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Currently riding high with one of the hottest sounds around.
The beautifully seductive IN MY GROOVE gets a timely vinyl release and there’s an ace in the sleeve: mix maestro Nigel Lowis has conjured up a new version for the B Side!
Presented in thirst quenching orange vinyl, limited edition of 300 copies.

For the third time, we smash the history books with remasters of some absolute classic Sublove tracks. Some of the best in his catalogue, but thats no surprise, Sublove is an artist with no duds. Limited double vinyl as always, bound to sell out as always...This EP comes with 6 much sought after classic tunes, with the added bonus of a recently discovered version of the huge underground anthem..er…”Underground” as well as a brand new remix of 140 by Luna-C & Lowercase. All In all, an essential double pack for any true old skool lovers.

The 20th anniversary edition of Christina Aguilera's self titled debut album. Originally released in August 1999, the album spawned 4 hit singles, including the worldwide smash "Genie In A Bottle". A limited pressing picture disc LP.

White vinyl, picture sleeve, limited pressing of 500 copies, includes Peaking Lights remix

Montaine’s “Mount Nod” is a delicate, shimmering slice of DIY pop music. The lo-fi charm sits on that knife-edge between happy and sad, its repeated “I’m on the bottom line but I’m doing fine” changing meaning as the song goes on, plotting the course of Mr Montaine’s sensitivity. What starts out small gently unfolds into an understated English confidence by the end. On the B side Peaking Lights dive into the mysterious undercurrents beneath the surface of Montaine’s worldview. Like all good remixes it sets the artist in a parallel universe, this one a utopian disco slowscape, complete with bubbling clouds and dayglow fountains. We have to sincerely thank Sam Potter of 00s band Late of the Pier for coming to Be With with the story of February Montaine back in the spring of 2017. When we first heard “Mount Nod” our jaws dropped. We immediately thought of all the people that would love it. Of friends and family, far and wide. Of fans of timeless, soulful pop music everywhere. Championed by Trevor Jackson and Efficient Space, it’s perfect, addicitve pop which generously gifts the listener eternal goosebumps. Three years later, we are absolutely delighted to finally bring this out as the second release in our Be Pop series of 12″s. In Be Pop fashion it’s pressed on white vinyl and this time limited to 500 copies for the World.

LIMITED TO 300 COPIES. NOT TO BE REPRESSED.

Raw and wild soul-funk-r&b-garage from 1970, recorded and released only in Algeria! Imagine JAMES BROWN fronting THE SONICS!

Born in Puerto Rico, Bob Destiny grew up in Harlem (USA) and has a fascinating story: from starting playing piano as a child (self-taught) and tap dancing with the Five Chocolate Drops when he was 6 years old, to meeting Billie Holliday and playing with her; from appearing in a film with Shirley Temple to musicals in Broadway, dancing at Mankiewicz’s movie “Cleopatra”, singing at the San Remo Festival...

In 1969, Bob went to Algeria to teach music at the Algerian National Theater. He also continued with his singing career while living there. In 1970, he released a couple of 45s featuring “Wang Dang” and “Mahna (Troubles)” on the Freedom Musique label. He was also involved with the creation of the first Pan African Festival with Mahboud Bati and Frank Pourcel.

These 45s are very rare and were first discovered by the great Habibi Funk label a few years ago, who included “Wang Dang” on one of their compilations. For our Pharaway Sounds 45, we’ve selected one track from his first 45 and another from his second one.

After playing in Morocco with Hahmed Maraki and forming bands like The Fingers, Bob arrived to Spain in the 80s. He created a jazz school in Zaragoza and was involved with the famous “Jazz en la Margen” festival. In the 90's, Bob move to France, focusing in composition, gospel, musicals and soundtracks. Sadly, he passed away on March 31, 2016.

Composed as a means to map the cultural translation between Chinese culture and European traditions, Piotr Kurek’s A Sacrifice Shall Be Made / All The Wicked Scenes is comprised of pieces composed between 2016 and 2018 specifically to accompany theatre performances directed by Tian Gebing (500m and The Decalogue) and Grzegorz Jarzyna (Two Swords). Kurek attended performance rehearsals in Beijing and Shanghai, with additional preparations and recording sessions taking place back in Warsaw.

While most of Kurek’s past work is unaccompanied by other musicians or outside help, A Sacrifice Shall Be Made / All The Wicked Scenes features various Polish and Chinese musicians both from classical and experimental scene (Barbara Kinga Majewska, Grzegorz Hardej, Łukasz Rychlicki and Hubert Zemler) as well as by actors of Paper Tiger Theatre Studio from Beijing. This approach of Kurek exploring new players and places is further juxtaposed as Kurek recycled samples from his own past, including various recordings with musicians he did throughout years, found sounds from the Internet, or cannibalised old solo work.

Recorded over the course of several years, this aural report of a monumental multi-disciplinary venture is in the end an enthralled and enthralling survey of a contemporary composer who is unencumbered by geographic or cultural boundaries. Concurrently, ditching any resemblance to local musical traditions and rearranging the compositions for all three performances, Kurek has formed an architecture that allows the phases of rituals to unfold while projecting social structure assumed in myth making. The regrouping of different moments in these stories is a curious way of narrating another myth — a synthetic, polyvalent story set in a city that strangely reassembles Beijing, Giza, and Prague at the same time.

Piotr Kurek is a Warsaw based musician and composer who straddles the world of electronic music taking inspiration from various genres but fitting comfortably in none. Through his unconventional use of a wide array of instruments both electronic and acoustic, he built a reputation for himself as a qualified inventor of hypnotic worlds drenched in uncanny arrangements.

Kurek has already released a range of idiosyncratic, forward-thinking works on a variety of imprints (including but not limited to Sangoplasmo, Black Sweat Records, Hands In The Dark, Dunno Recordings, Crónica, Foxy Digitalis) and participated in numerous music festivals including Unsound, CTM, OFF, TodaysArt and UH Fest as well as participating in extensive tours in Poland and abroad. In 2014 and 2015 he opened for Bonnie “Prince” Billy’s two European mini-tours. In 2016 he has been selected as a part of Shape platform for innovative music and audiovisual art from Europe.

7"
Limited to 300 handmade copies!
We only knew Pop's (Steven) singing voice as a whistle. He whistled while he worked, and he worked all the time. But not even a whistle accompanied him on the guitar. A woodworker by day, he brought his craftsmanship home, softly picking his patient melodies. Those few tunes were played over and over again, becoming smooth and refined as a carefully finished armoire.
It wasn't until Christmas 2008 that we really heard him sing. Our mother pulled out an old cassette tape labeled Steve at Marco's, a brief recording session from 1979. The first thing we heard was the song. The only song. Blue. A thick delay over the entire mix told us he was shy even back then. But then came that voice, which, underneath the wash, wasn't shy at all.
Blue, and the stream of short instrumentals following, seemed a rare capture at the heart of our origin with music. And as we shared these recordings with friends, we soon realized it wasn't just us who found them so warm and beautiful.
A proper closet musician, Pop would never share this music on his own accord, so we've taken the liberty of doing it for him. - Heather & Peter Broderick, August 2011

Limited edition LP with riso printed insert + CD. Bram Weijters' Crazy Men is an adventurous take on Belgian jazz-rock and fusion from the seventies.The lineup of Crazy Men includes musicians who play in a wide array of contemporary jazz bands like BRZZVLL, Dans Dans, STUFF. and Internal Sun.

“Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dance floor’s around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings.” - Tone B. Nimble.

Released as a series of eight limited vinyl-only 45, when assembled together the covers reveal a beautiful design courtesy of designer Charlotte McCrae. A true collectors item.

Chapter 5 includes an essential cut from Fay Hill’s tough to find ‘This Is A Blessing’ LP, officially licensed from the WFL record label’s family trust. Backed with Peaches Mann (RIP)’s under the radar ‘Get In Rhythm With God’s Love’. Groovy.

Played by: Tone B. Nimble, Greg Belson, Skymark, Darryn Jones

THE definitive collection of one of dance music's most enduring and infamous left-field anthems, across 2 x 12"s and 1 x bonus 33rpm 7"!

The collaborative team of Arthur Russell and Steve D'Acquisto crafted some of the best wonky disco not disco cuts during their short lifespan and 'Is It All Over My Face' is one of their crowning glories. Collected here, to celebrate the 40th anniversary of this gloriously weird record, are all the best versions from then, and now. Even a quick dig in the archive yielded some treats with the male and female acapella appearing for the first time EVER, featuring on a specially 33rpm cut 7" alongside Larry Levan's promo 7" mixes. Also, the instrumental version has never been released before, but it is here for this very special limited package in it's full, unedited glory. This is one for the heads, an essential do-not-miss RSD special edition for those who are still 'love dancin' 4 decades later, housed in a classic special West End disco-bag. Don't sleep!

Produced in collaboration with Sony / Above Board distribution, 2020.

Limited to 300 units.

Project founded in Mallorca circa 2015 releasing 'Four Seasons' by the end of that year, it was a digital and musical tribute to nature itself.

Then based in Barcelona on december 2017 came out an EP/Anti titled 'Continental', 41 minutes of pure melancholic weird dreams with crunchy beats.

On may 2019 Diürn presents 'Una Història Hologràfica', one hour of experimental electronic music that expands through downtempo, techno and ambient. The album pushes the sound boundaries further by exploring the consciousness of the unknown.

Clear Vinyl Repress!

Taken from a mysterious Acetate cut by Derrick May in 1987 this release was originally penned for KMS offshoot Pheerce Citi.

Both these sides were later released - 'The Darkside' = as 'A Relic' (by Longer Than Long ago) and 'Tic Tic Tic' was later released on the limited edition compilation as Music Institute 20th Anniversary as 'Untitled'.

Both tracks are however, very hard to get on vinyl and have now been re issued as loud 45rpm pressings in Pheerce Citi artwork and remastered for 2014.

300 copies of this release were released in different artwork at Phonica Records as part of RSD 2014 which sold out in a week...

2x12" Transparent Red & Blue Coloured Vinyl in a double Gatefold.
Limited Pressing of 3000 Editions WORLDWIDE! Please ensure to reserve your requests in advance ... In order to secure stock as this
is ltd. pressing!

The vinyl edition is limited to 300 copies and comes in a sealed heavy old-fashioned cardboard sleeve. A free download code plus a BJINT logo sticker round up the packaging.

Paris-based producers Alcynoos & Parental (of Kalhex) present their collaborative effort "Shapes" on Beat Jazz International. Expect some super mellow tunes with producer guests like Remulak, Parental's brother Lex (de Kalhex), Ødyssee, Aywee Tha Seed and others. Scratches are provided by Debonair P. and DJ Soul Intellect.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

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

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

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Embarking on a journey from Italy to Anatolia and from Africa to the Americas, Nelson of the East soars over imagined landscapes in his debut, motion picture- inspired album, Kybele. Plug in your headphones, drown out the world, and set
out on a mystic voyage of Earth through the lens of Kybele, the Anatolian goddess of wild nature.

With the world in flux and isolation taking its toll, musical escapism has become a much needed pastime for today’s armchair adventurers. Treating recorded sound as a vehicle of time travel, Milanese artist Nelson of the East (N.O.T.E) takes listeners on a journey through kaleidoscopic soundscapes with his debut album Kybele released on Tartelet Records.

Skillfully weaving the sounds of East and West, the nine-track LP fuses Turkish and cosmic influences with a strong electronic backbone into an otherworldly soundtrack of our time.

“The feeling that passes through the record isn’t straight. It changes, it turns, it is never predictable. Never being able to predict which landscape you arrive at next or where the music is taking you is key to enjoying the sound journey,” says Nelson. “

Named Kybele after the Anatolian goddess of nature, fertility, mountains, and wild animals, the record is a continuous saga that takes from the Berlin-based artist’s own adventurous spirit. Following his previous EP releases Night Frames and Phase Alternating Lines, Nelson explores new territories on Kybele.

The album opener, “Explorer,” is an exhilarating build up to what could be a 80s sci-fi movie, showcasing Nelson’s knack for cinematic moods. “Draw Me,” speaks to the artist’s intention of making a “snare album,” with an irregular, dominating beat untethering it from time or boundaries. “What I realize while I was writing the rhythm part is that the more you keep a beat simple the more difficult it becomes to make it interesting. So I just put down some rules to follow. For example, using swing as smoothly as possible, or using lot of syncopated sequence over the straight 2-4 groove,” says Nicolas.

Another thing Nelson achieves in this album is ambience, or the “motion picture touch” as he calls it. Tracks like the wild and obscure Culto, with its Anatolian nuances and middle eastern-sounding scales are made by layering synths to achieve an orchestral effect.

Other tracks capture the musician’s penchant for African and Brazilian grooves, like the Saudade mix of Burning Palm. On the B side, the Italo-flavored Phase Lines comes through with shimmering synth and electronic drums complete with hazy vocals delivered by DJ Rayne and Nelson himself. Yahuda dives into dark, melancholic electro with a Detroit feel not far from the sounds of the great Drexciya.

The album closes with ZETA, a track that could easily double as an obscure cinematic composition. The nine-track LP is strictly limited to 300 copies, pressed on 180g vinyl with artwork by The Emperor of Antarctica. No repress.

To celebrate 40 years since the release of their first ever recording, Soft Cell are set to re-issue their seminal debut EP Mutant Moments.

Originally released as limited run of 2000 7” EPs in October 1980 on the band’s own Big Frock imprint, the release sold out immediately. Apartfrom various unofficial bootlegs, this much-revered and influential slice of electronica has been unavailable on vinyl for nearly four decades.

Soft Cell, aka Marc Almond and Dave Ball, went on to release their debut single proper, Memorabilia, cited as one of the most influential club records ever. This was followed by the multimillion-selling single Tainted Love, which topped the charts in 17 countries worldwide in 1981. The band have released four critically-acclaimed albums, including the genre-defining Non-Stop Erotic Cabaret. After a 17-year hiatus, Soft Cell returned in 2018 for a sold out show at London’s O2 Arena, and are currently working on new material.

This new edition of Mutant Moments is pressed on deluxe 10” clear vinyl to upgrade the sound quality from the original 7”. In addition, the four tracks have been remastered especially for vinyl using the most cutting-edge digital technology available.

Soft Cell’s Dave Ball has personally supervised the remastering process, and comments: ‘A vintage slice of lo-fi Polytechnic synthpop, lovingly remastered for you’.

Kodokushi or lonely death refers to a Japanese phenomenon of people dying alone and remaining undiscovered for a long period of time.

Simon Crab in his most elegant contemporary style. A heavy dose of emotion (maybe disturbing!?) from the man behind the hugely influential alternative music band Bourbonese Qualk.

Lush soundscape, meticulous programming whilst still containing the dub DNA, what a conquest of freedom!

Unmistakable and inimitable Detlef magic on the B-side. Tolouse Low Trax serve a cerebral utopian idea long to 7,42 minutes.

Music for the head... and body! It's coming out in April, limited to 200 copies.

new quartet by Samuel Rohrer, Max Loderbauer, Stian Westerhus & Tobias Freund In the present era of media saturation, the artist's dilemma has shifted away from the question whether to fuse disparate stylistic elements, towards the decision of which energies to draw upon: a situation most rewarding for those who listen to musicians navigating this limitless terrain. One such journey, the captivating full-length release from Samuel Rohrer's new Kave quartet coming out this May, is bringing together players who are equally well-versed in the quick-thinking mechanics of free group improvisation and the compositional strategies of contemplative / ‘ambient’ electronic music. With Rohrer acting as creative director and most of the quartet sharing synthesizer duties, there’s a strong sense of unified purpose to this set, and a narrative flow that never causes the listener to focus on one constituent part at the expense of the whole. At the same time, the players know all well that cohesion counts for little without those constituent parts being compelling in their own right. Rohrer and Loderbauer, for example, have previously crafted a unique techno-organic approach with the Ambiq trio, and the lessons learned from that partnership are put to inspired use within this new configuration. Stian Westerhus’ contributions on guitar and vocals, along with Tobias Freund’s electronic reinforcements - Freund also has worked since many years with Max Loderbauer as NSI - all conspire to make something that Rohrer aptly compares as “forest”-like. It’s a descriptor that will have vastly different meanings for each listener. For Rohrer, it refers to music that is confident in the “deep-rootedness” of its foundations and defined by a density and mystery easily confused with darkness, while nevertheless proving its bright vitRight away, on the introductory odyssey 'Cambium' the quartet sets out to make good on this metaphor, creating a hypnotic foundation for what is about to unfold during the next 42 minutes, with brooding, slow, 'searchlight in a fog,' synth washes and percussive stridulation. The twin 'Hibernation' tracks show all the unique elements beginning to coalesce: the emotional tenor is one of vulnerability that melts into the determination of 'staring into the void', a temperamental state challenging to represent authentically in music. The atmosphere of psychic challenge effort lessly gives way to the faintly nostalgic glimmers of 'Giant Peach' - a literary reference to the macabre whimsy of Roald Dahl.
The ultimate dissolution of barriers between organicism and synthesis is accomplished on the majestic 'Divided We Fall', a title referring to Westerhus’ smoky vocalization that winds into a double helix formed from electronic surges.
Again, the ease with which it all comes together is mesmerizing, and while there’s an aura of risk accompanying this walk through the woods, there’s a much more enduring impression of carefully orchestrated growth and change.

2x12"

It’s taken Yotam Avni a little while to get to his debut album; almost a decade, really, since his debut 12”, “That’s What The World Needs”, on California’s Seasons Limited imprint. During that time, the Tel-Aviv based producer has refined his productions, tightening the groove and paring everything back to bare essentials; the power in an Avni cut is its combination of piston-pulse propulsion and a deep, but gently applied, musicality. This combination gives his techno productions added heft on the dance floor, but also a lyrical sensibility that places him squarely in a tradition of techno legends who somehow manage to make the four-to-the-floor a space of poetic intensity, of rigorous joy.

Avni’s been on Kompakt’s radar for a while, first appearing on the label last year, with his Speicher contribution, “Mañana Mañana”. (“Track For Agoria”, from that EP, also appeared on Total 19.) The connection immediately made sense – dance music that managed to feel both lush and streamlined across the same great gasp of late-night energy. But with Yotam Avni Was Here, he’s taken a huge leap. After a brief intro, Avni sets his stall with “Beyond The Dance”, which features slow-moving vocal melisma over sculptural, melting tonalities, a tintinnabulating, harpsichord-like two-note phrase pacing out the track. Then “It Was What It Was” comes into view, its strip-light textures suddenly placed into sharp relief by a muted trumpet figure that hangs in the air, melancholy and pensive.

It’s no surprise, at this point, to discover that Avni’s inspirations for Was Here took in the histories of both techno and jazz. “I wanted to try something more around Detroit Techno meets ECM,” he reflects, when explaining the motivating forces behind the album. “Carl Craig’s Just Another Day EP and Kenny Larkin’s Keys, Strings, Tambourines came out during my high school years and had huge impact on me.” Avni’s also appeared on Transmat compilations, and remixed artists like the Midwest’s Titonton Duvanté, and Orlando Voorn – the latter particularly important for the way he connected the Detroit and Amsterdam techno scenes – his career path is marked by ongoing connections, direct and indirect, to Detroit’s storied history.

“I always wanted to go back to those hi-tek soul roots on a full album,” he continues, and he’s definitely exploring that terrain here, with the sky-strafing brass on “Free Darius Now”, morse-code keys on “Vortex” and glitchy, microhouse tickles of “Know Hope” all contributing to an oblique narrative that seems to arc across Was Here – one fleshed out by guest musicians, who include dop and Gerog Levin on vocals, and trumpets by Greg Paulus (of Beirut and No Regular Play). The cover art makes the jazz connection explicit, riffing on the text-based, minimal design of The Modern Jazz Quartet’s 1955 album for Prestige, Concorde. But the way Avni has gathered around him both inspiring musicians and intriguing reference points makes me think of his broader career as well, the collectivism behind his AVADON nights in Tel-Aviv, his many and wide-ranging releases on labels like Innervisions, Hotflush and Stroboscopic Artefacts, and the openness of his productions, which seem to be all about the multiple, the possibilities of cross-pollination, of fusing this with that, of adding and subtracting, all under the pulsating thumbprint of techno.

Good things, after all, are worth waiting for.

Rare 1995- Limited Vinyl Release curated- and recorded for Paris Fashion Week! Originally- Only available as Cassette- and claims the Discogs-Record for the highest Price-paid for a Cassette!

Limited to 1000 copies White
Vinyl
Includes postcard and poster
Exceptional second single from The Wedding Present that was originally released on Reception Records in 1985. Reissued here on White Vinyl

GLOK is the electronic solo project from Andy Bell of shoegaze legends RIDE (formerly of Oasis/Beady Eye/Hurricane #1). His debut album under the moniker, Dissident, was originally released last year on a limited edition cassette by Bytes, an offshoot of Ransom Note Records. That sold out in 24 hours, and was followed by a vinyl pressing of 500 copies, on transparent green vinyl, sold via Bandcamp and two online shops. However, with that edition now sold out pretty much on word of mouth, due to popular demand, Dissident is being repressed and is this time being made available to a wider audience via a partnership between Bytes and Republic of Music/K7. The name GLOK is a misspelling of the German word for Bell. The German connection fits well as there is a strong Krautrock influence in the music, especially on the title track, 'Dissident', an epic clocking in just shy of the 20-minute mark, which blends synthwave, minimalism, trance, Detroit techno and John Carpenter soundtracks, with Andy even dropping in some killer John Squire-esque guitar licks.

limited edition of 300 hand-numbered copies, white vinyl, w/ download code

"ATA Records" is pleased to announce the release of Early Works: Funk, Soul & Afro Rarities From The Archive, a compilation of tracks that were recorded at the very outset of the label and haven't been available since the initial limited run (Released as Funk, Soul & Afro Rarities: An Introduction To ATA Records on Here and Now Recordings) sold out 5 years ago.

Since 2013 label founders and musicians Neil Innes & Pete Williams have been tirelessly fulfilling their shared dream of making the records they weren't hearing. Having spent years working in various bands both players felt the desire to break free of the constraints of working within another band and started on the slow path to creative autonomy by starting to work on the 12 tracks presented on this compilation.While deliberating their next steps they were approached by Here & Now records who licensed the 12 tracks and released them under the titleFunk, Soul & Afro Rarities: An Introduction To ATA Recordsin 2014 as a limited run of 300 copies that sold out within weeks of release.

Now in 2020, celebrating their 5th year of running successfully as a label in their own right, ATA are re-releasing these 12 tracks on a new vinyl pressing under the titleEarly Works: Funk, Soul & Afro Rarities From The Archivewith new artwork and liner notes that detail the labels birth.

The compilation features 12 tracks that include the very first 3 tracks from The Sorcerers that led to their self-titled debut LP & the first proper release on ATA, as well as the first recordings by The Mandatory Eight and The Yorkshire Film and Television Orchestra.

Kohib is an important member of the Tromsø electronic music scene, equally as a club organizer, DJ, and producer. His debut was on the Prima Norsk 3 compilation in 2005, followed by an album, a remix-album, and a string of highly regarded EPs and singles. Kohib has had success both with his electronica-style releases (the track "Hear This" from his debut album was licensed to the Buddha Bar XIV compilation) as well as his dance floor releases for Beatservice, Sprechen, Cibicaldi, and SpinSpin NYC.

In Mountains is a desire to seek horizon. The album was written and recorded in November, December and January. A time when the sun is absent in Tromsø. However, the origin of lots of the rhythms in the music, are harvested during summer, from the same area. Sound samples are taken from Kohib's surroundings, from creaking in worn-out doors, to ambient silence along the coast. An electronic album, yes. But all the rhythms and instrumentation are analog. The goal has been to give leeway to all elements, by limiting the amount of information. So, if it follows a dogma with this album, it has been to limit the number of tracks to each song to the bare minimum. A sound weighs the most when alone.

The album will be promoted in UK / worldwide by Shine PR (UK) + social media marketing by Beatservice Records.

Spiral is the third album by the Greek composer Vangelis, released in 1977. Less celebrated than the two albums which preceded it, but the quality of this record is at least on the same level as the previous recordings. The keyboards are prominent on front of the music, while Vangelis is exploring new electronic grounds. It is a concept album, thematically inspired by ancient philosopher Lao Tse. For the track “To the Unknown Man” Vangelis received the Midem International Instrumental award in 1978.
The multiple-award winning composer of electronic, progressive, orchestral and jazz music started his career working in several successful bands, such as Aphrodite’s Child. He composed over 50 albums and is still creative in developing new concepts.

Available as a limited edition of 1500 individually numbered copies on gold & black marbled vinyl

Dick Mono presents!….a WyldWax Original production!
Kicking off with a strictly limited, hand numbered 10” release of Brit fuzz-rockers the Force Five, combining their rare UK 45s from 1965/66, lovingly mastered from original sound productions with biography insert/rare pics, exclusive poster and reproduction postcard. The Force Five show their wyld side on two wyld sides of wax!

• Complete UK Singles
• Hand-numbered Flipback Cover
• Limited Edition Coloured 10 inch Vinyl
• Insert with Biography and rare photos
• Exclusive Reproduction Postcard and A3 Poster!!

Gentle waves lap the soft white sand. The limitless ocean fills the view as the sun slowly sinks below the horizon. As the day ends in blue and orange tones, the heat begins to subside, a sure sign that the slow evening migration from the beach will soon begin. A pleasant, yet formidable music comes from the radio tuned into a frequency transmitted from Paris. Maybe it was written and recorded in the 70s, or maybe it has simply soaked in that aesthetic all the way down to the pauses. It doesn't really matter. Delving deep to explore the roots of Brazil’s musical tradition, the Camarão Orkestra has tapped into Candomblé and its rhythms. Born on the drums of enslaved Africans in a ritual that invokes numerous deities, they lay the foundation for this new album, Nação África. The eleven musicians, guided by Amanda Roldan’s silky voice and guest appearance by Anthony Joseph (“Canto De Bahia”), explore and embrace the murmuring polyrhythm of Brazilian percussion instruments, vibrating berimbau and squeaking cuícas, pouring their tightlywound funk bass into the groove and letting their jazz fly free, together and solo. The seven nonchalant tracks get your hips swaying, whether you’re in a comfortable armchair or surrounded by other dancers. They take your mind far away, on a journey paved by analog synths with Fender Rhodes crystals to the horizon where the sun’s last glimmer has finally faded away. The brass section’s shiny bells, valves and keys reflect the images and ambiance of the soft Brazilian night air.

Axel Larsen is one of those prolific bedroom artists who spend their day composing nuggets music with improbable set-up, it can be home made synth, cheap rhythm box, 4 tracks tape recorders, delays or whatever is possible to find to create the weirdest tunes. Axel is from the Simple Music Experience crew, member as Haydée of Radiante Pourpre, Violent Quand On Aime, Simplists, etc.. representing the modern electronic DIY punkish french scene.
We are really excited to welcome him on board and release his first solo record as a 10 inch on our « Special series » MMS.10 inch - Limited to 200 copies only.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

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

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

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Where does electronic music lead you? To the inside, to a calm and warm place where sound resonates with your body in quiet bliss, or to the outside where the rhythm wants you dance, even without moving? „WTMCT“ gives an answer to these questions that is complex yet extremely easy to understand in an immediate sentient and emotive way.

Menelaos music is unusual and unlikely both with respect to the structure and arrangement of tracks, and the materiality and spatiality of the sound. And yet these sounds convey an immediate sensation of familiarity and ease, of beauty and relaxation. Menelaos utilizes loudness and extreme dynamics in a thoughtful and intriguing way to accentuate strange runaway sounds while maintaining the continuity of the flow of the tracks, which is Ambient to the core. This is a rare art in our time, where hypercompressed and superoptimized glossy sounds dominate most of Ambient, drone and even deep listening music.

In this aspect the album follows and refines the subtle production skills of seminal electronic artists like Jan Jelinek or Terre Thaemlitz a.k.a. DJ Sprinkles. What is genuinly special about Menelaos music is the natural and seemingly effortless fusion of challenging experimentalism and a warm and soothing organic sound-design. This shows exemplary in the collaborative tracks with trombonist and bass trumpet player Achim Fink, a founding figure of the Cologne jazz and free improvisation scene of the eighties. Achim is uncompromisingand in times disruptive play merges perfectly into Menelaos serene soundscapes.

This way „WTMCT“ became a genuine album. It tells a story. It invites deep exploration but it does not demand it, thus transcending common notions of how Ambient or Electronica should sound. Text: Frank Eckert

The Album includes also some warm sampels (my live with the wave vol 1+ 2) from the Detroit legend Mike Huckaby to whom i very thankful.

Limited edition of 170

hree years on from their debut collaborative album “Passive Aggressive“, Jonny Nash and Suzanne Kraft return with "Knife", the lead single from their forthcoming album, “A Heart So White”.

The single comes with an exclusive bonus digital track, "Processing The Negative", which will not appear on the full album.

“A Heart So White” represents a continuation of the working philosophy adopted during the recording of their debut; immersion in an unfamiliar recording environment with a limited set of tools and the goal of exploring the possibilities that lie within these limitations.

The album was written and recorded in the Willem Twee Concertzaal, a converted synagogue in Den Bosch, Holland. Whilst “Passive Agressive” explored virtual instruments and environments, “A Heart So White” shifts the focus to acoustic instrumentation, breath, air and physical space. Using the hall’s mechanical drawer organ and Steinway piano, the pair craft a delicately balanced suite of compositions, stripping things back to reveal the bare essence of their shared musical language.

"Aix" is an outstanding piece of work by Italian electro-acoustic savant Giuseppe Ielasi, originally released in 2009 on Taylor Deupree's 12k label, the follow-up to 2007’s "August" (12k) and Ielasi's first collaboration with Nicola Ratti as "Bellows", also out in 2007 (Kning Disk). Originally only released on CD (12k), the album got a very limited vinyl issue on Czech label Minority Records in 2010. Keplar presents this extraordinary and timeless collection of 9 evocative minimalist soundscapes on vinyl again after 10 years.

From the original press release in 2009:

"With Aix we see Ielasi building his layered, atmospheric music around rhythmic grids. Most of the time these are quite irregular and the pulses are not neccessarily stable or clear. Where his previous work approached sound in a linear fashion Aix imposes a strong vertical development with the aforementioned grid and a production consisting of ons and offs, employing as much improvisation as Ielasi’s previous work, but in a different way.
Despite the self-imposed grid structure, Aix relies heavily on randomization. Not in the traditional sense of sound placement but instead of the spatialization of sounds, echoes, reverbs and the stereo image. As a result, Aix has an amazing sense and clarity of space as the small fragments of sound breathe and find their own place in the mix, thanks to Ielasi’s sublime skills as a mixer and engineer.
Ielasi relied heavily on numerous short samples and combining them in ways that fell into his groove; some found from others' recordings and many more recorded during the past year. We hear fragments of percussive (acoustic) objects, drums, piano, trumpet, guitar, and, of course, synthetic textures. Although there is a distinct rhythmic pulse to Aix, Ielasi manages to mold it into something wonderfully languid and warm... and strangely inviting."

Composed and recorded by Giuseppe Ielasi in Aix-en-Provence, Autumn 2008. Remaster by Giuseppe Ielasi. Cover photograph "Construction, Barcelona" by Taylor Deupree. Layout by Dan Dudarec/Marco Ciceri.

For more than 20 years Giuseppe Ielasi has been releasing his recordings on labels like Erstwhile Records, Häpna, Kning Disk, Dekorder, 12k, Entr'acte or Editions Mego, as well as on his own label Senufo Editions.

The label Keplar has been on a long hiatus and is now back with its KeplarRev series presenting vinyl re-issues of essential electronic albums from the 90's and 00's, as well as new recordings by momentous electronic and ambient artists.

Banging Ganez Hard techno music !!

Originally recorded in 1977, following a limited release in 1979, Ghédalia Tazartès debut album, Diasporas, introduced listeners to the surreal, mysterious and truly unclassifiable statement of Tazartès and his out-of-time place in the French avant-garde canon. Born in Paris in 1947 to Judaeo-Spanish parents of Greek descent, Tazartès spent his early career as an autodidact utilizing his knowledge of repetition and collage, coupled with his Ladino linguistic heritage, to create some of the most unique recordings of the late 20th century. Interest in the works of Tazartès truly sparked when artist Steve Stapleton included his follow up album, Tazartès' Transports, in his famed "Nurse With Wound List," thus adding endless curiosity to the folklore behind Tazartès and his mystical entrée.

From the onset of Diasporas, looping incantations seemingly pile up at the behest of Tazartès. In almost a prayer-like decree, Tazartès chants to the gods in an undefined whail that is both haunting and spiritually divine. Tazartès unique use of tape loops to capture the disappearing traditions of his family's past creates an atmospheric texture that unexpectedly complements his cut-up, manipulated vocal experiments. While contemporaries within the French avant-garde maneuvered academic theory and rigid tradition, Diasporas strays away from these boundaries, working in Tazartès' invented practice of 'impromuz', a method in which he endlessly records for hours and edits only the moments that display any sense of spontaneous enlightenment. Further emboldening the obtuse nature of Diasporas are the seemingly random recitation of poet Stéphane Mallarmé and the traditional 'Parisian-style' piano accompaniment of experimental composer Michel Chion.

Since its initial release over 40 years ago, both Dais Records and Alga Marghen have released reissues of Diasporas in various formats, all of which quickly fell out of print. Dais Records presents an official reissue, newly remastered by Josh Bonati, utilizing the original artwork of Diasporas in its sole album form, for the first time in over four decades.

On his third solo album, following the success of "Éternel été", the founder of the electro duo Nôze is exploring, through piano and synths, the encounter between poetry and song. In this new work he has set to music verses by William Shakespeare, Victor Hugo, Pablo Neruda and on three songs, those of the poet Marceline Desbordes-Valmore, a pioneer of romanticism who notably influenced Verlaine and Baudelaire.

But what does this Oh !, giving its title to Ezéchiel Pailhès' third solo album, stand for? Is it an Oh ! of surprise, admiration or pain? "It is rather the Oh ! found in romantic poetry" says the French composer and singer with his deep and sweet voice. "An interjection that refers to a form of lament", even though it can convey other emotions such as complaint, nostalgia, a sad delight or a longed-for solace.

In Tout va bien, his previous album released in 2017, Ezéchiel Pailhès had set two Shakespeare sonnets to music. One of them, "Eternal été" has become a great success, thanks to its lines tinged with spleen and bliss. "Poetry, and its musicality, have always been part of my universe. For this new album, I therefore wanted to explore further the adaptation of poems into songs. "Bien Certain" is, once again, taken from William Shakespeare. "Tu te rappelleras" comes from Pablo Neruda's collection La centaine d'amour. "Oh ! Pourquoi te cacher ?" is from Victor Hugo. As for "Sans l'oublier", "La sincère" and "J'avais froid", they were all written by Marceline Desbordes-Valmore, a 19th century French poetess, still fairly unknown".

With Oh !, Ezechiel Pailhès has become more of a singer than ever before, through seven songs and four instrumental compositions, with intimate and warm modulations, carried by hypnotic piano melodies, instruments with unusual timbre and a subtle electronic production that recalls his past productions with his former duo Nôze.

"I wanted to expand my music further into songs" Ezéchiel adds, "to work more with my voice as a solo instrument and to limit the overlapping of voices and choirs found in my previous records". Produced in his Montreuil home studio, Oh ! is nevertheless imbued with an emotion found in his previous albums, close to 'saudade' or a slight melancholy, sometimes enhanced by chosen texts that evoke the disappointment of love, the longing, the distance between two people, or even men's weakness. "These poems evoke themes that may seem far from the concerns of our times. Yet, they are timeless and eternal; they manage to convey emotions that can often be difficult to say or write."

Among the texts chosen for this new album, the verses of the poet Marceline Desbordes-Valmore (1786-1859) are on a par with William Shakespeare's sonnets or Pablo Neruda's poem found on the same record:

" Sans l'oublier, on peut fuir ce qu'on aime.
On peut bannir son nom de ses discours,
Et, de l'absence implorant le secours,
Se dérober à ce maître suprême,
Sans l'oublier ! "
(…)
" Sans oublier une voix triste et tendre,
Oh ! que de jours j'ai vus naître et finir !
Je la redoute encore dans l'avenir :
C'est une voix que l'on cesse d'entendre,
Sans l'oublier ! "
"Without forgetting, we can run away from what we love.
Banish their name from our conversations,
And, begging the absence for consolation,
Escape the grip of this supreme master,
Without forgetting! "
(…)
"Without forgetting a sad and gentle voice,
Oh, how many days have I seen rise and fall!
And still I fear from the future:
A voice that can no longer be heard,
Without forgetting! "

Although less known today than her male counterparts, Marceline Desbordes-Valmore marked her times and the Romantic movement through the quality of her texts and her formal inventions, which Balzac admired, and whose influence seems to have been decisive on Verlaine and Baudelaire.

"Marceline Desbordes-Valmore's poetry is highly musical," says Ezéchiel with admiration. "Her artistry with rhythm and repetition sounds very good and takes on a new dimension when set to music. She even meant for some of her texts to become songs"

**LP FORMAT IS VERY LIMITED - PLEASE BE AWARE THAT UNFORTUNATELY THERE MAY BE CUTS TO ORDERS**

For Los Angeles' The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as 'a haunting exploration of the darker side of pop music'). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander (a tech member for Nine Inch Nails, Ke$ha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fansof each other's work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn't quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. 'We've got a pretty weird cross section,' Puciato says of the band's musical chemistry. 'We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell's Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It's all over the place and unusually far reaching,and there's a lot of passion for discovery.'After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato's main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv monikerfor the first time since his former bandmate Charles Cooper died in 2009. Thetrio's storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band's icy R&B instincts more sharply pronounced; they've also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages
that create a wide-screen backdrop for Puciato's eerie, tortured vocals. 'I think this album is actually hookier, but more insidious in that it reveals itself over time,' Puciato says about Infinite Games. His choice of words says something about the album's creeping, pitch-black approach to pop music.With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centricapproach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen's own creative endeavors and collaborations with otherartists. In a way, Federal Prisoner solidifies TBQ's commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, 'It's just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It's as much an act of refusal as it is a statement of intent.'Infinite Games, the second album from experimental Los Angeles synth-pop trio The Black Queen, comes out on September 28th

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin’ Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin’ HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin’ vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Further out from the early 90’s these two 1998 tracks still exemplified the established D&B Junglist vibe that Ant Miles (Liftin’ Spirits) adored and honoured. Only recently located in the DAT tape archives, it’s focused production of twisted up organic bass lines has a foot in the present as well as the past.

Promotion across chosen internet websites and Hardcore/Jungle/Drum & Bass 12” vinyl communities.

Two celebrated collaborative recordings by Croatian Amor & Varg2TM available on limited vinyl for the very first time! “Body of Water” from 2018 was the first collaboration between Croatian Amor & Varg- 5 tracks of aquatic ambient celebrating the myth of brilliant summers. It was followed in late 2019 by the lean and quick, beatdriven “Body of Carbon”. Now available together on limited vinyl presented in black disco sleeve with printed labels. "Hazmat bouquets drenched in rain, A tiny piece of coral on a chain around neck, An invitation to see the miracle in the things around us. Croatian Amor & Varg2TM together. Contemporary electronic music.

Second release from Royer Records. This very hard to find disco holy grail is finally back on the shelves for the first time since 1978.
"Super-Disco" is the first ever release from Cameroonese artist Pierre Tchana. A 2 tracker holding the dancefloor filler "Soul Disco" on face A while the flip hold a more afro-rock tune called "Get Up Dance" .

This comes pressed on an heavy 12" and in limited quantity.

»KAMILHAN; il y a péril en la demeure« is the conclusion of a 5-part cycle of works by artist Grischa Lichtenberger which was initiated with the album »LA DEMEURE; il y a péril en la demeure« in 2015 and continued with the triple EP release »Spielraum, Allgegenwart, Strahlung« in 2016. In addition to the concept of „demeure“, ones residence as a symbol for the joy and artistic possibilities one can find in isolation, Lichtenberger places a further emphasis on the expression of the voice, represented by the word „Kamilhan“. „Kamilhan“ is a non-existent word, an expression that Ernst Bloch once mentioned in an anecdote about his childhood. Fascinated by its sound but without knowing its meaning, it remained vivid in his memory in its purely „material“ form. Lichtenberger also refers to this childish perception of language. Words that we do not know, but repeat in our thoughts until they become insignificant. Lyrics in a foreign language that we do not understand and still sing along and imitate. With computer-generated voices, Lichtenberger tries to reproduce these experiences. In his tracks we hear syllables and phrases that are similar to words and that seem familiar to us, but whose meaning remains a secret. As on the previous album, the tracks on »KAMILHAN« are constantly torn apart and reassembled. Borrowings from hip-hop and even pop are unmistakable, desired, and yet delusive. Rhythms that are repeatedly broken in order to re-organize themselves into new temporal patterns. Melodies that are pierced by precisely these intricate rhythms. Voices that lack any empathy due to their artificiality. Lichtenberger himself describes these tracks as „crooked ballads“, which, by deliberately following classic pop song structures, try to sell us the absurd as the normal, and in turn smuggle some hope of recognition into the absurd. »KAMILHAN; il y a péril en la demeure« will be released on May 08, 2020 on CD and as a limited double vinyl edition including a handmade and signed silkscreen print.

It goes without saying that the global metal scene would not be the same without Sepultura. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986.
While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – Sepultura are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.
“On ‘Quadra’, we felt the urge to revisit that old thrash feeling of ‘Beneath the Remains’ or ‘Arise“,’ only seen through the eyes of today,” Andreas Kisser utters the magic words. “Add to that the tribal percussion, the orchestral elements, the choirs, the melodies and the clean vocals and you get a thorough run-through of our entire career, backed by a very contemporary approach.” Fuelled by an energy almost uncanny for a band that has been active for so long, Sepultura storm through a contemporary thrash monument, backed by sublime melodies, a very eerie atmosphere and a fiendishly high level of technicality. Kisser is appreciating these compliments, still maintaining his very down to earth approach. “We don’t heed the past and we don’t try to be preoccupied by the future too much,” he shrugs. “We’re in the now, trying every day to make Sepultura a little bit better. That’s what keeping us strong.”
And that’s what they have been doing for the last 30+ years. Album after album, tour after tour, no gap in between records longer than three years. “Music is all we do,” Kisser states matter-of-factly. “If it wouldn’t be for Sepultura,” he laughs, “I would be a sad and lonely guy. Sepultura is what we are.” And “Quadra” is living testimony to that. The old Sepultura echo through the very fibre of the songs in all its raw and morbid splendour, but yet it’s the present, the experienced and refined beast that is Sepultura in 2020 that’s blasting out thrash metal anthems for a fucked-up age.
With now 15 albums under their belts, Sepultura are the work horses of the metal world, always ready to attack. In many ways, “Quadra” broadens the vision the Brazilian thrash troopers had on “Machine Messiah” (2017), again relying on the impeccable talent of Swedish producing giant Jens Bogren and his Fascination Street Studios. “He is so full of passion, it’s unbelievable, man,” Kisser raves. “He’s really there, he really cares about the projects he’s doing. For Sepultura, he’s like the fifth member of the band. The chemistry was so amazing, 99 percent of what we were trying do to actually worked. That was insane!” Even after more than 30 years at the forefront of international thrash, guitarist Kisser sounds positively baffled by working with Bogren. “We felt like we were in our rehearsal room.”
Bringing together a monumental grandeur and a wild, untamed ferocity, Sepultura stepped up their game musically – and conceptually as well. “We were possessed by the number four, by the numerology of it”, Kisser starts to explain. “I divided the album into four parts as if we were doing a double vinyl. Side one is the pure and raw thrash side. Side two brings in the rhythms and percussion from our ‘Roots’ era. Three is getting a bit experimental and four brings forth the melodies and the acoustic guitars.” With John North’s book “Quadrivium” as a further source of inspiration, Sepultura dive deep into a mystical world full of hidden meanings. “You have four seasons and twelve month in a year just to pick one example. A lot of stuff in our culture is divided like that.”
Plus, Quadra also is the Portuguese word for ‘sport court’ that by definition is a limited area of land, with regulatory demarcations, where according to a set of rules the game takes place,” he adds. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place.” In the Quadra of thrash, however, we all are the same. And we bow our heads in unison to the mighty leader that is Sepultura.

Current 909 – Something With Black In The Name Remixed 12″
limited edition of 500 copies

Max Durante – Fear And Desire 12″
limited edition of 500 copies.

In 1981, London-based E.G. Records released the debut album from a young Ghanaian group called Edikanfo. Edikanfo quickly rose to international notoriety following the release of “The Pace Setters” because of the infectious, forward-looking highlife meets afro-funk synthesis the band committed to tape. But the album also caught an additional wind of publicity due to its producer, the already legendary British musician and sound conceptualist Brian Eno. During that time, Eno was researching and openly propagating West African musics. He often mentioned his love of Fela Kuti and called his own rhythm-driven experiments the search for a “vision of a psychedelic Africa.” He had recently been collaborating with The Talking Heads on their Avant-funk masterpiece “Remain in Light” and with The Talking Heads frontman David Byrne on “My Life in the Bush of Ghosts,” an album which foretold the sort of cross-pollination and global music interconnectivity that today we take for granted. Eno and Edikanfo’s work together at Studio One in Accra (Ghana) was yet another inspired morphing of soundworlds and processes and a significant touchstone for both artists. As Brian Eno recently noted: “the actual recording sessions were joyful - the band played with such verve that you couldn't resist.”



But just when the sky seemed the limit for Edikanfo, the coup d’état in Ghana on the last day of 1981, tragically put the brakes on the band’s quickly developing fortunes. For years after that, the country endured enforced curfews at night, which of course ultimately gutted the live music scene in Accra and elsewhere. Because of this and other financial setbacks, the band ceased activity and its members spread out in exile, all over the world. It clearly seemed as though the story of Edikanfo, one of Ghana’s greatest bands of that era, had come to a premature end.



Now, almost four decades later, Edikanfo has returned. And with its surviving members gearing up to reissue and tour their classic 1981 album, “The Pace Setters,” the band is once again excitedly pointed towards the future.

Berlin based duo Evvol will release their second album 'The Power' on their own imprint Mad Dog & Love via the !K7 Collective. A meditation on love, the intimate and personal offering is a product of turning their thoughts inward after time spent considering the state of the world and politics over the last year. "It's about all relationships, including but not limited to our own", they explain, "and It details the intimate powers that bind us together."

I Am Not A Doctor is the successor of Moloko’s first album Do You Like My Tight Sweater? The duo experimented with their earlier sound and combined it with drum and bass and synthpop. The result of it all is a more entertaining and versatile sound, receiving critical praise all over the world. Although it was not a big seller the single “Sing It Back” experienced chart success after it was remixed by DJ Boris Dlugosch. The song eventually became a worldwide hit and could be heard in almost every nightclub for years. Roisin Murphy and Mark Brydon blended their talents very well and created another noteworthy record.

I Am Not A Doctor is available as a limited edition of 3000 numbered copies on white coloured vinyl.

Red Vinyl

Directly influenced by the film noir tradition and the hardboiled detective novels of yesteryear, Aging craft gloom heavy mood music that aspires to create a cinema without image. ‘Sentenced To Love’ is the pinnacle of the band's work.

Led by David McLean, Aging’s fourth album is a direct continuation of the music he was commissioned to make during his 2017 Samarbeta Residency with The Crime Scene Ensemble, a 15 piece band of actors and jazz musicians formed to live soundtrack the short stories of pulp fiction writer and collage artist Phil Carney. Chronicling tales full of obsession, longing, double crosses and murder, the same thematic and melodic gravitas is present in ‘Sentenced To Love’, largely due to a handpicked selection of musicians from Manchester’s avant-garde and experimental music scenes being involved in both.
 Whereas previous records by the band have largely been improvised, the six brooding scenes that complete ‘Sentenced To Love’ reveal a new compositional rigour and emotional weight, whilst still retaining pockets of nocturnal improvisation, each carefully crafted to create their own distinct and filmic sound world. From the low lit, dive bar blues of ‘Nights In Amber’ to the gun out chase theme of ‘The Trapped Man’, the nameless cowboy ghost story ‘A Shadow On My Name’ and the redemptive odyssey of ‘Cursed With The Thirst’, Aging’s detailed mise-en-scene full of brass, double bass, simmering drums and reverb drenched guitars conjures the pantheon of noir cinema. This is no truer than on the album’s title track, a vampiric torch song whose crescendo soars with Ali Bell’s lamenting, tremulous vocals, which act as a midnight confession of a doomed romance.

In an age where most musicians are attempting to free themselves from limitations, Aging’s ‘Sentenced To Love’ stands proudly as a genre record, one evoking the tradition of the jazz ballad, designed to swallow the listener into the dark cascade of its drama.

Repress

A triumphant return to old form after classic bangers like PROTOTYPE (KOMPAKT 92), FREQUENCY (KOMPAKT 102) or MAXIMIZE (KOMPAKT 145), but also a bold step in a new sonic direction: Kompakt ally REX THE DOG presents his latest offering SICKO - a brand new 12" packed with two incorruptible rabble-rousers that hit the floor right behind the ears, employing sharply focussed thrust and dramatic sweeps to stunning effect.

Having started out with just one synth in 2004 -

the same vintage Korg 700S that was used by Mute Records founder Daniel Miller for his legendary "Warm Leatherette" outing -, REX THE DOG knows perfectly well how to squeeze the most out of a limited set of sounds. A growing intimacy with analog gear finally lead the producer to design and build his very own array of modular synthesizer components, including a sampler fittingly called RTD-001.

Armed with this barn-storming DIY attitude, and using gear he made with his own hands, Rex pulls two strikingly muscular rabbits out of his hat: the A-side's title cut SICKO is a raw, pounding cut-up fest that builds a scary amount of tension just with a few distinct elements, while the flipside's KORGASMOTRON loads up its bleep-ridden

chassis with a succulent, sweeping vocal and some well-placed acid drops. Both tracks showcase a leaner, cleaner, but also meaner approach to dance music, making this a particularly thrilling entry in REX THE DOG's oeuvre.

Andrés almost doesn’t need an introduction. But we’re gonna give him one anyway. Mentioned in the same reverential tones as such illustrious names as Hanna (aka Warren Harris), Marcellus Pittman, Rick Wilhite, Theo Parrish and, of course, Kenny Dixon Jr. (aka Moodymann), all collaborators, colleagues and compadres over many years, the long-serving Detroit producer has rocked up on the likes of Mahogani Music, Moods & Grooves, NDATL Muzik and his own imprint La Vida. Many more besides too when you take into account his hip-hop alter ego DJ Dez. Which is why we are super-stoked that he has joined the Hizou family with his house head on for the super-limited EP, All U Gotta Do Is Listen, a master class in downtempo, sun-kissed soulful beats, both the timeless eponymous title track and the funked-up flipside Night Time Is The Right Time.

“Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dance floor’s around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings.” - Tone B. Nimble.

Released as a series of eight limited vinyl-only 45, when assembled together the covers reveal a beautiful design courtesy of designer Charlotte McCrae. See the full eight record assembled design here.

A true collectors item.


DJ Support:

Tone B. Nimble, Greg Belson, Skymark, Darryn Jones

Limited edition of 300 copies of Natureboy Flako's all new 4-track EP "Besito".

Dario Rojo Guerra aka Natureboy Flako is set to release a unique musical room shaker. Picking up the energy of productions such as “Kuku” from his debut album, these four new banging tracks invite to dance and have fun while bouncing them out loud. The title track “Besito” is carrying a sincere message of love with an unmistaken production quality, also found on his previous release entitled “Theme For A Dream” which explores the boundaries of music, science and spirituality. His rather unpredictable but inspiring output will be continued with a full length album of library-like songs & soundscapes which is set to be released before summer also. But for now level up the energy and enjoy singing along to “Besito”.

“WOW I’m happy you are still making such incredible heat! I actually lost my fucking mind as well as the rest of the club.” - Gaslamp Killer

Limited edition of 300 copies on black vinyl.

“Morning Glow” is the first release by Natureboy Flako under the Palomo Wendel moniker, capturing positive energies with a gentle and bright attitude. Recorded during the breaking light of dawn, it embodies the pureness of the rising sun and invites for untroubled moments in time.

► One half of duo Lumisokea and persistent sonic explorer ANDREA TAEGGI (Opal Tapes, SM-LL, Type, Präsens Editionen) debuts on OOH-sounds with a new solo album under-the-influence of mushrooms.

► Recorded at Willem-Twee synthesis studios in Holland, Mycorrhiza is a lucid excursion into a new form of 'ritual-computer-music' — gamelan from the future.

►Master + Cut by Helmut Erler, D&M Berlin. Limited Edition of 200, 12" black vinyl housed in gold cardboard sleeve with 'ad-hoc' fluo sticker.

Of course this is not the first album born under-the-influence of mushrooms, but apparentlyTaeggi doesn't take them here as he rather observes the cognitive and intelligent behavior of mycorrhizal fungal roots—one of the great mysteries inhabiting the forest soil, and from which a network of beneficial underground relationships with plants sprouts. Known as Mycelium, this fascinating wood-wide-web very much resembles the intricacy of the human neural system—transporting carbon, water and nutrients from one tree to another. A mutualistic symbiosis that Taeggi similarly establishes with the rather rare arsenal of sound machineries he had access to at Willem-Twee synthesis studios in Holland—a center for experimentation inspired by Berio and Maderna's Studio di Fonologia RAI in 1950s Milan.

In the process of tweaking and feeding electric impulses and sound signals into instruments of the likes of the iconic ARP 2500/2600 and a number of testing/measuring units from the 50/60s—originallynot conceived as musical instruments—Taeggi engages into an exchange of nutrients and information, while abruptly sabotaging un-welcome elements, hence accelerating the sound superhighway towards spectral psychedelic tension—a process he seems to be extremely in control of. Taking a step aside from his usual minimal approach to address more complex structures and augmented mind-sets, Mycorrhiza sounds at times like gamelan from the future: a lucid excursion into a form of "ritual-computer-music" with a conspicuous penchant for detail,alluding to a continuitybetween pseudo-cerimonial and laboratory-like computer music, steering clear from any reference to a specific creed or religion—imagine Stockhausen drinking the Amazonian sacred brew Ayahuasca..

The swarming micro-movements of "Cuttleburrs" multiply in a series of crescendos marked by sudden falls, saturated drums incursions and tense sonic clusters, introducing the more explicit gamelan percussive tones and compositional forms of "Kodama" and "Icaro". Recorded on the ARP 2500, "Mycorrhiza" uses white noise generators, resonant bass and spring reverb to conjure up a magical fungal diorama, which expands into the spooky shadows of skeletons and demons of "Phantasmagoria" and the spectral mystics of "Oculus Cordis"—the Eye of the Spirit — in which Taeggi grapples with the same sine-wave generators that Stockhausen used in his seminal "Studie I" and "Studie II".

After appearing on the well received Chicago Bee Various artists EP Nill Minogue AKA Postelektrik delivers his debut EP on the same label.

This well crafted EP has a mature sound that crosses the boundaries from traditional acid and leans towards deep house and electronica.

Side A delivers what has been to be expected from Chicago Bee. But its the the flip side where Nill Minogue comes into his own. This side blends a shift towards a home listening vibe as well as being suited to a more discerning dance floor. The tracks The Green Strobe and Not Them are slow drifting builders and full of lush pads that float along endlessly. This combined with moody baselines and trademark Roland drums you surely have a well rounded winner.

Many supporting this EP so far including DeepChord, Placid (I Love Acid) , Damo B (Outer Limits radio show) Colin Dale, Jerome Hill , Rennie Foster and Type 303.

One Sided 7", Limited edition of 200 copies on black vinyl, handstamped whitelabel with additional photo inlay.

Tribe'n'Bass? Tech'n'Bass? Drum'n'Tech? Whatever you might call it, the first ever vinyl release of the freshly launched imprint Freebreakz.FWD is a quite trip, a journey into the unknown and unexplored.
For their conjunctional studio effort that is „Alien Swamp“ we see Hamburg's baze.djunkiii and Berlin-based Donna Maya draw influences from spiralling TribeTekno and the freeform approach of the teknival scene, pay homage to their love for advanced, experimental Drum'n'Bass and fuse these elements with a stripped down high tech vibe somewhat reminiscent of early Minimal Techno coming out of Motor City Detroit. Imagine all these bits falling together at breakneck speed and with a well psychedelic notion and you'll be
captivated by one of the most unique dancefloor cuts from a space-exploring future, the electroid soundtrack for illegal raves taking place under the two suns of life-bearing exoplanets in binary star systems far far away.

Pressed On Limited Edition Black And White Vinyl! Available on 2LP, with the look of a silk-screened jacket we are excited to bring to you these Liquid Swords Instrumentals. There are many reasons why Wu-Tang Clan rapper GZA's second solo album Liquid Swords is considered one of the greatest hip-hop records of all time. Critics and historians point to GZA's raw, and starkly poetic lyrics which featured references to chess, crime and philosophy, as well as superb guest performances from his Wu-Tang Clan contemporaries. One can't comment on Liquid Swords' brilliance however without touching upon the production, courtesy of Wu-Tang's own mastermind RZA. Behind a hazy and murky backdrop of rare samples and classic boom-bap beats, RZA crafted a bleak atmosphere of urban dystopia for GZA's esoteric rhymes to flourish in,cribbing from a wide panoply of sources ranging from the dusty soul of The Bar-Kays and Ohio Players, the nostalgic jazz of Cannonball Adderley and Willie Mitchell, and even the experimental weirdness of Mothers Of Invention. In a retrospective 5-star AllMusic review of Liquid Swords, writer Steve Huey said of RZA’s production: “The Genius' eerie calm is a great match for RZA's atmospheric production, which is tremendously effective in this context; the kung fu dialogue here is among the creepiest he's put on record, and he experiments quite a bit with stranger sounds and more layered tracks.” These instrumentals, peppered with frequent interludes of dialogue from the classic samurai flick Shogun Assassin, became the core of the GZA’s acclaimed sophomore LP. The full Liquid Swords instrumentals are now available in a white and black vinyl pressing, a nod to the chessboard art synonymous with the album’s cover art. All tracks have been restored, with re-mastered audio from the original source tapes.

UPSIDE DOWN SMILE WAS RECORDED AND PRODUCED BY EWA JUSTKA AND BY SELF-DESIGNED, SELF-MADE, SELFSELFSELF, ODD LOOKING SLIGHTLY DYSFUNCTIONAL SYNTHESISERS AND BY A TRANCE PURPLE KILLER ROLAND JP8080 AND BY HIS BROTHER VIRUS AND SOME OTHER ROLAND BROTHERS NO SISTERS INCLUDED DURING THE TIME WHEN EWA JUSTKA WHO CURRENTLY LIVES IN GLASGOW, GOVANHILL, ALLISON STREET, WHERE RECENTLY HER PASSPORT WAS STOLEN DUE TO THE BURGLARY, WHERE SHE LIVES IN JOY, ALTHOUGH SOMETIMES THE FLOOR GETS WET DUE TO THE LEAKING WINDOWS AND SOMETIMES ONE CAN FIND DEAD PIGEONS LAYING ON THE STAIRCASE BUT IT'S NICE AND COSY AND EWA JUSTKA HIGHLY INFLUENTIAL PERSON IN THE DEEP DARK TRANSISTOR LADDER CIRCUITS LIVES SINCE SHE IS STUDYING PHD AT EDINBURGH COLLEGE OF ART WHERE SHE THINKS A LOT ABOUT IMITATION IN SYNTHESISER DESIGN AND FILTERS AND VCOS AND FORMANTS AND ACID AND HARDCORE MUSIC AND TWIN T FILTERS AND OPERATIONAL AMPLIFIERS AND SHE TURNS KNOBS AND THINKS AND THE UPSIDE DOWN SMILE ALBUM WAS MADE IN THE DEPTH OF THOSE THOUGHTS QUITE OFTEN SAD THOUGHTS UPSIDE DOWN SMILE IS A BIT OF A CYNICAL SMILE BUT AN HONEST SMILE CYNICAL BUT HONEST UPSIDE DOWN SMILE IS A SMILE THROUGH TEARS BUT TEARS OF JOY SCOTTISH JOY UPSIDE DOWN SMILE IS UPSIDE DOWN ACID ONE COULD SAY UPSIDE DOWN SMILE COULD BE INTERPRETED AS A SAD SMILE BUT IT IS A SMILE IN THE END OF THE DAY

Thembisa’s Hot Soul Singers were formed in 1975 by promoter and producer Sam “Jiza Jiza” Mthembu. In the early years the trio was called the Thembisa Happy Queens and consisted of sisters Ntombifuthi and Nombuso Mabaso and Lindiwe Ndlovu. The trio would start out playing Jive, Zulu Disco and other popular sounds of the 70s . In 1979 they became the Hot Soul Singers and would begin a career in the emerging Disco scene which their group name was now more fitting for.

Their first single under the new name was a tribute to their producer Sam, and their first album “Together” would come 2 years later in 1981. It contained their Lamont Dozier rip off from a year earlier, and biggest hit to date “ Give Me My Love Back” which was playing in jukeboxes across the country. At this time the Hot Soul Singers were also gaining popularity due to their demand as an opening act for American groups. Sam’s ongoing pursuit to be a successful promoter also helped to ensure they were always in the headlines and playing shows. It would be in 1983 that the group would temporarily step away from a major label and go onto record their first Maxi single with the independent Raintree Records new Lyncell Imprint.

Like most places in the world the early 80s was a fast changing time in music for South Africa. Although the Maxi had a disco standard for years in other parts of the world it had only recently been popularized in South Africa. Thanks to the Brenda and the Big Dudes smash, Weekend Special, the maxi took over as the preferred format for pop music, replacing the cheaper but time restricting 7” single. Singles were being pushed to the limits in the early 80’s with running times of 4+ minutes a sides by some labels. The Maxi allowed for groups to extend their grooves onto a full side and later album art containing smiling musicians infant of cheesy backdrops became the norm. Synthesizers had been used in pop music for years already but the DX7 wouldn’t land in the country for another year. Drum machines were being used but had yet to fully replace live drummers like would happen in the years to come. The recording of this new single would require a full band resulting in it being one of the gems of the crossover period before the complete midi takeover. Durban’s Graham Handley was recording some of the best upcoming Disco sounds for labels like Heads Music and groups like Kabasa and Masike Mohapi and was tasked as engineer. Other known musicians in the session would be Jimmy Mgwandi from the group Image, who’s signature bass playing can be heard on both songs. A young Daniel Phakoe aka “sox” was also present and took care of the male parts of the vocal line. Both musicians have writing credits along with lead singer Nombuso. Other possibilities of musicians would be Thami Mduli aka Professor Rhythm who had been with the group since their early days as well as a young Chicco who was best friends with Jimmy at the time.

The single, which was packaged in a customized but simple company disco sleeve, went on to do quite well. Less than a year later they would feature on a track with Sunset which would lead to them singing with Sounds of Soweto records label. The group would enjoy the growing fame when tragedy struck in 1984. On their way to a show in Mpumalanga they were involved in a car accident which took the life of Nombuso and left her husband Sam with a leg injury he limps with to this day. Upon recovering Sam would organize a tribute concert at Soweto’s Jabulani Amphitheatre. Even though the tragedy left the group broken and without a member the band went back to work to record their second full length album. They worked with Mac Mathunjwa who had written Nombuso’s favourite song “Going Crazy”. This album would be released with two different names and covers. One took the former singer’s favourite song as the album name and used a photo consisting of all three girls where the other released under the name “ A Tribute” and would only have the remaining members on the cover.

Although the tragedy never halted the group, moving forward the trio of singers would see a few members change. Lindiwe would leave to join Freeway and then become Linda “Babe” Majika so by the time they were ready to record in1986, now with Teal records, the only original member was Ntombifuthi. She would also shortly leave the group and provide backing vocals to other artists including her old band mate Linda. The Hot Soul Singers would be kept alive by Jiza Jiza and go on to record 5 more albums before calling it quits in 1990 after a successful 15 year career. Today the only core member left is Sam Mthembu who still lives in Thembisa and is occasionally promoting live events. Even though he did produce a handful of artists back in the 70s, his most significant additions to the music industry were the Hot Soul Singers and his event promotions, which is what he is best known for and will most likely be the legacy of his career.

Limited to 800 copies Colour Vinyl

Originally released in 1985 on Creation Records and arguably one of the best from that era. This version is backed with Your Door Shines Like Gold which appeared on the 12” but not the 7''

Limited to 800 copies Red Vinyl
Includes postcard and poster
The Die Young EP was released on the group’s own Cafeteria label, released early 1987. Michael Fury was inspired by James Joyce’s short story The Dead. Only previously available on a 4 track12” .This 7” version comprises 3 of those 4 tracks
Metro Trinity were a short lived Manchester based indie band that included Jon Male, later of Soul Family Sensation and Republica fame. Drummer Colin Rocks, bass player Tim Whiteley and Doves guitarist Jez Williams.
Metro Trinity only other release came on a split with the Inspiral Carpets on Dave Haslam’s Debris fanzine. Which featured the track “Stupid Friends”.
Andy Williams of Doves joined the band later on, but does not feature on this EP. The band split up shortly after.

Mars89 titles his first release Natural Sciences after a year already defined by bacterial outbreaks, drone assassinations and the rise of the right. Across four tracks which range from industrial quom to leftfield electronics, Mars89 supplies the goods to live the nightmare.
White label limited to 300 copies worldwide.

Following the success of their last collaboration with Isaac Chambers and Dub Princess, their multi-million streaming remix of ‘Kryptology’, they’ve returned the favour and refried their 'Back to my Roots' track, adding their own special dubwise flavours to the easy skanking original.

This Record Store Day Dubmission Records are releasing a limited run 7” vinyl featuring both vocal and dub cuts.

7"

Limited to 800 copies Silver Vinyl
Includes postcard and poster
4th and final single from JDDE. Originally released in 1990 on El Records as a 12” EP and now highly sought after. All four tracks are included here for the first time as a 7” single on Silver coloured vinyl.

Limited to 800 copies Green Vinyl
Includes postcard and poster
Their one and only single was originally released in 1985 on Creation and spent 19 weeks in the independent chart. From East Kilbride in Scotland, they morphed into Motorcycle Boy

Moscow's leading deep and underground house label Deepology presents a series of releases, Four Seasons. Four releases, vinyl only, each corresponding to a specific season of the year.

The first record, EP 1, includes four tracks by residents and friends of the label - an international team of the artists from Russia, Ukraine, Germany and Finland.

Limited edition of 300 copies. Spread the analogue love!


DJ Feedback:

Mark Farina, Sascha Dive, Luna City Express, Martin Landsky, Jimpster, DJ Linus, Charles Spencer, Nick Holder, Terry Francis, Jay West, Igor Marijuan (Ibiza Sonica FM), Glenn Underground, Jesus Gonsev, Robert Owens, Patrick Lindsey, Lars Behrenroth, Carlo Gambino, Mucho Soul, Finest Wear, Fer Ferrari, Sumsuch and more.

Music With Soul returns with another genre-defying instant classic, expanding the limits of the Tropical Dance music universe.

Staying true to the label's essence, founder Alex Figueira places a high bet with this new release, introducing a brand new breed of traditional “Hindoestan” (Indian diaspora in Surinam) music and Cumbia. Taking the music of underground Surinam musician and empresario A. Bechan for an explorative excursion into the depths of the Colombian caribbean coast, this explosive combination raises the bar unquestionably. Equally weird, groovy and trippy, this 45 will turn any party upside down, regardless of any factors. The only problem you will encounter is what to play after. The solution is right on the other side. Just flip the record and give them the Instrumental version, featuring electric guitar, an alternative percussion set up and the beloved classic Juno-60 synthesizer in the leading role for another 4 minutes of dancefloor catharsis.

Founded by ordained bishop Larry H. Jordan and his brother-in-law Frank Tinsley in the early 1980's, Enlightment was among the first groups to fuse modern R&B production with gospel themes.

After providing the group’s ultra-rare debut album Faith Is The Key with a proper release, Nature Sounds is now making another lost classic from Enlightment available to the world. “Agape Love” was
a 1988 promo-only 12” single pressed in anticipation of a second Enlightment album, which unfortunately never came to fruition.

Previously only available in extremely limited promotional quantities, “Agape Love” has been re-pressed off the original vinyl parts and will now be hitting record shelves worldwide. “This is well-deserved reissue,” says famed DJ and record collector Kon, who calls the record “a lost gem that slipped through the cracks of obscurity.”

Originally released in 2008 as a limited edition CD. ‘Sniper Beats’ is now finally available on vinyl from KingUnderground. ‘Sniper Beats - Underscores for Drama & Action’ Contains 13 instrumental tracks from Mr Parker’s vast production collection. Each track was originally selected by Lewis and recorded raw, straight out of the SP-1200 (with no external samplers involved). Those same tracks have now been remastered for this much anticipated vinyl release.

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

Palette 71 kicks off with legendary Warp artist Plaid on remix duties. Transforming the title track, re-synthesized 909 samp-les and lua scripted sequencing, Plaid builds melodies and ar-rangement to epic proportions in classic Plaid fashion.

Tejada’s new EP is an homage of sorts to the sample heavy production style of the late '90s. "Limiting the options and just creating and manipulating a batch of samples is my happy place,” says Tejada. The title track hints back to a personal favorite, Optical’s "Moving 808s." While the sound is quite different, the approach is similar: samples, editing, some fil-ters and not a whole lot more opens up a lot of creative possi-bilities without too much getting in the way. Of course, the bass plays an important role. Combing through some older influences of varying styles, the production became more in line with Tejada classics like “Timebomb” and “Western Star-land,” both sample collage pieces focused on groove.

The final track, "Infinity Room" also follows this production process while resulting in a slightly moodier sound.

Did you get the memo?

Still waters run deep.
We're pleased to introduce you to mysterious Clive From Accounts; number cruncher extraordinaire by day, totally f'ing awesome music producer by night.
No seriously, we're amped that we are able to release this EP by the self proclaimed "regional tiddlywinks champion" and "all-round beige sky thinker" Clive.
Who says office workers are drones? Loitering around the coffee machine surely has had no bad effect on his creative juices!

When we got an email from Clive with a demo called 'Bisou' we were blown away. Production quality was top notch and it really stood out from what came in our inbox.
So over the course of a year we asked him to fill out an EP next to his busy work schedule. The end result is a record with three very strong tracks, each with its own character.
'Keep Movin' is perfect for big dance floors and filthy sweaty clubs and 'The Trouble With Clive' has that beefy garage thing going on.
With a name like 'Bisou' you'd expect something kissy kissy, but it's a floaty warm, stabby breaks affair with nods to the classic deep sound.

Ahhh, we need you to go ahead and buy this stunner on limited edition wax. So um, yeah if you could do that, that'd be great. Oh, and next Friday is Hawaiian shirt day.

Pretty Pink is still back on track! Her new interpretation of one of the famous dance tracks of the 90's is massive. There is also an incredible remix by Aka Aka on the limited vinyl edition.

The Brewmaster General (Brew Records, War Games) makes his long awaited debut on L.I.E.S. Currently, Amsterdam's bearer of the underground torch, Mr. Bergman follows suit in the tradition of his BREW label delivering his signature brand of chaotic jacking house madness over four tracks. Expanding on forefathers Sleezy D, the experiments of DJ Rush, or the Muzique clique, Bergman runs his tracks through the meat grinder serving up some of the most psychedelic house out there in this day and age. Limited to 300 copies. Strictly for the heads.

Protoelectronics psychedelic Mexican Holy Grail rediscovered by Glossy Mistakes. Inspired by Vangelis, Tomita or Kraftwerk, this unknown rarity gets a second life sounding fresh and pioneering today.

Tito was born in 1946 in Ciudad de México, the son of two Spaniards. Since he was a youngster, he had felt the passion for music and instruments. In the meantime, he started a career as architect. Since his early years, he joined various teen rock bands, where he played bass and guitar. Slowly but surely, his interest in synthesizers started to grow. And the rest is history. Tito defines himself as an “electronic sounds fanatic”. Quetzalcóatl is a truly authentic cornerstone in those terms: an inspired and eclectic artist gives shape to a unique sound through legendary synthesizers such as the MiniMoog or the Arp Odyssey. His passion was so embedded that he even built his own guitars and equalizers; some of which appear on this LP.

Quetzalcóatl, his debut solo album, was originally recorded in 1977 (now remastered) in his bedroom using a four-channel Sony recorder in a truly DIY way. This álbum could be considered as a rarity. But if we listen hard enough, we find a pioneering treasure. Somehow, Quetzalcoátl anticipated the sounds of future decades with simple but inspired compositions. It is a mythological trip to the Pre-Hispanic México. This album is an allegory of the Aztec world. Quetzalcoátl is the most important God for Mesoamerican cultures: it represents the inherent human dualism between the body (represented by the snake) and soul (the feathers). In the song “Profecía”, Quetzalcoátl emerges, announcing the end of the world at the hand Spanish colonialism. Limited edition, 600 copies, remastered in Amsterdam by Wouter Brandenburg.

New Zealand/Aotearoa is an island known for its lush nature and unique geographical positioning: at the centre of the Water Hemisphere, its surreal blend of beauty and isolation has a distinctive effect on its inhabitants and the art that they create.

With NZ ELECTRO, INDEX:Records brings to the fore one of the genre mutations caused by this unique environment, hoping to expose the people pushing dance music deep in the Pacific.

250 limited edition 12" vinyl in white polylined inner sleeve and purple card outer sleeve.

BLACK BONES are back to outdoor digging it seems, coming over all Balearic for this, their 7th outing !

Not a cm of precious vinyl wasted again as we get another indispensable 4-tracker deftly combining excavations from the Scottish highlands, a buried blue beat classic, and some more of their expertly unearthed idiosyncratic pop from the tiled discoteca's of yore...

Limited, hand-stamped vinyl 12"

We instantly fell in love with Razen the first time we saw them live in September 2018. It was during a unique Sunday morning mass at the Friedenskirche (which translates literally to mean ‘the church of peace’), as part of the Meakusma Festival. Slightly sleep deprived and still euphorically intoxicated from the night before, their performance in front of a full mass of devotees had a biblical aura to it from the first note they played. They delivered a stunning set which was somehow, paradoxically, both relaxing and formidably tense.

Two years later and the group are now bringing their talent for restraint and slow tension-building to the fore on “Robot Brujo”. Each of the six improvisations on this double LP is made up of the barest of materials, with the three musicians relying on a limited combination of tones. They lay their focus on small variations in timbre, timing, articulation and vibration, which creates a narrowing of consciousness, and feels something a bit like staring meditatively at the minute changes of leaves blowing in the wind.

Recorded over two sessions, in what Razen themselves refer to as their detached playing style, "Robot Brujo" stands as an auditory magnifying glass of concentration, in all its uncanny and minimal glory.

It is yet another new step up from the deep listening ensemble from Brussels, after 10 years exploring music together.

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series:
Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza