Search:the black project

Intergalactic cosmic soul featuring ebony rose and members of the spellbinder project.

The B side is a spiritual jazz instrumental with a soprano sax lead.

Visions Recordings is happy to welcome the Italian trio Jaxx Madicine for a single with two jazz/house influenced tracks aimed for the dancefloor with enough music and fat beats to make you wanna fly and dance .Their specific mix of vintage and modern sounds keep the bouncy feeling that deejays love to play in their sets . Round bass, Fender Rhodes , piano and warm keys are the ingredients to this delicious meal we invite you to share with us.

The name Jaxx Madicine suggests a wide range of influences - 'Jaxx' obviously being a tilt of the hat to the original rhythms and basslines born out of Chicago house while the 'XX"s suggest a keen passion for jazz.These are the two main ingredients used by the projects founders Turbojazz and Parker Madicine, who are joined by the talented and mysterious Veez_0 - a young Italian piano player that you're bound to hear more from in the near future.Turbojazz plants his roots in the rhythms and futuristic sounds of the Broken Beat golden age while Parker Madicine leans more towards the sounds and timbres of Detroit's spacey atmospheres. These two musical worlds are married by Veez_o's incredible playing and harmonic backing. To get a proper idea of what this is about you should consider George Duke in his peak cosmic period jamming in a studio with 'High Tech Jazz"-era Underground Resistance before joining Pete Rock for dinner and then heading to a Roy Ayers concert. Absolutely delicious !

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

Black Rain returns with Computer Soul: the final part of a sequence of Blackest Ever Black releases that began with 2011's Now I'm Just A Number: Soundtracks 1994-95, and a first glimpse of the project's richly imagined future. For this outing Stuart Argabright (Ike Yard, Dominatrix, Death Comet Crew) is joined by BR founder member Shinichi Shimokawa as well as more recent recruit Soren Roi and Zanias (vocalist on 2015's Dark Pool) - making for the most most group-oriented iteration of Black Rain since its earliest days. Sonically too, there is a sense of evolution but also of coming full circle: the cyberpunk techno of Argabright's celebrated William Gibson soundtracks (compiled on Now I'm Just A Number) and extrapolations of Dark Pool's neuromantic yearning cut with glimpses of the thrash and industrial rock energies that animated Black Rain's incendiary live shows - and sought-after tapes for Kombinat and TPOS - in the early 90s. More than ever, Black Rain is propelled by a powerful science fiction impulse, whether responding to the themes and characters of Gibson's Sprawl or the Blade Runner universe (particularly K.W. Jeter's spin-off/continuation novels which extended its mythology, and timeline, further). It's not news that many of these works' most powerful predictions and prophesies have come to pass - the replicants are already living among us - so Computer Soul projects further into several possible unforeseen futures, its events 'set' in the second half of the current century, fifty or so years after those of Dark Pool. The hyperpopulated metropolises of Dark Pool are no more; the apartments are empty, haunted by ghosts of AC current, devices and machines running lonely without their owners...a melancholy internet of things. Where has everyone got to Gone but perhaps not gone. Oblivion beckons - always does - but on the other side of that, something else... another time, another place, a river....and a new way of living.

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

A new, heavier direction for Howlround, a project better known for more ambient work. Described as 'Tapeloop Techno', thick knotty tangles of dense, pulsating bass are an echo of Robin's early days making bad dance music, while the abrasive snarls of feedback swirling around these tracks point to his more recent embrace of indeterminacy and chance composition. Previous vinyl releases on Psyché Tropes, The Wormhole, A Year in the Country and Front & Follow as well as his own label The Fog Signals have shown a deep understanding of the possibilities of tape manipulation. On The Debatable Lands Howlround eschews the usual field recordings in favour of exploring the interior world of the machines themselves.

Kêtu Records started as a project which sells original vinyl discs with the aim of promoting African music of the Golden Age (1960-70). We have developed a large network in Africa to trace these original vinyl discs. We also organize events and sell the discs. Part of the profit is reverted to support local initiatives such as local orchestras, O.N.G. that help disables and schools.

For this first single release, NKOTTI FRANCOIS, great Cameroonian artist of the 70s-80s and still active on the African scene, signs for a reissue of 'MUWASO MWA LONGE' and 'NJA KA'; two amazing titles from the LP Retro 2000.

Jan Bertil Svensson: co-founder of the legendary Börft Records, member of arch techno-primitivists Frak, the man responsible for Villa Abo and all-round underground don active in the field of machine music since 1987!

Whilst Jan's output will always conjure comparisons to Techno with a capital T, he has (and continues to) plough a singular and peculiar path in the realm of electronic music. For the Glasgow-based Full Dose, he presents his first ever solo 12' under the name of J.B.S: a four tracker of sluggish, minimal funk that bears the hallmarks of his most classic work as Villa Abo, and adds dashes of the brutal grit that his Studio SS project is infamous for. If there's any sort of recurring theme in Svensson's work, it's playfulness and humour, a particular Scandinavian form of sonic banter that cuts right through the po-faced, black-clad heteronomy of much of today's electronic landscape. The music on this record, with it's odd blend of stripped-back synth pop and brutish dungeon funk evokes exactly that: a body of work that doesn't even seem capable of taking itself too seriously, yet evades anything resembling a recognisable piss take. After all, nobody said that humour and credibility in music had to be mutually exclusive, and J.B.S is a master at weaving the two together at will.

In a world where dance music is often subjected to ludicrous conceptual analysis, sometimes the combined effect of hot circuitry, sincerity, vivaciousness and an anomalous attitude are the only thing for it. But then again, this is not just dance music either...

Black Helicopters is Agnarkea (Keaton Transue); a 20 year old producer from Richmond, Virginia, whose debut album is forthcoming on Manchester-based label, Natural Sciences.

Originating out of the WaistDeep Clique (a cell of emerging hip-hop crews operating out of the Southern United States) and recorded on budget equipment, across it's near two hours and extended 23 tracks, the project seeks to un-package homegrown 'conspiracy theories' (MK Ultra, Black Helicopters, The Deep State, Black Sun, Waco Texas) and use this web of extended source material to make sense of day-to-day life in Trump's America, police oppression of black neighbourhoods and the systematic suppression of mind-enhancing drugs.

The fifth issue of Blacksilk sees the return of label head Marc Ash. Following the debut of his one-project moniker Plovdiv in 2016, a tape EP on Clan Destine and appearances on labels such Helena Hauff's 'Return to Disorder', he now comes forth with a work that reveals a deeper side of his obscure and multifaceted vision of electronic music.

Rejecting any fixed musical categorization, the listener is left free to decide how to deal with these compositions, each one exploring different areas of Marc's approach to existence through seductively articulated synth lines.

A work of self-reflection and a stark celebration of controversial times of uncertainty and doubt.

Deadpan vocals extracted from Godard films, eerie Teutonic fairytales and Marc's own deconstructed voice take the listener by the hand on a rollercoaster of anxiety and active resignation to the absurd post-everything age in which we live.

Silent Servant's reinterpretation of 'Take your Judgments' crowns the EP with a shadowy march built on repetitive sequences, abruptly waking us up from the sinister dream and leaving a sweet yet sour taste in our mouths.

Anders Trentemøller's career is a travel-heavy one, with his touring schedule taking him pretty much all over the world. But it's his home port that's inspired his latest project, the sprawling, stunning compilation mix 'Harbour Boat Trips Vol. 02: Copenhagen'. Clocking in at just over an hour long, the compilation sees Trentemøller curate and craft sixteen songs into a heavy, hazy mix that ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller's own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young's classic 'Transformer Man'. The mix sees him pick up a thread he left off earlier in his career. In 2009 he put together 'Harbour Boat Trips - 01: Copenhagen', a compilation mix comprised of his favourite music, both Danish and international, from across four decades, loosely inspired by the motion and movement of Copenhagen's busy harbour. Closing in on a decade later, we're getting the second edition, with 'Harbour Boat Trips - 02' arriving this November.

Eglo Records are proud to present the second official solo album by the forward facing producer and vocalist Steve Spacek. The album, entitled 'Natural Sci-Fi' originally began production in 2005, shortly after the release of the now classic 'Spaceshift' album (which included the J-Dilla collaboration 'Dollar'), but was never completed. Over the last few years Steve has added a some tweaks and changes - including a new song and guests vocalists Oddisee and Natalie Slade - eventually finalising the project and readying it for its release in 2018. The album continues the post Spaceshift vibration of Steve's signature production style and effortless vocal delivery. Swinging spaciuosly from past to present, packed with soul, sounding as fresh and relevant today as it did when it began back in 2005.
Since the albums inception Steve has released projects with Mark Pritchard as one half of Africa Hitech on Warp, an instrumental LP as Black Pocket for his brother D-Bridge's Exit Records and a concept LP as Beat Spacek for Ninja Tune. Following a string of EP releases for Eglo over the last two years we are thrilled to finally be able to bring to you a full length release from one of the UK's most unique and talented artists.

Deep'a & Biri curate a bevy of much-respected underground techno specialists to further unravel and reimagine the vital and sophisticated sounds of 'Dominance', their full-length LP released earlier in 2018.

Midnight Operator, the collaborative project of Mathew and Nathan Johnson, begin the set with their trippy and transcendent take on 'False Memories'. A rare remix from the pair, their return has been worth the wait; an expertly executed techno excursion, it simultaneously burrows deeper into the psychedelic textures of the original, while providing a club-centred kick.

Further blending the experimental and the physical, Peter Van Hoesen provides a typically complex and compelling take on Voltage, deconstructing the original and expanding each element in myriad, rave-specific directions.

Deep'a & Biri enlist rising Dutch DJ-producer Deniro contributes a rolling, hypnotic version of Dominance's spectral centrepiece, 'Alpha Cephei', while Z.I.P.P.O. charges down a tense, big-room industrial tunnel for his interpretation of 'Seeking Solace', hitting on a cathartic groove after a passage of uncompromising noise.

Concluding the EP, Steinlac'h Records founder Wice reimagines 'Theories of Loneliness' in dubby but propulsive fashion.

A trio of guitar, bass and drums, Elektro Guzzi overcome the boundary between analogue versus digital, performing techno live with the drive of a machine and the sonic detail of an instrument - without any computers or loopers. For their upcoming album Polybrass, Elektro Guzzi have drastically expanded their sonic repertoire: both in the studio and on stage, they are joined by an ensemble of three trombonists, opening up a whole new realm of possibilities. With Hilary Jeffrey, Daniel Riegler and Martin Ptak, the band are joined by three brass heavyweights, each of them well renowned for both their solo ventures as well as projects such as The Kilimanjaro Darkjazz Ensemble, Sand and Zeitkratzer. By treating the three trombones not simply as a set of extra instruments but rather as one coherent body of sound on its own, Elektro Guzzi dissociate the brass instruments from their conventional use and repurpose them into something completely different: a modular synthesizer, with each trombone representing one oscillator. In doing so, Elektro Guzzi add new layers of depth to their music, emphasizing a more cinematic side of their music: like the soundtrack for a movie, Polybrass is bigger, darker, more dramatic, more intimate. Warm and fuzzy textures float weightlessly above fragile soundscapes and complex sonic fragments. At the same time, the band's signature sound runs distinctly through the entire album: solid percussive grooves, stripped down to the absolute minimum it takes to make your body move. Hypnotic repetition, building tension and suspense up to a point where the energy of the music gets so intense you feel like you can physically touch it with your hands, interlaced with organic patterns of sound, constantly changing and evolving, pulsating and oscillating. Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl with download code.

*Black vinyl press* Reissue of his debut album from 1980. Beautiful experimental sound design which results in proto-techno soundscapes. A gem in the genre!
Minimal Wave is honored to present a reissue of Sympathy Nervous' pioneering debut album originally released in 1980 on Vanity Records out of Japan. Sympathy Nervous was Yosihumi Niinuma's lifelong project which he started in his Tokyo living room in 1979. Through Sympathy Nervous, Niinuma was able to channel his energy into what he loved - building his own synthesizers and speakers from scratch. Niinuma was inspired by German Krautrock and through his music created intense proto-techno soundscapes. Now finally available for the first time ever, remastered from the original tapes used for the 1980 release, is the timeless masterpiece in its entirety.

We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).

Move Is The Name Of The Colombian Collective Based In Medellin. After 5 Years Of Hard Work In South American Electronic Scene, Now They Present Their Record Label With 'origen' As It's First Release. Origen It's A Wide Range Of Colorful Electronic Music Created By Some Of The Artists Involved In The Project: Black Propaganda, Retrograde Youth, Merino And Blotketch. A Real And Interesting Sneak Peak Of The Sounds That Are Growing In Latin America.

2nd Reissue
Fredfades & Ivan Ave's debut release
This time on black vinyl
300 copies
For fans of J Dilla, MNDSGN, Madlib, Yogisoul

Contains 17 tracks produced by Fredfades using the SP-1200 and MPC 2000XL. The A-side is all vocal tracks by the Norwegian lyrical genius Ivan Ave who is widely known for his projects with MNDSGN (Stones Throw). The B-side is a mesh of Fredfades instrumentals.

To put it simply, 'True Meanings', the fourteenth Paul Weller solo album, the twenty sixth studio album of his entire career, is a record unlike any he has ever made before.

'True Meanings', is released on September 14th and is an album characterised by grandiose-yet-delicate, lush orchestration: an aesthetic to which Paul's better-than-ever voice, singing some of his most nakedly honest words, is perfectly suited. A dreamy, peaceful, pastoral set of songs to get lost in, it is both an album that a lot of his faithful audience have been wanting him to make for a long time, and an album that many new people outside of that audience will relate to.

On the 25th May this year, Paul Weller turned 60: a milestone that has unquestionably had an impact on the feel, both lyrically and musically, of 'True Meanings' which comes across being the most singer-songwriter-style album he has ever made. However, it is also the most collaborative: with more guests than any record he's been involved in before.

As well as all the members of Weller's band, Rod Argent of the Zombies provides Hammond organ on 'The Soul Searchers' and piano and Mellotron on 'White Horses'; folk legends Martin Carthy and Danny Thompson add picked guitar and double bass respectively to 'Come Along'; Little Barrie plays lead guitar on 'Old Castles'; Lucy Rose sings backup on 'Books'; and 'Movin On' is the result of a 'scratchy demo'on Paul's phone that was sent to Tom Doyle of the White Label project. Even Noel Gallagher makes a sneaky appearance.

Perhaps most surprisingly of all, especially given how personal and introspective 'True Meanings' feels, lyrics for four of the fourteen songs here were written, to Weller's melodies, by others. Connor O'Brien from Villagers came up with the words to opener 'The Soul Searchers', while 'Bowie', 'Wishing Well' and the closing 'White Horses' are all the work, lyrically, of Erland Cooper from Erland & The Carnival.

'True Meanings' was produced by Paul Weller except 'The Soul Searchers', which was co-produced by Paul and Conor O'Brien and 'Movin On' which was co-produced by Weller and White Label. The album was engineered and recorded by Charles Rees and mixed by Jan Stan Kybert.

The album was recorded in just over 3 weeks at Paul's own Black Barn Studio, with the aforementioned, revolving cast of characters dropping in for a day here and there. The orchestration was added soon after, and that was that. It is always a good sign when the recording of an album is swift, and here you can just hear that the man at the centre of these songs is as focused and inspired - more inspired, even - than he has ever been.

At 83 Years Of Age, Lee Scratch Perry Is Proud To Present To The World His Next Full Length Solo Album (with Dub Versions) , Continuing His Inimitable Roots Reggae Legacy.

Lee's Brief For The Album, Was To Blend The Vintage And The Obscure, During The Sessions Lee Referred To The Sound And 'black' And Wanted Space, Light And Darkness In The Songs And Their Respective Dub Versions.

The Result Sees Lee Having Mixed Up An Analogue Concoction Of Ultra-rare Effects, Sonic Wizardry And Deep Heavy Roots Rhythms.

Over 2017 and 2018, Lee Scratch Perry re united with Producer and Mixer Daniel Boyle, to start work on their second Solo album project for Lee.

Picking up where their last efforts ''Back on the Controls'' left off. Lee wanted to continue the raw analogue sound they had cultivated together over multiple past releases, and take it to the next level with new effects devices to create another sonic signature.

They entered the studio in 2017, to begin to put together ideas for the tracks, which were then taken to RAK studios in London with their ever changing Rolling Lion All Stars session band; to lay down the rhythm versions.

Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK's early model vintage API desk to record, the 'sound' for the album was sculpted in these sessions. Vintage, but punchy, which was then blended with Lee's choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, Plate and spring reverbs, and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was aiming for.

With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted Lo Fi vocal sound.

Lee and Daniel then returned to Daniels Rolling Lion Studio, to mix and Dub the album, live, on the mixing console.

'Rolling Lion All Stars' Musicians: Vocals: Lee 'Scratch' Perry Drums: Ed West Bass & Guitar: Hughie Izachaar Keys: Robbie Lynn Additional Keys: Calvin Bennion Percussion: Daniel Boyle Kete Drum: Mathias Liengme Hurdy Gurdy: Brian McCoy Horn Section: Rory Sadler, Robert Landen Melodica: Puraman Backing Vocals :

In line with the release of Blackfilm's new album "Zero One Seven", Denovali release the 2010 collaboration masterpiece "Along the Corridor" with Eraldo Bernocchi for the first time on vinyl.

"(...) From its heavy stone dropping bass to cinematic orchestration, beautiful piano melodies, and progressive dowtempo electronic beats, this collaboration between Eraldo Bernocchi and Blackfilm is an amazing find. Designed as a soundtrack for those lonely nights, walking through abandoned streets and skeleton buildings, Along The Corridors will keep you on the edge of your seat, with your imagination as the only projector for the cinema of your mind.

Italy's heavy dub producer Eraldo Bernocchi is not a new face to the scene. Starting out his career in the 90s, Bernocchi produced under many aliases. ... But it is the works under his real name that deserve the most attention. In 1999 he released Charged recording with Tashinori Kondo and Bill Laswell. In 2005 he appeared alongside Harold Budd in Music For 'Fragments From The Inside' on Sub Rosa. And in 2007 he recorded Manual together with Thomas Fehlmann for 21st Records. There are also numerous EPs with Bill Laswell under Apollo's Re-charged series....

Blackfilm, who continues to remain anonymous, is a Hungarian artist that was first introduced to us through his self-titled debut on the now defunct Spectraliquid Records. Since then, the album has been picked up by Denovali Records and repressed in 2010 on compact disc and vinyl. His dark atmospheric soundscapes and a bricolage of modern classical samples and instrumental hip-hop beats reminded me of my favorite works by Amon Tobin and Future Sound of London, for a brooding soundtrack enveloping your mind with heavy fog of penetrating sound. Since the release, Blackfilm has relocated to London where he has embedded himself with the heavyweights of dub and even darker journeys in the underground ..." Headphone Commute

The first studio album of the albanese duo I TPAME I TVRAME 'IKIN VIJNE¨' is a catching, surprising and innovative masterpiece work composed of 10 new songs where they shown how noise can be dominated. If you follow and likes projects such as November No¨velet, Portishead, Tropic Of Cancer or Not Waving, more than likely this album will be a highlight of your collection. It will be presented on DOUBLE 12 EP format and produced in a ONE-OFF truly extra limited edition of 200 copies lacquered pressed on 140 gr. high quality solid black vinyl. All tracks have been specially mastered and remastered for LONG CUT vinyl by Eric Van Wonterghem.

Producer, multi-instrumentalist, composer, songwriter and vocalist Devonté Hynes returns with his fourth album as Blood Orange, Negro Swan, released on Domino on August 24, 2018.

Raised in England, Hynes started out as a teenage punk in the UK band Test Icicles before releasing two orchestral acoustic pop records as Lightspeed Champion. In 2011, he released Coastal Grooves, the first of three solo albums under the moniker Blood Orange. His last album, Freetown Sound, was released to critical acclaim in 2016, and saw Hynes defined as one of the foremost musical voices of his time, receiving comparisons to the likes of Kendrick Lamar and D'Angelo for his own searing and soothing personal document of life as a black man in America. He has collaborated with Solange Knowles, Skepta, fka twigs, Carly Rae Jepsen, A$AP Rocky, Charlotte Gainsbourg, Blondie, and many other artists, and was recently one of four artists invited to the Kennedy Center to perform alongside Philip Glass. In addition to his production work, he scored the film Palo Alto, directed by Gia Coppola.

Negro Swan was written and produced by Hynes. Says Hynes:

'My newest album is an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of HOPE, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.'

By now, the story of how Jlin went from working in a steel factory in Gary, Indiana to being one of the most widely appreciated electronic musicians is well known. 'Black Origami' was one of the most reviewed and lauded albums last year. Seriously prolific and seriously hard-working, she has toured constantly since its May 2017 release and despite being involved in a wide range of projects, still manages to find a balance and 'do some personal healing and growing.'

Here we are over a year later with 'Autobiography,' the score for her collaboration with renowned British choreographer Wayne McGregor arranged by Unsound. This isn't technically her third album (that's due to arrive in 2019 or 2020), but the soundtrack stands up on its own with all the emotional peaks and troughs of a well-sequenced longplayer.

For Jlin, making music for dance is the fulfillment of one of her lifelong dreams - and remarkably, Company Wayne McGregor's performance was the first show she'd ever seen. She describes the process of working with Wayne: 'We first met face to face in October 2016 in a downtown Chicago hotel, talking for about a solid two hours. Immediately, I saw Wayne was very friendly and energetic. He's brilliant, witty, and knows exactly what he wants; an absolute gem to work with. Before I even started composing for Autobiography, Wayne told me so gently that he trusts me completely with my direction of creating the score. That was the best feeling in the world. I would wake up at two in the morning and work until six in the evening until I completed all the pieces. We were both very happy with the outcome. Creating the score for an impeccable piece of work such as Autobiography changed my life as an artist.'

'Autobiography' is a highlight in an evolving and growing career. During the last year, Jlin has also become an in-demand remixer, securing her place among a roster of music heavyweights. Unsurprisingly, given her positive and outgoing nature, she also developed friendships with the artists she has remixed such as Björk, Max Richter and Ben Frost.

Jlin will be touring with Company Wayne McGregor performing 'Autobiography' this year in addition to completing a commission for the Kronos Quartet titled 'Little Black Book.' She still approaches every performance 'with the same attitude of doing my best to execute a good show, no more, no less. Doing my best is what's most important to me.' She also still lives in Gary, Indiana, which keeps her grounded. She notes with her typical humility, 'The local community is a little more knowledgeable of me now. But I don't mind my community taking its time.'

New Orleans Based Artist Hirakish Is A Vanguard Visionary And A Show-stealing Hba Catwalk Star. His Evolving Practice Spans Music, Acting And Performance. Active In New Orleans, New York And La, He Recently Performed Live At Moma Ps1 For The Premiere Of "the Mean Of Life" A Film By Shane J Smith And Is Currently Working On A Project With Yves Tumor. 'black Velvet' Is A Look Inwards, At One's Own Struggle With Paradoxes Of Love, Sorrow, And Desire. The Four Tracks Move Effortlessly Through Romanticism, Suffering And Ecstasy. Awash With Blistering Guitars, Synths And Hard Hitting Vocals Laced With Fragile & Reckless Lyrics, Together Yield A Spiritual And Subtle Hallucinogenic Air. Hirakish And Co Have Created A Soulful Antidote With A Razor-sharp Sound Scape That Reincarnate The Soul. Hirakish Will Premiere A New Live Performance 'velvet Cafe' In London At Cafe Oto This Coming Fall With Nyx Unchained.

Some time around 20 years ago, the artist known as Dub Surgeon made an absorbing album of beautiful dub infused with ambiance, found sounds and horizontal rhythms. The Lost Future was recorded at the former Amsterdam Film Academy where Dub Surgeon. The recording engineer for the project was Ricardo Villalobos. Dub surgeon and Ricardo Villalobos then mastered it together, putting it through several vintage mixers and recording it to 2 inch tape. Then, tragedy struck: a storm surged and ignited a fire that ravaged the studio. The master copy was thought to have been lost forever. Dub Surgeon stopped making music and disappeared into the shadows after just two EPs on Future Dub in 2002/3. But one day 15 years later, totally out of the blue, he received a demo of The Lost Future. "Pay attention to this," it said. Attached was a demo version of the long lost album and now, finally, it has a perfect and impossibly poetic home on Dubai's Ark to Ashes, which is named in homage to the story of Lee "Scratch" Perry burning down his Black Ark studio to rid it of demons. Sounding as fresh as ever, The Lost Future is an authentic dub experience with a story as special as the music itself

Divine gospel modern soul boogie LP written, composed and produced by Jeffrey Roberson, first released in 1982 on Black Diamond Records.

Every once in a while, an exceptional talent impacts the gospel industry and leaves an incredible impression. The anointed and Grammy nominated Jeff Roberson is one of the those rapidly expanding gospel artist who have done just that.

Jeff Roberson was born and raised in Long Island, New York, the son of Pentecostal parents who had a compelling love for music. Actually, he is endowed by God with a melodic intrinsic distinctive rooted and grounded in the splendid tradition of the church. His keen interest and focus in music was so intense that his
parents encouraged him by purchasing a piano. During his teenage years, he was significantly blessed to be tutored by the late Rev. Timothy Wright, and the late Professor Benny Cummings and the Kings Temple Choir. It was during this season of his life that he continuously developed his skills as a keyboardist and songwriter.

Not only is he a skillful world-class vocalist, his talents transcend various creative art forms such as a skillful musician, innovative producer, accomplished pianist and organist. He simultaneously projects his uncompromising vocal talents and musical gifts to an unprecedented level of artistic achievement. Simply stated
he excels in the excellent - (Excerpt taken from Jeff Roberson's biography).

'Ever since I can remember, music has been to me, as a mother is to her child. Just as the sun enhances daylight, music is my life throb. Music puts life and joy in that sacred dimension. It fills the void of darkness and brings with it New Life.'

Jeffrey

Here at Death & Leisure we are on a continuing mission to surprise and experiment, and so with our new release we present something very special, Blackmoon1348 and The Tibetan Monks of The Tashi Lhunpo Monastary. This project sounds like nothing else, it fuses heavy drone guitar sounds with traditional tibetan throat singing and live instrumentation.

BlackMoon1348 in collaboration with the Tibetan Monks of the Tashi Lhunpo Monastery (Tibet/ India). 2017 BlackMoon1348 embarked on a cultural experimentation of cultural diversity in the arts, forming a collaboration of ancient Tibetan ceremonial practises and instrumentation with sub-harmonic drones and industrial soundscapes. The music amalgamates sacred mantras that date back to the early teachings of Tibetan Buddhism practised in the Tashi Lhunpo Monastery, with heavy detuned western instruments, synths, and electronic music for the first time in recorded history. The Tashi Lhunpo monastery was once home to the Panchen Lama who subsequently 'disappeared' under the oppressive Chinese rule of Tibet. A handful of the Tashi Lhunpo monks were fortunate to escape into exile and have since re-built the monastery in Mysore, South India - now flourishing with over 400 monks practising within the monastery. Tibetan Buddhism is an outlawed ancient tradition within Tibet - monks, nuns, and Tibetans cannot openly practise their heritage and traditions, forcing Tibetans to inhabitable plateaus, with such areas are now under 'Chinese Re-development', the land being stripped of natural resources for China's ever growing economy and totalitarian rule. Tibetans face persecution for as little as owning a Tibetan flag, or picture of the Dali Lama, with such actions landing you in jail, tortured, poised, and/or being released just before the point of death. It is important for us to remember and celebrate the traditions of the Himalayas and its sacred, peaceful practises.

The music was recorded live in one take at Flesh and Bone studio in Hackney for NTS Radio's Black Impulse show. Engineered, mixed, and mastered by Oliver and Owen at Flesh and Bone, capturing the raw, ethereal essence of the collaboration and ceremonial sounds buried deep within the Himalayas. This was the first time in history for such collaboration of tradition, ideology from Adeline Rozario and orchestrated by David Kerry of BlackMoon1348 who created this music to diversify and bring together ceremonial instruments, diversifying the metaphysics of transcendence through ceremonial Tibetan practises.

It is important to understand that BlackMoon1348 are not attempting to change the fundamental meaning or belief of the Tashi Lhunpo Monks, or assume to have a deep-rooted understanding of the ancient traditions of Tibetan Buddhism, This is our understanding of Tibetan culture and practices as truly and honestly as we see and feel it, and our attempt to spread this beautiful, sacred, culture, and keep it alive within today's society.

Liberation through hearing.

6 track LP pressed on 12" black vinyl with black centre label, black disco insert, black laminated sleeve with barcode detail.

* London based label SM-LL presents its second main label 12" LP release, Zimní Král, from Italian artist Andrea Taeggi.

* Andrea Taeggi works in Berlin as a composer, live performer and electronic music producer. Besides his solo practice
— on his own name or under the moniker Gondwana, he is co-leading long-standing electroacoustic project Lumisokea. His music has been released on vinyl and dubplate on labels Opal Tapes, Type, and Präsens Editionen.

* The music on this record was made using a vast array of rare analog machines Taeggi had the chance to work on at the Willem-Twee synthesis studio in Holland (built with the iconic Studio di Fonologia RAI as a blueprint). Most of the percussive sounds come from an Analog Computer, which has been rarely used only as a music instrument (its main purpose was flight simulation). In fact, during the Cold War times it was also used as a measurement tool by civil engineers and even by the army. At present, no one has ever officially released music recorded at the Willem-Twee synthesis studio.

*The music on this record further explores cyclical, minimal and hypnotic concoctions - a particular investigation focused on unusual rhythms that Taeggi had already started on his well-received 'Mama Matrix Most Mysterious', released on Type in 2015. Think walls of sub frequencies, snappy rollercoasters of the mind, labyrinths in hyperspace & snakes eating their own tails.

The second of Polytechnic Youth's ace new LPs for July, sees a mighty set from Austria based synth pop duo Mitra Mitra. Following previous releases on Peripheral Minimal and their own Micromort label, not to mention a lathe cut right here on PY that sold out in 20 minutes in Dec. 2015.



The band was formed in Vienna in late 2014 by Violet Candide and Mahk Rumbae. Originally from New Zealand, Violet Candide is a founding member of the Crazy Hospital DJ collective, and one of the organisers of the legendary 'Future Echo' club night in Vienna, and is one half of 'Anesthetic Hairpins'; whilst British musician Mahk Rumbae is known for his work as a member of the industrial/experimental project 'Konstruktivists', 'Oppenheimer MkII' (with Andy Oppenheimer of Oppenheimer Analysis) and his solo techno project 'Codex Empire'.

After working together on one of Violet's solo songs, 'Heat', the pair decided to continue working together and formed Mitra Mitra as a more full time project, with the aim of writing electronic songs not tied to any particular influence or style. However, if there was such a thing as a signature PY sound- arguably this LP (alongside last year's Vorderhaus full length), encapsulates it most. Beautifully icy cold synth pop straight outta' early prime era Mute / Blackwing studios output. Serene yet melodic, edgy, dry icy hooks and delicious grooves aplenty all over this record. Eight wonderful tracks where quality and sheer melodic guile of the song writing never dips and attention truly is held across the whole set, ....no mean feat indeed.

Available as a 300 pressing LP only, destined to sell out rapid style as have all previous releases by both artist and label.

Foreign Concept returns to the frontline with the 'Gozen EP'. Spread across five tracks FC weighs in with a tough selection including a huge collaboration with man of the moment Monty and a seething remix from Kasra and Insideinfo's new Circuits project.

(180 gram pressing, black vinyl) Musique Pour La Danse presents CRON aka TODD SINES 'Scalable Architectures', the classic 1995 EP remastered. For fans of Dopplereffekt, Drexciya, Keith Tucker, Mid-West Electro A highly sought after EP equally blowing your mind and the floor. Cron is a project where Todd Sines focused on his long-running passion for electro music by exploring a specific set of machines composed of a Synton Vocoder SPX216, a Yamaha DX 100 and an Arp Avatar in a vibe completely different from his .xtrak alias or productions released under his own name.

The record visual presentation was equally important as it features 3-D objects created Todd Sines through intentional misuse of mathematical functions, creating unique forms and 'scalable architectures'.

Please find the complete 1995 liner notes below for more informations. Comprising of an intro + five highly danceable futuristic electro tracks of deep, sharp-edged electric grooves and hypnotic warm cuts that are each an exploration of a 'less is more' approach to production.

Favorite Recordings proudly presents Combattant, first EP by Pat Kalla produced by Bruno Patchworks' Hovart (aka VOILAAA).

PAT KALLA is a musician, singer and storyteller. Patrice of his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course. Born in Lyon, from a Cameroonian father, musician and political activist, and a French and literary mother, he explores from his childhood the Soul, the Slam, the Funk ... and the art of telling stories, life being a great one...

After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), and several acclaimed titles on the two albums by Voilaaa, he comes back with this project to put a bit of primordial lightness in a rainy world: A tribute to the African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa.

Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti & The Black Style, all these legends' vinyls have turned on the family turntable and the collection has whetted the child's appetite. Through this new trip, he revisits styles that are sometimes little known to Western audiences, such as High-Life, Makossa, Angolan Music, Afrobeat, Afro-Disco and others. We could talk about Franc CFA', we could talk about Jacques Foccart, but we will rather dance, because "the dancer seems naive, but his feet must be connected with earth to understand history..."

Backed by the "Super Mojo Disco", a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware « c'est médicament » (it's medicine)!!

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)

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

Two dark, adventurous and intense mid tempo mind benders by the mysterious producer K100 SIGNAL.
.
(...The signal was lost along ago. A "slowtard" rhythm surfaced. as you get deeper into alignment you discover the deconstructed beats from another decay. K100 signal is an elusive project produced in the pitch black code of indulgence...)

With MEL011, it is Melodies International's immense pleasure to direct their focus towards both Soul and House royalty, selecting and reissuing two of Frankie Knuckles' scarcer remixes of an all-time classic: Womack & Womack - MPB (Missin' Persons Bureau). Now known as Zekkariyas and Zeriiya, partners Cecil and Linda Womack, two eminent members in an extensive lineage of music artistry (i.e. Bobby Womack was Zekkariyas' brother, Zeriiya is Sam Cooke's daughter) engaged in one of music history's most successful and exciting singing and song writing partnerships in the early 1980s. Zeriiya says her process with Zekkariyas flowed like water, their shared complicity and talent led them to write and produce strings of chart topping hits and classic albums as Womack & Womack but also for other renowned artists of the time such as Patti Labelle, Teddy Pendergrass and the O'Jays to only name a few. The original version of Missin' Persons Bureau was first released in 1988 on 'Conscience' (Island Records), a classic album with impeccable instrumentation and thoughtful and relatable narratives that reflect on the nature of life, true friendship, love or in the case of MPB, it's subsequent loss. Following the release of the LP, Island records founder Chris Blackwell introduced the idea of getting Missin' Persons Bureau reworked by House legend Frankie Knuckles and whilst the Womacks weren't originally set on the idea of having their songs remixed by other artists, Blackwell, who Zeriiya describes as a 'record label manager seriously involved in making sure the project is what the creators really want it to be", had earned their trust. With these remixes, Frankie managed to turn a radio hit into underground club classics. The Paradise Ballroom mix conserves the essence of the original, reinterpreting the rhythm section whilst drawing it out over 8 minutes, with expert tension building and release clearly aimed at the dance floor.

Repress

We are extremely happy to welcome yet another talented crew from Italy in the Moonshine family. D-Operation Drop is a project born in 2010 thanks to the encounter of 5 university students wich found themselves sharing the same house and more importantly, love for music (In 2013 Zeemo joins the Crew, modifying the formation from 5 to 6 elements). After a couple of early collaborations, almost casual, Uniradio Cesena gives to D-Operation Drop the chance to lay the foundations of an underground music program on air twice a week. Thanks to this experience the group officially finds its frame and looks forward to its new goals such as producing, dj'ing and vj'ing. To date D-Operation Drop, after almost seven years of experience, has received support from Artists like J:Kenzo, Distance, N-Type, Icicle, Radikal Guru & many others. Releasing music with notable labels such as Lion Charge, Artikal Music UK, Subaltern and now Moonshine Recordings.

Some Years Ago An Album By Dutch Band Milligram Retreat (enfant19, 2011) Was Released On Enfant Terrible. The Album Got Raving Feedback From Press And Music Enthusiasts. Sadly
The Project Was Short Lived... But Straight After The Project Came To An End Maurice Hermes, The Mastermind Behind It, Started His Solo Project Called Neugeborene Nachtmusik. Now Is The Time To Pour His Debut Album Out Over You... An Album Simple Entitled neugeborene Nachtmusik' And Highly Awaited...

Residing In Berlin Neugeborene Nachtmusik Has Shaped His Music More And More These Past Few Years Into An Unique Style Of This Own... Some Results Of This Were Displayed Already On The Various Artists Releases Exploitation (et017, 2012), I Am Enfant Terrible (etx, 2014) And Post-everything (et034, 2014)...

This Album Is A Pitch Black Experience... A Shamanistic Ritual And A Dark Trip Which Takes You By The Hand And Leads You Beyond And Back... You Get Served Six Long Tracks With Effective Minimalism And Trance Indulging Sounds... Influences From Elektro, Techno, Industrial, Noise And (black) Metal Can Be Traced... The Album Is Diverse But Coherent In Displaying The Specific Personal Style Of Neugeborene Nachtmusik...

Black To Comm's Marc Richter returns under his Jemh Circs guise for a 2nd album of sonic abstractions. In contrast to Black To Comm's analogue tape and vinyl based sound, in Jemh Circs he works with digital sources by primarily sampling modern Pop Music (and various other oddities) on YouTube (et al.) and sending chunks of it through a variety of arcane transformations and mutations.Using similar esoteric methods as on his 2016 debut album but with very different results the record deconstructs the hypermodern sound of Pop Music with a Post Punk attitude, energy and primitivism. Richter's combining disparate elements that shouldn't really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style."(untitled) Kingdom" converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds and narratives, completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.Some press clips for previous releases:The overall effect is quite remarkable. Each track is like a hologram of pop music itself, a tiny part that reflects the whole. You almost feel that you could open them out and re-create entire popular music cultures. We'll be grateful for that when the next solar storm fries all of our hard drives. (Ian Sherred / The Sound Projector) In that way Jemh Circs is a record about process - not just how Richter loops and distorts and mutates his samples, but how the sounds of pop music create a particular sonic signature, one that gets more interesting the farther they're pulled from their original context. (Marc Masters / The Out Door) Recycling random audio off YouTube, Jemh Circs' process couldn't be less sentimental, but the results turn out to be sneakily emotive. (Philip Sherburne / Pitchfork)