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Silk Road Assassins, a trio consisting of Tom E Vercetti, Chemist and Lovedr0id, return to Planet Mu with their debut full-length 'State Of Ruin' two years after their first EP 'Reflection Spaces'.

The trio recorded over two years, working together to start with, then across different studios and via the internet when their lives became more separated. They also finessed the album at Abbey Road studios, making use of some short time to add in extra layers.

The three producers day jobs are in production music, music designed and created specifically for film and games, and this album uses these skills to explore the musical forms that they love. The album explores how trap and grime's minimalist form can be built and curved into musical architecture: elegant, opaque and layered, turning the sound into lush, melodic world-building.

The work gone into the album is revealed on repeated listens, every sound on this record feels built to sit within it's delicate ecosystem. The fundamentals of the music are given their own sense of purpose: hand claps spray, bells tumble, guitars splinter and lush melodies waft over and fill the track's spaces like light, glinting across snapping, crisp rhythms and deep bass tones.

Our Favourite Bothy Botherers Mac-talla Nan Creag (comprised Of Hoch Ma Toch, Other Lands And Lord Of The Isles) Return To Firecracker Recordings, Channeling Ancient Rites, The Mysteries Of The Scottish Landscape And Its Elements Through Technologies Both Old And New For Your Listening Pleasure.

This Time Round The Archaeological Work Of Forestry Commission Scotland At Dun Deardail In Glen Nevis, And The Links Between That Site And The Ancient Celtic Myth 'the Sorrow Of Derdriu' Provided Fertile Ground For New Exploration And Response. Accompanying The Music Once Again Will Be A Lush Booklet Containing Some Of The Stunning Imagery That Results From The Work Fcs Have Done There, All Packaged And Silk-screened With The Usual Finesse We've Come To Expect From Firecracker Recordings And Their Chief Visionary House Of Traps, In Conjunction With 12th Isle's Al White.

Captured In Part In A High Vaulted Medieval Church, Then In Home Studios, Bouncing Ideas Back And Forth Over The Internet, Mtnc Have Once Again Drawn On Field Recordings, Traditional Instrumentation, Analogue Electronics And The Simple Power Of The Human Voice To Create A Shimmering And Expansive Song Cycle.

Whereas The First Album Was Borne Out Of An Intense Period Of Field Trips And Whisky Fuelled Jam Sessions In Brochs And Had A Loose Approach Overall, The Second Is Perhaps More Focussed In Its Themes Relating To The Ancient Tale - Love, War, Beauty And Tragedy All Intertwined - And They Arguably Go Deeper This Time, Conjuring Up Something Of The Fourth World Feel, By Way Of The Firth Of Forth.

With Additional Contributions From Professor John Kenny - Whose Primal Zummoesque Playing On A Range Of Horns Including A Giant Conch Shell And A Replica Of The Ancient Deskford Carynx Underpins Several Tracks On The Album - And Eva Sutherland (daughter Of Other Lands) Who Provides A Reading From The Myth At The Very Beginning, This Is An Album That Not Only Carries The Heaviness Of History But Also Looks To The Light Of The Future.'

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.

Upon examining the eventful life of Can bassist Holger Czukay, one might conclude that this intrepid musician was a loner. His turbulent career exuded an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly emphasized that his creativity was always contingent upon a musical partner, whether that was a skin-and-bones counterpart or an anonymous manifestation that interacted with him through radio waves or, as happened later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records, who already released the highly acclaimed retrospective 'CINEMA' to mark the occasion of Holger's 80th birthday at the beginning of the year, has taken it upon themselves to release reissues of Holger's music in order to make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
the occasion of Holger's 80th birthday at the beginning of the year, has
taken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
ater, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
he occasion of Holger's 80th birthday at the beginning of the year, has
aken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

Georgia Anne Muldrow returns with a modern soul classic in the
making - 'Overload', via Flying Lotus's Brainfeeder record label.
An incredibly talented vocalist, songwriter and producer,
Georgia Anne Muldrow effortlessly spans jazz, soul and hip hop
and, during her 12 year career, has collaborated with Madlib,
Erykah Badu, Dev Hynes aka Blood Orange, Bilal and Robert
Glasper.
'Overload' was executively produced by Flying Lotus, Aloe Blacc
and Dudley Perkins.
For fans of NxWorries, Erykah Badu, The Internet, Madlib.
Notable collaborations on 'Overload' include Dudley Perkins,
Shana Jenson, Moods, Lustbass and Mike & Keys (50 Cent,
Nipsey Hussle, Snoop Dogg, G-Eazy), who contribute
production to four tracks including the sleek, anthemic title
track alongside Khalil (Dr Dre).
CD digipack. LP pressed on 180g heavyweight black vinyl in an
artworked innersleeve housed in a 3mm spined outer sleeve
with digital download card included.
Artwork by Martin Norwood (Nice Dreams Studio). Layout by
Adam Stover.
'No one sings a heavy love song like Georgia Anne Muldrow' -
Pitchfork Best New Track
'Beautifully poised between classic 90s R&B and something
strange, disorientating and psychedelic.' - The Guardian

Following on from his sort of nihilistic but also maybe kind of apocalyptic Inherit The Earth LP (April 2017), Slugabed's Pandæmonium EP appears to be the result of him tumbling deeper into his own insides and nding some pretty hellish things. It has a nice front cover, painted by Parker S Jackson. Look him up on the internet!

Pandæmonium is the Capital City of Hell, according to John Milton's Epic Poem, Paradise Lost. It is all full of beasts and demons and stuff. It's AWFUL! But it's also very well designed (by an architect from Heaven, no less!) and fairly well-run. There's a nice John Martin painting of Satan, like, presiding at, um, the infernal council. It's based on Paradise Lost. This EP is about fallen Angels and stuff. Big, grand horridness. The devil in us all, or something. There's a track called Boney Horse.

There's some jazzy bits, sure. There's some noisy bits, yeah. Overall, a slightly unsettling atmosphere, okay! But it's also quite a beautiful lil record, and I'm hoping Slugabed has worked through some stuff and feels a bit better. Pandæmonium features two remixes from Sluga's sworn enemies, Kai Whiston & IGLOOGHOST respectively.

CYBERSPEAK, Milan multidisciplinary collective appears on the internet as a language of objectivity and truth, as the computer is, challenging the existing order in electronic music.
'V1' is the first physical episode coming from duo TRAIN TO ELTANIN showing their skills with 5 tracks that embody the musical accelerations of the label.
Hi-Speed Electrofunk with some energetic stop and go that makes it a sure killer dancefloor weapon, atmospherical and evocative club sounds, classicism jazzy school driven by computer sequencers, jungle assaults and broken electronics. The message is clear: Keep on Programming!

South African gqom pioneer and producer DJ Lag is set to release his new 'Stampit' EP via London label and collective Goon Club Allstars. The new release follows the 22 year old producer's acclaimed 2016 self-titled debut EP for the same independent imprint. The EP follows the release of his first single, the thrilling dance floor heater '3 Step Culo', which draws from the hard-hitting percussive sound of gqom made up of searing synthesisers, broken beat and hypnotic vocal samples to create a darker, bass-driven strain of house music. The EP follows his self-titled debut to showcase his keen talent for crafting charged, minimalist genresplicing sound. 'Let's Do This' exhibits an intense and euphoric big room feel, whilst 'Drumming' and 'Switz' display tense, potent drumwork and sparse & spectral club patterns. Also known as the 'Gqom King', DJ Lag was at the forefront of shaping the futuristic, explosive sound of gqom, the raw and distinctive style of drum-heavy dance music originating from the underground scene of Durban, South Africa in recent years and swiftly proliferating across the internet through the spread of social media and gaining international recognition. DJ Lag's latest outing delves into the infectiously rhythmic and high-energy sound palette of his previous works, recorded fully in his home studio in Clermont, South Africa.

*Repress*

The Future Sound of London's long and varied history stretches back almost 25 years and as such a vast amount of unrealised material exists in the FSOL Archives.
 
1988 to 2018 - 30 years of recorded history
 
Archived 9 brings further treats from the mammoth FSOL archives - this time ranging from early 90s right up to recent times.

14 unreleased tracks woven together to form over 60 mins of mind bending sound experiments 
From light to darkness from forests to deserts
onwards............ 
 
Did you know - The Future Sound of London were the first band to distribute their music via the internet, in 1994
 
Did you know - The Future Sound of London were the first band to use ISDN technology to transmit their music via the internet and also to radio stations across the world - a system that has now been adopted by the radio industry worldwide

Upon examining the eventful life of Can bassist Holger Czukay,
one might conclude that this intrepid musician was a loner. His
turbulent career exuded an enduring eccentricity governed by a
boundless free spirit. Yet Czukay, who passed away
unexpectedly last year at the age of 79, constantly emphasized
that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an
anonymous manifestation that interacted with him through
radio waves or, as happened later, the internet. Nonetheless,
most of his partners were of flesh and blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast
worthy of a Martin Scorsese film. Only the most interesting
character actors were cast: Brian Eno, Phew, Rolf Dammers,
David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates...
the list could go on and on.
Many of these masterpieces are now out of print, so Groenland
Records, who already released the highly acclaimed
retrospective 'CINEMA' to mark the occasion of Holger's 80th
birthday at the beginning of the year, has taken it upon
themselves to release reissues of Holger's music in order to
make it accessible once again.

This Geneva-based band have finely honed their instrumental "post-internet groove", creating the perfect blend of old-school funk, afro-beat, 70s soundtrack fusion, always adding a pinch of futuristic production and a touch of modernity aimed at bring the groove genre to new generations.

Side A, 'Funky Splash' is an original composition, understated in its groove but with the punch and crunch falling in all the right places, hence can be enjoyed either stewing in the background or as a dancefloor filler. The wah-wah and off-the-wall synths are both used to great rhythmic effect.

Side B, 'O Caminho do Bem', is a cover version of the Brazilian musical heavyweight Tim Maia. Always hard to revisit a classic, but L'Eclair's tight musicianship, perfect pacing and futuristic twist all add an extra layer of groove onto the mellow funk of the original.

Another slice of immaculate sounds for the ears and feet from Switzerland's finest export, Rocafort Records.

Tired of reading the words 'classic', 'masterpiece', 'missing link', 'cult', in every press release Just trust us on this one: We have no choice but to use those words and urge you to(re)discover one of the ultimate Afro-Disco lost classics.
How could such a masterpiece stay in obscurity for so long Well, no one knows where N'Draman is. He's presumed dead, and so is Mr Patrick, the label owner, an ex-football player
who turned his focus into fashion after suffering a career ending injury. Selling jeans from an outlet in Monrovia (Liberia), he only ventured in the music business for a short period of time,
releasing a handful of incredible albums on his Cosmic Sounds imprint. The word on the street was that Nigerian legend William Onyeabor was somehow involved with the production of the album, or maybe playing synths on it. Both were inaccurate, although N'Draman Blintch's previous and first record Cikamele, was indeed recorded at Willfilms, Onyeabor's studio. And some of the musicians playing here were also key members in his pool
of session musicians. Cosmic Sounds is many things: Psychedelic, politically engaged, funky to death, full of synths,
with an artwork to die for, a perfect crossover of African and Western culture: Music for the body and soul, Cosmic disco before the genre even existed. Did DJ Danielle Baldelli hear it
Was it ever played by Larry Levan or Mancuso In a pre-internet era, it's unlikely but not impossible. We are extremely honored in carrying the reissue of this gem and have treated the task with
utmost respect: both artwork and audio were restored by specialists, and liner notes were written by Temitope Kogbe, Afro-Funk expert who runs the Odion Livingston label, founded
with legendary producer Odion Iruoje. 38 years after its original release, the world is finally ready to hear Cosmic Sounds in all its glory.

To coincide with the release of their eagerly awaited debut album Gate Of Grief (now due out on 20 July), US dark electronic outfit WHITE RING release a double AA side 7' single of the two lead tracks on the album 'Leprosy' and 'Nothing'. Blending heavy, distorted electronics with eerie, unsettling vocals they push the boundaries further, subverting genre ideas and mashing them all together, with industrial, metal, rave, chopped and screwed, rap, grunge, neo folk, post punk and new wave all in the mix

'Leprosy' is brooding, abrasive and ethereal all at once, the track draws from a varied and challenging palette, steeped in existential dread. It was the first song they wrote for the album and features the vocals of co-founding member Kendra Malia. As Bryan Kurkimilis explains; 'This song was the first time we really wanted to start exploring aggression in our music.'

'Nothing' is underpinned by gothic 80s beats and sinister synth bass-lines. It crackles and fizzes with arcade bleeps with wraith-like melodies floating over the top. In this song, nothing is true and everything is permitted. It features the first collaboration with newcomer Adina Viarengo, who added her vocals in 2016 to the existing instrumental track that Bryan Kurkimilis created for the first set of WHITE RING demos in 2009.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo, with Bryan and Adina currently touring as a duo. Gate Of Grief arrives a full eight years since their benchmark EP, Black Earth That Made Me, which sold out almost instantly, making their records some of the most highly sought after on the underground scene and earning them a cult following across the globe.

Swerving from aggressively abrasive to beautifully ethereal, musically they draw from varied and challenging palette, whilst tackling themes of loss and acceptance due to struggles with drug addiction and existential dread on a broader scope.

Dwelling on the outskirts of pop music, WHITE RING grew up in the age of the internet and were exposed to a huge range of music. They have developed a unique style while pushing the boundaries of accessibility and musical genre. They have created a piece of art that is brimming with symbolism and underlying tensions, that seduces and scares in equal measure.

Co´meme writes a new chapter of its own history, introducing a new artwork, a new logotype and new music starting with these three Various Artists EPs. We have decided to call it 'Solidarity Forever' as a motivator for our everyday actions, and as a reminder of why we are doing what we do.
These 12's will introduce artists new to the label, new collaborations and new approaches from Co´meme members already familiar to you.Volume One will feature tracks by MATIAS AGUAYO, KATERINA, DANIEL MALOSO x RED AXES and GLADKAZUKA, you will be able to hear heavy modern latin riddims, technotic melancholia, lysergic disco fantasy and post internet underground funk - utopian music against dystopian times.And this is only the beginning.

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel. Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard. You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing. Welcome To Our Disinformation.

Limited To 500 Copies - 180g

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

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

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

Welcome To Our Disinformation.

Limited To 500 Copies - 180g

Grammy-nominated Ostinato Records presents "Abu Obaida Hassan & His Tambour: The Shaigiya Sound of Sudan" in a gatefold LP packaging with vintage photos and authentic Sudanese designs.
A complex blend of Arab melodies, Nubian rhythms, and signature Sudanese call and response by a legend of Shaigiya music from nothern Sudan.

Abu Obaida Hassan and the wonders of his five-string tambour remained largely a mystery. In the early 2000's, a prominent Sudanese newspaper declared him dead. Internet forums confirmed his passing. Many in Khartoum, Sudan's capital, said he had indeed died.
But rumors that he was still alive persisted.

What was always certain is Abu Obaida Hassan's mercurial talent.
His command of a modified tambour, backed by a chorus and two drummers, unleashed swirling melodies alongside complex Nubian rhythms and hypnotic Sudanese call and response. His bands roster constantly changed, but he remained at the helm, playing for sold out shows in cities across the country and capturing the dancefloors and youth of 1970's and 80's Sudan. This is a rich, raw example of the human experience with sound from northern Sudan, an ancient part of the world, and the birthplace of civilization. Music like this isn't mastered overnight.

The Ostinato team first came across Abu Obaida's recordings in 2011, finding scratchy bits and pieces along the years. We traveled to Sudan in 2016 to find the clues to piece together the Abu Obaida Hassan puzzle. Through some extensive detective work with our man in Khartoum, Ahmed Asysouti, and a generous dose of good fortune, we tracked Abu Obaida to the rural outskirts of Omdurman, the old capital just across the White Nile from Khartoum. Age has taken its toll, but he remains full of life and music, ready to jointly curate a selection of his eight best cuts. He has written over 100 songs, only 30 were recorded.

Abu Obaida comes from the Shaigiya people, whose culture is spread around the ancient city of Merowe, home of traditional Nubian culture, where pyramids older than those in Egypt still stand. They trace their entire lineage to one man, Shaig, who migrated from the Arabian peninsula in the 15th century. An endlessly rhythmic syncretism between Arab and Nubian styles, Abu Obaida's Shaigiya music was an in demand party affair in an era when a vibrant nightlife and roving sound systems were a staple of life in Sudan.

It was music for a modern era, and Abu Obaida, at just 19, rebelliously abandoned traditional Shaigiya music traditions, pioneering a new sound by adding an extra string to his tambour and electrifying an instrument adored across East Africa. The result was complexity in simplicity and a hyper-talented artist who mirrors the story of Sudan's highs and lows, from the leading tambour maestro of the hour to such obscurity on the fringes that he was believed dead. "They killed me!", he likes to joke.

Abu Obaida Hassan, his music and the musical traditions of the Shaigiya remain alive and kicking. A culmination of a 7-year journey — from first hearing Abu Obaida's distinct sound, found only in Sudan, to finding the man — has produced the first global release of Shaigiya music and is just the beginning of Ostinato's immersion into Sudan, with a full compilation of the lavish musical history of one the most diverse countries in Africa due later this year. All brought to you by the Grammy-nominated team behind last year's "Sweet As Broken Dates."

Having grown up with and on the internet, Martin Steer (1986) has transformed its pull into a concept album that is just as immediate and intangible as the digital world. Bad Stream is guitars and machines vanishing in the spaces between Radiohead and Nine Inch Nails only to reemerge amidst Ambient, Noise, and Drone. Bad Stream, then, is his modus operandi - a hybrid soundtrack to the feelings of resignation, isolation, and cynicism within neoliberal cyberspace and to that strangely numbing comfort of bodies transmuting into zeros and ones in real time.
'I look at my phone even when I play guitar,' says Martin Steer, 'and that isn't even entirely voluntary. The 2010s really changed my perception of how digital technologies and social media affect me as a musician. Through Bad Stream I want to make sense of this particular kind of anxiety, and to use sensory overstimulation as a way to develop an independent and progressive musical language.'
The past seven years took Martin and his laptop and guitar from Berlin to Mexico and Nepal and, as a founding member of Frittenbude, into the German charts and to various festival stages. And yet, Bad Stream is a true 'Berlin album,' out of Friedrichshain, Neukölln, and Kreuzberg and will be released on Martin Steers own label ANTIME. It was recorded with real drums and programmed beats, with shoegaze guitars, acid baselines, piano, smartphone synths, violins, field recordings from the darknet and his voice, whose hopeless timbre conveys reflections on systems, the future, drugs, people, and his own place. In his ever expanding A/V live shows and in the music videos, this is supplemented by complex visuals.

Seven years ago, Max Tundra sent Daphne and Celeste a tweet, asking if he could write and produce their comeback single. Four years later their song You & I Alone ripped through the internet. Today they announce the forthcoming release of the most unlikely comeback album of 2018.

Three years after their comeback song, 'BB' arrives online as their new album's appetiser, an uncompromising takedown of the anodyne and anonymous. BB stands for Basic Busker,' explains Max, any one of countless identikit instigators of mundane melodies that have brought the mood down in recent years. Pop music should lift the spirits - so why are the airwaves full of these mundane strummers'

The world has changed a hell of a lot since Daphne & Celeste stormed up the charts with their effervescent earworms U.G.L.Y. and Ooh Stick You, back near the birth of the 21st century. So you'd be forgiven for failing to predict the fruitful union of D&C with a maverick electronic producer known for his records on Warp and Domino Records. But Max Tundra has long held an ambition to become a pop producer, and this new album is an addictive combination of the eccentric, creative and melodic.

After an initial sharing of tracks and ideas around the release of that first single in 2015, Max Tundra set about writing an album's worth of material, inspired by the unique kinship, born of shared experience, between Daphne and Celeste, and his own unexpected part in their story. Last year, Tundra brought his suitcase full of songs to a desert retreat near Joshua Tree, where he joined D&C for the 'working holiday' that produced Daphne & Celeste Save The World.

A full-length album of giddy, ridiculous, genre-bursting pop, 'Daphne & Celeste Save The World' finds our friends in fine, soaring, melodic voice, with Tundra's restlessly inventive production a toothsome, chordy, maximalist feast. These 13 songs touch on subjects as varied as time travel, succulents, pipelines under the ocean, cabins in the wood, unadventurous guitarists and different regions of the brain, but above all the sweet, enduring friendship of those two people who, long ago, told us all to Ooh Stick You.

A first-ever collection of the highly sought after and largely previously unheard recordings of the one of Turkish pop and rocks best kept secrets - featuring the two rare has hen's teeth 1 Numara 7' singles (which fetch in excessive of £200 on certain internet auction sites) - including a previously unreleased extended version of Evren The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside Ilhan Mimaroglu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s - sending teenagers wild with his custom built guitars and back lines - helping charge the climate for the birth of Anatolian rock. Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey's first national television channel TRT 1. Despite having a modest discography of only four 7' singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture. Compiled with unparalleled access to his private studio vault, Finders Keepers proudly presents the first-ever collection of Gökçen Kaynatan's pioneering early electronic works. Featuring a selection of his experimental pop and rock recordings dating from as early as the 1968 it features both of the highly sought after 1 Numara singles - including a never before heard extended version of Evren - as well as previously unheard archive material and songs recorded for and broadcast exclusively on TRT 1 - most of them never to be repeated. In helping Gökçen end his self-imposed 44-year exile from the record industry we can now share with you the first of these important recordings from a genuine maverick who helped shape the face of modern Turkish music, as well as shedding some light on the rise of one of Anatolian rock and pops must fruitful and experimental periods that began with the arrival (and subsequent explosion) of domestic synthesisers on the Turkish scene.

Kalakuta Soul Records joins forces with waf80music to proudly present Kai Niggemann's solo debut, an all original album of outrageous poetically abstract music created live and without overdubs on a Buchla 200e Electric Music Box, one of the rarest and most sought after electronic music instruments. Working on the platform since 2013, Kai Niggemann has become one of Germany's leading artists who perform live with a Buchla 200e. His style is an electro-acoustic storytelling, a clubby dreamscape and a poetically-abstract kraut-infused energetic mix of new Elektronische Musik with contemporary club culture. Nerds love the technology and clubbers love the throbbing drive of the basslines. It's all improvised and recorded live in Berlin — yet it sounds meticulously crafted in a dark basement studio throughout the entire last winters. Kai is a member of the 30-piece kraut-noise-jazz collective "The Dorf" and the electronics duo "The Last Books" (with Achim Zepezauer), performs and records with Mia Zabelka (Vienna) as "Redshift Orchestra", cofounded the internet-computermusic "European Bridges Ensemble" (EBE, e-b-e.eu) and the electroacoustic duo "Resonator". His most recent releases were the CD/vinyl "Lux" (feat. the noise drone artist N), "EviL/EvyL" and the cassette "Made in Österreich" with The Dorf (feat. Caspar Brötzmann & FM Einheit (Ex-Einstürzende Neubauten) or "Thinking Light" by Redshift Orchestra (duo with Mia Zabelka). He performed concerts with Mia Zabelka (Wien), Yoshio Machida (JP), Trap & Zoid (BE), Stian Westerhus or Shahzad Ismaily (with The Dorf) among many others.

Hardcore Monkeys offers the third volume of this great familly sound and internet forum. A-Class historical thing with a thema, this time, about Hardcore. Long awaited one i must say^^. And an excellent combination of talent : newskool and oldschool (yes TSX, now you are oldschool ^^ not the music bro... hopefully).

For someone who went from growing up in a secluded Norwegian forest to producing for some of the biggest hip-hop and pop megastars on the planet, Peder Losnegård has had quite the journey.



It was through a series of remixes that Lido catapulted into the sets of the most high-profile DJs around the globe, capturing the ears of numerous notable tastemakers. Reworking acts like Disclosure and Bill Withers, the producer set the Internet ablaze with talk of his four-note piano tag and speculation as to who was underneath the moniker. While his playful, restless musicality saw him adopt an array of aliases — but he'll keep those under wraps for now.

Debuting on Pelican Fly with 2014's 'I Love You' EP, followed by the 'Superspeed' EP, and remixes of Banks, Alt-J and MØ, Lido's anti-formulaic style emerged. His tracks bounce from one idea to another voraciously, but always with that clear Lido stamp. You don't just get a drum and a bassline on a track of his; you're more likely to get an entire string or brass section that elevates his sound to cinematic heights.

* The debut release by Austin, TX, artist Disco Nihilist combines acid and deep house to create a timeless EP. Influenced heavily by old school Chicago house and New York's great Nu Groove records, all four tracks were made with simple hardware and recorded to cassette tape giving this record a physical presence that computer-produced tunes can't touch. Despite the limited production tools, each track has its own distinctive flavor: pumping chords, looped bleeps, dub echoes, and jacking beats make for a diverse yet coherent sound throughout the EP.

* Love What You Feel is a new label from Thomas Cox (aka pipecock' on various internet dance music forums), owner of the Infinitestatemachine blog. The pressing process of this record has been documented step by step on Infinitestatemachine, reaching a worldwide audience of thousands of deep dance music fans every week. Readers from every continent are already anticipating this EP's release.

Beat X Changers comes back to you with our new release, introducing young and gifted Canadian producer Ferness.
Matthew joined the Beat X crew following what has become a classical path to the producers of the labels.
After joining the forum in 2015, he shared a collab with Frakktale on 'Speed Luanda' which got our attention with its deep, broken and melodic structure. Today we can proudly introduce you to his first release - Internet/Dreams/Deception - which will take you in a soft and beautiful daydream tinted with a 80's grain.
You'll be guided all along of this trip by a strong and powerful rhythmic, full of House, Broken Beats & Bass influence. Beat X Changers at its best!

Repress

After last years slick selection for the series from MCDE, Young Marco steps up with a great set of obscurities. Top Tip!
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Born Marco Sterk, he certainly doesn't come from a standard DJ background. A former skate rat who grew up loving American post-hardcore and '90s hip-hop as much as early Warp Records, he's been affiliated over the years with Amsterdam institutions such as Rush Hour, Red Light Records (where you'll find him most weekdays!) and, of course, Dekmantel itself. Still, there's no question that he's always followed his own path, even during the years that playing his favorite records meant that he was occasionally clearing dancefloors.

Things are different these days, of course, as Sterk now regularly plays around the globe and has been widely hailed not just for his DJ talents, but also for his digging prowess and uncanny ability to pluck jams out of genres, eras and geographies that even veteran DJs will often ignore.

Still, Marco's entry in the Selectors series isn't some soulless collection of 'Holy Grail' rarities. 'Where's the fun in that' he explains. 'Anybody with an internet connection can check what flavor-of-the-month records are in demand.'

Just like the first Selectors compilation, this is not a mix CD, but a collection of hand-picked, unmixed tracks that Sterk has personally chosen from his own vinyl archives. Moreover, Marco has put together a collection of tracks that represent not only how he plays music, but also how he makes music himself. The songs here are melodic, electronic and bound together by a refreshing sense of naiveté. Nothing sounds overly calculated; the tunes here span several decades and include dollar-bin records, avant-garde records, club records and yes, a few things that collector types have likely been looking to get their hands on. It's not meant to be a grand statement, as Marco would rather provide an honest snapshot of his musical tastes and share a few of his favorite tracks and artists in the proc

Following his debut solo release 'Altar Ego EP' on La Mission in early 2016, J Choirboy returns with more bombastic breakbeats and raucous rave chords for your earholes. Another sharp shot of nostalgia to the heart to have you waking up spluttering in the glory days of '92. Simpler times when the internet was still in black-and-white and you and seven of your mates would pile into Gaz's Vauxhall Corsa and drive to a field somewhere off the M25 for a 'propa wicked' rave which you found out about from a party hotline on a crumpled flyer with some tenuous reference to science in the title. It's once more time to don the boiler suit and your rose-tinted Lennon frames, bask in the smell of Vicks VapoRub, and pour over the Polaroid albums of yesteryear. A colossal bass drum with a healthy slathering of reverb lays the foundation in 'Full Effect'; the interlaced hardcore stab sets a melancholy tone. But lo! In rush the clattering chords of the piano, refuelling the piece with MDMA-laden euphoria. In 'Lights Down', J Choirboy explores the sombre and reflective modes of the hoover synth. Subtle plaintive chords offset the characteristic rumbling bass drum and syncopated cadences of the breakbeats. As the first release on new label Rough Grade, the EP provides an uncompromising dance floor onslaught, occasionally soothing the listener with catchy melodies before continuing course through a stormy sea of roaring beats. Not for the faint of heart. Vital Sales Points: - support from Answer Code Request, Ryan Elliott, Boys Noize, Dustin Zahn, Fiedel, Martyn, and many more for previous release 'Altar Ego EP' on La Mission.

Nas' I AM was his third studio album release and proved his reputation of one hip-hop's leading rappers. His strong lyrics are heard on tracks like "Small World" and "Favor for a Favor" featuring Scarface of the Ghetto Boys. The original material of the album was leaked onto the internet and this forced him to record completely new material.

The album debuted at #1 on the Billboard 200 and on the US Top R&B/Hip-Hop Albums, and was certified Double Platinum in the USA. In the US Nas had chart success with tracks "Nas Is Like", "Hate Me Now" and "You Won't See Me Tonight" featuring Aaliyah. The production on this album is solid and stands up, even to this day.

Darkmatter Inc. is an overlay network that can only be accessed with specific mindstep,configurations, or authorization, often using non-standard communications protocols and ports.
Hype Beast is the second release that comes to surface after long developement in the hidden spots of the internet.

At this moment, Global Bass music is an intimate circuit in the electronic music landscape. Airplane tickets and the internet serve to connect producers and artists in every imaginable combination. Spanning across Africa, Europe, India, the Caribbean, and the Americas, allowing for the birth of new forms of collaboration. At the nexus of the Tropical music monsoon is producer Thor Partridge, aka Thornato. Born in Sweden, Thor grew up in a household filled with traditional Greek, African, and Carribbean music. Moving in early childhood to Queens, New York, the borough's diversity further influenced his style and taste. Thor added to his rich musical palette by studying classical piano, jazz guitar, and bluegrass banjo. A passion for electronic music production, remixing, and music of the entire globe soon developed. Thor's debut EP "Things Will Change" is an amalgamation of his global influence, coupled with strong roots in dance music culture. His music is not a product of samples downloaded from the internet, but from his driving wanderlust and ability to hand select musicians to work with on location in the countries where they are from. By recording in the field with a mobile studio, Thor captures the real essence and soul of the music and where it's coming from. The EP kicks off with "Chapinero", a bass heavy joint with an infectious Colombian Gaita melody. Handclaps and chopped vocal samples make for a booming floor rocker. "Deux a Duex" turns towards the African dancefloor incorporating infectious guitars and beautiful vocal harmonies courtesy of Kongo Electro from Cape Town. "Koz Kazah" heads to the Middle East with it's violin melodies, thick sub-bass, and Arabic vocals courtesy of Karen Be. Finally, "Tera Dewana" lands us in the Indian subcontinent with it's driving beat, tablas, and Hindi vocals from Vasanth S & AKS. Thornato's "Things Will Change" EP shows that while indeed the music does change, the soul and the heart of sounds from all over the world remain consistent, and that dancefloor music is universal - no matter where in the world you are!

* Following on from successfully funding her How To Make A Symphony Kickstarter project, Emika returns with a new four-track EP that sees her chart yet more new territory.

* Lead track Flashbacks is a typically haunting affair whose deeply personal lyrics are a heartening example of how art can turn feelings of trauma into something beautiful

* Her velvety voice belies the deep subject matter while the sounds gracefully tread the line between the brooding and the ethereal, with pulsing, filtered synth delays, low register piano bass octaves and a stuttering slo-mo beat produced with The Exaltics, building an engrossing atmosphere

* Restless Wings goes into more experimental territory - both in terms of composition and concept. 'It's about creating a new personality which lives in the internet - something we all know

* Total features the silver-toned soprano star of How To Make A Symphony, Michaela Srumova, and tackles the complicated relationship between a mother and her daughter

* French musician Franck Vigroux provides a stark, shuddering remix of Flashbacks to complete the EP, driven by gnarled blasts of wildly distorted synths and bass grunts, rising to an intense, mesmeric crescendo

* This EP brings together the classical and electronic extremes of the Emika sound, proving that her signature is like no other and continues to evolve.

Does the treasure chest of Lex Grauwen have a bottomless pit After the re-discovery of Tranquil Eyes Walks cassette a few years back and more recently the Frozen Ducks legacy, it's time for another dazzling project originating from the man's brain. Cheiron is Lex Grauwen, he plays all the instruments & produced all the music and José van Waveren, who sings distinctively. The album Land After Life aims for the dance floor with it's high energy minimal synth and electro stylings.

In the mid-80s Lex Grauwen was asked to participate in the 'Pas de Deux' compilation album, a legendary new wave compilation album featuring Bene Gesserit, Algebra Suicide & Psyclones. Lex asked high school sweetheart José van Waveren to join up for a few songs. Land after Life' was chosen for the vinyl and began to lead it's own life for many years on the internet. 'Serenity world', recorded during the same sessions is of an equal spellbinding beauty. It got released on the 'Top Tape' label cassette called 'L'Embrasse' in an edited mix.

The third song recorded; 'Finally Free Four' is a José only composition, previously unreleased till now. José and Lex had been making music before though, one of those older tracks is 'No Trace', from '81-'82. Shortly after 'Pas de Deux', they tried to record some more tracks, but the demo's were never really finished. A while later Lex asked Paul Oosterbaan of 'Tranquil Eyes' and Ruud Braumuller of 'Beatnik Love Affair' to help finish these tracks. The results are 'Your life, your body', also a José solo-piece and 'Ping Pong', the last recorded track. Today José is a singer-songwriter, performing in the French language.

* Hospital Records present their latest compilation 'Fast Soul Music' - a welcomed lesson in the art of soul-inspired drum & bass of the high-speed variety. After nineteen years spent building upon it's lounge-core esthetic their extensive library of smooth-rolling sounds is at the ready, now it's time to get retrospective.

* From the work of thirty artists, a carefully selected forty-six tracks highlight the quintessential sounds of soul music in the Hospital Records back catalogue. Not only effortlessly blending classics from Hospital mainstays London Elektricity, High Contrast, Danny Byrd, Nu:Tone, S.P.Y and Logistics but also showcasing the fresh wave of talent that's reached our ears in recent years. The work of Fred V & Grafix, Hugh Hardie, Keeno, Etherwood, Anile, Tokyo Prose and Technimatic showcasing just how prominent soul music is in drum & bass today.

* Accompanying this two-CD collectors item is a perfectly polished mix by longstanding practitioner and newest member of the Hospital A+R team, Nu:Tone. With over two hours of soul-inspired sounds that effortlessly create the ideal soundtrack for any daydream-filled afternoon.

* With a nod back to London Elektricity's '03 classic 'Fast Soul Music' and a look forward to the fresh influx of talent passing through, Hospital Record's latest compilation provides any drum & bass fan with a chance to rediscover those once forgotten gems and dust off the cobwebs from their favourite nostalgia-fuelling drum & bass anthems.

* Digital Marketing: Youtube upload schedule for music and video content on Hospital Records YouTube channel - (260k subscribers), cross promotion exclusive mix upload with UKF Youtube channel.

* Press / Promotion: Comprehensive campaign in-house serving all UK music and dance titles as well as national, regional and student press - Mixmag, DJ, Trap, Notion, Music Week, Future Music, Time Out, Metro, London Evening Standard, The Guardian, The Independent, Dazed + Confused, Vice, The Wire, The Fly, Vice Magazine, Clash. Kmag (interview), D&BA (interview). UKF Website and Youtube Channel. Reddit AMA, FACT Mag TV interview.

* Radio / Internet: Comprehensive in house campain from Hospital Records. BBC Radio1 & 1Xtra support from Mistajam, Friction, B Traits, Annie Mac, Andi Durrant (Kiss), Eddy Temple-Morris (X-FM), DJ Hype (Kiss), D&BA TV Takeover, Rinse FM Hospital Records Show, Hospital Podcast Hospital Records Podcast USA series, Kmag Podcast, Ministry of Sound Podcast. D&BA Podcast, Hospital records Website, Hospital Facebook (262K Likes), Twitter (64K Followers), Soundcloud (48k followers), YouTube (238k subscribers), Hospital Records Mailing List (53k Subscribers)






aG CD 1-7 | Logistics feat. Nightshade and Sarah Callander 'Crystal Skies'
















DISC 2

Inspired by the success of last summer's retrospective on Poker Flat, Steve Bug takes up his Traffic Signs moniker once more for a fabulous jam that more than merits the 10-year wait. The uncredited tunes that first came out under this name were classic jack tracks that devastated dancefloors - and 'Cookie Jar' is a more than worthy successor. This is stripped-down house, Chicago-esque, direct and determined to make you move. Berlin legend Jake The Rapper adds downright dirty humour with a spoken vocal fit for an age of internet sextapes and celebrity photo hacking. 'I like what you're cookin. Those cookies smell goooood,' he rascalously declares. Three mixes sprinkle the musical equivalent of chocolate chips, pecans and Brazilian stardust over the original. Steve Bug makes fine adjustments for the club, bouncing around the kick drums and doubling the synth riff with strings, while Joyce Muniz's dark, strobing treatment adds a dirty bass line for sexy, sweat-drenched dancefloors everywhere. Stripping away the vocal on the dub, Muniz's production talents are all the more scintillating, irresistibly kinetic from beginning to end. The brilliant video for 'Cookie Jar' has been created by swiss-french duo Ben & Julia, who let us take part in their playful, colorful and surreal world that suits the song so well.

For his Carpark debut, Saint Pepsi takes a step away from the more genre-shuffling styles of his Internet releases to focus his skills on high-power pop. The title track of the "Fiona Coyne" 7-inch is an uplifting tribute to fantastical romance and the joyous dreams pop culture can provide

#3 Live Act of 2013 at Resident Advisor, one of the most in demand remixers around, a total of 156 gigs in 2013, releases for Rush Hour, Ovum, Macro; booked out months in advance from Berghain to Ibiza to the main electronic festivals ... KiNK: Arguably the world of dance music has not witnessed anyone else rising so clearly from bottom to top just by the centrifugal force of sheer talent. Being based in Sofia, Bulgaria, without a support network, a campaign or any media hype, his music alone - live and in the studio - created a momentum whose end we have yet to see. Lenin said: 'Communism is Soviet power + electrification of the whole country.' Hardly did Lenin suspect what an inspired take on these words could do: post-socialist techno. A child of 80's late socialism, KiNK grew up on the home computers Bulgaria's IT scientists had created by backwards-engineering Western technology. Fueled by nuclear energy on the edge of desaster, a whole generation of kids was trained to hack. Dance music gradually dripping in through early dial-up internet connections, the acoustic fingerprints of distant parties put Eastern producers from KiNK to Nina Kraviz to Vakula under a spell. Yet KiNK spent years of backwards-engineering the sounds of Detroit, Chicago and early Warp.

Magic sometimes happens with the wonders of the internet and digital age of the music industry. Lost Again is a great example of just that.The project started in Baltimore by Lomez and the singer Symbol. Then travelled to Florida to get the touch of Atnarko and ended up in Noir's hands (and studio) in Denmark before the beautiful song reached it's end result.
The package comes with a Raw Club Cut aimed for the tech house floors, a James Welsh (Hypercolour, Join The Dots) Remix for the UK beats and bass approach and a deeper 303 led techno journey done by German Patrick Chardronnet (Connaisseur, Poker Flat).

Nach der Veröffentlichung des neuen Albums "Tomorrow's Harvest", das von einer aufsehenerregenden Internetmarketingstrategie begleitet wurde und Boards Of Canada weltweit erstmals in die Charts katapultierte, erscheint nun - aufgrund starker Nachfrage - eine Reissue-Reihe mit all ihren bisherigen Vinylformaten. Jedes neue Vinyl enthält diesmal zusätzlich einen Downloadcode sowie einen BOC-Sticker aus der jeweiligen Zeitphase. Zuerst erscheinen die Alben "Music Has The Right To Children" (1998), "Geogaddi" (2002) und "The Campfire Headphase" (2006), im zweiten Schritt das Minialbum "Twoism" (1995) sowie die beiden EPs "In A Beautiful Place Out In The Country" (2000) und "Trans Canada Highway" (2006).

Nach der Veröffentlichung des neuen Albums "Tomorrow's Harvest", das von einer aufsehenerregenden Internetmarketingstrategie begleitet wurde und Boards Of Canada weltweit erstmals in die Charts katapultierte, erscheint nun - aufgrund starker Nachfrage - eine Reissue-Reihe mit all ihren bisherigen Vinylformaten. Jedes neue Vinyl enthält diesmal zusätzlich einen Downloadcode sowie einen BOC-Sticker aus der jeweiligen Zeitphase. Zuerst erscheinen die Alben "Music Has The Right To Children" (1998), "Geogaddi" (2002) und "The Campfire Headphase" (2006), im zweiten Schritt das Minialbum "Twoism" (1995) sowie die beiden EPs "In A Beautiful Place Out In The Country" (2000) und "Trans Canada Highway" (2006).

Nach der Veröffentlichung des neuen Albums "Tomorrow's Harvest", das von einer aufsehenerregenden Internetmarketingstrategie begleitet wurde und Boards Of Canada weltweit erstmals in die Charts katapultierte, erscheint nun - aufgrund starker Nachfrage - eine Reissue-Reihe mit all ihren bisherigen Vinylformaten. Jedes neue Vinyl enthält diesmal zusätzlich einen Downloadcode sowie einen BOC-Sticker aus der jeweiligen Zeitphase. Zuerst erscheinen die Alben "Music Has The Right To Children" (1998), "Geogaddi" (2002) und "The Campfire Headphase" (2006), im zweiten Schritt das Minialbum "Twoism" (1995) sowie die beiden EPs "In A Beautiful Place Out In The Country" (2000) und "Trans Canada Highway" (2006).

The story of Bonobo is one that's become uncommon in contemporary music. There was no sudden, viral internet sensation, no one-off big hit, no abrupt, accidental alignment with the zeitgeist. Instead, over the course of four albums, myriad tours, singles, remixes and production work for other artists, he quietly but very definitely became one of the most important artists in electronic music. The hard work paid off, and culminated in 2010's 'Black Sands,' a masterful album that married Green's inimitable melodic genius and musicianship to bleeding edge electronics, bass and infectious drums.

After a year plus of touring the hypnotic, extended live versions of Black Sands, he finally found time last year to embed himself in his New York studio and write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. 'The North Borders' is a long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece.

It's also an album that shows just how far electronic music has come. Its richness of texture, emotive force and all round depth are facets found more often within, dare we say it, classical music. If there's a renaissance taking place within this scene, Simon Green could make a strong claim to being one of its key driving forces.

As with previous albums, The North Borders features a careful balance between vocal tracks and instrumentals, ensuring that the productions themselves get room to breathe and shine. When Green discovered that he and Erykah Badu shared a mutual appreciation for each other's work, he leapt at the chance to collaborate. The resultant 'Heaven for the Sinner' is one of the album's triumphs, a transcendental, incanted vocal masterclass married to a brilliant two-step glitch and a yearning melody.

NYC folk underdog Grey Reverend appears on album opener 'First Fires,' providing a raw, emotion-laid-bare growl that sets the tone for an album that's joyously unselfconscious. Bonobo has a long history of unearthing new talent, Black Sands having launched the solo career of guest vocalist Andreya Triana. The North Borders sees him do so once again. The startling, ethereal vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at. 'Transits' sees her vocal weave around a garage beat that's somehow fragile and purposeful all at once, a gradually emerging hook rising from the depths of the song.

'Emkay' is a stunning example of the album's marriage of addictive, urban-inflected drums to rise-and-swell melody that never fails to move the listener. Opening single 'Cirrus' sees a clockwork-precise rhythm drive a chiming, insistent melody that builds to one of the record's great emotional climaxes. This is where Green excels, he knows how to invest electronic music with immense feeling.

The North Borders - like all great records - is an album that demands to be listened to as such, a body of work with its own internal logic, themes and narrative arc. Bonobo's abilities are at an all time high, and The North Borders everything his growing army of fans will have hoped for - a sheer delight.

Unusually for a record (for me, at least), 'Constants' collects tracks written in four very different moments in time: some are recent - so recent I've only had the opportunity to play them out just a handful of times - while others are over one year old. I really wish the story behind this EP would be a bit more interesting so this text could completely blow your mind but I'm afraid there were no dragons, no sex, no drugs and definitely no rock'n'roll involved. All four were mostly produced by me while sipping coffee and wearing boxer shorts in front of a computer. I could somehow try to describe the music on here but it would probably take less for you to give it a listen. However, if you happen to be one of the humans that prefer reading about music, you might want to wait a little bit longer: hopefully some smart blogger will skip through the SoundCloud previews for you and describe them in detail using words he learned a few minutes prior to posting it on the internet. Anyway, I'm really happy to see these finally out, especially on a label I have always looked up to like Vakant. I really used to think Smoke, Kaden and Ozer were aliens at some point. Hopefully you will enjoy this music as much as I loved writing and playing it out. T PS: I was kidding about the blogger thing. Bloggers, I love you.

Each groove is created by Steve externally with the Korg Electribe sx and processed with analog valves. The groove packages downloaded from the internet, are currently killing the true underground music. For this reason Steve don't use preset sounds in the tracks.