drum patterns, amen breaks and piano notes.

Unnatural, uneasy, unexpected. 'The Great Filter' keeps you on your toes constantly, it makes your fingers tingle with anticipation and the hairs on your arms stand up from the tension. It is eerily calm and controlled, while it takes you to faraway places in the twilight, that don't actually exist. Subdued, bright yellow light with no sun in sight. Wide plains with an inherent structure that can only be illogical. Unorganic sounds, alien voices, excited synths and sobering organs. Reality is so mundane. The way we are now expecting it from Krink, he does what is unexpected and stretches conventions somewhere around techno and deep house. The music is driven by imagery rather than song structure. The EP puts cutting rhythms over comfort and sound over beauty. Like a focused dream, it is concrete and abstract. Let's get found in the universe. Vital Sales Points: DJ promo, German print & online, UK/international online

Left of centre experiments from the Dutch underground of yesteryear. Muziekkamer was the name of the home recording studio that gave birth to the twelve tracks on 'Popmuziek', an intriguing document of sketch arrangements and primitive, fairytale sampling wave cuts. This is music which excels due to its inherent naivety; the limitless ambition of 'Black Box' almost sounding like a precursor to the 90s ambient techno of Likemind or Stasis. On 'Being Home Tonight' we can hear an early form of what the likes of Tolouse Low Trax have been bringing to the forefront of contemporary club culture whilst the erratic art-rock of 'Walkman' mirrors what Leven Signs & co were doing over the pond. In trying to create something which represented 'intrusiveness' as a contrast to an earlier ambient tape the trio incidentally blurred the lines between various musical fashions to come. An amazing snapshot of time and place!

Helsinki's We Jazz Records presents "Y-OTIS", the debut LP from Berlin-based Swedish saxophonist/composer Otis Sandsjö, joining forces with keyboardist Elias Stemeseder, bassist Petter Eldh and drummer Tilo Weber. The album is a forward-reaching, multilayered collection of eight originals penned by Sandsjö and produced by Sandsjö and Eldh. What you get is a form of "liquid jazz", born in an era where the understanding of jazz as a musical language has evolved way beyond the concept of the previous "modern". Informed by hiphop and electronic music, "Y-OTIS" is pure jazz in that the quartet stays true to its constant mission of creating a new form of musical communication. Sandjö's circular sax riffs, the album's rich production touch, and the chopped-up jazz form creates a musical concept which stays melodic and beat-laden while being "free" right to the edge of avantgarde. It's as if the music is sampling itself, constantly keeping ahead of the curve in the musical lineage of jazz.

Otis Sandsjö (b. 1987) hails from Gothenburg, Sweden. He is known previously for example for his inspired work on singer Lucia Cadotsch's globe-trotting trio formation "Speak Low", also featuring "Y-OTIS" co-producer and bassist Petter Eldh. Elias Stemeseder was dubbed one of the top 15 young European musicians to watch by All About Jazz in 2017. Tilo Weber ranks among the most creative young drummers in the scene. Stemeseder is currently based in New York, while the remaining three musicians here live in Berlin. Live on stage, the band performing the material on the new release is called Y-OTIS.

Sun yellow vinyl, comes with download.

Airplay: Worldwide FM

Africa 45, number 17
Fathili & The Yahoos came from Kenya. Soulful but raw, mid-tempo afro-funk. Licensed from Melodica music stores courtesy of our great friend Abdul Karim. The Wings were a Nigerian band. 'Gone With the Sun' featured on their 1974 album 'Kissing You So Hard' and fuses bluesy disco, funk and soul moods with quirky synths and effects.

Fresh off the back of the languorous poolside disco and tropical pop of their debut album 'Shapes On Shapes' released last November, LA based duo Wild & Free return with a collection of essential remixes from label mates and influences alike by revisiting the heady disco of recent single 'Ferns and Stuff'.
Both multi-instrumentalists, singers and producers in their own right, Wild & Free duo Drew Kramer and George Cochrane came together in 2015 and have spent the past 2 years crafting a series of acclaimed EPs and remixes (for the likes of Joe Goddard (Hot Chip), Panama, Gigamesh, RAC and Ben Browning of Cut/Copy) that saw them tipped by the likes of Spin, XLR8R, Indie Shuffle, Clash Magazine, Data Transmission and many more and take their live show on the road playing alongside the likes of Brooklyn's Body Language.After releasing a few solid ep's and two full lengths album's Xinobi has gained real recognition among established and well-known artists and opinion-makers, and his underground cult has amplified. What has followed is remixes, edits and reworks for artists such as Sbtrkt, The Avener, John Grant, Toro Y Moi, Nicolas Jaar, Agnes Obel, Kris Menace and Tensnake.Along with Moullinex and Mr. Mitsuhirato he gave birth to the still-growing-influent Discotexas who here lend their label mates their expert musical arrangement skills with 'Discotexas Club Mix' thrown in for good measure. And it doesn't stop there, with legendary New Yorker Justin Strauss, who has produced and mixed records and remixes for the likes of LCD Soundsystem, Beyonce, La Roux and Goldfrapp contributing a 'Whatever/Whatever' mix as part of the slick and hugely influential production duo he formed with Bryan Mette.
Already noticed for his remixes and array of collaborators and with several releases under his belt (including a track on the 'Bonjour Colette' compilation), Tokyo-based Yuki Abe AKA producer/DJ Boys Get Hurt gets his inspiration from the melancholic feelings the end of summer inevitably brings about, a personal and evocative sensibility in tune with the land of the rising sun's delicate culture. Yuki expertly crafts bouncy disco-house music with sprinklings of electronica, indie, ambient, hip-hop and R&B. Here he adds a mix with a loose and joyful feel that fits the sentiments of what Wild and Free represent perfectly.

FLIES 45-04

BRAEN & RASKOVICHAfro Beat / Afro Flower

7'' Limited Edition 400 copies

Four Flies Records continues its 7" line-up with anotherde rigueur repechagethat will have your dancefloor jump frantically up and down. Two freaky afro- flavoured tracks, written by Giuliano Sorgini and his partner in musical delices Alessandro Alessandroni. Recorded during a non-specified session which may be traced back to the recording of Sorgini'sUnder Pompelmoand Pawnshop's first 7". The sound and the ideas behind the music are exactly the same, even though there's more rhythmic and percussive emphasis on both tracks. Two little precious gems, unreleased to this day, brought back to light and finally available for DJs and fans all over the world.Afrodelic breaks for your pleasure!

to Me, Sounds Have Always Been More Interesting Than Words,' Says Agnes Obel. i Love It When The Voice Becomes An Instrument And You Almost Forget It's A Human Voice.' Never Is This More Apt Than On This Beautifully Programmed And Bewitching Selection Of Music.

Agnes' 2010 Debut Album Philharmonics Went Platinum In France And Belgium And, Unsurprisingly, Quintuple Platinum In Her Native Denmark, Where She Also Won Five Danish Music Awards (equivalent To The Brits) In 2011. The Follow-up Aventine, Released In Late 2013, Was Imbued With The Same Measured Calmness As Her Debut. It Went Platinum In Belgium And Gold In Denmark And France.

For The Mix You Have In Your Hands It Feels Almost As If Agnes Has Scoured The World Looking For Kindred Spirits - Or Kindred Songs. There's A Quietude About It All, The Antithesis Of A Rush Hour, Like A Frozen Lake On A Sunday Morning. This Is Aided By A Veritable Cornucopia Of New Obel Material, Including A Haunting Reading Of Danish Song 'glemmer Du', Inger Christensen's 'poem About Death' Set To Original Music, And An Agnes Original, 'bee Dance'.

Among Them, There's The Enigmatic Jamaican Singer Nora Dean Who Weighs In With The Hypnotic And Slinky Duke Reid Production, 'ay Ay Ay Ay (angie-lala)' And The Sparse, Sardonic 'party Girl' By Michelle Gurevich, So Good It Inspired The Eponymous French Movie. There Are The Plangent Voices, The Bulgarian Folklore Choir, Nina Simone, Ray Davies And Agnes Herself, Ringing True. Somehow, Ms Obel Makes Even Makes The Electronic Tracks Bow To Her Needs As With Yello Whose 'great Mission' Is More Martin Denny Than Underworld And Cult Greek Composer Lena Platonos' 'bloody Shadows From A Distance' Pulses Gently Rather Than Throbs And Can's Recently Rediscovered 'obscura Primavera', Unusually Hushed.

"i Was Surprised At How Much Time I Ended Up Spending On This. I Collected All The Songs Together With My Partner Alex And We Just Spent Time Listening To Records, Trying To See What Would Fit Together. Some Of The Music I've Included Here Is On Mixtapes We Made When We Were Just Friends As Teenagers. Each One Of The Tracks Produces Stories In My Head." - Agnes Obel, February 2018

Oktave Records returns for the third installment from the label, once again featuring owner and proprietor Jeff Derringer at the helm. The 'Factions' EP shows Jeff at his most direct and robust, with three tracks of meticulously constructed techno.

'Factions' starts the EP and goes straight for the heart of the dance floor, with a tunneling groove that lures the listener into hypnosis before a devastating break takes the track to a whole new level of intensity. This one is for the ravers, no doubt.

The flip side starts with 'Penalty Phase', another floor-focused stunner that features Jeff's signature kick drum and drive, coupled with evolving synth arpeggios and melancholy vibes for those early club mornings as the sun comes up. Finally, 'The Second Plane' slows the tempo down a bit and ends the record with a thoughtful broken beat arrangement reminiscent of early Warp.

'Factions' was written during the winter of 2018 and mastered by Tim Xavier at Manmade Mastering.

Pressed on solid orange vinyl.

Music and Poetry of the Kesh is the documentation of an invented Pacific Coast peoples from a far distant time, and the soundtrack of famed science fiction author, Ursula K. Le Guin's Always Coming Home In the novel, the story of Stone Telling, a young woman of the Kesh, is woven within a larger anthropological folklore and fantasy. The ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet (Le Guin's conlang, so she could write non-English lyrics), and with early editions, a cassette of field recordings' and indigenous song. Le Guin wanted to hear the people she'd imagined, she embarked on an elaborate process with her friend Todd Barton to invoke their spirit and tradition.

For Music and Poetry of the Kesh, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist (the two worked together previously on public radio projects). But the cassette notes credit the sounds and voices to the world of the Kesh, making origins ambiguous. For instance, The River Song' description reads, The prominent rhythm instrument is the doubure binga, a set of nine brass bowls struck with cloth-covered wooden mallets, here played by Ready.' According to writer and long-time friend of LeGuin, Moe Bowstern (who pens the liners for the Freedom To Spend edition of Kesh), Barton built and then taught himself to play several instruments of Le Guin's design, among them the seven-foot horn known to the Kesh as the Houmbúta and the Wéosai Medoud Teyahi bone flute.' Barton's crafting of original instruments lends an other-worldly texture to the recordings of the Kesh, not unlike fellow builders Bobby Brown and Lonnie Holley. Bowstern notes, Other musician / makers have crafted their own Kesh instruments after encountering the earlier cassette recordings that accompanied some editions of the book.' Both Barton and Le Guin are sensitive to the sovereignty of indigenous Californians and were careful not to trample the traditions of the Tolowa people who lived in the valley long before the Kesh. You research deeply, and then you bring your own voice to the table,' said Barton. Within the Kesh culture, the numbers four and five shape the lives, society and rituals. Barton composed loosely around these numbers, patiently listening to the land of Napa Valley for signs and audio signals from the natural elements. Todd incorporated ambient sounds of the creek by Le Guin's house and a campfire they built together. The songs of Kesh are joyful, soothing and meditative, while the instrumental works drift far past the imaginary lands. Heron Dance' is an uplifting first track, featuring a Wéosai Medoud Teyahi (made from a deer or lamb thigh bone with a cattail reed) and the great Houmbúta (used for theatre and ceremony). A Music of the Eighth House' sends gossamer waves of the faintest sounds to float on the wind.' Like the languages invented in the vocal work of Anna Homler, Meredith Monk, and Elizabeth Fraser, the Kesh songs and poems play with the shape of voice.

The Music and Poetry of the Kesh cassette was meant to accompany and enhance the experience of reading Always Coming Home. Presented in this edition as a long-playing album, where only traces of the book linger (the jacket offers some of Le Guin's illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport—offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures. A line from the Sun Dance poem reminds us, We are nothing much without one another.' Freedom To Spend gives new life to the recordings of the Kesh people in the first ever vinyl edition of Music and Poetry of the Kesh, out on LP, and digital formats on March 23, 2018. The LP will include a deluxe spot printed jacket with illustrations from Always Coming Home, a facsimile of the original lyric sheet, liner notes by Moe Bowstern, multi-format digital download code and a limited edition bookmark letter pressed by Stumptown Printers in Portland, OR.

This past Monday, January 22, Ursula passed from this realm to another leaving a life spent building and exploring other worlds while challenging social concepts of the real word she inhabited.

Freedom To Spend had been working under Ursula's enthusiastic endorsement and with Todd Barton, her musical collaborator on Kesh, to give the music that accompanied her 1985 epoch a new life. With the Le Guin family's encouragement to move forward with our planned release, we are humbled to play this small role in sharing Ursula's work.

As Pete Swanson, one third of Freedom To Spend, stated, Ursula's legacy is her work which transformed the world, and this is another piece of the universe that her imagination birthed becoming real.' Listen to A Teaching Poem / Heron Dance' below.

Sing a song fighter have never been more proud and happy than to finally announce and release this unissued and unheard fantastic recording South African in exile Johnny Dyani was one of the greatest bass players. Played with Don Cherry, Chris McGregor, Archie Sheep, Dollar Brand / Abdullah Ibrahim etc etc. He also made many great albums as a bandleader. And a few rare minimal albums where it was mostly him and his upright bass. He died way too early, in 1986. Karl Jonas Winqvist (Sing A Song Fighter) ranks some of Dyani's works ("African Bass", 'Witchdoctor's Son" with Okay Temiz and "Good News From Africa', with Dollar Brand) as "the most natural, creative musical force there is'. KJW investigated for years if there was more recorded Dyani material waiting to be heard. And where After e-mailing endlessly with the National Radio Museum in Switzerland he finally found what he was looking for.In 1978 graphic designer Niklaus Troxler arranged the great Willisau Jazz Festival in Switzerland. A lot of legendary artists like Max Roach, Jan Garbarek, Elvin Jones and Don Cherry were performing, and Johnny Dyani was one of them. He did this rare solo concert with some of the material that two years later would end up on his great album "African Bass". This LP contains the concert from beginning to end, showing Dyani at his very best on piano, gong, bass and vocals. Spiritual, adventurous and truly free,beautiful music.Gatefold cover, with extensive liner notes from Francis Gooding and Niklaus Troxler

Max Loderbauer, who has so far made consistently engaging contributions to the Arjunamusic family, is back to lend his unique interpretive skills to the master recordings for the Brightbird album by João Paulo Esteves da Silva, Mário Franco and Samuel Rohrer. Loderbauer has set himself up for a chal- lenge, since the original album's completely improvised flow of small-ensemble, conversational jazz feels complete enough without outside intervention. However, Loderbauer's role as electronics operator in the similarly attuned Ambiq trio has already shown that, through his mastery of tone color, he has a talent for teasing out the additional hidden details within an apparently 'complete' sonic environment. It's a task he mana- ges to accomplish without ever overriding or contradicting the cohesive message provided by his collaborators.

Adding to the challenge here, Loderbauer chooses to re- mix using only sounds from the original recordings. By doing so, it might seem he is willfully denying himself the chance to use his own signature tools and turn Brightbird's source materi- al into stunningly new electro-acoustic hybrid blooms. Yet Loderbauer succeeds here by becoming something more like a translator than an augmenter - he finds a way to make mea- ningful syntactical changes to the trio's rich and versatile vo- cabulary, and once again unveils a verdant world of hidden details in the process.

The A-side 'Trusting Heart/Cosmos' has an anxious tone introduced by a set of Doppler-effected piano notes that seem to melt in the sun, and is soon complemented by a va- riegated, chattering rhythm line. Here Loderbauer builds up a tactile tension between rhythmic certainty and sharp-angled, de-tuned, and occasionally scrambled instrumentation, framing a disorienting (yet engaging) virtual space where ob- jects' bright hues rapidly change as they contract and expand along multiple dimensions. For the b-side 'Noontide', Lo- derbauer switches to a more focused and streamlined idiom with an uncanny ease, riding along steady waves of sequencer patterning and silvery, resonant shiverings. Reverberating, ho- lographic piano again provides the tonal center here, and the notes ring with a forward-thinking optimism not far removed from classics of the 'Krautrock' era.

Current supporters of all the artists involved will find this to be an invigorating synopsis of their work to date, while newcomers will be treated to a soundworld where skillful fu- sion (the act itself, rather than the music genre with the same name) is constantly on display.

"After a deceptively quite 2017, Especial picks up the pace pace by welcoming back the peroxide, youth filled Fairplay (re)version and a 2nd EP of old-skool-meets-the-new-school flavoured House and Breaks to lock, jock and spin.

After the criminally overlooked 'How Do You Like Me Now' EP - how is Classic Version not a...classic...version - Junior gets back on the (lino) floor. The EP starts with a look north to the 'other city of 7 hills' that birthed a Warp'd British retake on House in his bleep-dub ode, End Of Love. The autobiographical title belies a forward approach with his trademark echobox kick'n'hats underpinning uplifting keys and nodding bleep finger solo.

Who to join the party then, than another man of mystery, Roy Of The Ravers. After his debut EP on sister label Emotional Response became a most played from Aphex et al, it is only right bring him to E'Special. His brooding, hoover rush Remix 1 heightens the vibes with a heads down bleeping half-steppa. Righteous!

The flip is given over to Junior's roots, bringing the hip-hopper back with the anthemic The Shazsquatch Goes Back Into The Woods. No shoc(k) horror here, just more upwardly mobile breakbeat meets UK techno licks. You can hear Fairplay at one with man and machine, pushing a sound that looks back but most definitely goes forward with 'Sunrise' on the mind.

To close is the swagger of EP title cut, Faxes From The Future. Hair of the (black) dog fuses a swinging break with proto-dub-meets-Giallo stylings to rework the senses and say, now is (still) the time!

A return to making the noise while keeping tongue planted firmly in cheek. What are u like Top. Buzz."

When it comes to soulful house, Detroit native Alton Miller is about as ingrained as it gets. Peacefrog, Planet E, Moods & Grooves, Mahogani and Sound Signature have all endorsed his talents and with an album looming later in the year, Waella's Choice sow the seeds with 'All Things Good'. Club music for the sensitive souls, with some arresting spoken word poetry and even a broken beat deviation.'All Things Good' is the fourth release from London label Waella's Choice, following Hanna, RANGEr and the London on Key compilation.

A continuation of his kaleidoscopic sun-dappled cosmic-disco, Neon Leon was the much-loved CD-only sophomore album by Sorcerer. Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

A perfectly formed suite of ten tracks featuring soft guitars, subtle synths and lightly grooving percussion, Neon Leon magically evokes that elusive summer feeling throughout. The guitar-driven "Algorhythm" serves as the album opener, blasting bold, sun-drenched jazz chords atop bright synths and groove-based drum programming. "Ride The Serpent" and "Distort Yourself" are guided by a more sultry, slo-mo disco impulse whilst the staggering "Chemise" and strident "Face It" merge 80s West Coast production sheen with Sorcerer's trademark laid back, gentle disco. "Raydio"'s undeniable head-nod groove adds a rare vocal to the proceedings, joyously combining with the bubbling cosmic funk.

Since its initial release in 2009, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"Neon Leon's is the name of a bar in a Elmore Leonard book I was reading on a vacation to Belize with my future wife. I was soaking up his brand of noir during the making of the songs on this record, along with another favorite Ross Macdonald. We were living in a small apartment in the Mission District of San Francisco where i had my own room to jam. It was painted Orange and Turquoise and was a very inspiring place to create and focus. I could walk out of my house to any number of hole in the wall bars where people were deejaying, hanging-out, and knew about me and my music.

After White Magic I developed more confidence in my style and process so I stuck with it and I believe it shows in the tunes I selected for the record. The sounds are rich and I dug deeper into sampling from obscure dollar records and getting looser musically. I made a handful of collage videos for the tracks at this time as well, which represent where my mind was at visually. In my mind it's Cosmic Funk that rules the day and I am thankful to have the opportunity to share it with the world again."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

WHEN YOU'VE FINISHED LOOKING AROUND THE WEBSITE, YOU CAN FIND US ON THESE SOCIAL CHANNELS

Raga Abhogi
1) Alap
2) Jod
3) Jhala

Raga Vardhani
4) Alap
5) Jod
6) Jhala

Zia Mohiuddin Dagar : rudra veena
Annie Penta : tanpura

Concert recorded at the home of Shantha and Niranjan B. Benegal, Seattle, Washington 9 March 1986.
Recorded by Niranjan Benegal. Files obtained from Jeff Lewis.
Mastered & Cut by Rashad Becker at Dubplates & Mastering 1117 & 0318.

Liner notes by Renaud Brizard, edited by Stephen O'Malley & Ian Christe.
Front and back cover photos by unknown.
Interior photography by Niranjan B. Benegal, Dan Neuman & unknown, Seattle 1978-1980. .

Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar.

Dhrupad, for those who do not know, is a branch of Hindustani classical music said to "show the raga in its clearest and purest form". It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance ... in short I was hooked on this new (to me) and ancient form of music from the first listen, and feel that a more or less continual listening & reviewing of Zia Mohiuddin Dagar's recordings in the years that followed have influenced my own approach to music quite heavily (if, albeit, indirectly).

In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access a massive archive of recordings and developed these two paired titles for my label. It's been a long path to arrive at actually releasing them but also probably in many ways one of the most significant releases I've worked on. And I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time.

Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad (Bahauddin Dagar continues the lineage as a master rudra veena dhrupad player of note today). Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release.

Ragas Abhogi & Vardhani were recorded in a private house concert in Seattle at the home of the Benegals in March 1986 (the week before the accompanying release SOMA029 Raga Yaman was recorded). The Benegals were friends (& Shantha Benegal was also a student) of Dagarsahib who sometimes hosted Hindustani music concerts in their home. It's a rare glimpse of a more intimate, personal and perhaps different kind of performance considering the form of dhrupad.

-Stephen O'Malley, March 2018, Paris, France

Stephen O'Malley would like to especially thank Bahauddin Dagar, Jeff Lewis & Jody Stecher for their enthusiasm, cooperation, patience, insight & advice toward developing these editions. Thank you also to Laurel Sercombe & John Vallier from the University of Washington Ethnomusicology Archives, Shantha Benegal, Philippe Bruguière, Dan Neuman, Ira Landgarten, Renaud Brizard, Ian Christe, Peter Rehberg, Rashad Becker, Daniel O'Sullivan & Kristoffer Rygg, all for their direct or indirect cooperation, assistance & patience.

Prairie is the project of multi-instrumentalist and producer Marc Jacobs, hailing from Brussels with roots in The Netherlands. He previously released an EP (I'm so in love I almost forgot I survived a Disaster - 2013) and an LP (Like a Pack of Hounds - 2015) on the Berlin imprint Shitkatapult. On stage, Prairie plays with two or three musicians and together they re-create a free association of musical ideas and atmospheres. Prairie has played in selected venues and festivals across Europe and toured with Apparat in 2016.If the apocalypse was painted in several layers of pastel gouache, its soundtrack might be PRAIRIE's Flash Flood. Listening to the album, we drift through a series of frozen landscapes that gesture at a post-apocalyptic ambience. This is a kind of blackened music that has been left to sediment, excavated from traces in ice core samples. Flash Flood showcases a deep sensitivity to narrative and rich cinematic textures as Marc Jacobs returns with palimpsestic sonic layers. It has been three years since PRAIRIE's last release—the 2015 Cormac McCarthy-inspired Like a Pack of Hounds—and it is clear that it has been several years of pensive reflection. Now, PRAIRIE takes the sentiment of his 2012 debut, I'm So In Love I Almost Forgot I Survived A Disaster, several steps further: it is after the apocalypse, and no one has survived. And yet with Flash Flood, we can hear the hum of this impossible future.

'After the Flash Flood' introduces the sonic ruins of distorted guitars, field recordings, drum programming and synths that create the textures of the entire album. The melancholic and subdued black metal churn of 'Raindeath' becomes the cold backdrop for unnerving, paranoiac speech. The third track, 'Sisters', foregrounds this coldness while slowly moving away toward alternate vistas where the acoustic timbres of the saz-driven 'A Permanent War Economy' take over. 'Underwater Body Hunting' and 'Rabid Ibrahim' are hard hitting beat-oriented tracks that insist on burning slow. There is a patience with PRAIRIE's FLASH FLOOD that is difficult to deny. The lamentation of 'Elephants Will Rise Again' perhaps signals that it is not only the human that is lost after catastrophe. The album closes with 'Hard Water: Cracked Ice' and 'Hayashi Clock'. The former is a beautiful coalescence of clean harmonious tones and softly overdriven drums, while the latter brings us back to a meditative state, drifting through the final pastel tapestry.

"... his cosmos is located somewhere between Bohren & der Club of Gore and Sunn O))), ambient is as familiar to him as brachial sounds, and he is as much acquainted with guitars as with synths and modern technology" (GROOVE)

"... Like Ben Frost, (Prairie) exudes a certain harshness while tempering his work with moments of sublime beauty. This isn't club material, it's music for the hammer in one's hand, the confrontation of the demon, the soul-shattering revelation." (A Closer Listen)

Nubian Quadrant EP sees Dutch producer Philou reaching for that sweet spot between Afro and Electro to produce three pulsing new tracks for Byrd Out. As Philou says, "All good music ultimately comes from Africa", and true to his African roots, the EP was part recorded in Malawi. With his tracks being picked up by the likes of Erol Alkan and Eats Everything, this EP is sure to provide the rhythmic backdrop to the summer. If you imagine the driving force of Fela Kuti matched with the acid sqwelch of Phuture, you're part of the way there. It's dancefloor sunshine on vinyl. Mastered by the legendary Noel Summerville, artwork by G.S-L Studio.



Biog: Philou Louzolo, a vibrant human being showcasing a diverse sound: born and raised in between the forests and the salty ocean breeze of Southern Zeeland (The Netherlands). Blessed with deeply rooted ties to the townships of Sierra Leone, the jungle surrounding the Congo river and Nigeria - where the birth of Fela Kuti's Afrobeat took place - his music sounds like Pan-African propaganda packed with sounds from urbanized cities, the Sahara and Africa's many jungles. He's been making waves with a Mixtape for the Feel My Bicep guys (it's #84), and getting airtime on BBC Radio 6 with Erol Alkan, and on BBC Radio 1 with Eats Everything, and playing Resident Advisor's GAIN stage at DGTL in Amsterdam in March, and playing at Morocco's boundary-pushing Altas Electronic festival later this year.

African Scream Contest 2

A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear, gut-busting yelps, lethally well- drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure- trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks o Les Sympathics' pile-driving opener, it's clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you're trying to get o the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces' Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation.

The screaming does not stop there, in fact it's only just beginning. But the

strange thing about African Scream Contest II's celebration of unfettered Beninese creativity is that it would not have been possible without the assistance of a musician who had been trained by the Russian secret services to "search and destroy" enemies of the country's (then) Marxist-Leninist president Mathieu Kerekou.

Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills - his training with the KGB - highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the 60s and 70s. Happily, in this instance, Lokonon was tracking the artists down to oer them licensing deals, rather than to arrest them.

Where some purveyors of vintage African sounds seem to be strip-mining the

continent's musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends.

Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and eortlessly fashion-forward photography supplied by the artists themselves. Looming large - alongside Lokonon André - in the cast of biopic-worthy characters to emerge from this seductive tropical miasma is visionary space-nerd Bernard Dohounso, who laid the foundations for Benin's vinyl predominance by importing and assembling the turntables that would play the products of his Bond villain-acronymed pressing plant SATEL, a factory that would revolutionise the music industry in the whole region.

The scene documented here couldn't have been born anywhere else but in the Benin Republic , and the prime reason for that is Vodoun. It's one of the world's most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the African Scream Contest series and other compilations from that country were no less diverse than that army of dierent Gods. At once restless pioneers and masters of the art of modernising their own folklore, the mystic sound of Vodoun was their prime source of inspiration.

One especially irascible Vodoun-adept was Antoine Dougbe, who styled himself The devil's prime minister' while turning ancestral rhythms into satanically alluring modern beats. As Orchestre Poly-Rythmo songwriter Pynasco has observed sagely, Evil is not elsewhere, evil extends into the house'. And African Scream Contest II is a gloriously cinematic road-trip through an undiscovered realm of music lore whose familiarity is every bit as thrilling as its otherness.

Written by Ben Thomson, March 2018

Raga Yaman
1) Alap
2) Jod
3) Jhala
4) Gat (Composition in Chautal)

Zia Mohiuddin Dagar : rudra veena
Manik Munde : pakhawaj
Gayathri Rajapur & Annie Penta : tanpuras

Recorded by unknown at the University of Washington, HUB Auditorium, Seattle, Washington 15 March 1986 , concert co-sponsored by the UW Ethnomusicology Division and Ragamala.
Original digitally processed audio recording made with Panasonic PV-9000 VCR, Sony PCM-F1, PZM mics. Mastered & Cut by Rashad Becker at Dubplates & Mastering 1117 & 0318.

Liner notes by Renaud Brizard, Stephen O'Malley & Ian Christe.
Front and back cover photos by Niranjan B. Benegal, Seattle Center Folklife Festival 1979. Elizabeth Reeke & Annie Penta on tanpuras.
Inner gatefold photography by Niranjan B. Benegal & Ira Landgarten.

Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar.

Dhrupad, for those who do not know, is a branch of Hindustani classical music said to "show the raga in its clearest and purest form". It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance ... in short I was hooked on this new (to me) and ancient form of music from the first listen, and feel that a more or less continual listening & reviewing of Zia Mohiuddin Dagar's recordings in the years that followed have influenced my own approach to music quite heavily (if, albeit, indirectly).

In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access a massive archive of recordings and developed these two paired titles for my label. It's been a long path to arrive at actually releasing them but also probably in many ways one of the most significant releases I've worked on. And I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time.

Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad (Bahauddin Dagar continues the lineage as a master rudra veena dhrupad player of note today). Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release.

Raga Yaman was recorded at a public concert in Seattle at the HUB Ballroom at the University of Washington in March 1986 (the week after the accompanying release SOMA028 Ragas Abhogi & Vardhani was recorded) at the end of his last tour of the United States. Yaman was a special raga for Zia Mohiuddin Dagar, one of his signature raags. For centuries, Yaman has been considered as one of the most fundamental ragas in Hindustani music and is one of the first ragas which is taught to students. A deep knowledge of Yaman gives a key for understanding many other ragas. It's filled with tranquility, contemplation, pathos and spiritual yearning. .

-Stephen O'Malley, March 2018, Paris, France

A near-perfect record, White Magic was the lauded CD-only debut album by Sorcerer (Californian native Dan Judd, one half of Windsurf with Hatchback). Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

Back in summer 2007, this majestic set gently nestled itself into the Balearic soundtrack-to-summer slot for many, making him a household name for Cosmic Disco heads alongside the likes of Lindstrom, Metro Area, Todd Terje, Mudd, Studio and Quiet Village. In the intervening years, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"White Magic is a reflection of personal freedom and discovery. Having been in bands for years, this was a chance to develop music that stood alone and for me to be in full control.

I was living alone and worked on jams whenever I could. I was highly inspired by a new openness to music as a pure inspiration, not being part of any scene. I tapped into the mixes I was hearing coming out the UK where deejays were playing "cosmic" sounds that were so strangely familiar.

I was picking up all kinds of $1 vinyl and throwing bits of it into my sampler almost randomly to see what would come out.

In my mind, I was making music to be played at my friend's Broker/Dealer Pop nights where they fused golden German techno sounds with the new disco emerging at the time. Also, I took vacations and reconnected with the Pacific Ocean where I spent so much time as a kid: it spilled out into the sounds.

Lastly, I forged a partnership with Hatchback (Sam Grawe) who was working on music in the same way. I learned so much about arrangement and the colors of music. We began recording together as Windsurf and released our own stuff. It all seems like a small glorious moment in time, so I am so excited to keep the legacy alive and I continue to work on my music with these spirits inside of me."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

'Erpland' was the band's eighth release and was originally released in 1990 and is considered by many fans as one of their finest works. The album will be re-issued on 180g heavyweight audiophile vinyl in this 2 LP set presented in a wide spine packaging.

One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It's an open exploration of music and the soul.

For over 30 years, the Ozrics have experienced the vicissitudes of the rock and roll life. The band has flourished through a number of line-up changes and sold over a million albums world-wide. And yet, the basic motivation behind the band's existence has never wavered. Their signature blend of hippy aesthetics and raver electronics with spiraling guitars, textured waves of keyboard and midi samplers, and super-groovy bass and drum rhythms continues to delight fans across the world to this day.

New Lp-edition of a private press library recordings of the early '70s.
Together with Florian Fricke and Peter Michael Hamel, Deuter is certainly the main responsible of a fruitful encounter between European sensibility and Eastern aesthetics in the German music of the 1970s. Soundtrack was originally produced by Kuckuck in 1973 not for an official and public release, but as a library' to be used for films, TV and radio. As a library it respects the canonical and typological structure of the genre with 26 short sonic fragments, sequences imagined and conceived like fulminating illuminations. There's still a solid electronic vocation that, however, has put aside the most disruptive effluvia of D (1971) of pure kraut' ancestry. In fact, the album is more like an ideal passing bridge between some ritual instances of the previous Aum (1972) and the following successful phase of Deuter during the period when he stays in the Bhagwan Shree Rajneesh's ashram in Poona realizing, in parallel to a renewed inner life, masterpieces like Celebration, Haleakala, Ecstasy and Silence is the Answer. Musically speaking, Soundtrack presents itself as a heterogeneous work with nocturnal, cinematic, galactic and atmospheric-environmental implications. Electronics remains the predominant factor but can vary from mantra drones of more ceremonial and meditative space-relax' tones of some tracks (Triad, Deep Sea, Gothic Velvet or Evening) to the most amused formulations of pulsating analog synths that in the hands of Deuter become toy-equipement' to modulate and explore (Desert Rock, Synth Effect, Flea Dance or Laser). There is no lack of acoustic moments more ethnically inspired with Arabian and Indian (Reed, Arabia) or devotionally solar themes (Tom Bombaddils Dance), so evoking an air of diffuse peace then completely conquered in the beloved India.

With this new work Maurizio Abate recovers the discourse started with Loneliness, Desire and Revenge (2016) but with a different narrative sensitivity. The symbolic air that you breathe suggests a personal and universal experience in which thoughts and perceptions remain as enveloped in an eternal cosmic wheel. It's a condition that flows sincerely into an emphatic introspection and identification between the stasis of an inner soul and the flowing vitality of stagnant aquatic landscapes. In this direction the music of Abate always condenses multiple ranges of different emotional spectra evoked by profound naturalistic references. The airy openings of the strings, the distant whispers of the harmonica, cascades of phrasings more calm or more torrential can lead into the magnificent climax of the Nostalgia. The string arrangement for violin and cello by Lucia Gasti introduces in a dimension of idyll, in elegiac passages of touching poetry almost of chamber music but at the same time wet by the pastoral and bucolic moods of autumn landscapes, they are paintings imbued with different flavors and colours that recall the light and the candor of the Venetian tonalisms or the moving paintings full of meaning of Tarkoski. In the darkest and saddest moments the open chords are like suspensions of unresolved questions and torments, but the cathartic finale with a free and minimalist piano prelude to possible future glares, almost to perceiving that even where there's stasis the sun can still shine the hope for the new on the clearing of the pond. Remains the feeling with that stylistic "freedom of expression" dear to the visionaries Fahey and Basho, but also a clear interpretation of the expressive possibility of the lead guitar, absolutely lyrical and contemporary for refinement of the crystalline sound, which places this work in parallel with the basic acoustic tests of others great like Jim O'Rourke, Jack Rose or James Blackshaw.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

This jazz recording is considered as the 'magnum opus' of master "drummer extraordinaire'', composer, arranger, producer, and leader Norman Connor's in a career that has spanned 4 decades. This recording is what many will consider the debut of the legendary vocalist Dee Dee Bridgewater who has since gone on to a brilliant career. Connor's put together an all-star group with Herbie Hancock and Onaje Allan Gumbs on piano and Fender Rhodes, Dr. Eddie Henderson on trumpet/flugelhorn, Carlos Garnett on tenor/soprano saxes, Gary Bartz on alto/soprano saxes, Buster Williams on bass, drummer/vocalist Bill Summers and Kenneth Nash on percussion, and effective, crucial cameos by master flautist Hubert Laws. On the song, "Love From the Sun'", Connors added Nathan Rubin on violin and Terry Adams on cello.

The 'best of the best' begins with the exotic theme of Hancock's "Revelation", doubled wordlessly and beautifully by Ms. Bridgewater over Williams bouncing ostinato bass pattern with flights of fancy from Hubert Laws on flute, and superb, luminous solos from Henderson's exotic trumpet, Garnett on soprano, and Hancock on Fender Rhodes. Garnett's "Carlos II" is another great composition with remarkable solos. Connors' own "Drums Around The Worlds'" is influenced by African and latin rhythms with emotional vocals from Summers and a drum-only section that builds in intensity. One of the high points of the album is Dee Dee Bridgewater's awesome, glorious vocalizing on Richard Clay's lovely "Love From The Sun", in one of the greatest performances in her career, arranged by Gumbs. Elmer Gibson's "Kumakucha" (The Sun Has Risen) is a blazing display of uptempo musicianship by Connor's driving drums, the propulsive congas of Summers and Nash, and exciting solos from Bartz, Henderson on trumpet, and Hancock's furious piano solo. The set ends with a marvelous "Holy Waters" composed and arranged by Garnett in a scorching performance by Bridgewater on vocals, Garnett unleashing one of the greatest solos in his storied career, followed by Gumbs' astute solo.

My Highest Recommendation.

By John Braswell

When Acid Jazz founder Eddie Piller asked Martin Freeman ('The Hobbit', 'Sherlock', 'The Office') to do a jazz radio show they could hardly imagine the response. From around the world emails and tweets inundated the show and they swore to themselves that they couldn't leave it there.

Now, two years on, this compilation of their favourite jazz has
arrived. From the rolling hard bop of Lee Morgan and Art Blakey, via screaming soul organ, jazz funk original acid jazz onwards to the post modern spiritual jazz of Kasami Washington, this is an incredible journey.

Released on double CD, digital download and double vinyl with
deluxe gatefold packaging, this is the album that will launch Acid
Jazz's 30th Anniversary celebrations.

Danny McLewin (Psychemagik) and Jamie Cruisey have a new label of original signed artists called SPIRITS. The first release is from Mexican hotness 'Lokier' of She Made Monster and 'Jason Greer' aka 'The Machine', one of the Californian undergrounds best kept secrets. They met in 2015 at a festival in London and after spending a few days together, became musically obsessed with each other. That summer, as Jason bounced around Europe, he stayed with Lokier in Barcelona for some weeks and after long night walks, some tapas and absinthe bars they came up with their first EP together.

A1 "White Room's" slo-mo headnod film score, kick starts the EP, brooding synths buzzing with electric cocaine gloss, their oscillators fluttering like cyborg butterflies around the pulsating strobelight beat. Creepy.
A2 "Stained Glass" hits tough straight out the gate with subterranean bubbling acid bass and charges headlong into deep psychedelic territory with a goth-inspired guitar, reverb on 11, turning the track into a next-level robo-Giallo monster!

B1 "Pearly Hate" begins as if a menacing swarm of bionic rave bees is slowly surrounding you, the tension of their impending drone amping up steadily as your brain thinks: Do I run This midtempo Carpenter-esque jam is atmospheric putty in the hands of sleazoned DJ's and sounds like the beginning of a long, strange trip.
B2 "Red Floor" is a chugging, barely restrained dark disco beast, flagrantly wearing its Weatherall and Neu Beat-ing heart on its tattered sleeve, elliptical melodies keeping you from your sanity with a solid drop for the dancefloor - another one for DJ's who ride it rough.

Thus completes the first release for new label SPIRITS. Four tracks exploring another corner of otherworldly analogue hedonism for extra-dimensional travel. Keep your ear on "Red Floor", as its potential for dancefloor uplift is proven and Machine-ready! Stay jacked in for more missives soon...

Ivan Smagghe:
"When your best Mexican chola low-rider meets our favourite Californian mechanic, you get a proper slice of (Lokier and) Machine funk. This is grease electronics, black leather under the very dark sun of 'Pearly Hate' or in the bright isolation tank of 'White Room''

Reissue of the very first Birds Of Passage album from 2010. Minimalistic Lo-Fi Shoegaze meets experimental pop with drone influences.

For someone who thinks it's difficult to describe music in general, it's even more difficult to describe the soundscapes of BIRDS OF PASSAGE. The influences of Alicia Merz - the girl behind BIRDS OF PASSAGE - are her memories, breathless-inspiring cold winds, the smell and atmosphere of a spring day, smoking cigarettes, sunshine and shadows. As a mixture of all these elements plus a minimalistic experimental instrumentation you as well can describe her music: sometimes shy, sometimes more energetic ( fantastic frown') but always intensely and extremly private. Listening to her debut record "Without The World" is like sharing one long day with Alicia and her thoughts in the diverse landscapes of her home country New Zealand.

Alicia doesn't need the orotund spectacle of a band to evoke emotions - with the help of different, in a minimalistic way, used instruments combined with field recordings, she doesn't create specific songs - she builds up a mood. There's no typical song structure, there's no melody to chase after - but there's a development which absorbs you and which makes you start to think about elements you block out in your everyday life.

A seminal album of the 1980s DC Punk sound, the album was the first to feature drummer Dave Grohl, who replaced Stax for the album, and stayed with the band until they disbanded in 1990.  This was the first ever album the now world famous musician ever played on.

Since disbanding, several incarnations of Scream have reunited/resurfaced for tours and recordings since. Members of the band went on to form countless other influential acts, including Nirvana, The Foo Fighters, Wool, Queens of the Stone Age, Goatsnake, The Suspects, and others.

Southern Lord is proud to be chosen to reissue Scream's everlasting 'No More Censorship' album. The band found the original multi-track tapes and Southern Lord had them baked/prepped for a remix at Grohl's 606 Studio. The new mix sounds vital and intense; the entire packaging, layout, and design are completely different from the original, including unreleased photos of the band during that era.

Scream was formed in 1981 by vocalist Peter Stahl, and brother Franz Stahl on guitar, Skeeter Thompson on bass, and Kent Stax on drums. The next few years would see the addition of second guitarist Robert Lee Davidson and keyboard player Bobby Madden, following three LPs through Discord Records — "Still Screaming" (1983), "This Side Up" (1985) and "Banging the Drum" (1986) — Scream's 'No More Censorship' was released via reggae label RAS Records in August 1988.

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel.

Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard.

You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing.

Welcome To Our Disinformation.

Limited To 500 Copies - 180g

The Safe Trip Organisation Has Been Broadcasting Their Musical Version Of A Traditional "numbers Station" On The Frequency 5079. Human Intelligence Suggests The Agent Behind Four Regular, Ear-pleasing Transmissions Is The Safe Trip Associate "artis".
.
Using A Specially Modified "one-time Pad", We Were Able To Decipher These Undercover Operatives. The Ethereal, Dreamy, Arpeggio-driven Throb Of "panthera Pardus", With Its Poignant Tone And Undulating Lead Lines, Was Clearly Meant As A Warning.. The Same Could Be Said Of "cetacea", Where Melancholic Synthesizer Sounds And Meandering Electronics Gently Wind Their Way Around Hybrid Electronic/acoustic Percussion.

Panic Set In Once We Deciphered "giganthopithecus", A Composition Littered With Frequent Increases In Percussive Intensity And A Mind-altering Melodic Refrain. Our Hunch That Artis Was Ordering Immediate Action By Agents Was Confirmed By "delphinae", Whose Colourful Melodic Fluidity, Futurist New Age Construction And Layered Wooden Drum Hits Deeply Affected Our Researchers. We Ordered Our Own Agents To Raid The Station, But Artis Had Long Since Scuttled Off Into The Hazy Morning Sunshine.

"A heavy selection of mod-rockers, garage and psych-funk tracks," runs the sub-title of new compilation series, Down In The Valley from Perfect Toy, encapsulating in a nutshell the multifarious pleasures on offer.

And what better way to open such a set than with Van Broussard's banging titty-shaker Mojo This is followed by The Little Bits' screaming garage-soul cut Girl Give Me Love (recorded when the band members were all between nine and twelve years old!) and Frozen Sun's Jamm Pt.1 - a monster psych-soul number secretly laid down in the lobby of radio station KTKT (in Tucson, AZ) on a Sunday after midnight and about as aptly named as a track can get. Phlegethon's You're No Good provides cover song thrills by getting heavy-psychedelic on the Clint Ballard-penned classic, while yet more garage-soul delights are locked down by offerings from The Chapters, The Looking Glass and The Four. Closing the set is Pump's previously unreleased Ashtray Candle 6:33 - a slow-grooving psych masterpiece.

Once again, Chan the Man - previously the guiding light for Perfect Toy's Down & Wired series - was the driving force behind this project. It is his incredible knowledge, combined with the network of record collectors, DJs and vinyl nerds that he has established over the past few decades which have made it possible to come up with such a high-octane selection of super-heavy and extremely rare tracks. Accompanied by detailed liner notes and never-before-seen photos of the artists, Down In The Valley 1 sets the bar high for future volumes.

Since the early 1990s, keyboard player Jessica Lauren has been a familiar part of London's alternative music scene. Jessica's keyboard skills have augmented the live performances and studio recordings of world renowned artists such as Jean Carne, Tom Browne, Dexter Wansel and James Mason, Japan's United Future Organisation, and UK soul diva Juliet Roberts.

Her previous Freestyle album 'Jessica Lauren Four' (2012) highlighted Jessica's minimalist approach, something rare and refreshing in the jazz world: she instills her compositions and playing with a refined sense of space which makes her music as much about what she doesn't play as what she does.

The albums' opener - Kofi Nomad is a deeply percussive afrocentric epic, featuring the beautiful baritone saxaphone of Tamar 'Collocutor' Osborn, one of the most in demand woodwind players working today, underpinned by a powerful foundation of percussion courtesy of Richard látúndé Baker, Phillip Harper and drummer Cosimo Keita Cadore.

Jessicas' amazing skill for writing simple, understated yet superbly memorable and catchy hooks remains undiminished. Highlights in this new collection are almost too numerous to mention, but Amalfi is a breezy bossa, which conjures up images of easy living days and sun dappled Mediterranean coastlines, whilst the angular and brooding Simba Jike has something of an Eddie Harris style deep, dark groove over which Jessica riffs and solos beautifully on grand piano - and Tamar once again blows freely, whilst 'level' Neville Malcolms' upright bass figure roots the entire thing in a solid, almost primeval sound.

The albums closing statement Argentina is a masterpiece of pathos and perfectly demonstrates Jessicas' approach which is almost akin to a minimalist architecture style of composing and playing, such is the strength of its atmosphere and subtlety.

It's rare to come across a debut album that delights and surprises in equal measure, but that's exactly what you can expect from Human Call, the first full-length excursion from daydreaming dancefloor fusionists Earthboogie.The East London-based duo of Izak Gray and Nicola Robinson has previous form when it comes to creating beautiful, funk-fuelled fusions of soundsystem-ready rhythms, humid instrumentation and intergalactic audio explorations. To date, they've released a pair of fine EPs on Leng, both of which did a splendid job in showcasing their unique musical vision.Even so, this vision has never been clearer than it is on Human Call, a vibrant eight-track missive that fixes the sticky tropical cheeriness of African and South American dance music - be it Afro-disco, Afro-funk or samba - with a wide range of complimentary sounds, styles and influences, from spacey analogue electronics, sun-kissed Balearica and hazy West Coast jazz-rock, to chunky dub disco, snappy retro-futurist house and bouncy, dub-fuelled club workouts.Throughout, Gray and Robinson showcase an impressive level of musicianship, variously combining crunchy drum machine hits and dusty old synthesizers with razor-sharp electric and acoustic guitars, rich bass, cascading saxophone solos and hazy, life-affirming vocal harmonies.The result is a string of memorable highlights, from the sticky tropical-house-meets-dub disco futurism of 'Human Call' and fuzzy disco-funk righteousness of opener 'Overground', to the post-punk disco jauntiness of 'Stargazing' and samba-infused dancefloor bliss of Nina Miranda collaboration 'Silken Moon'. Cheery, absorbing, imaginative and hugely entertaining, Human Call offers a perfect snapshot of Earthboogie's distinctive musical world.

CALIBRO 35's new single "Psycheground" flipped by the unreleased Polymeri (Afro-Utopia Vers) on limited edition 45 vinyl.

Psycheground is the new single from the Italian cinematic funk cult combo Calibro 35 available on a super limited 45 vinyl and digital download on May 04. Taken from their heavily acclaimed new album DECADE, Psycheground is an afro-funk stormer that sounds like Tony Allen involved in writing a score for a vintage Hollywood production. The new single is flipped by an alternative and hypnotic afro/tropical version of Polymeri. Don't sleep on it, all Calibro 35's previous 45s went sold out in a few days.

CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. They have been sampled by Dr. Dre on his Compton album, Jay-Z Love Child & Damon Albarn, they shared stages with the likes of Roy Ayers, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years, Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Strut presents the brand new album from cosmic jazz travellers The Pyramids, led by saxophonist Idris Ackamoor, 'An Angel Fell'. I wanted to use folklore, fantasy and drama as a warning bell,' explains Ackamoor. The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.' Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early '70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting 'Soliloquy For Michael Brown' and the lilting, beautiful album closer, 'Sunset'.

The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor. After forming in Paris and embarking on a cultural odyssey' across Africa, the group recorded three independent albums, 'Lalibela' (1973), 'King Of Kings' (1974) and 'Birth / Speed / Merging' (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors. German label Disko B released the freeform album 'Otherwordly' and in 2016, they released their first album for Strut, the acclaimed 'We Be All Africans'.

'An Angel Fell' is released on Strut on 11th May 2018 and features full hand-painted artwork by Lewis Heriz.

New concept album by leading cosmic jazz collective exploring global apocalypse, climate change and the healing power of music
Produced by Malcolm Catto of The Heliocentrics - Superb cover painting by Lewis Heriz
Full priority worldwide PR campaign and marketing
Release supported by major European tour dates in May and key Summer festivals

From Hip Hop to Soul, then from Soul to Beatmaking, Sly Johnson never really changed universe. Today, it's immersed in the mechanics with processors and printed circuits that we find him, under the alias of TAGi, producer-beatmaker who, for the occasion, has joined the services of Steven Beatberg. It's together, in artistic autarchy with the only presence of softwares, samplers and sequencers, that they have built their pieces in the light of their computer screens.
.
After three EP dominated by instrumentals, the duo finally chose to realise their dream: to craft a multi-voice album where customized production for each guest would guide the creative process.

Rapper Big Pooh, the former member of the Little Brother group (With Phonte & 9th Wonder), the contemporary soul of Lisa Spada, but also the rapist #madeinfrance Pumpkin (worthy descendant of MC Solaar, Fabe ...), multi-faceted Georgia Anne Muldrow, the MC Finale, the new rising wave of artists of the Hip-Hop scene in Detroit. Tiemoko from Paris, Saga an MC who follows the pure tradition of the New York Hip-Hop, the very smooth-jazzy Elodie Rama and Dilouya, the producer of the previous record of Sly (The Mic Buddah), are of this casting where men and women share the roles and where TAGi as soon as the mic presents itself to him, becomes again Sly Johnson for some refrains, choruses or solo rereading of the sublime "Retrograde" of James Blake.

Guided by Hip Hop since the 90's until today, worked in great detail, YOUARESURROUNDED highlights vintage keyboards on granular rhythms, injecting a lascivious Soul, P-funk, electro futuristic or melancholic in black and white touches on 13 tracks that are as atmospheric as they are emotional.

Glyn Bigga Bush has been producing electronic and sample-based music since the early 90s when he formed Rockers Hi Fi, going on to release numerous albums. Since the turn of the century he has produced and DJ'd as BiggaBush as well as various side projects such as Lightning Head (Sonar Kollektiv), the Dandelion Set (Buried Treasure) and the Magic Drum Orchestral (Tru Thoughts).

Bigga's latest project 'Sunken Foal Stories' represents a departure from much of his other work in that it is not primarily based on beats. Instead, his working method was to go with fascinating samples, accidental juxtapositions and irregular loops - inspired by pioneers of sound such as Faust and the audio experiments of Julian House as well as early stereo test records, soundtracks and library music.

The 21 concise tracks of Sunken Foal Stories link into two 15 minute segments on the LP. Bush explores the random elements created by overlaying disparate samples, where chimes of baroque psychedelia clash with ascending classical strings, or a haunting Eastern European folk song is looped into an eternal cadence of longing. Various voices float over the speakers, lost poets, disturbing therapists, dreaming vampires, chuckling cabaret singers. Sourced almost entirely from charity shops and carboot sales, the source material speaks of a forgotten yet relatively recent period, when stereo was something new and exciting, when home entertainment first came into its own and suburban homes thrilled to the exotic sounds of home organs, primitive beatboxes, LPs bought in unusual holiday destinations and 'glamorous' soundtracks.