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Schmer Schmer has been looking for the next Prototype 909 since 1995. While they may never be found, we have instead found a few artists that with the same spirit of adventure have taken electronic music to new frontiers of unimaginable creativity. Primary among them is Lena aka Galcid aka Lenacid.

Lena's electrifying live performances utilizing eurorack modular synths with vintage and modern machines follow three simple 3 rules:

NO PCs, NO Presets, NO Preparation!

She has been called Jeanne d'Arc of modular because her style her appearance and her fearlessness.

For Schmer, Lena has created an EP made for the melting of your mind, if it doesn't first melt your speakers.

Lena uses her electronics in the most effective way possible. The classic acid machines are deployed to establish the themes the modular synths bring in sounds that take these tracks to another level. The eponymous track will hypnotize you into the state of focus necessary to allow you to go deep inside. Then the Acid Police show up! A funky drum machine rocker sure wake you out of your trance. Steel Vein has the intensity to rewire your modular mind. bpmf provides an hard driving aggressive take on Melting to help us turn on the switch.
Legendary DJ and producer Hisashi Saito has been making acid and techno since the early 90s. Using his unique
skills this EP has a rare clarity of sound not often heard on such ambitious recordings. Lenacid “Melting EP” opens up a new frontier for acid, for Schmer and for Lena that you are invited to explore with us this spring.

As Galcid, she has played alongside world renowned artists such as Nina Kraviz, Daniel Miller, Oval, DJ Nobu, Isao Tomita, Takkyu Ishino, Ken Ishii, G-man (LFO) among others. In 2016, she was invited by the Japan Media Art Festival to play at the special exhibition, held at the Eyemyth Media Arts Festival in Mumbai, India. Her 1st album “Hertz" received a worldwide release in digital format on the Detroit Underground label. The release attracted the attention of Karl Hyde (Underworld), Chris Carter (Throbbing Gristle) among other well-known musicians the world over. Shortly thereafter, Galcid played at "Boiler Room Tokyo". In July 2017, she embarked on her first EU tour playing shows in Barcelona, London, and Madrid, after she came back, she participated in Iron Island Festival and Mutek Japan garnering high praise in the media. In December 2017, she was invited to headline Future Mix's 20th Anniversary event and workshop in Shenzhen where she performed and held a talk with techno pioneer Mijk Van Dijk.

Limited edition unreleased 12" containing two italo disco and proto house classics anthems : Who, What, Where, When & Why on the side A and No Promises on the flip side.
Both taken from the Magic Spell Album produced by Mario Boncaldo & Tony Carrasco in 1983, the same guys from Klein & MBO, Plastic Mode, Amnesie and Ris. This unreleased 12" contains for the first time the extended disco versions of these two precious gems taken and re-mastered from the archive collection of the legendary Tony Carrasco.

Groove Line Records series of officially licensed disco / funk 12' reissues continues in 2019 with two fabulous cuts of gospel disco from The New York Community Choir (NYCC), 'I'll Keep My Light In My Window' & 'Express Yourself'.

The New York Community Choir (NYCC) began in the early 1970s, a gospel ensemble which developed a style that also gave secular R&B, soul, and pop songs a spiritual dimension; bridging Saturday night and Sunday morning, as it were.

'I'll Keep My Light In My Window' is a slice of joyful uplifting gospel disco, which is as needed in these times as it was when it was released in 1978. This was a great favourite of David Mancuso and Larry Levan at the time, and has remained a much loved dancefloor track for the disco cognoscenti ever since.

This came from NYCC's second LP for RCA, Make Every Day Count, produced by Warren Schatz (who also produced The Brothers, which was Groove Line's first reissue 12' in 2014).

NYCC released a self-titled debut album, also produced by Schatz in 1977 included the dance hit "Express Yourself," the B-side of this release in its 11m45s David Todd & Warren Schatz Disco Mix version.

All Groove Line Records releases are fully licensed and taken from the original master tapes, this 12' has been remastered and cut at half-speed by Matt Colton at Alchemy Mastering (Mastering Engineer of the Year 2013 & 2018). All vinyl is heavy weight 180g manufactured Optimal Media in Germany, one of the world's finest pressing plants.

Groove Line Records cut no corners when making sure that each and every one of our releases has the highest quality performance possible.

Groove Line Records' deluxe reissue of 'I'll Keep My Light In My Window' & 'Express Yourself' is an essential purchase for any serious Disco, Gospel, Funk, or Soul vinyl collector who demands the very best in quality vinyl pressings. Find out more at

With 10 albums already to her name, Muriel Grossmann is well-placed to create more sonic waves in 2019. Taken from her mesmerising spiritual jazz LP 'Golden Rule', we have deep jazz, modal jazz, esoteric jazz, spiritual jazz; refined, intensified and concentrated into 2 whirlwind sides.


"Arresting, deeply moving spiritual jazz... it's deep"

"Muriel Grossmann... embraces the groundbreaking, exploratory jazz of Sun Ra and John Coltrane, gives a very respectful nod to fellow contemporaries Nat Birchall and Shabaka Hutchings, and immerses itself in a swirl of transcendental expression" - UK Vibe

" Recommended, particularly for listeners who are ready explore sounds beyond straight ahead jazz or those comfortable with more esoteric jazz sounds." - The Vinyl Press

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

Visions Recordings is back with the second volume of their compilation 'The chromatic Universe 'presented by Alex and Stephane Attias. This second opus is full of exclusives tracks mixing styles and genres with a colourful palette of grooves from Paris to New York, from Detroit to London, from Italy to Switzerland and beyond. This compilation is international as you can see and Visions is very happy to release 3 vinyl singles as the compilation to have a collection and a better sound quality rather than squeezing all the tracks on an album. We will also have later the digital release and an exclusive very limited CD.

Those three Ep are holding 4 tracks of pure fire. This THIRD and last part of this compilation is just what we do love, a mix of styles in the groovy genre of electronic music, Alex Attias teaming up for the first time with Sassy J for their collaboration that sees the day of a groovy monster mixing elements of afro, deep Detroit house, jazz and latinesque vibrations followed by Detroit kid Javonntte with a jazzy bossa track re edited by Alex. On the flipside, we got a new version of Alex Attias and Luman Child disco track ' Cookie Monster ' from last year here taken to a housey journey by the two Italian heroes Patrick Gibin and Volcov. Last but not least, a newcomer from Switzerland under the name of Sebastien Loopes, a talented young producer mixing various styles, release here for the first time a heavy afro electronic massive clubby jam that will make you move on the dancefloor.

Alien Transistor and Tokyo-based label Afterhours release a vinyl-version of tenniscoats' masterpiece "music exists". It consists of 4 LPs, which will be released over the year, full of intimate, wonderful, psychedelic folk-music. With the fourth LP, there will be a strictly limited box available, either for putting in your already purchased other 3 records, or as the whole glorious 4-LP-package.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s ), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the tenniscoats and their opus magnum "music exists".

The Tenniscoats are a duo that have enjoyed a long career in the music scene of their home country of Japan. They have collaborated with unique artists from different backgrounds (Tape, Pastels, Pastacas and Jad Fair), while maintaining their own laid back approach and sound. Their songs are built primarily from guitar and vocals with lyrical themes focusing on everyday life. It could be their expansion on simplicity that has captivated music lovers of all ages throughout their existence.

While the aforementioned collaborations produced bold and sensitive experiences and results, it has taken Tenniscoats five years to release an entire studio album of their own. The wait has not been in vain, as four discs will be released consecutively beginning with 'Music Exists - disc 1'. Music Exists saw a previously limited release on the Tenniscoats' own majikick label.

'We started recording around January of 2013 with just the two of us in our 10 tatami-room in Tokyo we were using as a private studio. Arrangements were produced without computers by overdubbing on an analog console with mixing assistance provided by Saya. As we sent selected songs to be mastered by Yasushi Utsunomia, we were able to see the tracks grown into a full length album.'

What turned into a huge 4 disc project began in earnest three years ago. Tenniscoats wrote and recorded themselves using an analog console, a microphone, and what few instruments they had. As the project developed, they were surprised to find that they had amassed several albums' worth of material.

'We tried throwing up the ideas we had in the beginning and not put too much of our strength into playing in order to develop the ideas of each song. Utsunomia, who did the mastering was the first person to ever hear the material for this album outside of the band. We sent songs to him carefully choosing an order that we felt would not make him bored. Thanks to his distinctive way of mastering, we were inspired to go further and further into the process.'

2016 marks the Tenniscoats' 20th anniversary together. You could consider 'Music Exists' as a sort of compilation of material stemming from these years spent together. With their unique combination of melodies, unexaggerated arrangements, and detailed mastering, Alien Transistor are extremely delighted to make this recording available to the public!

With 2019 marking 50 years since David Bowie's first hit, Space Oddity, Parlophone is set to release a 7" vinyl singles box set of nine previously unreleased recordings* from the era during which Space Oddity was first conceived.The title 'Spying Through A Keyhole' is a lyric taken from the previously unknown song, Love All Around, and though most of the other titles are known, these versions have never been officially released until late last year. Most of the recordings are solo vocal and acoustic home demo performances, unless otherwise stated. 
The design of each single label is presented to reflect the way David sent many of his demos to publishers and record companies, featuring his own handwritten song titles on EMIDISC acetate labels. The singles themselves are all mono and play at 45 r.p.m.
 
Due to the nature of some of the solo home demos where Bowie accompanied himself on acoustic guitar, the recording quality isn't always of a usual studio fidelity. This is partly due to David's enthusiastic strumming hitting the red on a couple of the tracks, along with the limitations of the original recording equipment and tape degradation. However, the historical importance of these songs and the fact that the selections are from an archive of tracks cleared for release by Bowie, overrides this shortcoming.

Following their hotly tipped 2018 debut album 'On' - Altin Gün returns with an exhilarating second album. 'Gece' firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

Some words from the label:

The world is rarely what it seems. A quick glance doesn't always reveal the full truth. To find that, you need to burrow deeper. Listen to Altin Gün, for example: they sound utterly Turkish, but only one of the Netherlands based band's six members was actually born there. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music.

'It really is,' insists band founder and bass player Jasper Verhulst. 'The songs come out of a long tradition. This is music that tries to be a voice for a lot of other people.'

While most of the material here has been a familiar part of Turkish life for many years - some of it associated with the late national icon Neset Ertas - it's definitely never been heard like this before. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene.

'We do have a weak spot for the music of the late '60s and '70s,' Verhulst admits. 'With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We're not trying to copy it, but these are the sounds we like and we're trying to make them our own.'

And what they create really is theirs. Altin Gün radically reimagine an entire tradition. The electric saz (a three-string Turkish lute) and voice of Erdinç Ecevit (who has Turkish roots) is urgent and immediately distinctive, while keyboards, guitar, bass, drums, and percussion power the surging rhythms and Merve Dasdemir (born and raised in Istanbul) sings with the mesmerizing power of a young Grace Slick. This isn't music that seduces the listener: it demands attention.

Altin Gün - the name translates as 'golden day' - are focused, relentless and absolutely assured in what they do. What is remarkable is the band has only existed for two years and didn't play in public until November 2017; now they have almost 200 shows under their belt. It all grew from Verhulst's obsession with Turkish music. He'd been aware of it for some time but a trip to Istanbul while playing in another band gave him the chance to discover so much more. But Verhulst wasn't content to just listen, he had a vision for what the music could be. And Altin Gün was born.

'For me, finding out about this music is crate digging,' he admits. 'None of it is widely available in the Netherlands. Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country's musical past, their heritage, like 'House of The Rising Sun' is in America.'
As Verhulst delves deeper and deeper into old Turkish music, he's constantly seeking out things that grab his ear.

'I'm listening for something we can change and make into our own. You have to understand that most of these songs have had hundreds of different interpretations over the years. We need something that will make people stop and listen, as if it's the first time they've heard it.'

It's a testament to Altin Gün's work and vision that everything on Gece sounds so cohesive. They bring together music from many different Anatolian sources (the only original is the improvised piece 'Soför Bey') so that it bristles with the power and tightness of a rock band; echoing new textures and radiating a spectrum of vibrant color (ironic, as gece means 'night' in Turkish). It's the sound of a band both committed to its sources and excitedly transforming them. It's the sound of Altin Gün. Incandescent and sweltering.

Creating the band's sound is very much a collaborative process, Verhulst explains.
'Sometimes me or the singer will come in with a demo of our ideas. Sometimes an idea will just come up and we'll work on it together at rehearsals. However we start, it's always finished by the whole band. We can feel very quickly if it's going to work, if this is really our song.'

Just how Altin Gün can collectively spark and burn is evident in the YouTube concert video they made for the legendary Seattle radio station KEXP. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock. It's utterly compelling. And with around 800,000 views, it has helped make them known around the world.

'It certainly got us a lot of attention,' Verhulst agrees. 'I think a lot of that interest originally came from Turkey, plenty of people there shared it.'

That might be how it began, but it's not the whole tale. The waves have spread far beyond the Bosphorus. What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.

'Not a lot of other bands are doing what we do,' he says, 'playing songs in that style and seeing folk music in the same way.'

Limited edition 45 vinyl with two brand new tracks form Juno and Mercury prize nominated Canadian soul Queen Tanika Charles. On the A side "Love Overdue" the 1st taken from the forthcoming new album "The Gumption" is an irresistible R&b/Soul mover that equally pays homage to Amy Winehouse and 60s Club Soul. On the flipside the floorshaking "Remember to Remember" sounds like Diana Ross and The Supremes produced by Drake, explosive contemporary Motown ssound.

Produced by a stable of some of Canada's finest musical minds including DJ Kemo (The Rascalz, Kardinal Offishall), Chin Injeti (DJ Khalil, Eminem, Drake) and Daniel Lee (Hooded Fang, Phedre), "The Gumption" is the awaited new album by Juno Award and Polaris Music Prize-nominated Canadian new star Tanika Charles and it's scheduled for release on May 10.

Watch out 45 is limited to 500 copies worldwide.

Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

Napolitan Techno DJ and heavyweight producer Davide Carbone releases on the French Rave Or Die Records for the very first time! Multiplying records and collaborations just like Mike Tyson was multiplying uppercuts, the co-owner of Repitch Recordings, Cosmo Rhythmatic and 3TH Records and owner of Carbone Records starts with "Dive Or Die" on the A-side: a speedy yet straight to the dancefloor tune based upon trancey acid lines a la Steve Stoll or Leo Anibaldi and aerial melodies. Combined with dark effects, this nostalgic song Made in Italy appears as an authentic Rave anthem from back in the glorious days!

On the flip side, ROD mastermind and dancefloor veteran Umwelt (Voitax, Return To Disorder) delivers a shaking, hefty and tremendous cut. Named with suitability "Tremblements", the jam signs a fascinating ode to smoking warehouses and illegal parties. Metallic pads over no mercy beats fused into industrialized synths and screaming atmospheres characterize this this dark as hell cut interspersed with counter breaks a la The Mover.

Dark, groovy and noisy at the same, two massive absolute bangers with old school roots on ROD twelve release! By the way, if you wonder the significance of the signs on the Rave Or Die logo in the labels, they are taken from the Hobo Code and mean "Keep away, Cops Active, Unsafe Area". You'll be warned.

Mark Is Releasing A New Ep Called Integriert Euch Nicht. It Features Two Tracks Taken From His Berghain Debut And A Freshly-composed Drum & Bass Missile. 'fucking Sick Of Myself Since Day One (hot Desk Mix)' And 'hats Off To Herr. F' Were First Performed At Mark's 2018 Berghain Live Set During Ostgut Ton Nacht. The Former Is A Breakcore-adjacent Call To Arms For The Self-loathing, The Latter An Antarctic Shiver Of Predator- Mode Idm-illektro. 'integriert Euch Nicht (commercial Jump Up Mix)' Features Singing From Blackest Ever Black Alum Silvia Kastel. Mark Wrote The Vocal Parts With Sine Waves Before Kastel Recorded Each Tone Individually, Creating Microtonal Clusters In The Vein Of Luigi Nono. The Sax-like Sounds Are Wilted Woman Playing The Aerophone, An Electronic Woodwind Instrument. Otherwise, It's Mark's Most Deliberately Straight Ahead Drum & Bass Track To Date, Trading The Beat Science Of Former Releases For A Stubbornly Boneheaded Approach In Line With The Title's Message. Integriert Euch Nicht Is Something Of A Spiritual Successor To Last Year's Tech/gentrification/real- Estate-investment Themed Integrier Dich Du Yuppie And A Ruffer, More Floor-focussed Elaboration Of The Techniques Tested On His Unterton Debut The Least Likely Event Will Occur In The Long Run. Under His Klon Dump Alias, Mark Has Also Previously Released A Psych-mnml Double Ep Called Klon Dump Vs. The Open Air On A Colourful Storm And Two Rooms, A Tape Of Sound Art Improv And Knackered Pop-strumentals On Bristol-based Imprint Nocorner. When Not Playing Solo, Mark Also Accompanies Blackest Ever Black's Carla Dal Forno On Live Electronics.

The sound of sheet metal, ripping slowly, suspended in low gravity. Screaming in slow motion, claustrophobic and encapsulated. This is the result of Nino Pedone's reworking of Mumdance & Logos' dancefloor deep heaters 'Chaos Engine' and 'Cold', taken from the 2015 LP 'Proto', also released on Tectonic.

No beats, pure drama. Each of Shapednoise's versions pull the original tracks deep into a chasm of crushing reverbs and grinding atmospherics, stretching the originals to their limit - and well beyond. Prepare yourself for a journey that will take you deeper into the darkside.

Compilation of work from the group, spanning 1986 to 1991.. Dub infused experimental tunes here!

Politico dub-collage practitioners Guerilla Welfare came from Edmonton, Alberta, coincidentally the birthplace of prophetic media sage Marshall McLuhan. Armed with vanguard ideas taken from Steve Reich, Fela Kuti, Robert Fripp and Material, the duo of Curtis Ruptash and Brian Schultze adopted the 'studio as instrument' mindset of Eno and King Tubby creating complex textural and polyrhythmic sonic insurgencies. They overdubbed drum computers, guitar, bass, noise-makers, mallet percussion, sitars, often accompanied by sampled vocals and found sound taken from TV. Their pan-global, multi-media palette supported zeitgeist commentary — often, with a healthy dose of gallows humour — on gender, power structures, and sexual and geopolitical tensions in the late 80s. Their DIY bunker studio experimentations align them with genre defying dub-infused outfits like African Head Charge, Dome, Lifetones, Naffi, Woo, Negativland and The Residents. The Nature of Human Nature captures Guerilla Welfare's most formidable output, compiling tracks selected from their entire discography (two LPs and a cassette collaboration with poet Mary Howes), all originally self-released from 1986 to 1991. Remastered from the original tapes.

Long Out Of Print Tune Produced By Rupert Billy Green For His Hard Rock Imprint, Out Of Waterhouse, Kingston Jamaica. Taken From The Original 1986 Metalworks.

Taken from band's second full album "Reggaelation Rock" - Black Dragon River is the exotic instumental fusion by Japanese 9piece Afro/Caribbean band Reggaelation IndependAnce and legendary Tonkori, invented by Ainu people from Hokkaido, performer Oki.

"Departing from Tokyo, going to the World via Jamaica"

On March 29, Eric Copeland delivers Trogg Modal Vol. 2, the counterpart to last October's Vol. 1. The former Black Dice member's 'Freakbeat 4/4' agenda gets further refined here - Vol. 2 is more laid-back than the first, but still highly danceable. Self-described as 'late Night Flight proto tekno,' the tracks pulse with thick layers of percussion, melodic fever dreams, and riffs wrung through a taffy puller. Eric's textured, off-the-cuff approach to dance music adds a refreshing element of spontaneity and 'jamming' to a climate of uncanny smoothness and polish.

Where Vol. 1 was composed of 'rippers,' Vol. 2 travels at its own pace, continuing to showcase Eric's ability to recontextualize 4/4 tracks as psychedelic contortions, from the squelchy vibrations of 'BS Dropout' to the blithe, video arcade soundtrack 'High Score Zed.' Taken together, the two volumes of Trogg Modal showcase the versatility of one of the most continuously exciting experimental artists of the past twenty years - arriving in 2019 with his mischievous sense of adventure firmly intact.

Nexe Records is back, this time featuring the debut EP from SAMOT, "Forms Of Perception". The NX1 member and label co-owner returns with his solo project delivering a vigorous record including a remix of the French producer UVB.

"Petricor" opens the EP, a slow-burning broken track with electrifying synths driving powerful drums and inducing the listener in an hypnotic dance. "Cutis Ansarina" is a muscle flexing exercise, conceived for the dance floor, solid and classy, executed to perfection.

On the B-side "Kinestesia" is and lightning attack against the mind, wildly acid synth and percussions strike your brain. The UVB remix of "Kinesthesia" is taken to his territory where forcefulness dwells at will, built to raze the club.

In 2011 composer Ramin Djawadi was first asked to score a new TV series called Game of Thrones. In its first season much of the music was written for a small string ensemble, and filled out with synthetic pads and percussion. Over the course of the next six seasons the music budget got bigger and bigger to match the ever-increasing viewing figures the show was enjoying. This release celebrates the rich tapestry of music over the six series with the full firepower of an 80-piece symphony orchestra and choir.

Game of Thrones really is a television phenomenon. HBO's epic small screen adaptation of George R.R. Martin's series of fantasy tomes continues to draw in record audiences around the world and shows no signs of slowing down. Indeed some 8.9m people tuned in to the Season Six finale in the US and with repeats, recordings and on-demand viewings taken into consideration, it is estimated that Game of Thrones enjoys an average of 23m viewers per instalment. With a whopping thirty-eight Emmy Awards (and counting), this series remains the darling of prime-time pay TV.

With so much music created for the sixty episodes so far broadcast, this album can of course only take in so much. The particular cues and themes it does highlight, though, lend themselves beautifully to this symphonic re-imagining.

**UNRELEASED AFRO-CUBAN JAZZ**

Afro-Cuban Jazz of the highest orderl! And even better, these two songs have remained UNRELEASED for the past 52 years! Vibraphonist, flutist, and band leader Ulysses Crockett was a big name on the Bay Area latin-jazz scene of the 1960s. He started out with his own group Afro Blue Persuasion which included a very young Paul Jackson on bass who later became famous as a member of Herbie Hankock's fusion-jazz masters The Headhunters.

"Cuban Fantasy" and "Poinciana" were both recorded live in 1967 but remained unreleased until now. Both songs are taken from the soon to be released 33rpm record titled "Live at Haight Levels" which includes more unreleased material as well as the full length version of both of these two edited tunes.

This 7" runs at 33rpm to provide the best sound quality possible.

BBC Radio Quotes:
Zoe Ball "Frippin LOVE LOVE it!" - It Just Goes
Craig Charles: "It's a tune!" - It Just Goes
Tracks taken from the album have so far received 7 Plays on BBC Radio 2 and 6 Music from Zoe Ball and Craig Charles.
Regional spot plays on BBC Radio Cornwall, BBC Radio Bristol, BBC Radio Jersey, BBC Radio Devon, BBC Radio Guernsey and BBC Radio Somerset. Specialist plays on Jazz FM and Mi-Soul (Deadly's Mi-afternoon delight, Dave VJ,)
It Just Goes was Playlisted Delite Radio and Radio Krimi
Other spot plays on radio from RTE Pulse, KaneFm, Solar Radio, Eastside Radio, 1BTN, Dubmission Radio, Republic 100.3 Thessaloniki, Ketch A Vibe, WBAI 99.5FM, Milk and Chocolate Radio, Radio Pepper 96.6 Greece, AllFm Manchester.
DJ support comes in from Satin Jackets, Marc Hype, Mat the Alien, Basement Freaks, All Good funk Alliance and Noble & Heath

Yeah, we get it: You cant technically be clinically paranoid if everything youre afraid of is actually happening. Its been a few years since we were scared shitless of letting cell phones anywhere near our crotches and suddenly, the electromagnetic waves mess with our brains big time. Lets not beat around the bush here, its all true. Your thoughts are being supervised, the government even has taken complete control over them, all while your moral compass is spinning at 78rpm like a broken shellac. Its bad, it feels weird and just so wrong. It doesnt even pay well, for fucks sake.
We know, we know: You need a remedy and you need it, like, yesterday at the latest. What we can offer for now is Konrad Wehrmeister from Munich, whose handcrafted alpha waves will interlock with your brain activity and set your will free by taking it over - it hasnt been yours for a while now, after all. Wehrmeisters pummeling techno is the B2B (business to brain) or even B2B2B (business to brain to booty) solution your sorry existence needs in these dire times, and he will professionally lead you to your destination with a little splash of »Radiation« to fire you up. Hes done it for Public Possession, hes done it for Ilian Tape. He can do it for you, if you trust him enough.
So please come and join us in eternal dispersion. RSVP by the complete loss of your sanity.

Planet E present the Michele Chiavarini and DJ Steve Crawford remixes of 'Just Like Muzik' and 'The Sabath' taken from Terrence Parker's 2017 album 'GOD Loves Detroit'. The three-track remix EP is due for release March 8th. Handpicked by Terrence Parker himself, both remixers offer fresh takes on two of the standout tracks of the original LP. For the first and last track of the EP Michele Chiavarini reworks 'Just Like Muzik', with a bass lick which dances in and out of shuffling hats, channelling the high energy of the original house patterns and stabs into something different. Soulful pad progressions merge with Merachka's original vocal, before energetic strings and vibraphone solo take over, carrying the listener along. DJ Steve Crawford's remix of 'The Sabath' sees him transpose the arpeggiated synth rhythm and pads of the original into a fresh grooving 4/4 affair. Congas and punching kicks meet with harmonious string melody and slapped bass, creating a head-nodding reimagining of the master.

291out ensemble return on Fly By Night with another well orchestrated project by Riccio.

The latest release on FBNM, 291out - Habbanera is thematically inspired by the 1982 Italian film score, "No Grazie il Caffè Mi Rende Nervoso" "No Thanks, Coffee Makes Me Nervous".

It was originally composed by James Senese and directed by Lodovico Gasparini, "Habbanera" has only previously been released on Senese's self titled LP in 1983.

This four tracker includes two new versions of the main title theme "Habbanera" and two remixes by the two Italian pioneers of house music and the balearic sound; Leo Mas and Fabrice.

291out "Original Version" is a cover of the main score theme, which also features on Senese's 1983 LP; the "Alternate Version" is also taken from the movie, but from a different scene, which has the same melody of the opening theme but with a different rhythm, never having been released before and completely reassembled by 291out.

Leo Mas & Fabrice provide two different cuts, one pitched-down boogie slow jam and one 4/4 dance-floor banger.

291out are:

Luca 'Presence' Carini: Electric Bass

Tancredi Duccio 'Nagarrius' d'Alò: Electric Guitar / Mandoline

Floriano 'Maja' Bocchino: Electric Piano

Antonio 'Totem' Bocchino: Drums

Den Lacava: Saxophone

First Word Records are thrilled to announce a brand new addition to the label - LA beatmaker and producer 14KT.

Known for his deft, soulful hip hop production, KT has broadened his palate for his FW debut to create 'For My Sanity', the first offering from his jazz-influenced project IAMABEENIE.

The album will be released in early 2019, but we couldn't wait that long to share this taster of what 14KT created as a form of escaping from his "normal" ways of making music. Case in point: the first single taken from the project - 'The Power of Same' feat. Muhsinah.

Strongly rooted in KT's spiritual practice, 'The Power of Same' is a bass and synth-heavy ode to consistency and unconditional love, laced nicely together by his signature drum lines, harmonious guitar riffs (played on the track by Stro Elliot) and the unmistakable sound of James Poyser (The Roots). Vocal powerhouse Muhsinah adds layers of emotion via her endearing delivery of the core message, and, deep in the background you can hear KT sharing a very personal routine with us all - giving thanks to God.

How much of a personal project this is, in 14KT's words "This was inspired by a bible study plan I was reading called The Power of Same. It spoke about the power of being consistent in our lives. I thought about how consistently God's love and my family's love have gotten me through my journey of life. Once I made a "skeleton" of the song, I reached out to the brother James Poyser who I was extremely blessed to work with. My brother Stro Elliot was living right down the street from me at the time. One night he walked over to my house, I played the record for him, he picked up my electric guitar and played the first thing that came to mind - which was perfect. I played the record for my brother Tall Black Guy, who suggested I reach out to Muhsinah to add vocals. I sent the record to her and two days later she sent me exactly what you hear. Amazing. That was definitely the spirit of God working. Huge shout out to my Playlist family. Love y'all."

To date, 14KT has released seven solo albums, as well as his collaborative hip hop album, 'Takin' Ls' with emcee Ozay Moore, R&B/soul album, 'Saturn Return' with singer/songwriter AB, and 'The Big Knock', together with Mayer Hawthorne as Jaded Incorporated.

Last year saw another duo collaboration album with Michigan rapper Ro Spit, entitled 'RSXGLD', a project held in high regard by the global hip hop community.14KT is also part of Jazzy Jeff's Playlist Retreat, alongside our very own Eric Lau, Tall Black Guy and Kaidi Tatham, who also turns out an unmistakably dope remix on this 7" single.

A very warm welcome to the family, KT!

'The Power Of Same' is available on 7" and all digital platforms on March 1st 2019.

For The Best Part Of Two Decades Now, South London Afro-dub Dons Soothsayers Have Been Preaching Their Politically Charged Good Vibrations To A Growing And Loyal Fan Base. Their Live Shows Are Legendary And Vary From Off-the-cuff Community Friendly Gigs In Brixton, To Festival Headline Slots And Tours Across Europe And Beyond. Having Recently Filled London's Jazz Caf To Much Acclaim, And In Anticipation Of Their New Album, Tradition, Out On Wah Wah 45s In June, Soothsayers Unleash The Second Single To Be Taken From It. It's A Double Header Of Sorts That Shows The Band's Knack Of Reinterpreting A Cover Version Or Two For The Dance Floor.

Sleepwalking Is A Take On Fela Kuti's 1971 Classic Black Man's Cry. It's A Chant Of Frustration Aimed At Disenfranchisement From The Process And Features Afrobeat Ambassador Dele Sosimi On Guest Vocal Duties.

It Questions If We Are Sleepwalking Into The Abyss, And Is A Revolutionary Song About Taking Power Back Into Our Own Hands! Although It's Challenging To Do Justice To A Bob Marley Cover, On Natural Mystic Soothsayers Cradle The Spirit Of The Originator And Turn It Upside Down, Transforming The Familiar Into A Journey Back To Africa Via Their Trademark Groove.

Spiritual Jazz Flutes And Percussion Combine With The Floating Vocals Of The Mighty Cornel Campbell, While The Song's Main Melody Is Emphatically Reproduced By Soothsayers Horn Section To Stunning Effect.

Gratitude's rare Canadian disco 12" is well know to the heads, there is also a VERY rare 7" with a slightly alternate mix that is almost entirely unknown (not even listed on Discogs).

'We Are Here To Party' is a driving Deepfunk disco banger in the vein of King Tut. On the flip 'Loving You' is a Chic influenced disco production as strong as the A-side, always good when its a solid flip as well. We have taken the 12" Versions and put it on to 45, the forthcoming David Haffner compilation will have the even rarer 7" Version on it. Back into disco turf, loads more on the way.

David Marston is a producer, DJ, musician, and guitarist hailing from the vibrant Caribbean island of Jamaica. He takes a multifaceted approach to his music, and has worked to achieve a sound that is a fusion of multiple genres, including, but not limited to, house, hip-hop, disco, jazz, as well as reggae. During a six-month stint in Jamaica in 2016, Marston reconnected with a close friend and fellow musician, Craig Williamson, and the pair began writing music that would become the basis of Marston's first full length album. With the album set to be released in early 2019, Marston has endeavored to put together a special 12" to showcase the club-friendly side of his music with a selection of the album's dance cuts.

The A-side of the vinyl kicks off with the title track, "Feeling You", which features Williamson's crooning voice over a hypnotic instrumental characterized by a swirling arpeggiated synth, punchy bass hits, and stomping drums. To round off the A-side, Italian DJ and production duo, Lowheads, give the aforementioned track a fresh makeover with their lively classic house remix and dub version. The flip side of the record consists of two instrumental tracks. The first, "Ragamuffin", is a mesmerizing four to the floor tune constructed around an Indian raga sample. The final number, "On My Mind" is an off-kilter house groove with rolling keys, garage style drums, and a soaring lead. Taken together, the 12" album 'sampler' is a robust yet tantalising collection of club-ready tunes.

For their next trick, Get Physical treats everyone to a taste of their latest big project, India Gets Physical, with a single from Kone Kone that includes remixes from Reboot and Todh Teri (who will be curating and mixing the bumper forthcoming compilation). Mumbai's Kone Kone has an unconventional DJ style, creating audio-visual productions that are 'a new route to discover old media.' Kone Kone's electronic sounds explore Indian musical practices with a lo-fi finish, including references taken from disco, funky basslines and rolling toms. This superb latest track is a tribute to Indian cinema's '80s dance music. Entitled 'Come Closer,' it is a brilliantly loose and louche house track propped up by elastic bass. A whole world of instrumentation and exotic percussion enrich the groove while female vocal coos and soulful pads bring rich colours to lift the listener. Remixer Todh Teri is behind the acclaimed Deep In India release series and is at theheart of the revival of Indian cinematic sounds, where Bollywood sounds are reworkedfor the modern dance floor. His brilliant version has heavier drums doing big loops and pulling you further in each time as the synths bring cosmic vibes. Last of all, label stalwart Reboot's Muscleflexx Remix is darker and more edgy, with late night dance floors in mind as the pulsing synths and slippery drums gradually unravel. This is a great introduction to the next exciting chapter in Get Physical's country- focused compilation series.

Demon Music presents a narrated full-cast TV soundtrack adventure starring William Hartnell as
the Doctor, in an epic quest to defeat his arch-adversaries, the Daleks.
In this classic 12 part 'lost' adventure, first shown on BBC TV from October 1965 to January 1966,
the Daleks threaten to destroy the fabric of time itself. In their quest to control the Solar System,
they have taken possession of the devastating Time Destructor. Determined to stop them, the
Doctor (William Hartnell) steals the core of the weapon. He and his friends are thus pursued
across Time and Space by their ruthless, powerful nemeses...
Presented across 7 x Heavyweight 180g Blue translucent pieces of vinyl, this narrated TV
soundtrack evokes a classic Doctor Who adventure in all its aural magnificence. From the eerie
sonics of Ron Grainer & Delia Derbyshire's theme tune, and the familiar 'wheezing, groaning' of
the TARDIS, through screaming jungle worlds and an array of spacecraft, the story is alive with
weird and wonderful sound.
Written by Terry Nation and Dennis Spooner, this is the longest single Doctor Who adventure ever
made for television. Linking narration is provided by Peter Purves (Steven) and the cast includes
Kevin Stoney as Mavic Chen, Nicholas Courtney as Bret Vyon, Jean Marsh as Sara Kingdom and
Peter Butterworth as the Meddling Monk. The film recordings of all but three episodes of this
story are lost from the BBC archives.
The prelude episode Mission to the Unknown is presented on its own single-sided disc with a
unique Dalek (standard edition) or TARDIS (exclusive edition) etched reverse.

Three 1982 disco classics from boogie trio Plush formed under the guidance of Angela Winbush, René Moore and Bobby Watson get the official, remastered reissue treatment from the original tapes.

Opening up the EP, an Angela & Rene original 'Free & Easy' is taken on by the Plush troupe, with the legendary Tee Scott providing a trademark extended mix. It kicks off with cosmic synths that dissipate into heavy funk, electric bass riffs, whilst scorching top lines and choice guitar licks trade off over the top. Scott's magic is clear to see in the composition of this extended mix. A man who clearly knew how to work a dancefloor, his use of breakdowns especially, extending the anticipation and power the track commands on its dancers. From the bass breaks that weave in modulated synths, to those that utilise the glorious sustained piano chords, cutting to just vocals and percussion before everything is added back in for ultimate dancefloor elation.

First up on the B side, 'We Got The Love', a more soulful, slowed down tip where staccato guitar plucks and chunky slap bass marries with warm Rhodes chords, and lush vocal harmonies blend with the power of Siedah Garrett commanding the lead vocals. A passion ingrained in their voices that cannot be taught, hanging in the air, as they hang onto their phrases.

Lastly, 'Livin For Your Love' a boogie-based serenade written by Herman Chainey and Tony L. Phillips, intertwines Phillips' deep dulcet tones with Plush's backing. Add in a dose of pure '80s bass synth, twanging funk flashes and juicy bass guitar ripples and you've got a recipe sure to woo any wandering hearts out there.

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

Taken for the widely played and adored Lenny Williams Spark of Love Album, which was released during the Disco Era of 1976 and featured disco hits like, 'You got me Running', I still Reach and 'Midnight Girl' comes 'Changes.'

Edits and Overdubs Produced and Performed by Joaquin Joe Clausell; Changes is the tune that was mostly ignored from the extensive Lenny Williams music catalogue.
Similar to his past works where he chooses songs that are mostly un popular to the outside world but classics amongst himself and his siblings at home, Joaquin Joe Claussell takes this Jam that he used to groove to at home as a young teenager, lifts it out from obscurity and turns it into something that will sure be played by most DJ's who are into the Lenny Williams Sound, soulful disco and beyond.

Listed at a time length of (5:03) Joe cleverly up lifts this soulful disco composition and extends it to a time of (9:01). He achieves this, as usual, with respecting the original composition and with never anyself-masturbation. In the end, the results are a New Disco Classic that drives with relentless energy and enough soul for anyone who's seeking more soul that hailed mostly from the urban side of American disco music.
So, listen, dance and spin.

Lenny Williams - Changes Edits & Overdubs by Joaquin Joe Claussell will be the first single to come out from the forth coming Joaquin Joe Claussell Presents Edits & Overdubs PT 2 2XCD and Special Limited 7Inch.

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

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

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

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

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

" 'Workaholic Paranoid Bitch' is taken from Marie Davidson's most recent album Working Class Woman released on Ninja Tune in October 2018. Russian DJ and producer Nina Kraviz delivers two different versions of her remix including a dub mix. Day Dreaming' also features on Working Class Woman and has been remixed by Russian/British/Ghanaian producer Afrodeutsche also delivering a beat free remix."

THROUGH GODS OWN EYES
MusicForSunrises&SunsetsDarkCornersOfTheDanceFloorDarkCornersOfTheMind.
FastDeepSlowRaveInspiringInspirtational&CosmicUpliftingWildPitchedHeartMelting&HeartPoundingSexMusic

Conceived in Bali as a club event to allow Phil Cooper and Indonesian DJ, Dea Barandana a chance to flex their rave potential and dig out those obscure, heavy dance floor cuts it has been hosting sporadic parties for the last 3 years, with no specific musical boundaries, it is about the late night, early morning dance floor experiences, heads down and lost in music!

A label was also planned, but when that would happen was always unclear, however a chance meeting in Croatia at Love International Festival 2018 between Phil and Carlo Bragagnini AKA La Mano has led to the inaugural release, TGOE001 La Mano 'Tana del Lupo' EP

Side A - Sirena, inspired by the classic Italo stable, a deep and driving intro that builds with a rolling, solid bass line, shimmering effects, gun fire handclaps and siren sounds before the piano line eases in to take it to a euphoric crescendo of soaring synths for maximum hands in the air vibes...

To add weight to the release, remixer options were discussed and both agreed on Man Power, and his rework has taken it to a much different place, adding a solid breakbeat to it, dirtying up the piano and extending the mix to 9+ minutes, this is HEAVY for the floor...

Side B - La Mano, the ying to the yang of Sirena, this is a much more progressive track, subtle in the arpeggio build up and layered to create a big sound culminating in a swirling series of dreamy chords and synth lines.
The Ambiente mix takes away the kick and percussion to allow the full dream like state to take effect, one for sunrises and sunsets across the globe...