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Melody (vocals, synth), Casey (vocals, synth), Bill (bass), Scott (guitar) and Marcus (drums) united through a shared post-punk sensibility and began experimenting with some angular drum and guitar give-and-take, layered with duelling synth refrains.

Over this Melody and Casey worked-up their vocal harmonies through impulse, developing an interplay reminiscent of The Go Go's at both their most serene and severe. The pairs vocals drift through each track, punctuating the profound and guiding us through each song's uncanny terrain.After a busy year of local shows and bouts of instinct-first songwriting, Red Channel chose a number of their most resonant songs to record with Andrew Schubert at Golden Beat. These were subsequently mixed by Eric Carlson and then mastered by John Hannon for this debut 7' EP on Upset The Rhythm entitled 'Crazy Diamonds'.

The title track launches the listener through a stratosphere of cascading notes, swoonsome lyrical turns and tack-sharp pivots in rhythmic practice. 'Crazy Diamonds' is an exhilarating rush of a song, both wistful and defiant. Melody explains that it is 'about the forever fluctuating reality that weaves in and out of ecstasy, loneliness, yearning and destruction. It's about women being free from a superficial beauty, it's about the cessation of ideals and power worship.'  'Giver' is a similarly sprightly yet pointedly questioning track, 'alone in your room, alone with your thoughts, of sleepless shadows, but what do I get' sing Casey and Melody in spooked unison.

'Demons' swirls with minimalist pop moves, a trailing backing vocal and a tumbling bass motif, whilst a dream-like quality pervades the guitar and keyboard lines. Melody then peppers the song with references to extinguished lights, evil forces, bags of sugar, floods and heaven on earth, drawing us so close that we enter the vision too. 'Slowness', which brings this debut EP is a close, is another triumph of illusory lyrical association and punchy gesture. In fact the band sound 'caught in a fragment, non-corporeal' throughout all the four tracks. Opalescent passages freewheel into splintered eruptions, there's a duality constantly in play, 'somebody dies, somebody's born'.

The songs collected here are manifestly catchy, conjured in cyclical patterns that are distorted by a desire that tends towards stream of consciousness. It's this willingness to wake-up in the unreal and see each moment reflected in the mirror which really sets apart Red Channel's first record.

Following the success of Vol 2 the bearded man in disguise returns with another powerful 4 tracker for the labels 3rd release. Vol 3 keeps the energy levels in the red with catchy bass stabs, sexy vocals and feel good synths. All pieces of course carry the signature Soul in diguise dressed with lashings of Frazer's signature shuffling 909 drums. A perfect record for the peak time dance session.

Independent record label YGAM presents "Les Bergers du Galetas", Magnétisme Animal's debut EP, in which they share their intimate view of society. 

Formed by brg and Catartsis, the French duo invites the listeners to dive into a journey through the density of the modern metropolis. In a time of materialistic fetishism, where superficial occurrences and capitalism rule, the 4-track EP acts in opposition to these current matters. However, rather than trying to create a contrasting sonic landscape, Magnétisme Animal use sounds recorded in their environment to elaborate pieces that bear the heavy and frenetic industrial atmosphere of our urban sceneries. All sorts of clanging metal, steam discharge, electromagnetic static noise, train rails frictions, sirens and distant traffic, are combined with breathing, footsteps and vocal humming to create an oddly industrial as much as organic soundscape. The EP starts with a noise track that recalls some of the compositional processes of musique concrète, to then slowly drifts towards rhythmically oriented pieces. "Être c’est être coincé", with its ponderous bass and distortion work, appears as a peculiar blending of noise and techno, while "L’Enthousiasme des statues" displays a more traditional and dance floor approach to rhythm and drums, but still leaves space for an uncanny sound decor to unfold. The project ends with "La Toute-Toute", a repetitive ambient track filled with subtle sounds, where one can wander as spoken words underline a sense of melancholy. "Les Bergers du Galetas" is an unsettling industrial tapestry, a strange study of noises, that depicts the contemporary frenzy of the artists’ environments they referred to as the urban jungle. A landscape where one is a witness of the disparity of human conditions, where mind and body coexist with difficulty, where one is subject to conformism, where one is lost in the smog while carried by the masses through the cemented maze.

An LP of tracks, taken from various cassette releases, by Belgian synthwave luminaries The Misz (Jan Van den Broeke and Dries Dekocker)! 600 copies on 180 grams vinyl.

The Misz formed in Gent in 1983 by Jan Van den Broeke and Dries Dekocker at a time when they had both just relocated from the country. They lived on the same street and collaborated freely with the limited equipment they had, which always centered around the Fostex 250 4-track tape recorder. They used an unknown monophonic synthesizer, casio synths, roland drum machines, hand drums and guitars through effects pedals, improvising with their voices and often and included friends for additional voices and sounds. They captured these sonic experiments and sometimes released them on cassette in editions of 100-200. They were also included on numerous cassette compilations throughout the 1980s on labels like Mad In Belgium, The Cassette Factory, 3RIO Tapes, Minimart production, Fraction Studio, Cauchy Productions, Home Product, R.R. products, ZNS Tapes, and Body Records. They described themselves as young, immature and bit strange yet totally bold and fearless. They sang about what surrounded them from world politics and environmental catastrophes to love and lust. The songs on The Lonely Crowd span from various cassette releases and have been remastered from their original reel to reel tapes.

Hard Fist comes back stronger than ever with a sixth release, this time from Pletnev with a remix from Sascha Funke.

Extra prolific Russian born Alex Pletnev has been making music under various aliases and in a number of live bands. Now settled in Vilnius he explores stellar chugging rhythms, afro and oriental vibes for labels like Media Fury and Bahnsteig23 and more atmospheric, dark and industrial EPs on Le Temps Perdu records. This new one is “the tale of an imaginary world, a babel myth of when human beings were together as one because they spoke a single language. It is an allusion of No Border movement supporting freedom of mobility and fighting human immigration control.”

This fantastic release is the most club focussed music Pletnev has ever produced with instrumental, heady opener ‘Guest from Bangkok’ really locking you in a groove. Loose percussion and churning drums make for dark disco of the highest order. Then comes ‘Peep of Dawn,’ an almost frightening, long and slow ceremony of menacing electronic music. A voice resonates while powerful bass sends shivers down your spine and the whole atmospheric and absorbing affair really casts a spell.

Excellent punchy guitar riffs and shamanic rhythms on ‘Red Shoes’ reminds you of a run to catch the setting sun. It’s another spellbinding and rock-laced disco track that oozes grit and rawness. With the closing track, BPitch Control man Sascha Funke remixes ‘My Word Against Yours' into a cosmic and jerky affair that alludes to a journey into outer space. It’s sparse and creepy and brilliantly evocative.

Once again here, the Hard Fist label—which has its own residency at Paris’s mighty Rex Club—tells its unique story with forward thinking club music full of a wide array of influences.

For the second release on the Galaxiid imprint, a label of electronic music archeology and quality, we are transported to the strange sonic world of an elusive 90s pioneer. Solar X's 1997 album X-Rated will be released for the first time on vinyl, as well as reissued digitally, with new artwork by the Japanese artist Keiichi Tanaami. Two worlds connecting sonically, visually and culturally.

Solar X enjoyed a burgeoning career in post-Perestroika Moscow making playful, low-tech electronica from Soviet analogue instruments, which he masterfully configured to forge animated compositions and dancefloor rarities. Fascinated by chaos and complexity, his music explores the ways in which our minds can be manipulated by structure - an endeavour quite plausibly linked to his other career as a lecturer and researcher of AI, information theory and cognitive science, his interest in which was in turn triggered by his young experiments in computer music.

Solar X gained international attention at a time when Russia was (quite unfairly) seen as a vacuum for electronic music, but was exploding in the period of piracy, poverty and freedom following the collapse of the USSR. Young Russians had benefited from the soviet education system and there was a strong DIY computer programming and music scene, fuelled by hackers, gear freaks and party animals. Viewed from today, the album is reborn at a time of further political and social strife, which many see as fuelling the huge creativity and radical thinking of modern Russia's young creatives.

X-Rated treats tempo and form as fluid concepts, administering sudden changes to its sonic landscape with disorienting effect, underlain with a subtle dose of humour and experimentation. Downtempo trip-hop sits alongside frenetic IDM and blistering electro, all bound together by peculiar melodic inflections and lively distortions. Warm, trippy harmonies and robotic synths are offset with angular drums, shifting erratically through moods and genres with cunning intent. Much like his contemporaries from the era, it's his ability to breathe life into a humble production setup that makes his music so compelling some twenty one years later.

The track titles are from a book of call girl cards in London phone booths, that reached the artist in Moscow in 1995. "I liked the titles from these cards, which were self-promoting and offering pleasure (e.g. "Mistress awaits you"). So, I thought since my tracks also offered some kind of pleasure, they might as well advertise this through their titles.'

Label head Nina Kraviz was introduced to the work of the 83 year old sensei Keiichi Tanaami by Ukawa Naoshiro, founder of Dommune in Tokyo, one of the brightest figureheads for the arts in Japan, responsible for the graphic design of the cover. In September 2017 Nina played for the opening of Tanaami-san's first exhibition in Moscow at Gary Tatintsian Gallery. Nina performed a live sound palette, to accompany the looping 7 minute animation, of experimental music from the Soviet Union, Russian pioneers of electronic music like Species Of Fishes and SolarX, Soviet-time pioneer Lev Termen, Kuryochin, avant-guard rock mixed with some Stockhausen and just pure abstract sounds, as well as treasured artists like Biogen.

Tanaami's illustrative work has strong sexual elements, so out of the five art pieces Nina selected and commissioned for Galaxiid, the first fits perfectly for 'X-rated'. The vertical line of text on the left is the traditional form for Japanese covers of foreign releases. The cover, together with the accompanying poster and sticker, are printed in Japan to ensure the highest print quality and purity of the colours.

Compilation from British post-punk/Futurist group Ghosts of Dance formed in North Devon in 1981.

The members were Yvette Norris (vocals), Kevin Maynard (drums), Daryl Hunt (bass), Mark Butcher (keyboards), and Pete Heaton (guitar). Ghosts of Dance took their name from the song 'Ghosts' by David Sylvian which appeared on the first Japan album. After playing an early gig in Barnstaple, a gentleman in the audience named Richard Newman expressed his interest to start a record label and release their music. Richard scheduled a recording session for the band at Otter Studios in Georgeham with producer Harry Williamson, son of Henry Williamson, member of progressive rock band Gong. The debut single ‘Ghosts of Dance’ was released in 1982 on Plastic Canvas Records to mixed reviews as it was very different from anything being released at the time.

This compilation includes their debut single along with 9 bonus tracks recorded between 1981 and 1983 on vinyl for the first time. The band call themselves “Vocal Trance Music” on the 7” sleeve credits and it’s accurate. Melancholic pop with gloomy atmosphere and dream-like melodies. The final track shows the band moving in a New Romantic direction with Mark taking over the main vocals. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a jacket featuring original artwork by John Hurford and includes an insert with photos, lyrics and liner notes by Pete Heaton.

After a short hiatus Phonica Records revives its deep-house focused Karakul imprint for Harry Wolfman's new 12" 'The Ritual'!

Having produced a dozen 12's for labels such as Dirt Crew, Omena and Outplay, Harry has been honing his craft for the best part of a decade and you can hear how his sound has refined over the past few releases, reaching new heights with this latest record for Karakul.
'SMBC' kicks the 12" off in a laid-back style with its woodwind and brass samples complimenting bright pads and drums, reminiscent of MCDE, while the mellow and sultry 'Eva' is up next.

On the flip 'Obi 1' takes things up a notch both in tempo and energy, working around a lo-fi drum loop and cunningly filtered bassline.
Strings come to the fore halfway through making this a real uplifting gem, the mixture of instrumentation bringing to mind early Pepe Bradock.
Finally 'The Ritual' rounds out the record in a mesmerising way, slowly introducing more and more elements and stirring the pot before fading out again.
An original and fitting way to end the record.

Five years after his track 'Mr. Croissant Taker' appeared on Soulwax's Grand Theft Auto V radio station, Belgian producer Transistorcake releases his official debut release, the 'Future Plans' EP on Eskimo Recordings. Featuring 4 tracks of hazy electronica that would sit neatly alongside early releases on Aphex Twin's Rephlex label or recent excursions by the likes of Palmbomen and Betonkust.

Opening tracks 'Future Plan I' and 'Future Plan II' sets out Transistorcake's stall nicely. Swirling synth melodies, an ever evolving bassline that leads you down a labyrinthine maze and diaphanous strings and pads all add up to create an ecstatic yet at the same time melancholic quality to the music that manages to sound both ancient and modern.

"Future Plans I and II are constantly changing routes of ideas, improvisations and coincidences," explains Transistorcake, "nothing is a constant in the two numbers, outside the pulse of the drums. You can see them as two possible versions of the future or as an old version of the future alongside its current variation."

Whilst cut from the same cloth as the previous tracks 'Ribbles' has more than a touch of the Nordics to it. Sparkling, playful melodies glitter like snowflakes caught in the flash of a strobe light before a pulsing disco beat rockets the track into the stratosphere. In his own words the track is "an ode to spontaneity and dancing without braking. I pictured it being played by a live band next to a pool at an LA cocktail party in the '80s."

Closing the EP we have 'Kluts', driven by a stuttering, head-nodding, rhythm that recalls that rapping sound of a woodpecker in the forest, the track is gently swaddled in a warm embrace of synthetic stings that gradually develops and asserts its dominance over the course of nine, all-too brief as it happens, minutes. For all its gauzy textures there's also an undeniable solidity to these tracks, an underlying organic quality and nostalgic warmth that permeates them.

Having previously studied jazz composition and played in several bands over the years, Transistorcake brings a sense of spontaneity to the often all-to-structured world of electronic music. This EP just capturing a snapshot in time of these songs that can be endlessly reworked and reimagined in his live set, where live bass and drums, are added to his collection of vintage synths to an endless back and forth between man and machine.

Spencer Parker invites Swedish artist Billie Jo to Work Them Records with five driving techno cuts entitled 'The Ravenous' EP featuring a remix from Me Me Me boss Man Power.

Hailing from Stockholm, Billie Jo is a founding member of the .WAV collective and resident DJ at Gothenburg's Rottweiler when not performing at clubs like Tresor. She now joins Work Them Records, bringing an array of robust productions with her.

With its pounding drums and ghostly vocals, 'Erroneous' quickly sets the tone of the release, leading into 'Saturn' with its glassy textures and echoing effects. 'Ravenous' then takes us into murkier territories, generating a duskier aesthetic with its twisted sounds before British producer Man Power provides a vigorous reinterpretation under his newly minted MPX moniker, which focuses on raw club tracks, featuring hard stabs and acid licks.

With its saw-like lead and trippy atmospherics, 'Dir Vsseu' sounds like being pulled through a vortex, making way for the powerful 'Planet 9' which concludes the package with metallic elements and subtle pads.

Tallinn's Rando Arand joins up with LIITHELI to release four deep cuts entitled 'Alles' EP.

Rando Arand is an electronic music producer from Tallinn, Estonia with a background in sound design and experimentation. Arand released his first record on Asphalt Soliloquies back in 2017 and has since gone on to perform live at clubs and festivals around the Baltics sharing stages with likes of Dorian Concept, Gerry Read and King Midas Sound.

His 'Alles' EP sees him join Ali Asker's LIITHELI imprint who focus on supporting local artists from Estonia's capital following the likes of Mava & Nebukat, 1212a and the label boss himself, in addition to remixers from across the globe like Vakula and SH2000.

'Maandub' gets things rolling with dubbed-out aesthetics fusing hypnotic low end, meditative chords and eccentric synth stabs before 'Moondub' delivers soulful keys, deep riding bass grooves and fluid percussion.

'Joondub' maintains the breezy atmospherics as it delicately layers alleviating pads, organic pulsations and floaty modulations before 'Avardub' finishes things off with emotive melodies, fast-pitched, natural drums and melancholy tones throughout. Rando Arand 'Alles' EP drops on LIITHELI on 1st May 2019.

Spatial Cues releases split singles and solo EPs that sound out main(void)’s and Kon Janson’s shared musical space. Operating out of Berlin and London, the two artists join forces to showcase their mutual vision of techno music.

CUES005 aligns itself with the deep and hypnotic side of the series by inserting repetitive themes into flowing soundscapes and subtly shifting rhythms.

Spiralling deeper and deeper into a slowly evolving vortex of sound, CUES005 A emits gleaming signals into the expansive space emanating from its mesmerising bass line.

Held together by the gravitational pull of its sub-heavy kick drum, CUES005 B’s swirling drums orbit around a minimalistic synth pattern that echoes back in bleepy accents.

'The Loop' is the new LP by Los Angeles based polymath Shafiq Husayn, an epic project which saw its inception in 2012 through a series of studio sessions at Shafiq's home, including collaborations with the likes of Thundercat, Erykah Badu, Flying Lotus, Bilal and Anderson Paak. Amongst a close knit circle of friends and family the golden tones of The Loop were created, deeply rooted in ideas of song, story, history, guidance and spirituality. The album bumps, jumps and jangles through progressions in jazz, hip hop, soul and funk, following on from his debut album 'Shafiq En' A-Free-Ka' and adding further to his rich history of timeless, unique music. On The Loop past, present and future are brought together through a psychedelic concoction of time traveling drum machines, celestial string sections and trails of synthesizer vapour. Inflections of Sly Stone, Pharaoh Sanders and Earth Wind And Fire traverse with Marley Marl and Dilla-esqe drums making for an organic yet LA-trifying experience.

Shafiq has brought together an impressive array of LA's musical royalty, enlisting the likes of Thundercat, Miguel Atwood-Ferguson, Kamasi Washington, Chris 'Daddy' Dave, Eric Rico, Coultrain, Computer Jay, Jimetta Rose, Om'Mas Keith, Kelsey Gonzalez, I-Ced and more to provide the backbone to his recording sessions. Drawing in features from an international cast of performers and artists like Erykah Badu, Robert Glasper, Hiatus Kaiyote, Fatima and Karen Be amongst others. Now complete and finally ready for release in 2019 The Loop is truly something to behold. The records is accompanied by a series of paintings by acclaimed Japanese visual artist Tokio Aoyama, who worked in tandem with Shafiq to create a painting for each song on the record.

CTHI Records is back again after a little pause given by the development of the Jaxx Madicine project started initially by the label founder Parker Madicine and Turbojazz. Through out this time the label has productively been joined by Veezo, italian pianist and producer, for the making of their Distant Classic album and various EP’s and remixes published on many different international labels as Local Talk, Visions Rec, Dirt Crew and Eureka. CTHI is now ready , after the recent Japanese tour as Jaxx Madicine Trio, to be again the front stream for the debut EP of Veezo ‘Monolith’. An 8 tracks EP playing the essential “manifesto" and inspiring heritage of the artist. Raw and dirty grooves made in 12bit res, tape delays and acid Ms20 arps on top of which you’ll appreciate afro elements, warm rhodes and pad chords allowing you to perceive the whole Veezo musical ambient creativity. Two singing tracks - unique featurings by David Shorty and the Technoir Duo - are providing deep house/boogie atmospheres and jazzy spiritual moods. There are various musicians participating into this project leading through bass, flutes and drums that will surely provide you the feeling of an orchestral setting guided and directed by a solo person inducting all those elements through an Akai taperecorder. The result: close to a mid 90’s forbidden cartoon enriched by the cover of the Japanese artist Tokio Aoyama.

After a stunning debut on Sublunar last year with the “Meta”, Refracted is back on the label run by Sciahri and Dagdrom with “Nothing is True, Everything is Permitted”, a new EP of four mind-bending techno tracks.
Shuffle Transmit opens the EP and immediately start to build the tension giving to each sonic detail a distinctive personality while converging into a powerful impact.
Polar Creatures express solidity with razor shaped textures and keeping a propulsive attitude during his continuous development.
Deviant, the most introspective track of the 12″, bounces between vibrant pads and an immersive sense of depth, everything feels weightless.
Drone Ship, last track of the EP, builds it’s flow on a polyrhythmic hypnosis created between thick drums and a nervous rash of offbeat bleeps.

Pangia was composed of Barry Gun (vocals), Jim Daniel (Drums), Tony Cimorosi (Bass), Cliff Korman (Keys), Roberto Santos (percussion) and Marlon Graves (Guitar).
Influenced by Funk, Jazz and R&B and with some world music mixed into the musical gumbo, Tony started writing songs for the band with Barry Gun writing most of the lyrics.

Rosemary Santos met Tony at a recording session he was working on with latin singer Juan Lan Franko and liked Tony’s arrangements. She approached Tony with the idea of creating a record company to feature him as an artist and producer. Rosemary then created Man-Rose Records with Manny Montero and financed Pangia’s first release. “Tell Me” and “Dancin And Singin” were recorded by Bob Blank at Blank recording studio NYC
n 1984. It was the only release on Man-Rose Records.

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.

‘Verdigris’ the new EP from Japanese artist Atsushi Izumi, is a deep dive into the crevice of the mind. It is an exploration of where fearful emotions lie and confronting them. It is only through this conflict that light can shine through in the end.

The Osaka native has a background in music and sound design and as such found his sound going through a metamorphosis from Drum n Bass to a more experimental sound. His EP ‘Snow’ was released under the subtract imprint last year and saw the initial phase of this transformation. It was followed up by ‘Lansing / Mistrust’ via The Collection Artaud, which continued his growth of using slowed out heavy percussions surrounded by frantic synths and modulations.

Atsushi Izumi’s use of long drawn out hallow synths is like an ominous cemetery at night before these powerful percussions detonate in. He uses heavy spaced out bass drums, either as a single or double beat, which simmer as they echo and roll. They are surrounded by these chaotic, textured synths, which can sound like a cicada, hovering and distorted to give a mechanical effect. It feels like being thrown into the woods late at night, eerie yet calm in the beginning, before extreme panic sets in and you feel like you’re being chased.

Japan witnessed the end of the world up close and it is still reflected in their art and music: it delves into the sadistic and explores deep themes of melancholy and the apocalypse. This is juxtaposed against pure joy and serenity, showing that life is there to be enjoyed and struggles have an end, which is translated quite coherently to this piece.

As an extra bonus to all this, there is a scintillating remix from ANFS. The Greek adds a bit of pace to the track Zeit. He is an artist who enjoys frantic distorted techno and it shows in this cut. He takes the basic elements but whereas the original slowly introduces the percussions, ANFS bangs straight in. It’s structured yet frantic and a massive sound.

‘Verdigris’ is due for release on 17th May 2019 under the mysterious Swiss label Thrènes, that is known for eye-catching signature artwork and a deep and dark techno sound.

ZamZam 70 is our first team-up with the man of mystery known as Marcus Anbessa. An enigmatic figure whose identity must remain secret for the time being, his infrequent releases on labels such as Lion Charge, Tribe 12, and The Most High (as “Unknown Artist”) are eagerly awaited by those who know, charting an uncompromising vision down a path untrod by the weakheart or the follow-fashion. We love music that builds its own sound world with only passing reference to familiar genres or signposts, music that believes in itself utterly - for this reason we feel genuinely blessed to present these two sides.

“March of The Falasha” is pure roots music that, firmly planted in the soil of dub and sound system, reaches back even further into the mists of time through technological means. Downbeat steppers is the idiom, pure heartbeat is the pulse. Like an old soul young in years but full of wisdom, a distorted flute melody wanders ahead through the undergrowth of bass, light filtering through the ancient canopy above in the form of swung percussion and flickering echoes overlapping and intertwining like vines and creepers weaving on temple walls. Ancient-to-the-future.

“Creator” strikes a different yet equally dread chord, 140-ish post-apocalyptic Rasta business focused squarely on bass and space, hard, insistent drums and infinite echo trails flinging from the snares and percussion, creating hypnotic tracers like sparks swirling heavenward from a well-tended fire in blackest night.

Imagine African Headcharge on Jah Tubbys, or a rootsman groundation resuscitating ancient machines in the crumbling ruins of a near-future world and you begin to see what Marcus Anbessa brings. This music reminds us that nature herself will some day claim Babylon and grind it to dust, regardless of our efforts to save it or hasten its fall.

Deep-frozen for many decades, something is on the verge of being released from obscurity. Dark Star is the project of Wolfgang Reffert (Ger). In the late '80s through the early '90s he released a couple of albums that invoke the darkness of infinite space. Clearly influenced by '60s and '70s sci-fi, the mechanical grooves and spiraling synths bring to mind the worlds of Alien, The Forbidden Planet and Solaris.

Utilizing a less is more aesthetic, Dark Star breathtakingly soundtracked space travel to far away galaxies like no other. Rhythmic postpunk drums lay the foundation for slow, down-tuned spacerock that goes deep into industrial proto-techno-like territory, while always maintaining a sense of groove.

Resurrected from the days of yesteryear, Dark Star once again re-imagines the eternal harshness and emptiness surrounding spaceship Earth. Cyborgs, extraterrestrials and genetically modified creatures rejoice on the dancefoor!

This is a collection of Dark Star’s best material. Originally released on two cassettes and one CD. Mastered by Wouter Brandenburg. Photography by Rogier Houwen. Poetry by Alex Deforce.

Helsinki-based duo Timo Lassy & Teppo Mäkynen present a new two-tracker on We Jazz Records and dive deep into different moods on this 7" / digital single release. Lassy plays sax, Mäkynen (who is also known as "Teddy Rok" and via his Stance Brothers alias) plays drums and handles production duties. First up, we have "Zomp", a deliciously slow funk piece with enough groove to move mountains. On the flipside, "Dark Magenta" takes things leftfield with its tech-like rhythmic approach applied here onto an acoustic jazz quartet and hinting at Mäkynen's interest in electronic music.

As far as the term "award-winning" goes, here we have two of the latest "Finnish jazz album of the year" winners joining forces and doing what they do best. "Zomp / Dark Magenta" is out on Helsinki's We Jazz Records on 3 May. The 7" vinyl single follows the label's path of producing their singles with beautiful heat-pressed labels and serving them just right in generic brown sleeves.

DJ, producer, singer-songwriter, one-half of world-touring soul duo Myron & E (Stones Throw), founder of boogie outfit The Pendletons (Bastard Jazz), part of electro-funk duo Lucid Paradise, and an endless string of collabos. Over 2 decades in the game means multi-faceted artist Eric Boss knows his way around music. Having been there, done that, gotten the t-shirt and watched the fat lady sing, it's finally time for E to take center stage and deliver his finest effort yet with solo record "A Modern Love", an effervescent collection of raw funk, sweet soul, west coast vibes and classic hip hop, produced by Björn Wagner and Steffen Wagner (The Mighty Mocambos / Bacao Rhythm & Steel Band).

"A Modern Love" has all the ingredients of a future classic. High-profile guests Check: with Gift Of Gab (Blackalicious) rapping on "I Wanna Ride", a track with more bounce than a lowrider chevy on Santa Monica boulevard, and soul siren Gizelle Smith featuring on "Spiders", a spooky number that will get you jumping out of your seat like you've been attacked by giant 8-legged arachnids. Need some dancefloor action "Get Next To You" gets down to serious bizniz with crisp drums and a catchy hook guaranteed to get the party started. Something for lovers We've got it covered with "Is It Love", where Eric waxes lyrical about his sweetheart over a honey-drenched soul beat.

From reggae-flavored vibes being served in inspirational number "Your Life Is Up to You" to the slow-burning grooves of "Merry Jane" which features singer Ishtar, the 10 tunes on "A Modern Love" all attest to Eric Boss' talent and versatility. Judging by how quickly the limited edition 45 of album opener "Closer To The Spirit" sold out when it was released, it seems safe to say Eric Boss is a king Midas with the golden touch when it comes to providing fresh grooves for contemporary ears, and "A Modern Love" is set to prove so once again.

Eagerly awaited debut album from oft-cited UK's most out-there band, features in the works with The Quietus and Wire already.

180GM PRESSING - 500 COPIES ONLY.

Difficult times required difficult music, my Yarns, that's why we had Guttersnipe; with its own sort of energy-kind there then.Reiner: A singular yield, a singular yield now.Barns: A whot
Reiner: A singular yield mate! Rich guitar strang, flow motive pounding underneath.Vox like Death come winding through the fields. Barns:  Hell of a way to describe a vocal style.
Me: Nah but for real my Donny, Have you read a presser 1 sheet lately It's the most

They say the PR era, circa late 80's killed the golden age of music journalism:
They say Guttersnipe have continuously melted all the forms that they come up against. They are right.  Because Guttersnipe is not part of a tradition we know well. You will identify the departure from it though, immediately, upon hearing My Mother The Vent. This LP, the promotional version of which, likely sits in your hands (disk, whatever). The innovation here is a FIRM commitment to the flowmotive polyrhythm underwriting the seared, nay fried, tonal rainbow and de-reasoned vox.

Not Nate Nelson, nor John the masseuse dude from Sightings but TIPULA CONFUSA.  Don't want to put the captain obvious pants on so tight I can't jump around the yard because why waste a good yard hang. I'll put on my blighty nighty instead. UROCERAS GIGAS has bridged so many gaps, finally unlocked the AxeWeld CODE and is really playing the thing. Not to mention bringing forth a world-view so utterly unique.  Good luck finding anything like it.

Finally some REAL disjunction in the music; clear and intended. In an age when most computer music composers use stochastic systems and still manage to drop some linear pathground shit, the brawler drums and slanky guitar constructions on My Mother The Vent are a genuine treat.  I've spent too much of my adult life so far hearing too much of this shit to not recognize REAL GAME. And here it crawls out of the grey shadows of ol' BLIGHTY.

Our post-music age: after the fine human endeavour known as music, the result of letting the cybernetic run ITS horrible game on us. I'm not waxing confusingly in a rarefied tone here. Nor running the boring sci-fi script. I really think that is were we is.  We left the human-music-on-a-human-scale behind and much to our detriment. Here we sit in our crumbling reality. But Guttersnipe come paleo, like the rhapsodes with long ass memories rattling off Homeric verse well into the age of manuscript culture, but here, with future tones.  Luckily. Otherwise, me and the record label here wouldn't be wasting our time and yours with a 1 sheet for My Mother The Vent.

So a proper first time on wax for these amazing creatures is a welcome addition to the world of things.  These drums and these guit-lines are so cranké, as they say here in my odd neighborhood.  These voices are so utterly expressive without even the damn language at hand ; like the great horns. We'll rinse this record out, I'll put on my old blighty nighty and go dance in the street.  Alex Moskos, Montreal, August 2018Guttersnipe is:UROCERAS GIGAS - Guitar, Analog Synth, VoxTIPULA CONFUSA - Drums, Drum Synth, Vox

This score is pound-for-pound the funkiest with its heavy bass and drum groove throughout each movement of the score. Most of the pieces from this soundtrack also include killer samples and breaks, my favourites being 'The Diamond Fortress' with Ronnie Scott on solo sax and Chris Karan on Drums and 'Thief On The Prowl' featuring Tubby Hayes and Daryl Runswick on Bass. This release also has an exclusive edit. The Main Theme (vocal by The Three Degrees) and instrumental scores have been combined to deliver an unforgettable version of this great title theme. Now for the first time, Dynamite Cuts brings you yet another exclusive 2x7' 45 collection featuring some of Roy Budd's finest work.

DIAMONDS Musicians

Roy Budd Key boards - Harpsichord, Clavinet, Electric Piano

Paul Fishman - ARP 2600, Electronic programmed

Daryl Runswick - Bass & Double bass

Brain Daly & Judd Proctor - Guitar

Ronnie Verrell - Drums,

Tristian Fry - Percussion

Frank Riccotti - Vibraphone

Ronnie Scott - Alto Sax

Tubby Hayes - Baritone & Flute

The Three Degrees - vocals on 'Diamonds theme'

String orchestral parts led by violinist Sidney Sax: 1974 The National philharmonic

Recorded at CTS Wembley

Roy Budd - Arranger

Following on from the Bewildered 2018 Remix/Re-master E.P., respected 90’s D&B imprint Odysee Recordings presents its 2nd release in this series; a digital re-master and remix of No Tomorrow. Originally released in 1995 (ODY05), this track featured on the second E.P. under the ‘Mirage’ moniker; a collaboration between Jim Baker (Source Direct) and Odysee’s founder Tilla Kemal (T-Mirage).

The original is a timeless and well-loved classic from the golden era of the mid 90’s ‘Intelligent D&B movement’. It displays Jim’s celebrated skills as both a producer and an arranger to their full; building an emotive and haunting piece around two contrasting motifs. The trademark Source Direct breakbeat work is in play on this track as it switches between Clive Stubberfield and Lyn Collins; the curling drums providing the perfect framework for Tilla’s abstract sample selection to really breath and flow.

Andy Odysee’s modern remix retains all the original samples and references both the original break selection and the shape of the original arrangement. This modern D&B version then injects a turbo-charged energy into the piece with a huge undulating sub, aggressive techno-styled chord stabs and pounding kick & snare that thrust this track into the 21st century. The haunting sweetness of the piece is by no means lost, but the melodies are now presented over a framework designed with modern D&B dance floors firmly in mind.

Matt Edwards launches Stranger in The Night with his first solo material since 2017.
The Rekids offshoot will release regular music by four artists, namely Radio Slave, King
Britt, Anthony Rother and Fred P, who will each drop three EPs over the next year.

'With Rekids being 100% focused on releasing music for dance floors I felt the need to
create a new platform to explore a wider musical vision and invite some of my all-time
electronic musical heroes to be a part of the series,' says Matt Edwards.

Both numbers near the 12-minute mark but each track portrays a different aesthetic.
Opening with precision drums and crystalline notes, 'Ground Control' makes a nod
towards the hi-tech soul sound of Detroit and drives forward using a sultry bassline, erratic
chords and the occasional icy stab as an array of contrasting sounds operate in unison.

On the flip, a syncopated rhythm lays the foundation for 'Last Communication' whilst a
tantalising melody joins poignant synths, constructing a profound and hypnotising journey.

Echocord sub-label Echo Echo returns with its first release of 2019 this May, coming courtesy of son.sine with his ‘Variable States’ EP. Leyton Glen aka son.sine is a relatively new name to most having only released a handlful of EP’s to date, initially in 2000 he released ‘Upekah’ via the Nurture imprint before Delsin recognized its timeless quality and re-issued it in 2013, a testament to Glen’s sole work. Here though we see Echo Echo mark a return for son.sine with a new EP of original material, his first in four years. The thirteen minute ‘Uncertainty’ opens, driven by hazy atmospherics, pulsing acid bass tones and murky sub bass while glitched out percussion subtly carries the cinematic groove. ‘Evident Topology’ follows, taking a more robust approach with jittery low-end chops, expansive dub chords and an amalgamation of emotive strings and jazzy bass licks ebbing and flowing within. ‘Three Linear Decay’ then rounds out the package via skippy organic drums, ethereal pad swells and metallic bleeps.

The Mandatory Eight first appeared on the compilation "Funk, Soul & Afro Rarities: An Intro To ATA Records" released in 2015 on Here & Now recordings with the song "Suckerpunch", which has since become the label's most requested song for re-release as a 45. ATA have dug deep in the archives to unearth two dance-tempo 45 killers to placate the calls until studio time is allotted to the band for a debut album.

The band's sound and ideology definitely lies in less refined eclectic soul. Feel over precision, passion over execution, soul-on-a-budget grooves.

From the opening drum pick up of "Soul Fanfare #3" it is clear that The Mandatory 8 are here to make you move. With proud horn lines reminiscent of something that you might find in the Stax vaults, Soul Fanfare definitely takes it's lead from backing bands such as the Barkays and the funkier side of Booker T and the MGs. One can imagine that this was definitely a set opener for the group, guaranteed to put foot to floor. Guitar and bass have a care free movement and feel, conjuring up tones of late 60's summer soul hits.

The B-side "Turn It Out" has a darker, moodier feel to the previous side. Still a dance floor filling groove, the band take a direction more similar to below the radar funk outfits such as Amnesty or LA carnival. Biting minor horn lines set the tone backed by a bubbling bed of congas, rhythm guitar, unruly bass and drums which don't dip below boiling for the duration. "Turn It Out" features a manzarek-esque farfisa organ solo which sets the sonic tone of a band without funds but with plenty of soul in the bank.

Both sides will reflect well for different moods on the same dance floor.

Beat Bronco Organ Trio play Soul Jazz, the sound of the 60's popularized by artists such as Jimmy Smith, Grant Green, Jimmy McGriff and Reuben Wilson. With a warm and solid sound, the Madrid combo breaks into the scene with a groovy funky 45. The Mid-tempo Jazz Funk cut "Easy Baby" on one side and the dancefloor burner "Geriatric Dance" on the flip. Soon on a turntable near you.

Gabri Casanova, Hammond.

Lucas de Mulder, Guitar.

Antonio "Pax", Drums.

Recording & Mixing - Santi "Sweetfingers" Martín.

Mastering: Victor García.

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the Mouches it is now time to set free another Black Beast amongst discerning listeners.

Next on Berlin's Renate Schallplatten is Longhair, a project formed by Marko Pelaic and Benedikt Bogenberger, two residents of Berlin's Wilde Renate. Mangostine, a four-tracker, follows last year's 12' on Dutch label Bordello A Parigi and a track contribution on House Is OK. It lands with an Axel Boman remix. The EP opens with the title track, its name drawn from the exotic fruit. Over a brooding bassline we hear light, fluttering melodies and uplifting keys, creating a peak-time roller that'll put smiles on faces across the dancefloor. 'Pans & Pots,' the A2, starts as a darker affair with trippy vocal samples and fluttering drum patterns, before warm keys and intricate instrumentation lift the mood to make for a fun-filled jam peak-hours feel-good jam. On the flip, Studio Barnhus head Axel Boman reworks the title track into a more subtle, deeper cut; the melodies remain but in the background, replaced at the forefront by tribal drums and abstract vocals. Closer 'Aquamen,' meanwhile, opens as a straight-edged techno cut with a heavy bassline and fluttering snares, before playful keys and intermittent sci-fi samples add some texture. It's another late-night jam that'll lift the energy without ever being too forceful. The release is Renate Schallplatten's first since 2017's various artist compilations. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

ANT ANTIC is the singer, multi-instrumentalist and producer Tobias Koett - originally from Austria, currently based in Berlin. On stage, he's joined by two musicians on drums and synthesizers to form a full live band. His signature sound: melancholy wrapped in contemporary R&B. Distinctive vocals that will stay with you forever, driven by a solid backbone of avantgarde beats of incredibly high-level production. Outside of conventional pop song structures, his latest single Whoop! blends stripped-down four to the floor aesthetics with an analogue approach to sound design. The result is as emotional, honest and relatable as it is catchy. Whoop!

French producer Erell Ranson's affinity for the deeper shades of Detroit sound is well known, but his ability to absorb those influences and create beautiful music with his own signature is the reason we're so excited to welcome him into our family. Having previously released on labels such as Kalahari Oyster Cult, aDepth audio, Nice & Nasty Records and his own MySelf Recordings, amongst others, Erell's became quite skilled in crafting sophisticated and emotional tracks which still seem to feel perfectly at home in a crowded 3 AM club situation. EP for Barba, titled "Dreams Of Nila", is a 4-tracker consisting of "Dreams Of Nila", "Reminiscence 0f The Past", and "Far Away Of Your Side", with the latter receiving an additional remix treatment by a Rotterdam-based project Duplex. "Dreams Of Nila" is a somewhat more leaning towards Chicago-ish side of things, with its huge bassline enveloped by shuffling 707 drums. Soft-sounding synth pad sequences work as an emotion injection and appear perfectly timed, without removing the edge of this, essentially, club track. "Reminiscence Of The Past" is the most direct of the bunch. Syncopated bass drum, forward-leaning groove and those classic techno snare roll fills make this track hard to ignore as it is, without mentioning complex interaction of synth lines, chords and beautiful detroit-reminiscent string stabs. Wonderfully executed counterpoint of hard edge and soft touch is what makes this cut a truly special one. Techno in its fullest form. "Far Away Of Your Side" is somewhat closer to the energy level of "Dreams Of Nila", and is a well-paced deep cut perfect for later moments in the night when subtle approach is everything. Slow synth pads give your mind some time to relax while the groove keeps your body occupied. Duplex remix of "Far Away Of Your Side" takes the track another notch down but in a more sideways manner. Broken electro groove is what keeps the foundation of the track while Chris Aarse & John Matze (aka Duplex) masterfully work their synths and pads to keep the tension for the whole duration of the track. Melancholy mood is tangible here, and at its best, ready for the dancefloor.

Rudolf Abramov is a duo based in Berlin and Israel, which seem to have been a door opener to unexpected musical encounters, because it's an almost impossible task to sum up their sound in a comprehensible way. In their own words their music is 'a response to a seemingly endless conflict about disgust, acceptance and love.' Now Hoga Nord Rekord is releasing their Mini-LP 'Krass kontrast'.

Rudolf Abramov is Roland 303, programmed drums, oriental samples, eastern mysticism and instrumentation dressed as German machine funk, Disco, Turkish psychedelia, Krautrock, EBM and so on, and so on.. their music is cosmic, beautiful and boundless.

The arpeggio on the track 'Projekt 4' is running on infinite repeat in a parallell reality where 1982 never ended, where Rudolf Abramov move freely through different dimensions and where they are in total control of their unpredictable creation!

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.'

What kind of band would choose a double vinyl, gatefold LP for their first release The Hare and Hoofe. Their eponymous first release consists of two discs. Disc One rounds up their 'hits' so far - 2018's smash hit White Blindness, the space gregorian
chant that is Voyager, and the pastoral tale of Appledore Fayre. The second consists of their rock opera, The Terror of Melton. Time-travelling scientists. Giant laser-eyed robots. A rock opera to end all rock operas...

Pitched somewhere between The Who, The Stooges, ELO, Sparks, Pink Floyd, Voivod, Pete Townshend, Brainiac, Bowie and Judas Priest, The Terror of Melton is a headspinning,
ambitious journey. In turns stomping, tear-jerking, full-on rocking and dreamlike, it will transport you. Prog Magazine's Dom Lawson described it as 'absurdly entertaining and deliciously weird... An unmissable trip for fans of the fuzzy and farout'.
2018 saw the band recording a BBC6Music Marc Riley session before even releasing a physical record. In addition, they've had plays on Stuart Maconie's Freak Zone. The band have also gained a monstrously good live reputation, playing an instantly
legendary set at Hastings' Beatwave festival, as well as headlining Tannerfest, Pitch Fest, playing with Focus and The Fierce and The Dead, and the John Snow Society's annual celebration of the eminent epidemiologist.
Some describe them as 'educational psych', others prefer 'polytechnic beat', still more as 'a seventies garage band'. There's certainly primeval drums, fuzz bass, lashings of guitar and synth noises from another planet.
Formed from a gang of friends from Folkestone, Hoofe members have played in groups including The Heliocentrics, The Priscillas, Ye Nuns, Jail Cell Recipes, The Frank Sidebottom Oh Blimey Big Band, Chalet and Hyperglo.

Emotional Rescue announces the second EP of music from one of the label's favourites as part of a non-defined series where two of their (un)classic songs are remastered, reappraised and reinterpreted with new versions by a contemporary artist for reinterpretation today.

Thomas Leer is a respected and revered musician in both experimental and electronic circles. Having moved from Scotland to London in the late 70s, he moved away from playing in punk based bands, to debut his self-financed 'Private Planes' 7" in 1978, before releasing the cult-album 'The Bridge', with Robert Rental, the following year.

Signing to Cherry Red, he released the heralded '4 Movements' in 1981 and followed with 'All About You' in 1982, and it is from these 2 EPs that this release is sourced. The release starts with Saving Grace from the latter, a long famous "Cosmic classic"; it's mid-tempo, spacey, lifting repetition is the perfect soundtrack for those Baldelli trips straight to the stars.

This is backed with Tight As A Drum, a quintessential Leer production, where Teutonic drums is overlaid with sequencers and synth tones to elevate the song to some kind of disorientating outer-dimensional dub, while his lucid, spoken word vocals instill degradation and reinvention.

Asking Bullion to offer his own take on these two songs was the perfect pairing. A revered artist in his own time, the warmth and depth of his versions takes the originals to his own inner world; sampling, rewiring, reprogramming, resigning and replaying. An EP for the floor, the head and the heart.

A1 is 'On You', Loyal Hardware's minimal, moody, breakbeat tune that caught the attention of EDiT
(GlitchMob); Perera Elsewhere (FoF) and Luckyme's Jacques Greene who played the single across NTS, The Lot Radio and in his BBC Radio 1 'After Party playlist' with Monki; describing that 'it touches on the DNA of club music' with 'all these moments of beauty... it's got this mix of sorta' heavy drums but it's more vibey than it is a hard hard track'.

'Dust' and 'Round Here' accompany on the B-Side of Loyal Hardware's debut EP, confirming that the
producer who has supported the likes of Lapalux, Rival Consoles, Aisha Devi, Jacques Greene and DJRUM, is one to watch.

'Loyal Hardware EP' is released 17th April via new imprint BRIEF, distributed by ABOVE BOARD. Available to pre-order now, digitally and on limited 12' vinyl.

Info We Release Jazz is ecstatic to present its fifth release (following Ryo Fukui's Scenery and Mellow Dream, Le Cercle Rouge's soundtrack by Eric Demarsan and Stuff Combe 5 + Percussion), the first ever live performance and recording by Marc Moulin's sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. Placebo's Live 1971 is available in a limited edition 180g vinyl mastered at half speed, housed in a 350gsm sleeve with UV coating and an obi strip. June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26 minutes+ jazz adventure - Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo's sumptuous 'Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It's the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes (on which you can hear a shorter studio version of 'Showbiz Suite"), 1973, and their final self-titled album. Born in 1942 in Ixell

The Italian disco masters are back with four heavy funk-fuelled vinyl cuts.

Cabasa has off-kilter bass, Rhodes, dirty drums and grainy samples knitted together in to a groove heavy enough to get your Gran going. Hypnotic, trippy and disco at its finest.
Congo Club goes full cowbell and 80's drums. A chanted vocal wonks out over a Rhodes that weaves all kind of magic, then the lead drops and critical mass is reached.
The title track cracks on at a pace with synth strings, flanging bass, distorted drums and keys tying it all together. Latin percussion is dropped over a a sung sample and the swing is on.
Summer of Sam takes a more soulful diversion but keeps a foot firmly in the disco camp. The track builds with spacey atmospherics in to a track that will work in any situation.