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- Spectral Decay' is a collection of musical reflections about the paradoxical contemporary state of humankind, whereas its own technological, social, cultural and economical development seems to entrench the possible points of a structura downfall. The narrative of - Spectral Decay' starts with heavy, mesmerizing industrial vibes. Due to the notable sound design techniques of Japanese artist Tetsumasa, his hefty piece - Nex' evolves into a harsh but still amazingly cinematical music sculpture.
Subsequent mid-tempo composition - Onzour Shayatini' by Meer dynamically follows the dark, experimental path of drone and noisy structures. Violent accents smoothly lead to the deconstruction of drum & bass patterns and turn into strident 90s metal riffs. The track progressively penetrates obscure subterranean abysses and becomes a perfect introduction to the next theme by Yuji Kondo - - Hades'. In Greek mythology Hades was the ancient god of the underground kingdoms, darkness, death and metals. Therefore, Kondo's music piece turns into an infernal portrayal of the underworld where tenebrous layers of bass frequencies, raw textures and Drexciyan sounds build up an enormous and lasting tension.
Side B begins with the track - Anthropocene' produced by Arboretum co-founder - Mogano. The whole composition refers to the present geological epoch we live in, characterized by environmental pollutions, depletion of fossil fuels and accelerated urbaniza- tion of the world. It is a deeply conceptual soundscape of a powerful system, that incorporates both - the destructive forces of technology and the infinite energy of the whole universe, that interweave in a devilish dance of post-techno, breakbeat and dub tones.
Thereafter, ~Raw in his piece - Poly Bios' pictures the interference of human structures in the nature. Creating a mosaic from indus- trial and tribal, organic sounds, he tells a mystical story of fear, hope, escape and primeval instincts.
The narration concludes with an atmospheric composition of NWRMNTC - solo project of Ana Quiroga from experimental ambient duet LCC. - Beyond' is a boundless, spectral reflection on collective human consciousness, where haunting vocals evoke a recon- dite, ineffable pain, leaving the listeners in a profoundly meditative state.
Laura Polan´ska

*Another UK roots reggae treasure unearthed by Partial Records in the shape of
Mikey Mystic's` Burial' which originally appeared on the CD version of Mikey's `Warzone'
album on Roots Records in 1994.
* Produced by Nick `Manasseh' Raphael, who back in the 90's was running Manasseh sound system and also the label Riz Records, along with Gil Cang.
* First time on 45 for this gem, backed with a Manasseh dub cut.
* Tracklist:

* A 90s sound system classic produced by Riz All Stars aka Nick Manasseh and Gil Cang (Tuff Scout) with Time Unlimited member Orville Smith on vocals.
*Originally released on `Themes From Riz' LP in 1992 and remixed for Orville's 'Walking on Tightrope' set in 1996.
*Featuring two previously unreleased mixes.

Terence Fixmer's path through the changing techno landscape of the past 20 years has been anything but direct. Indeed, the French born producer, musician and Planete Rouge label founder has long been influenced by the periphery of continental European dance music subgenres from electronic body music, new beat and acid, before combining them into his own pioneering hybrid of futuristic, EBM-inflected techno with classic releases such as 2001's Muscle Machine or the collaborative Between The Devil LP with Nitzer Ebb's Douglas McCarthy as Fixmer/McCarthy. While the sound in recent years has been rediscovered and recast in diverse contexts by a new generation of producers, Through The Cortex sees Fixmer gravitating toward a different kind of industrial-tinged electronics, led as much (or more) by analogue sequencers, melodies and ultra-saturated sounds of synthesizers than drums and percussion. Across eight tracks at a compact but varied 40 minutes, the LP touches on an aesthetic hinted at in recent Ostgut Ton releases (2016's Beneath The Skin EP and 2017's Force EP), revealing a sonic narrative through noisy, screaming synth/vocal riffs with a jagged, guitar- like post-punk sensibility. Through The Cortex is techno with a voice - or rather multiple voices - guiding listeners through hypnotic, space- and social-themed terrain as a kind of dark soundtrack to darker days. The result ranges from the slow John Carpenter-inspired Escape From Precinct 13 funk of 'Expedition' and the patient yet muscular stomp of 'Fury' to the mesmerizing Suicide-like pop of single 'Accelerate', where Fixmer, using his voice as an instrument, chants the track's ambiguous title in an invocation of systemic change/collapse. Elsewhere, the story is told with more abstract and wailing vocals like on 'Shout in A Black Hole', or in the warm, entrancing chords floating across the stereo image in ostensibly changing time-signatures on 'A Halo Somewhere' - the LP's uncharacteristically kosmische musik come-down. The track, and Through The Cortex as a whole, reflect what can be described as Fixmer's idiosyncratic take on both techno subgenres as well as the larger pool of electronic music in general. This broad approach translates into a sound that is not only difficult to pin down, but also one that lends itself to multiple listens.

About The library Tool Kit' Series The New Sub-label From Wncl Recordings Features 12 Short tools' Per Release, For Use On Discotheque Sound Systems And Home Stereos Alike. Released On 10' Vinyl With Digital To Follow At A Later Date

About This Record Jane In Palma (the Artist Previously Known As Don Froth / One Half Of Bato Bato) Graces The Tool Kit Series With A Selection Of Jazz And Latin Cuts And A Flip Side Full Of Live Conga Jams

The real Hardcore zone from nowadays England Heafuk Sound System is really strong. Banging and changing all the time. Like a surprise after a surprise after a surprise... Efficient !!

From the inheritor of John Coltrane's mouthpiece a re-integration of deep South African jazz roots with the Black Atlantic spiritual jazz continuum.

Celebration's release trumpeted the emerging dawn of South Africa's epochal changes. Sainted and blessed, Bheki Mseleku appeared as the herald of a new era, a prophet of rebirth and reconnection. This is a work signalling transition and change, and a sign of a South African music that was properly reconnected with global currents - a music that could journey far beyond the stifling combination of exile and oppression in which it had been bound.

Recognising Bheki as a kindred spirit to her late husband, Alice gave him the saxophone mouthpiece that John Coltrane had used during the recording of A Love Supreme. Coltrane was a permanent touchstone for the pianist, one of the few who Bheki felt had the same esoteric and spiritual focus as himself: 'the only musicians I know of who were deeply into this were Coltrane, and Pharoah and Sun Ra', he told an interviewer in 1992.

While the idioms of post-Coltrane spirit jazz are certainly to the fore on Celebration, they are energised by a swift and original musical vision, quite specific to Bheki's music, in which whole musical systems - the marabi and mbhaqanga jazz of the townships, American jazz, European classical, and more - are seamlessly mended together by the pianist's quicksilver musical sensibility and legendary technical ability.

Celebration was originally released on compact disc and cassette in the middle of 1992 by World Circuit. It was Bheki's first statement under his own name, and the first recorded presentation of his personal musical vision. This vision had been tempered across two decades which had combined intense professional playing with profound personal trials in both the spiritual and earthly domains, all set against the greater backdrop of South African political turmoil and exile in Europe.

The band brought together musicians hailing from three signally important points within the interconnected, communicating spaces of the Black Atlantic continuum - North America, post-colonial Britain, and southern Africa. With them, Mseleku created the first major South African-led musical statement to be produced after the sufferance of exile was ended. The ultimate and most egregious remnant of the centuries-long colonial era, apartheid, was finally being dismantled as they played. At this critical point, Mseleku's musical spirit work, channelled from a higher source, spoke of a time to come where all divisions might be transcended by a greater unity.

*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

This is a long overdue collaboration and we couldn't be more excited to present a brand new EP from our man, Jena's mad scientist funk freak himself, Metaboman. A stalwart veteran of the legendary Musik Krause camp, which has been a kindred spiritual sister label of sorts of ours since the millennium-turn heydays, being fellow purveyors of bold and raw dance floor music, still brimming with new ideas galore and bucket loads of soul. Here with the Wireless Dancer EP we have Metaboman in top form offering nothing less than his finest work: 'Doppeldenk' starts things off with some classic Krause bump that brings to mind the heights of the Duo at their peak but updated, like an STL banger turned up to 11 with sinewy melodic lines and that special Thuringen twist. 'Hanno' follows up with a guest spot by jazz saxophone master Thomas Prestin, and guarantees to bring down the house with a storm of swinging stabs, rough riffs, and fresh-as-it-gets drum work. On the flip, 'Splitit' does exactly that, whether referring to wigs, legs, or that last drink ticket - where dusty blues vox chops and a rolling percussive smack down will revive any fading floor faces. And finally, 'EchterG' rounds it all out nicely with the illest of atonal trips and subsonic bass tones that the finer sound systems out there will fully indulge. Much love from Jena & Paris to the World!

There are some tunes that rock around so hard... like Ascender did, or like Popof And Noisebuilder did ... A long time ago CYB-X Sound system did a pure jewel of a tune... but this one, from another member of the sound is just a blaster... At a even higher level ! This EP also offers 2 remixes from Brent Brain and FML 010 : one in a tribe hardfloor acid way and one in a Hackney Hardest way... 165 to 175 BPM fiull-on record ! MUST HAVE !

Robotron is the machine formerly known as Xinner. This is its first offering for the ESP Institute. Side A's Dream Resonator is an idiosyncratic network — dexterous machine drum/percussion programming, an ebb and flow of floating arpeggios, syncopated counter-melodies and a hail of stabbing stringscontinually diffusing into ethereal vapor — all stacked into an (aptly-named) orchestral anthem. Side B's Ice takes a similar approach with arrangement, each instrument carving out its place in the track's mechanics for a glorious convergence of patterns, but, where side A proves optimistic, here we sense a more menacing undercurrent, an austerity powerfully articulated through towering kicks and claps so compressed they fill up every dark corner of negative space. Indeed, Robotron has an innate command for building and calibrating robust systems, but beneath this calculated veil we find the remnant human behavior of Xinner. These two songs will whisper loudly but scream quietly.

"Dueños de Nada" announces itself as a strong and tough proposal. It comes with the intention to get away from what we are used to hearing from the Chilean producer. As a first album, and by incorporating broad influences into a range of genres, industrial sounds and punk, the debut by Tomás Urquieta feels huge and accurate.


The "Dueños de Nada" sample, which belongs to Martin Sorrondeguy, is used by Urquieta to assemble a classic techno piece mixed with a new sound proposal, and by uniting these elements, a catharsis and collective osmosis movement is generated on the dance floor that does not need further explanation.


The proficiency that Tomás has developed when creating percussion doesn't go unnoticed either. It is the sensation of a new breath in his music, a replacement, a much more mature sound is demonstrated by the high instrumentation mixed in with a full on Techno base. The rhythms are wild, futuristic and with a completely personal vision. There are tracks that lock you up and there's others that leave the need for a club ajar. It is a heavy album, political, metallic but very organized. There are voices in Spanish of direct protest towards the system, voices where he invites us to be part of a march to despair, a liberation march for the dance floor . If we could summarize "Dueños de Nada" we would say it's a cry for freedom, a cry which asks us to enjoy the feeling of complete freedom across 11 tracks that embrace this anarchy in which Tomás Urquieta invites us to join.

Herbert Bodzin's Revival II' is the next exciting vinyl highlight on this young label. It features completely unreleased electronic music which was recorded between 1979 and 1982. Check!
.
On the album you can hear the sounds of legendary machines like the ARP 2600, the Korg PS-3300, the Roland System-700 Modular synthesizer, the PPG Waveterm and the PPG Wave 2.2 as well as classic synths like the Roland Jupiter-8, the Polymoog and the Prophet-5 - the same equipment used by big names of the German and international avantgarde electronics scene at that time. For example, the ambient Red Ocean' was recorded entirely with the polyphonic Korg PS 3300, one of the most desired and biggest synths of all time. The project features Bernd Hollendiek, as well as Bodzin's two sons, Stephan and Oliver Bodzin on additional synthesizers and partly on drums. The songs are a mixture of mostly ambient, deep, psychedelic, yet experimental and futuristic sounds as well as two more vibrant synth rock recordings with drumming.
We hope that this album will find its way to the hearts and collections of electronic music lovers - somewhere in between the classic albums of Tangerine Dream, Klaus Schulze, Cluster or Eberhard Schoener. As a side note, the album may also show early musical influences of Stephan Bodzin, who became world famous in the 1990s as one of the leading techno producers. Without any doubt, Revival II' should be an exciting lost masterpiece of German electronic music and a must have for synth music lovers - revived and finally alive!

Boredom, anxiety, pain killers and frustration make a heady mix for both reflection and action. For three weeks I stared out of the window of the tower block onto the tall brick towers of the old asylum chimneys. The past was a strange land suddenly out of reach, the present confusing and claustrophobic, the future something I could only visualise and idolise.

From the balmy Autumn day of my release a light was switched on, buzzing urgently like a neon street light on my path. Life took on new vigour and meaning. Pleasures starkly illuminated, annoyances inconsequential. Old work was re-examined and appreciated. Machines were treasured and connected. My basement filled with ever greater warmth and excitement.

The toy towns of our inner minds are constructed of a million tiny building blocks of experience. But there's a freedom that comes from realising what might have been. Peace in reflection, untethered from the everyday distraction and I take pleasure in the hum drum. Unhampered by trends, untethered to a scene, stripped back to essential carnal influences and desires. Who are we but the sum of our experience.

'Everything Is Quite Now' meanders through a reimagined landscape of personal history, releasing musical fragments to dri* amongst soaring treetops, hollowed lakes and labyrinthine concrete structures, liberated from genre and form - alive at last. In these great expanses, light and dark are presented not as polar opposites, but as a limitless, unified whole.

References to EBM and industrial techno manifest within the sporadic percussive framework whilst gauzy ambient backdrops form an entire world of their own, constructed from the gentle hiss of a looping tape, the booming caverns of a muffled kick, the vivid distortions of a crystalline synth. In the depths of a misty forest, warmth permeates, absorbing inside it all of the darkness, pain, romance and beauty from before.

Prequel Tapes is a work of deep synthesis. Fragments of melody and memory orchestrated into densely layered tapestries; a deeply emotional study on a life characterised by a shi*ing relationship to electronics. The pieces serve as a chronology of desire and reflection, reconciling a nascent passion for industrial music with a history in the club. Oscillating between utopian to claustrophobic, the evolving synth work, deep techno atmosphere and traces of clangorous energy of early European ambient and industrial tell a distinctly German tale, forged between the forest and the autobahn.

Everything is quite now. What else can it be.

* Sheffield-based Subaltern resident Taiko returns to the imprint with a stunning selection of four distinctively grimy pieces of sub-bass science, proving once again his original take on the 140 bass realm.

A. Trenches
Introducing his unique style once again with a fresh twist, Taiko delivers relentless earth-shattering bass waves in 'Trenches', which graces the A side of the release. Bells, strings and dark synths set the mood for a precisely executed wall of bass, complimented by subtle vocal work.

B1. Raid
Dramatic orchestral strings and horns set the stage for the grim reaper that is 'Raid' - leading into a dark and roaring synth that accentuates the laid back bass-line. Sure to shake every system it is unleashed on, the track keeps evolving and luring the listener ever deeper into a maze of darkness. You can run but you can't hide...

B2. Mana Pool
'Mana Pool' adds a more psychedelic and subtle edge to the release. Synth loaded parts play in exchange with carefully laid out harmonic synth lines complementing the tasteful bass-lines, while remaining the raw edge of the release.

SEPT 2016. The Moog Sound Lab's first trip out for a live session at Café Oto's project & café rooms. Jimi Tenor, finnish futurist, shako & Warp Records confederate, jazzed, funked, far-ra'd out. Tony Allen - original drummer to Fela Kuti - Godfather of the Afro-Beat.

These two titans of the beat strange -fed & watered through the mighty Moog Sound Lab via a prototype future sound

systems drum trigger unit built & operated by UK moog minder engineer Mr Finlay Shakespeare. New sound universes emerge, collide.

Explosions & implosions make sonic debris. Cosmic dancers prepare to be run ragged by a feral 'tronic funk that brings to mind early 'D.A.F.

A brace of strong bass excursions from the the huge talent they call, Ishio Dai! Jamming on the 808, 'Coco Dub' & 'BS' bounce around some proper system-testing bass weight!

Crafted in the style of old school dancehall clashing, 'Veteran' is a mixture of classic heavyweight dancehall lyrics and a new school flow. The tune is set to be a timeless banger aiming to keep the dancehall massive rocking and swinging day and night.
Inspired by the riddim and sounds of Blind Prophet, Clinton Sly is ready to run the sound system!
Slowing down the tempo to 120bpm, Blind Prophet delivers a heavy dose of dubwise for the B-side. 'Hugh Dub' starts off with a mutated vocal and quickly drops into a tuff steppers riddim. A distorted bassline and thumping kick drive the track.
Accompanied by plucked guitars, organ skanks and dub FX it's a sound system stomper for sure!

Forthcoming on the "System" series.

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.