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H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

Composer duo Kaae & Batz release hazy electronica single and announces new album L.U.S.H on vinyl. Kaae & Batz, the duo behind the Netflix series Bordertown’s score, is ready with a new album. The first single “Into the Void” is released 15th September, while the album L.U.S.H lands 29th October both digitally and on vinyl on Copenhagen- based record label StereoRoyal.

The album is a collection of reflective and melancholic cinematic tracks with clear references to jazz and neo-classicism where organic elements merge with electronic textures and emotional vocal samples. The album is teased with the first single “Into the Void (Part 1)” – a dark and hazy dystopia accompanied by beautiful piano chords. The album came to life on a 14-day trip to Istanbul and the majority of the tracks, including the first single “Into the Void”, are created entirely from samples and programming.

Kaae & Batz has previously released two albums, Basement Tales (2015) and Mosaic (2019), as well as composed scores for several international film productions which have garnered attention and critical acclaim in the industry. The story about childhood friends Kaspar Kaae (CODY) and Brian Batz (Sleep Party People) dates back to their teenage years in Bornholm where they were both born and raised. They went to high school together, cultivated their shared interest in music, and played together in bands. These years became the cornerstone of their friendship and musical collaboration.

With L.U.S.H, Kaae & Batz shines a light on Danish electronica. The album is released 29th October on a limited-edition LP (180g) and on all streaming platforms.

Between the 60s and 80s, Albert Verrecchia played a major role in Italian pop music and on the European disco and Afro-cosmic scene, both under his own name and under the monikers Albert Weyman and Albert Prince. He was the keyboardist of legendary Italian-French r'n'b band I Pyranas, served as a session Hammondist for singer and TV star Raffaella Carrà, and produced the disco trio Belle Epoque as well as the debut album of singer-songwriter Alan Sorrenti. Among his many incarnations, in the early and mid-70s he also composed a few soundtracks for Italian genre cinema, including for movies such as the poliziottesco Roma drogata, la polizia non può intervenire (Hallucinating Trip, 1975, Lucio Marcaccini) and the erotic drama Tecnica di un amore (1972, Brunello Rondi).

The score he wrote in 1975 for Il tempo degli assassini (Season of Assassins, a film about a gang of criminal youths who terrorize the city of Rome in the already violent 70s) is certainly his most accomplished work in the genre. Conceived for a small ensemble, it was written almost entirely on the spot in the recording studio. Verrecchia himself played the Moog, and his dynamic and percussive approach to the instrument resulted in a style midway between funk and proto-disco. A modern rhythmic style - or Ritmico Moderno, which is the title chosen by CAM for the LP containing the soundtrack and released two years later as part of a promotional library music series only distributed to film professionals and radio and TV programmers (CML series, cat. no. 131). One is led to wonder whether it was thanks to that LP that, in 1977, three pieces from the soundtrack found their way into another film about youth gangs, the Spanish Perros callejeros (Street Warriors), written and directed by Jose Antonio de la Loma. On a side but important note, there's the added bonus of popular 70s and 80s entertainer Sammy Barbot singing on Gang Leader alongside female vocal group Baba Yaga. What a pity that Verrecchia's career as a film composer ended here!

Believed to have been recorded in 1983, ‘O Filho Do Homem’ is a newly discovered and previously unreleased single by the late Brazilian composer and keyboardist Ana Mazzotti. Though it’s her only known studio recording of the decade, ‘O Filho Do Homem’ is one of several unreleased compositions Mazzotti and her band performed on TV Cultura and Programa MPB during the 80s.*

These performances showed Mazzotti had transitioned towards a harder edged and more daringly experimental sound in this period, while keeping the core components of samba, jazz and funk that characterised her two studio albums from the 1970s, Ninguem Vai Me Segurar (1974) and the self titled Ana Mazzotti (1977). This evolved 80s sound had evidently taken a similar path to that of her contemporaries and mentors, like Azymuth, whose keyboardist José Roberto Bertrami arranged her debut album, and Hermeto Pascoal who described her as “a super musician.”

Following the resurgence in appreciation for Ana’s music that arose from the 2019 reissues of her two studio albums, her son Toni Mazzotti was compelled to re-examine the archive of artefacts he’d inherited from his parents. Amongst the LPs, chord sheets, photos and VHS recordings, Toni stumbled upon a mysterious reel of tape, which he swiftly dispatched to the Far Out office in London. Toni and the Far Out team were delighted to discover the mystery tape was a hazy jazz-funk gem recorded by his mother (and father, drummer Romildo Santos) during the twilight of her short career; Ana Mazzotti sadly passed away in 1988 from lung cancer at the age of just 37. Aside from Ana on keyboards and vocals and Romildo who produced and played drums on all of Ana’s recordings, the line-up for the quartet is unknown.

“O Filho Do Homem” will be released on 7” vinyl and digitally on the 10th December 2021 via Far Out Recordings.

Recommended if you like: Com Truise, Toro Y Moi, Tycho, Tourist. British Columbia producer Jamison Isaak didn’t anticipate an adulthood of globe-trotting songcraft, but teenage exposure to iconic French house music videos cast a spell on him that still holds: “I knew then this is what I wanted to do'’ Catalyzed by synthetic sights and sounds from oceans away, he patiently taught himself primitive software and recording programs, reverse engineering the heady, swooning horizons of the dance music that had permanently bewitched him. A decade later, having amassed an expansive discography of soft-focus synth pop and romantic electronic a crisscrossing the planet many times in the process the subtext of his project’s journey rings clear: “Teen Daze is dream fulfillment'’ Enter Interior. An ode to electric futures glimpsed in ecstatic heights, from bedrooms to big rooms, it’s an album of first loves refracted through prisms of wisdom, wounds, and wonder. Filter house and flashing lights; soft acid and vaporous neon; bumping clubs in spiral towers: “Like what the teenagers in Akira might be listening to'’ Collaborative cameos by multi-instrumentalist Joseph Shabason (on sublime fantasia opener “Last Time In This Place”) and vocalist Cecile Believe (on the glitch-glamorous anthem “2AM (Real Love)”) evocatively expand the record’s palette but otherwise Interior is Izaak’s love letter to his own artistic awakening, to the paradigm shifts inherent in youthful discovery and remote dreaming — your world exploded, your life forever changed. Years of devotion and divergence have honed his craft radically; tracks like “Nite Rune “Nowhere and“Translation”are among the most supreme bangers in the entire Teen Daze canon, a delirious fusion of textural finesse and emotional transcendence. It’s music of skylines, escape, and sensual energy, forever cresting through nights that never end.

Butterbandz returns with another absolute BANGER of an EP ‘King Heroin’. This is his second EP on the 7 Days Entertainment imprint and he is serving up some DOPE tracks. From start to finish you’ll be sure to find a groove you’ll enjoy. ‘Prometheus’ starts off the EP with an energetic techno track. It’s got a punchy synth over a sub bass with dreamy synth chords and some rockin’ drum programming. The second track ‘Get Down’ is simple yet effective. It’s got that Detroit feel that we all love and enjoy. Not really structured, kind of just flowing. The drums are knocking and the hi- hats are keeping up that energy. It’s a got a rough rugged bass paired with a synth that carries feelings of deep rage and clarity. Tying it all together is the vocal sample. For the title track ‘King Heroin’ Butterbandz teams with his older brother Generation Next to create this gem. It’s got some deep emotion but it will make you move nonetheless. Excellent high energy drum programming, distance reverbed synth pad, catchy piano pattern, in your face lead synth, and a off putting sub bass. These two artists make a dynamic duo. Lastly is ‘OD Soundtrack’ tying together a hard hitting EP with a little laid back tune to take you to a higher more peaceful place. The synth pad carries that smooth calm sound and then the kick is in your face out the gate. It’s got some airy flutes and grooving lead synth. This EP is going to be a staple in the growing legend of Butterbandz.

CMD aka Corina MacDonald is a Montreal-based DJ, producer and host of the program Modular Systems on CKUT 90.3 FM. She has released on JACKTONE, EXPERIMENTAL HOUSEWIFE’S PERFECT LOCATION RECORDS, FUR TRADE RECORDINGS, and BASIC_SOUNDS. For her vinyl debut, she brings us four entrancing, slightly dubby and acidic techno dance floor cuts perfect for the smooth edges of the late night.

The A-side opens up with “Social Factory Reset”, modular jacking techno with an infectious acid swell and patient pads. “Shaping Inner Space” is an apt title. The tempo is slightly faster than A1, and it sounds like an extraterrestrial night out. Euphoric synth twists bring in the break while the bass drum toys with the rhythm only to zap it back home with the force of cosmic gravity.

“Dream-Life Cycles” opens up the B-side tough, with an acid line and bass drum syncopation sure to bring out the stomp. Modular tweets fire off in stereo; pads bring in the harmony; and a nuanced and pleasantly surprising vocal line brings the euphoria on home. “Body Locked” closes the EP with an athletic, cosmic techno track that doesn’t shy away from the trance palette. Step out of your body and onto the dance floor!

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound.

Unforgotten is a British crime drama television series. The program follows a team of London detectives, led by DCI Cassie Stuart (Nicola Walker) and DI Sunny Khan (Sanjeev Bhaskar), as they solve cold cases of disappearance and murder. Each season deals with a new case, introducing seemingly unconnected characters who are gradually revealed to have some relationship with the victim. Seasons 1 to 4 were broadcasted between 2015 and 2021. A fifth series was announced, scheduled for release in 2022.

Unforgotten has received critical acclaim, with Tom Courtenay winning the 2016 BAFTA TV Award for Best Supporting Actor for the first series and Mark Bonnar winning the 2017 BAFTA Scotland for Best Actor in Television for the second series.

Michael Price is one of the UK’s most sought after composers. His debut album Entanglement (2015) was critically acclaimed by furthermore Rolling Stone, Uncut and Clash. His work for film and television has been widely recognized in general, winning an EMMY award in 2014, a BAFTA nomination and 2 further EMMY nominations for his score with David Arnold for the critically acclaimed BBC series Sherlock.

This is a limited edition contains of 1000 individually numbered copies on crystal clear vinyl. The LP package contains liner notes by Andrew Collins and Michael Price.

10Questions is a record label by Dam Swindle’s Lars Dales and graphic designer Bas Koopmans. After two prolific first releases, 10Questions drops another EP, this time by long time friend and synth wizard Lorenz Rhode. Lorenz finds himself exploring the depths of 80’s inspired Italo disco with a modern touch. Just how we like it.

The ‘Le Noir EP’ is spearheaded by two A sides of which title track ‘Le Noir’ is the first one. “Le Noir’ features the sensual vocals of ‘Margerita’ and is one of those tracks that we love instantly because of it’s strong theme and even stronger execution. Italo drama in optima forma. The chord progression on this track gets you hooked and never seems to end; a perfect example of why we call Lorenz the ‘synth wizard’.

The second A side ‘Yayoi’ is a track with a big nod to Lorenz’ memories of 8bit games and early days music programming. This track pulls you in from the start with an emotional theme but with the drop into bassline and percussion it’s clear this theme is not one to linger on. The addition of both claps and stabs add loads of energy on top making this track a wolf in sheep’s clothing.

The full B side is reserved for ‘Pan Di Stelle’ and is the exact counterpart of ‘Yayoi’. It starts of with an Italo inspired bassline and with the percussion on top, it immediately dictates the energy. Only after the two minute mark the spacey theme comes lurking around the corner and fits perfectly in it’s own sonic pocket. This track is a another example of Lorenz’ expertise in utilising vintage synths and why he has been immensely popular for his production and playing skills.

10Questions is a label build on the concept that the record and record sleeve are an integral part of the full experience of an EP. The artist is given a questionnaire and depending on his/her answers the artwork is made. This way the music and art co-exist in the same creative universe, that of the artist and the label alike.

Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analogue copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.

While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.

In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.

Indeed, even the album's cover - an iconic photograph by Toni Frissell - exhibits the surreal, almost-hallucinogenic properties of the fare contained within.

A new expanded reissue of the sold out & extremely limited LP from 2017. Concert recordings spanning the 1950s to the 1980s from opera singer Mary Mazzacane, the mother of guitarist Loren Connors.

“These recordings, no matter how rough the sound quality, capture the essence of the art of bel canto soprano Mary Mazzacane. Born in an Italian American neighborhood (Fairhaven) near Yale, she was one of the first women to graduate from the Yale School of Music. Ms. Mazzacane, who was active on the opera stage from 1947 through the 1970’s, playing leading roles in Madame Butterfly, Tosca, Amahl and the Night Visitors and other works, left no commercial recordings. All we have is a shoebox full of muddy practice sessions and live performance recordings on barely playable cassette tapes, along with a few radio broadcast acetates… Throughout these pieces, her voice has a unique inner warmth and a beautifully clear tone, the closest I know to the pure clarity of bells.” - Loren Connors

Second edition of 250 copies, including 12″x12″ double sided insert of program notes and photos.

strumentalist Teddy Lasry's story is noteworthy not just in regards to the music he released, but in the ways approached the craft of composing and experimenting with sounds and sonics.
Always intrigued with the capabilities of instruments, their groove and their feel, it was very much his family’s influence that helped to fuel these life long affections. As a performer in a parisien cabaret, Teddy’s father Jacques would mingle with giants like Serge
Gainsbourg and Charlie Chaplin (impressed by his ability to improvise, Chaplin wanted him to become his accompanist, but the pianist politely refused). Jacques and his wife (Teddy’s mother Yvonne), would later become members of the innovative experimental group Les Structures Sonores, and surround their children’s lives with sounds. Electronic music was still in its infancy and Les Structures Sonores, with their resonators that produced long, mysterious tones, were deemed ‘cosmic’. It was the era of the launching of the first Russian Sputnik and every time a radio or television station wanted music for their science fiction programs, they turned to one of their compositions. Showing a natural ability with multi instrumentalism, Teddy was rewarded with a spot in the band, allowing him to really explore unconventional methods of composition.
Following a brief stint with Ariane Mnouchkine's avant-garde Théâtre du Soleil after graduating school, Teddy joined the pioneering prog band Magma, with whom he would record three groundbreaking records during the early 1970s (According to former member
Laurent Thibault, their album Mëkanïk Dëstruktïẁ Kömmandöh and its sound were strong influences on David Bowie during the recording
of Low and Iggy Pop’s The Idiot at Hérouville). Despite the successes with these projects, Teddy was constantly searching for new ways
of expressing himself through music, leading him into the beginnings of a solo career that would last the better part of three decades.
Teddy’s transition into his solo career came with contrasting fortunes, in that he was now becoming a music to image composer but with the unfortunate realisation that his eyesight was gradually worsening (due to being diagnosed with retinitis pigmentosa at an early age). Nonetheless, his solo career would begin in 1975, and for the rest of the decade his sound would become increasingly mired in electrified Funk-Fusion and its endless sonic possibilities. The resulting music would serve to highlight Teddy’s love affair with the possibilities found within tireless instrumentation, with the flute and particularly synthesisers becoming a mini-obession of his (he once spent a 7,000 Francs loan, which was meant to be spent on fixing his roof, on synths).
To this day Teddy continues to record and experiment with music, a passion which in many ways has never left his sid, even at the age of 75. His career was one that was fuelled by innate curiosity and an intrinsic desire to discover new methods of expressionism, be it through the realms of Jazz-Funk, ambient electronics, Swing music or indeed through the medium of instrumentation itself. On this compilation, we look to encapsulate the essence of his innovative sound, and from start to finish a sense of his ingenious approach to composing structure and mood is made abundantly clear. The funk-jazz fusion style that embodied the majority of his 70s work is on full display here, with the vibrant flute driven "Los Angeles", the Miles Davis inspired "Blue Theme", the progressive and driving
"Chamonix", and the deeply intricate "Krazy Kat", along with one of his finest 80s slow jams, "Funky Ghost". Two cuts off the ‘Back To
Amazonia’ album are also featured (Teddy’s last album including his Prophet T8, Yamaha DX7 and Oberheim drum machines). "Raising
Sun in Bali" and the title piece both emphasise an ever present passion for synthesisers. "Birds of Space", a standout track off the e=mc2 album, closes the comp, and is a fitting way to end this journey.
Pulled together in close collaboration with Teddy and his family, this collection of songs looks to introduce new listeners to his work and we are proud to present this limited and carefully remastered compilation on vinyl, including extensive liner notes.

Tape

SectorSept’s ‘954’ is a boldly original record, one which announces the arrival of a singular musical mind. Its creator states that he crafted this EP by trying to make tracks that were ‘a representation of how I believe music would sound in some distant land in the future’. On ‘954’ this vision takes flight in the form of eight multifaceted, genre-defying electronic productions.

To unpack this record one must first understand the myriad influences which feed into SectorSept’s style. The producer grew up between the UK and Florida - indeed, the record’s title references the area code he had while in the USA. His formative years were spent soaking in the dancehall sounds he heard around him in his Jamaican household as well as techno, jazz, Miami bass and the city’s ‘Love 94 Smooth Jazz’ radio station.

All of this and more can be heard in the fabric of ‘954’. The drum programming alone reveals SectorSept to be someone with extremely wide-ranging musical tastes. Cuts such as ‘Get Ready For The Programme’ and ‘Be There’ are powered by deft beats that have Miami bass, Jersey Club, juke and more in their make-up. Drexciya-adjacent machine-funk creeps into the mix in ‘954’s mid-section, ‘Golden Third Eye’ touches on trap, and closing duo ‘Tropic Universe’ and ‘Prize’ bring dancehall dembows to the fore.

The productions of ‘954’ are simultaneously driving and chilled, coasting nicely yet still plumbed with enough bite to do damage on the dancefloor. It’s a feeling which is heightened by SectorSept’s gorgeous textural work. Several of the tracks here soften up collages of vocal clips with wistful, dreamy synths - see the way that club-caller snippets orbit Boards Of Canada-esque keys on ‘Get Ready For The Programme’ or how closing cut ‘Prize’ works both the classic Warp/Planet Mu sound and the pitched-down stylings of DJ Screw. It’s a rich and fully-formed artistic aesthetic, something which is all the more impressive when you consider that ‘954’ is SectorSept’s first official release.

That said, while the overall flavour of ‘954’ is SectorSept’s and SectorSept’s alone, one also finds links to Gobstopper’s previous output here. Those dancehall influences on ‘Tropic Universe’ and ‘Prize’ line the record up with Gobstopper drops like Otik’s ‘Thousand Year Stare’ while the emotive, soulful synth work that has long been a Gobstopper calling card is also in evidence here. Perhaps the thing about ‘954’ which makes it feel most at home on Mr. Mitch’s label is SectorSept’s imaginative futurism. SectorSept is a keen scholar of anime composers Kenji Kawai and Joe Hisaishi, and as such it is no surprise that there is a slightly fantastical quality to ‘954’. This is most boldly expressed on ‘Intuition Segment’, a magic-realist vignette which looks to Oneohtrix Point Never.

Blending ethereal textures with hybrid electronic grooves, SectorSept’s ‘954’ EP uses the sounds, influences and cultural experiences that have shaped its creator in order to build a vibrant vision of the future.

In January 2017 Rufus Wainwright toured with the prestigious all string ensemble Amsterdam Sinfonietta through the Netherlands. Critics and audiences of the ten concerts were enraptured by the intimacy and intensity of the program curated by Wainwright. The concerts reflected the immense bandwidth of Wainwright’s musical influences and interests from Verdi Arias to Leonard Cohen and Joni Mitchell, from Rameau pieces to the American songbook and French chanson and from Wainwright’s beloved Berlioz to his family’s and his own songs, some of them written for this program. Emotional center piece of the album is Wainwright’s almost 9 minute version of late Canadian singer songwriter Lhasa de Sela;s harrowing “I’m going in”, a song she wrote about her own death from cancer at the age of 37. All arrangements were created specifically for the Amsterdam Sinfonietta and around Wainwright’s voice that is truly at the peak of its power. The artistic kinship between Wainwright and the Amsterdam Sinfonietta lead by Candida Thompson is astounding and make these live recordings into something utterly unique and breathtaking. “Rufus Wainwright and Amsterdam Sinfonietta Live 2017” will be released on BMG’s Modern Music Label as vinyl, CD and digital releases with two bonus tracks on the digital formats.
The album was mixed by multiple Grammy winner Ryan Freeland and mastered by Ruairi O’Flaherty both in Los Angeles and is comprised of live recordings from five of the ten concerts.

Keep training!
The Berlin Jazz duo Max Andrzejewski and Johannes Schleiermacher a.k.a. TRAINING and John Dieterich (of Deerhoof) in virtual vastness...
The Corona crisis has presented musicians with difficult tasks over the past year and a half. From album recordings to tour planning. From emergency aid programmes to improvised streaming concerts. There were few musicians who dealt with the difficult situation as playfully as the two jazz musicians Max Andrzejewski and Johannes Schleiermacher from Berlin.
Both have known each other very well for a long time and play together in different outfits. Max as a drummer and Johannes as a saxophonist. Both also like to play synthesizers or samplers. Preferably all at the same time. That's why in the Corona spring of 2020

Having further honed his craft, Reuben Vaun Smith returns to
Soundway Records with a sonic odyssey through lo-fi Balearic
and Afro-Caribbean influenced synth.
Heralded as one of the best summer releases of 2020 (Beat
Caffeine), ‘Warm Nights’ introduced his unique blend
of synth-based balearic grooves, mid-tempo lo-fi beats,
and sun-drenched sonic landscapes. A lush debut and an
inspiring story of resilience from the former football promise
that turned to music production serendipitously after an injury
halted his career.
Smith’s second album continues his exploration into
improvised live instruments and programming, while
venturing into new territories of music-making and genres
including soca, benga and trip hop. Also sliding into the mix
are organic sounds and riffs reminiscent of 2000s Villalobos
sunrise scorchers such as ‘Waiworinao’, keeping the Balearic
thread firmly present throughout the album.
Having learned to sail along the southern coast of Spain in
the last year, Smith spent a winter locked down in Yorkshire,
channeling summer memories into his music and drawing
influences from his own record collection which he would
play everyday in the studio. With a few local friends and his
brother to jam with, the result is dreamy and lo-fi, with more
guitar-led melodies, distant vocals and lush pads.
Smith’s debut album from 2020, ‘Warm Nights’, received an
array of rave reviews and support from DJs including Tom
Ravenscroft, Antal and Bill Brewster. One year later, with
‘Sounds From The Workshop’ Reuben Vaun Smith delivers
a matured, varied sound and a glimpse into his incredible
future potential.

ALTER- : A REACTION TO THE ALTERMODERNISM IN SOUND ART
For the Automatisme - Alter- album. I am inspired by how the art historian Nicolas Bourriaud defines the Altermodernism. Bourriaud understands the term "Alter" as a way to mean "other". The altermodernism would be another modernity that is different from the avant-garde modernism and post-modernism. More precisely, this is a new paradigm from the XXIe century with alternative ways to motivate artists to be more radical in art by traveling in the physical and digital world, by cutting the frontiers and by creating other time lines. I apply the "alter" subject to time and to landscape and those, to the rhythmic and the ambient glitch music.

1- THE ALBUM HAS A RHYTHMIC SIDE AND A LANDSCAPE SIDE.
1- a : The rhythmic tracks are named Alter-Rate. That means that I offer other types of rhythms by calculating beats with time rate experimentations. The form of the rhytmic tracks, expresses a course, a wandering, which, in the altermodern life, is not just in a standard 4/4 , or just grid based or non-grid based, but it's in a complex hybrid of all of those.

1- b : The ambient tracks are named Alter-Scape. That means that I offer another type of landScapes by a paused temporality and not by a random time or by the time of the nature. Alter-Scape tracks mimic the saturated globalized soundscapes of the XXIe century.

2- THE GLOBALISED AND SATURATED TIME
For Bourriaud, the artists respond to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expressions and communications1. The Alter- album tracks have saturated rhythms Rates and static ambient soundScapes. The specific context within which we live is the age of globalisation2. In this album, it means that globalised or always evolving rhythm Rates are in constant movements and are also different every time an Alter-Rate track is exported or performed. On the other hand, a globalised landScape is an ambient track with a motionless temporality. In the era of the altermodern, displacement has become a method of depiction3. The movement of the sound in the Alter- album is two sound spaces. The first is the rhythms that make time movement become apparent and the second is an ambient paused or static time that makes possible to feel and to analyze the movement effect of our surroundings.

3- THE CONSTANT TENSION STATE OF ART
For Gilles Deleuze, art is in a constant state of tension, in as much as it oscillates between the poles of chaos and order4. The Alter- album is a tension between chaos and order in rhythmic beat tracks and ambient soundscapes tracks. It is a deterritorialization of the rhythms and the ambiences of today's natural and digital landscapes and it brings them into the computer glitch music format.

By pushing new softwares to their limits, I push at the extreme the software capacity to calculate and to generate sounds. The Alter-Rate tracks are experimentations with time rates and rhythms with the use of probability and artificial intelligence based sequencers. The partition signal starts from a master sequencer that gets into all instruments on a track. Each instrument receives this signal and modulates it with other sequencers that are each programmed differently for every instrument. Finally, all the instruments signals return to a master output that contains a stutter effect. This master channel is sequencing all other channels into one single rhythm. In short, a single rate merges and expands into a vast archipelago of rates and the transformed signal becomes a new single rate. The Alter-Scape tracks are experimentations with midi triggers that give the sensation of a timelessness. Multiple reverb effects are also routed into each other to create soundscapes of continuity. About the type of sounds created in this album, I do experimentations with deep frequency modulation synthesises (FM) on all Alter-Rate and Alter-Scape tracks.

I put a few layers in the tracks to be able to focus on the time space and perception. The tracks are generative and every parameter uses probabilities to be programmed. This is something that was not possible some years ago. The computers are enough powerful to generate that now. I export many times the tracks and i push the computers to their limits by making hard for them to calculate and to generate the tracks with a deep, a pointillist and an extreme software programming. These techniques do different versions every time that I export or perform a track and in my opinion, that opens a fresh and innovative way to do new experimental club music and ambient music. The computer has its own limits too.


Reviews in The Wire, Gonzo, A Closer Listen, Datacide, African Paper, Silent and Sound, and more

Far View’ is a compilation of tracks from Joel Vandroogenbroeck’s series of library
music releases for the Coloursound label, a uniquely trippy catalogue of music
vignettes long overdue for their day in the library music sun, remastered from the
original analogue reels.
 The late Joel Vandroogenbroeck was among the rare breed of musicians who defy
all categorization, using music conventions to explore the far reaches of human and
cosmic consciousness. After passing through the jazz and rock worlds from the
1950s through the ‘70s, Joel found new outlets for his expansive vision in the ‘80s
with the Swiss library music label Coloursound. ‘Far View’ draws tracks from these
releases, which form a unique entry in the genre of library music. For the uninitiated,
this is just one way to begin a brilliant musical trip through Vandroogenbroeck’s
undersung career.
 A musical prodigy from youth, Joel arrived at Brussels’ classical Music Conservatory
in the early ‘50s, but his studies were curtailed by the revelation of jazz. Soon, Joel
was touring in groups around Europe and beyond with luminaries like Eje Thelin,
Stan Getz, Bob Brookmeyer and Zoot Sims. As time passed, his musical
consciousness continued to expand: time spent in Africa sparked a deep exploration
of the music of the Middle East. The new rock sounds from England, like The Beatles
and Jimi Hendrix, were mind-blowing. And from Germany came the krautrockers,
with something completely else again.
 Vibing on the eclectic energies of the day, Vandroogenbroeck formed Brainticket,
whose approach to composition fused jazz, rock and a mélange of global musical
traditions, combining a Western rhythm section and analogue synthesizers with an
astonishing array of acoustic instruments; ethnic flutes, sitar, harp, kalimba and all
manner of percussion. Steeped in diverse approaches of playing and listening,
Brainticket drew from prog rock and psych, traditional sounds and minimalist music,
all of which passed through their hands like the tributaries that formed the basis of
what would soon be known as New Age music.
 In the late 1970s, Vandroogenbroeck began composing for sound libraries, with
recordings to be used as underlay music in films, radio and television. Gunter
Greffenius’ Coloursound Library was formed in 1979 with an inclusive vision of
music, including experimental, progressive rock, and some of the earliest examples
of ambient music - styles not well represented in other libraries. Coloursound gave
Joel the freedom to create music in any style or genre, and over the next decadeplus, he embarked on a musical journey that is unmatched anywhere in the world of
library music. Working under the pseudonyms VDB, his output on Coloursound is
some of his most sublime and otherworldly - ranging from dark electronics to
imagined music of the ancient past to ethereal ambient sounds of the future, which
makes sense, as Joel’s records were always ahead and in and out of their time.
 Joel VandroogenbroeckJ passed away in in December 2019, while work was being
done assembling this collection. Curated by David Hollander, whose ‘Unusual
Sounds’ album and book of the same name delightfully explore the library music
world, ‘Far View’ draws from ten of Joel’s Coloursound albums with lovely cohesion.
Featuring brilliantly remastered sound, liner notes from David Hollander, album art
designed by Robert Beatty and reproductions of the Coloursound album jackets, ‘Far
View’ is an entry point to Joel Vandroogenbroek’s mind-bending body of work - sonic
soma to expand your consciousness and vibrate with the cosmos.

The first vinyl LP release from Fluxus pioneer Alison Knowles (b. 1933). Sounds from the Book of Bean is an assemblage of noises and texts related to The Book of Bean (1982), Knowles’ 8-foot tall walk-in book constructed at Franklin Furnace in New York. This recording, the sounds of making the big book, was continually played back inside of the installation. Echoes of Yoshi Wada hammering together the circular spine of the book, other collaborators mixing ink, feeding a horse, the flowing waters of the Hudson Valley... all superimposed with texts and poems read by Knowles and her daughter Jessica Higgins.

On the second side of the album, the piece Essential Divisions features Knowles performing with red, black, and white beans. Recorded in Annea Lockwood’s underground studio, Knowles sounds the beans in glass, ceramics, wood, as well as in her mouth. Further bean histories and sound poems are recited, concluding with “Popular Bean Soup” – an ancient recipe translated by George Brecht.

Knowles’ big books are, as she describes them, transvironments: a transformationally experienced environment. The phenomenological nature of her book is distilled aurally in the case of this record. As Knowles describes the end of her book, “the reader leaves via a ladder or out the window and through a muslin panel printed with contradictory wisdom concerning beans and dreaming… one can begin again either by going on or turning back.”

Originally published as a cassette in 1982 on the New Wilderness Audiographics label, this remastered edition has been transferred from original tapes. An expansive 20-page booklet is included, holding graphics and writings from Alison Knowles, George Quasha, and Charlie Morrow.

Recorded by Alison Knowles, 1980
Produced by Alison Knowles, Sean McCann, & Charlie Morrow
Design by Alison Knowles, cover image courtesy George Quasha
Jessica Higgins adds voice to tracks 1, 3, 4, 5

Since her debut onto the techno scene with the 2018 release of her EP 'Post-Traumatic Rave Syndrome' on Paula Temple's "Noise Manifesto" and a string of international festival and club appearances, Femanyst has gained a reputation for militant individuality. Akua Grant sets herself apart from the crowd with her aggressive & unrelenting industrial techno sets tinged with elements of Hardcore and Gabber. She has become known for her rebellious and innovative style in her adopted home of Berlin. Her self-assured approach to gripping and brawling techno tension sees her perform a fast paced and fervent flow on the dance floor. Femanyst continues to bring her unapologetically bold signature sound with her own techno imprint "Dark Carousel" as an extension to her much revered DJ sets of twisted and aggressive, high octane electronic music.


A2 Fluid - Post Industrial Transformation
Fluid is a queer DJ and producer based in Berlin. Supporting FLINTA* DJs, producers and party events are one of his priorities. His first release begun in January 2021 and he is still modelling his sound. His interest in electronic music goes from industrial techno to ebm to trance to hypnotic techno.

Post Industrial Transformation is a track which combines aggressive sounds and a lot of industrial elements. The transformation refers to Fluid's evolving own path. This evolution is similar to the tension that builds up all through the track. This track evokes change, modification, passage from one form to another.


B1 Hybral - Unheard Voices
Hybral is a Berlin-based non-binary DJ and producer drawn to eerie energetic industrial techno. They mix and produce haunting techno, EBM, and noisy-driven experimental sounds. Hybral's productions are made of dark atmospheric patterns linked with pushing percussions and basslines as well as heavily distorted kicks and harsh industrial noises. Mixing DJ sets the track selection is ranging from contemplative ambient to stern and fast techno - connecting vast influences from Hybral's personal experiences of spending days and nights on Berlin's dancefloors. They are founder of the queer label, podcast, and event series 'Subverted' which focuses on a distinct program aiming to lead dance music back to its roots of resistance and diversity.


B2 Marsch - Mrs. Jones
Marsch is a Berlin-based dj and producer from France, who initially began 8 years ago as a music curator and selector. She started to produce when she moved to Berlin, and has mostly been focusing on this for the past few years. She would define her music as a balance between melody, energy and texture, with a blend of minimalistic elements, rhythmic and percussions, and voices and futuristic synths.


DURCH BLN/TLV is a queer collective with a clear vision of solidarity and community building. DURCH operates in Tel Aviv and Berlin trying to bring queer people together, building a culture of inclusion, diversity and tolerance. In the tradition of original raves DURCH organizes solidarity events ranging from parties, to art and community events, with the strong belief that raves are a much needed place for people to come together, celebrate their diversity and learn to respect each other. Musically DURCH is eclectic inspired by hardcore, straight forward techno, ghetto and scouse house and 90s acid.

We proudly announce the release of our first vinyl record "dogged boldness". This is a long held dream by the entire crew. With Femanyst, Hybral, Marsch and Fluid we are happy to showcase four artists that are close and dear to DURCH BLN/TLV. The record is a compilation of four hard-hitting, inciting techno tracks. Rough, bold and aggravating, just the way we like it. We are proud that we are able to continuously work with queer artists and to be a platform to further queer artists visibility.


Disclaimer: The world needs more queer artist, more queer music, more queer techno, more queer perspectives, more queer love and more queer intimacy.
No place for any racist, sexist, trans- or homophobic shit.

Artwork by Rory Midhani
Mastering by Chlar

Shkema's debut EP 'Kronikos' is a double release with four originals and four remixes. The author describes it as 'world news show, where each song represents a different story'. Some of them he has experienced himself, some are hearsay from TV news programs, and some are actually imaginary. Stories are not really related - just like in the news. 'Ispanija' was created during a friend's band rehearsal. Psychedelic vocals sounded interesting in Shkema's headphones while he was watching soundless singers and the muted musicians. The true reason why this track is called 'Ispanija' is still unknown to this day. According to Shkema, 'Ola' is an allegory of Plato's cave. It's a story about prisoners, chained in the cave and the only moving thing they could see was a passing shadow - quite deep, uh? Justin Strauss and Max Pask recently have joined up to form new project Each Other. True dance floor legends delivered bass-busy remix of 'Ispanija'. It could probably be best described as 'juicy distorted badboy from New York you don't want to mess with'. Moscow's finest - Simple Symmetry - joined the pack and went back to the roots. Their remix for 'Ola' is future clubbing classic, four to the floor banger with a drop perfect for pogo.

All Detroit Techno, taken from the album DnA

After a monster year for Vince Watson, with releases on Get Physical, Tronic, SushiTech, All Day I Dream alongside his own Everysoul Audio and a host of remixes, he now ends 2021 brining his label’s biggest and most adventurous release to date: ‘DnA reSequenced’.

After the massive response to his 18 track ‘DnA’ album in 2019, Vince had a vision of having some of the tracks remixed by his favourite Detroit ‘flavoured’ artists from the 3 places that musically have made it all possible for him: Scotland, Amsterdam, Detroit.

So it is with great pleasure that Everysoul can announce remixes by none other than Carl Craig, Claude Young, John Beltran, Jon Dixon, Shawn Rudiman, Stephen Lopkin, Steve Rachmad and Stephen Brown.

Planet E boss Carl Craig is no stranger to Vince’s work, having released 4 of his singles on Planet E and previously remixing his track ‘It’s Not Over’. His remix of ‘Holographic’ takes the heavy synth lines into typical C2 remix territory, building and building with layers into a crescendo.

Jon Dixon may be one of Detroit’s rising stars as a solo artist, but as a band member of Underground Resistance and Timeline, he plays with some of the best Detroit Techno groups around: Galaxy2Galaxy and is a classically trained pianist. Jon’s releases over the last few years now showcase his personal styles and Vince was desperate to work with him, with a keen respect for his musicianship. His Remix of

John Beltran has been one of Vince’s favourite producers for over 25 years and his Pan Am remix is a journey of blissful Beltran fusion styles.

Claude Young takes his remix into a completely new and different direction, moving from the Electro of the original into an experimental masterpiece, respecting the tricky chord programming of the original and adapting into sounds that only Claude Young is able to extract.

Steve Rachmad is one of Vince’s closest allies in Amsterdam and having worked together on many projects over the years, Steve was the first name on the list. His 4/4 edition of Second Wave takes the deep Detroit chords and harmonies into a much darker and groovier direction, with early Transmat character and the funk that Steve Rachmad is known for.

Shawn Rudiman’s remix is a no nonsense straight to the floor banger, taking all the elements of the original into a much more streamlined and live improv version for the floor rather than the head.

Stephen Lopkin is one of Vince’s favourite Scottish producers and his remix takes the original into his own unique style and identity. The original had very unique chord progressions and timing and Lopkin was able to successfully extend this to make it even more complex but with a seamless flow that keeps the groove flowing.

Stephen Brown is also a top Scottish producer who Vince has been supporting and spinning for over 20 years, and his remix of Immersion removes the fluffy jazzy elements from the original and opts directly for the dancefloor, taking Immersion into new territory.

DnA

PT 003 –Borrowed CS –Balance|AscendEP PT003 sees Planet Trip take a Trans -Tasman journey to Wellington, NZ for a new EP from the prolific Borrowed CS, alter ego of Lord Echo Drummer, Cory Champion. All four cuts on the EP see his deft drum programming laying a foundation for a tough and diverse record. The A-side holds thepercolating jack track‘Balance’ and the bleepy cinematic synthwork trip “Ururangi”. Flip it over and you’ll find the infectious outsider boogie jam“ Mystic Shuffle” sitting comfortably next to the hazy and dubbed out club construction Ascend (Model 101). Club and or lounge room ready.

Limited to strictly 300 copies. No repress.

Singer/songwriter and guitarist Jayan Bertrand, bassist Josh Ewers, electronic drummer Josue Vargas and guitarist Dion Kerr have coined new genre “Caribbean Jazzgaze” to describe their wholly unique combination of jazz, shoegaze, rock, hip-hop, and Afro-Caribbean rhythms that is Seafoam Walls.Seafoam Walls caught the attention of cultish music and art communities around South Florida with a soundtrack befitting of their dark tropical paradise, and have remained a Miami secret since 2016. Bandleader Jayan began his journey as a musician listening to metal and classic rock. His first formal lessons after a year of self-taught practice came from a family friend and talented jazz guitarist, Bemol Telfort. Although jazz wasn’t his first love but opened his heart to explorations of free improvisation which led to an introduction to Dion, Josh, and Josue — all active members on South Florida’s jazz scene. Seafoam Walls released their first EP, titled R-E-F-L-E-C-T in 2018 and ROOT in 2019 via Bandcamp. The band recently attracted international rock n roll consciousness following a secret all-ages matinee in the gardens of North Miami’s Centre for Subtropical Affairs with DC hardcore photographer Susie J (Teen Idles, Minor Threat, et al.) and Sonic Youth’s Thurston Moore front row centre. The Miami indie band completed the eight-track album entitled XVI earlier this year. Norwegian sound artist Lasse Marhaug mastered the work, and the band will stream three singles through the summer and autumn months before releasing the complete album at the end of 2021 on seafoam-green coloured vinyl via Daydream Library Series.

German electro producer Martin Matiske has recently breathed new life into his Blackploid alias. The project's revival continues to bear fruit with the Strange Stars EP, Matiske's third Blackploid release of 2021 and second for Central Processing Unit after issuing March's Cosmic Traveler EP through the Sheffield label.

Blackploid's two CPU drops have more in common than just stargazing titles. Those who enjoyed Cosmic Traveler will find plenty to like again in these four tracks, with Matiske serving up another quartet of snappy machine-funk joints this time around. However, while there is certainly a throughline between Cosmic Traveler and Strange Stars, this EP also finds Blackploid pushing the envelope at points by taking risks with his synth tones which thrill and enliven the record.

In keeping with the cosmic theme of Blackploid's recent output, Strange Stars kicks off with 'Star Patrol'. While this opening cut is full of the same needle-gun basslines and dinky synths that characterised Cosmic Traveler, the drum programming eschews the broken beats favoured by many in the scene for a straight house/techno snap. It makes for a very groovy jam, one with Drexciya, Computer World-era Kraftwerk and a pinch of Space Dimension Controller in its mix.

Indeed, the only track on Strange Stars which skips along on a broken beat is second entry 'The Signal'. 'The Signal' also features some of Blackploid's most impressive electronics programming to date, announcing itself with a brilliantly unusual synth that sounds like an old video game unit which has just gained sentience. When this alien tone is combined with another precision-engineered bassline the track invokes the grizzly bangers of the L.I.E.S. label, though the keyboard stabs which enter periodically also hint to the funkier electro of, say, Egyptian Lover.

'The Unseen', the first B-side of Strange Stars, finds Blackploid bringing together many of the things which made the two previous tunes such standouts. A steady four-on-the-floor and a slightly haunted feel to the synth choices casts back to 'Star Patrol', but much like 'The Signal' this joint also features some rather weird tones which are a hair's breadth away from machine malfunction. It's a feeling which runs through to closing cut 'Light Corridor', a number where melodies and anti-melodies zip around an array of gurgling electronic cells.

Martin Matiske's fine run of Blackploid EPs continues with the intergalactic electro stylings of Strange Stars.

RIYL: Drexciya, Cardopusher, Legowelt, Beau Wanzer, Jensen Interceptor

Echolocation is the debut album by Pamela Z, the pioneering Bay Area intermedia composer and performance artist. Written and recorded over three years, and self-released and distributed on cassette in 1988, Echolocation is genre-defying document of Z’s earliest experiments with live voice and delay, and the impetus of an artist’s three decade search for sounds yet unfelt.

Born and raised in Buffalo, New York, Z traded one snowy backdrop for another to attend the University of Colorado in Boulder at the tail end of the 70s, where she pursued a degree in music while taking local gigs covering Joni Mitchell and Malvina Reynolds b-sides on an acoustic guitar. While a host at KGNU, Z discovered a vast world of avant-garde music in the community radio station’s library, and was inspired to create towards, and alongside, the fringe sounds she pulled from the stacks and broadcast. This revelation intersected with a new era of accessible and affordable instruments and home recording technology, and a diversifying community of artists self-releasing music on cassette and finding an audience through underground publications.

Z moved again to San Francisco in 1984, legally changed her last name, and furthered her practice of vocal processing in live environments. A city simultaneously nurturing and stratifying the free spirit of the two decades prior, Z assumed an immediate role in the Bay Area’s interdisciplinary performance art scene, and began curating Z Programs, her own concert and event series.

MSRG is back on Between Places. The setting is really positive, which is really refreshing. Bassline programming, melodies and beats fit perfectly together and give that special amazing vibe. One not to miss!

If one always looks at the sky, he will end up with wings, a wise French man once declared. Halifax, Nova Scotia based musician Jeremy Costello had wings, long before he looked up. Wings of imagination. Brandishing in his head, transforming deep-rooted emotions into poetry and sound. Since 2012 the Canadian self-releases music as Special Costello, a moniker under which he records solo or with local friends like Saxophone player Nick Dourado or guitarist Dave Burns. His lyrics are sincerely woven poetic enunciations that balance between introspective emotions and existential philosophical demands. Lyrics from a spirit that is in love without an object, unconditional, mirroring his very own subconscious inner being. The music reflects his tempers in many colours. Glimpses of Synth-Pop, psychedelic rock nuances, traces of new romantic utopia, infantile Casio minimalism, Shoegaze haze, drama wave: Special Costello blends many styles, uniting all in his very own musing grandeur of pop music.

After an array of digital releases, Berlin based label Marmo Music now publishes the Special Costello touch for the first time physically fabricated on vinyl. Seven songs featuring the longing voice of Jeremy Costello, sometimes in correlation with spoken words and dialogues by noted artists, poets, and scientists. All creations have been recorded by himself between Spring 2017 and winter 2020, using the extrasomatic help of instruments and machines like Farfisa Combo Compact transistor organ, Roland JX3P polyphonic analog synthesizer, Roland D50 linear synthesizer, Roland Rhythm Composer TR-08, Arturia Microbrute monophonic analog synthesizer or a Gibson Thunderbird IV bass guitar. In communication with his sensitive inner blues, they created an atmospheric voyage into the heart of Special Costello, that fulfils Arthur Russel’s sapient declaration: being sad is not a crime! Seven musical paintings full of intimate, vibrant feelings and existential thoughts, veiled in an antidepressant neo new romantic glam. An epic tune like “The Next Day”, in which Costello’s singing links with thought-provoking spoken word samples, sounds like Robert Ashley is meeting Hans-Joachim Roedelius in a psychic séance with Brian Ferry. In comparison, a song like “If Not Depression, Then What?” grooves with a pulsating wave bass figure and an overall gently floating electronic majesty, while Costello’s voice takes deep listeners to an unknown higher ground. On the other hand, a composition like “Unsetting” offers a nonchalant graceful funk drift with reverberant hand claps, minimal guitar strains and a chromatic synth pop grace. Above all the music Costello’s voice cries, screams, whispers, and weeps with a compelling introspective elegancy, that invites to associate intensely with the nonpareil Special Costello touch.

Written, composed, and recorded by Jeremy Costello between 2016 to 2020 in Halifax, Scotch Village and Toronto (Canada).

Instruments used by the artist: Farfisa Combo Compact transistor organ, Roland JX3P Programmable Preset Polyphonic Synthesizer, Roland D50 linear synthesizer, Yamaha DX7 Frequency Modulation/Programmable Algorithm Synthesizer and TX7 FM Expander, Roland Computer Controlled Rhythm Composer TR-08, Arturia Microbrute Analog Synthesizer, Gibson Thunderbird IV bass guitar, MicroKorg Synthesizer/Vocoder, Electro Harmonix Small Stone Phaser, Memory Boy Analog Delay, Alesis Quadraverb, and finally, their voice was recorded using Shure Beta57A and AKG D 330 BT dynamic microphones.

Green Vinyl

Have you ever wondered what would happen if the Spice Girls smoked crack and joined forces with the Power Rangers on acid? Meet BĘÃTFÓØT. These punk-infused electronic poltergeists and big-beat acid trio are Udi Naor, drummer and founding member of electronic duo Red Axes, Adi Bronicki (who also fronts Israeli garage-punk-folk band Deaf Chonky) and ace of all trades guitarist Nimrod Goldfarb.
The band have been launching warped stoner-acid-pop out of Tel Aviv with maniacal intent and are producing post-punk rave bangers that will scorch every dance floor with a huge lethal smile. BĘÃTFÓØT
are a DIY supergroup who describe themselves as sitting somewhere between Aqua, Beastie Boys and The Prodigy.
Their music endeavours feel akin to being hurtled through a kaleidoscopic waterslide, overflowing with the spirit of 90’s youth culture. The radioactive trio are DJ’s, musicians, songwriters and producers with a diverse range of individual projects and talents, their combined sonics map your journey across the hazy astral spectrum of hip-hop, big beat and rave music. Morph these radioactive pieces with the no New Release Informationnonsense attitude of punk-rock and the venomous spitting flow of golden-era rap and you might just come close to fabricating the freakish sound of BĘÃTFÓØT.
The band’s self-titled debut is set for release on 17th September on Manfredi Romano aka DJ Tennis’ Life and Death. Founded in 2010, the imprint curates soulful dance music with a post-rock aesthetic.
This refreshingly original and experimental LP from BĘÃTFÓØT marks a new direction for Life and Death this year and beyond.
“BĘÃTFÓØT” takes unsuspecting listeners on a wild ride of unprecedented musical madness (firmly without seatbelts). Fizzy synthesiser programming stimulates you effervescently through the album like the welcomed sting of sour sweets, surprising accompaniments appear in the form of manipulated vocal lines and quirky samples, all jovially mixed together in a gummy melting pot of wild conceptualisation and starry eyed rhythms.
Thirteen tracks of unprecedented dancefloor mutations send us triumphantly into the candy-covered kingdom of BĘÃTFÓØT with open arms and infinite imagery of fanciful gutter-glam escapades. This project fulfills the role of a musical bulldozer, flattening all previous conceptions of what it means to belong to a genre and leaving behind a hot mess trail of anarchic musical fragments in its wake. The undying spirit of the nineties.
With fans that include legendary Irish born singer, songwriter and producer Roisin Murphy, BĘÃTFÓØT are a breath of fresh air set to be igniting dancefloors this summer.

Cinema' is a brilliant snapshot of both artists working together in unison, with Fabrice providing his trademark 'high tech funk & soul' sound alongside Wolfgang's keen, tried and tested ability to fuse clever pop inspirations and catchy vocals through the use of robotic mechanics. Perfect music which balances the headphones and dancefloors on the horizon.
Five versions are on hand with the EP, including the original version of 'Cinema,' a French version of the original, as well as a remixes from Detroit's Ectomorph, UK Electro kingpin Carl Finlow, and Dutch synthesis maestro Versalife aka Conforce.
The original version of 'Cinema' is a gorgeous slice of sonic wizardry designed for exploring the borders between underground electronic club music and pop sensibilities. Catchy vocals play alongside a multitude of synth textures, coexisting perfectly in a melodic mélange equally as pleasing to the ears as the dancing feet. Catchy and clever vibes in equal doses.
Detroit legend Ectomorph's 'Sinema Mix' strips away the main elements and twists the original into an analogue heavy, heads-down drum workout saturated with carefully calculated effect manipulations to the vocals. Equal parts trippy and relentless, the remix is a broken beat workout designed to melt minds, fully ready for a dark concrete warehouse when permissible.
Electro legend Carl Finlow (Random Factor / Silicon Scally) delivers an interpretation of the original which stays loyal to the playful pleasantries of the original version. The signature bouncy, staccato-tinted grooves from Mr. Finlow are at center stage, with the UK producer fully embracing the original vocals and musical elements. A crisp, clean and precise remix, just as expected.
Versalife (aka Conforce) brings his beloved Dutch electronic style to higher levels with his take on the original, fully utilizing (what feels like) each and every one of his favorite machines from within his studio. Aggressive, quickly moving mischief is the name of the game with his remix, complete with sharp, attention- grabbing synths stabs and punchy, powerful drum programming.
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My Morning Jacket proudly announce the upcoming release of
their ninth studio album, the self-titled ‘My Morning Jacket’.
The band’s first new music since 2015’s GRAMMY Awardnominated ‘The Waterfall’, ‘My Morning Jacket’ reaffirms the
rarefied magic that’s made My Morning Jacket so beloved,
embedding every groove with moments of discovery, revelation
and ecstatic catharsis.
Produced and engineered by James over two multi-week
sessions at Los Angeles, CA’s 64 Sound, the album came to life
after what looked like a permanent hiatus for the band. But after
performing four shows in summer 2019 - beginning with two
mind-blowing nights at Red Rocks Amphitheatre - My Morning
Jacket were overcome with the urge to carry on.
That sense of purpose can be heard throughout the thrillingly
expansive ‘My Morning Jacket’. For all its unbridled joy, songs
like ‘Regularly Scheduled Programming’ and the otherworldly,
album-closing ‘I Never Could Get Enough’ once again reveal My
Morning Jacket’s hunger for exploring the most nuanced and
layered existential questions in song form while simultaneously
harnessing the hypnotic intensity of their legendary live show
more fully than ever before.
“I hope this album brings people a lot of joy and relief,
especially since we’ve all been cooped up for so long,” says
James. “I know that feeling you get from driving around blasting
music you love, or even lying in bed and crying to the music you
love. The fact that we’re able to be a part of people’s lives in
that way is so magical to us, and it feels really good that we’re
still around to keep doing that.”
CD in digisleeve with 12pp booklet.
Double LP on clear vinyl featuring a gatefold jacket with artwork
by Robert Beatty, custom inner-sleeves with lyrics and digital
download. (Once this format has sold out, a standard black vinyl
format - ATO0573LP - will be made available.)

Heavy South African cut, unearthed by Dene from LCT, All about the massive title track ''Got My Magic Working''... Phat bassline, machinegun claps dipped in acid!

The origins of Amajika is a tale of two worlds colliding at the perfect moment and begin in KwaMushu Township outside Durban. Here would be where a young Tu Nokwe would set up a school to help teach other aspiring youngsters like herself in music, dance and acting. This would become known as the Amajika Youth and Children’s Art Project and would be run from the Nokwe home, a common hangout for artists at the time. Some boast 2000+ pupils going through this program while others claim it wasn’t more than a backyard dance group, but for the lucky group of kids that were members in the mid 80s it would be their chance at stardom.

It was during these years that a young aspiring playwright and musician Mbongeni Ngema had come across Tu and her group of gifted youngsters at the Nokwe family home. Although he was touring extensively at the time with the plays Woza Albert and Asinamali, the latter which eventually ended up on broadway, he would spend any time off from the tour with Tu and her dance troop. After being inspired by the American group New Edition, Mbongeni envisioned Amajika as the South African answer and decided to bankroll a studio session.

The session would take place in a private studio in Durban.The release of the first single would follow very shortly. The lead track, Tomati-So is a fun swinging groove over some basic programmed drums. The song is dedicated to Tu Nokwe sings of her unique style and kind heart. On his next tour Mbongeni would take the remaining masters with him to the US and had the track remixed. Although it never materialized in a release States side he did return with the remixed tape and release it in South Africa the following year. Much like Tomato So the song was an ode and would be dedicated to the man who was making all their dreams come true. Got My Magic Working sings of going overseas and being a star on Broadway and TV and the man who is making it all happen. All these true predictions are sung on top of a groovy acid bass by a clearly matured troop of artists.

During these years of working with Amajika, Mbongeni became very impressed with the exceeding talent of one of the members and decided to cast her in his upcoming musical Sarafina. The other children also wanted to be a part of the Broadway show but not everyone would get a role. This would be the end of Amajika as the next years would be dedicated to creating success on the musical stage. The growing kids that formed Amajika became young adults and pursued their own careers after the fact. Tu Nokwe would leave the country to return years later as the wife of Shaka Zulu on the big screen. To this day she is still very active both on stage and screen while Mbongeni is still writing and adding to the South African Musical Theatre catalog.

Fast forward 30 years from the original release to a smokey club where ESA hears Got My Magic Working played by Rush Hours Store’s own Bonnefooi. Instantly he inquires about the track from his homeland and feels it a perfect addition the repertoire of the Afro Synth band he is quietly cooking up. The band’s instrumental take ended up as the B side on a mysterious and limited white label released by Rush Hour in early 2020 but quickly sold out.

Here you have compiled the two title tracks from original Amajika singles along with the instrumental version by ESA’s Afro Synth Band for The complete Amajika experience, past to present.

Written, programmed, recorded and produced throughout 2019/20 by Ed Wynne in ‘Blue Bubble Studios’ by the sea, this exploratory and diverse musical adventure comprises seven new tracks spanning 45 minutes.

Inspired by the Scottish hills, valleys and beaches surrounding his studio, Wynne feels that lockdown in a strange kind of way has provided ‘Space For The Earth’ to breathe for a while and for people to rediscover its resonant healing frequency. ‘This is space music for people from the Earth to enjoy’.

Ozrics’ synth player Silas Neptune and drummer Bal zs Szende join forces again with Wynne on the album which also features special guest appearances from former members synth player Joie Hinton, drummer Nick Van Gelder, flautist Champignon and percussionist Paul Hankin. Psychedelic voyager Gracerooms also contributes additional synth layers.

The album ebbs and flows through blissed-out soundscapes featuring incendiary guitar solos, space grooves and ambient atmospheres. Wynne plays his recently revived Ibanez Jem, a new 8-string guitar, all kinds of synths and bass. Van Gelder uses the original snare he played on the first six cassette albums and early live Ozric performances. One tune features Champignon playing kaval, a traditional wooden Balkan flute.

The album artwork was inspired directly by these seven tracks and realised by arboreal artist Kitty (Twisty-Trees) with help from Ed and cosmic artist Ivy.

One of the most influential bands to emerge from the UK’s festival scene, Ozric Tentacles formed during the solstice at Stonehenge Free Festival 1983 going on to become psychedelic staples at Glastonbury and other festivals. The creative vision of multi-instrumentalist Ed Wynne, the Ozrics’ uniquely trippy soundscapes connect fans of progressive rock, psychedelia and dance music culture.
‘Space For The Earth’ represents the next harmonic step in the unfolding Ozric
journey.

Bill Gage is a quasi-famous singer with a raw, rock ’n’ roll voice.
Cheater Slicks are an infamous, raw, rock ’n’ roll band. Put the two
together and the resulting album is a stream-of-conscious stew of
wild, fuzz-drenched rock ’n’ roll!
Some history: both Cheater Slicks and Bill Gage’s band BILL
began in Boston in 1987, and it was sometime around then that Gage
first sang with Tom and David Shannon playing guitars, in Gage’s
bedroom in Laconia, New Hampshire. It was an intense and primal
sound that was not forgotten by those involved.
Gage’s singing has been compared to Captain Beefheart, David
Thomas, Damo Suzuki, and Yoko Ono. However, Gage clearly has his
own sound, which includes guttural yells, sweet crooning, and bluesy
meanderings—all seemingly told from a tarpaper shack porch under
the oceans of Mars.
Cheater Slicks have from the start been a brain-melting rock ‘n’ roll
dream / nightmare of a band. Steeped in the wild guitar interplay and
pounding drums of classic noisy underground rock groups (Cramps,
Scientists, Velvet Underground), they have created their own unique
and ever-evolving style that has only gotten deeper and sharper over
the years.
In spring 2018, when Cheater Slicks were presented with the idea
of a collaborative record with Gage, they wasted no time, and began
writing and arranging new songs for the project. Gage traveled to
Columbus to record at the legendary Musicol studios in November of
that year. It was a great session and came together as if it were always
meant to be. After thirty years of performing, is the world finally ready
for Bill Gage—accompanied by the seismic Cheater Slicks?
All profits from this record will benefit the Arts Resources programs
of the National Association for Down Syndrome.

The Spaceman Reissue Program edition of Let It Come Down promises to give those recordings the fullest spectrum audio and physical treatment they’ve deserved since the original release. It will be the fourth in this series of 180g double albums with the lacquer cut from original sources by Alchemy Mastering, presented in a gatefold jacket adorned by reworked art by Mark Farrow, and available in both a standard black vinyl pressing and limited edition Ivory vinyl, as well as CD.

For our 4th original release we have a meeting of minds between two of our very close friends, Subb-an and Thoma Bulwer!

Made deep in the green countryside of Devon’s hills, before being adeptly finished off at TB Studios in Hackney Wick, the Devon Hills EP pulls together influences from 90’s tech house and early breaks to bring four driving and groove-laden tracks, functional but with heaps of soul.

The A side comprises two late night Autobahn bangers, rubbery misbehaved basslines and precise chord rhythms made to hypnotise the dance. Devon Hills is the most outspoken of the pair, with a loud chiming hook and an earwigging bleep melody, while DV-07 prefers to remain composed in its rolling bassline and sharp drum programming.

On the flip things go a little deeper with DV8, a padded out and chunky tribal breakbeat track with a deliciously crunchy snare. Closing out the four-track EP, East Wick lightens the mood with a sporadic break and bouncy synth melody, great afters tackle.