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Limited Edition Clear Vinyl

Includes 12' Vinyl and Deluxe CD album, 30 page hard back book

Now that I've been to Nashville,' Kylie Minogue says with audible affection, I understand. It's like some sort of musical ley-line...'

Golden, Kylie's fourteenth studio album, is the result of an intensive working trip to the home of Country music, a city whose influence lingered on long after the pop legend and her team returned to London to finish the record: We definitely brought a bit of Nashville back with us,' she states. The album is a vibrant hybrid, blending Kylie's familiar pop-dance sound with an unmistakeable Tennessee twang. It was Jamie Nelson, Kylie's long-serving A&R man, who first came up with the concept of incorporating a Country element' into Kylie's tried-and-trusted style. That idea sat there for a little while, with Minogue and her team initially unsure about how to bring it to life. Then, when Grammy-winning songwriter Amy Wadge's publisher suggested Kylie should come over to collaborate in Nashville, a city Kylie had previously never visited, something clicked. You know when you're so excited about something,' she recalls, that you repeat it an octave higher and double the decibels I was like that. 'Nashville! Yes! Of course I would!'. I hoped it would help the album to reveal itself. I thought 'If I don't get it in Nashville, I'm not going to get it anywhere.''

Kylie's Nashville trip involved working alongside two key writers, both with homes in the city. One was British-born songwriter Steve McEwan (whose credits include huge Country hits for Keith Urban, Kenny Chesney and Carrie Underwood), and the other was the aforementioned Amy Wadge, another Brit (best known for her mega-selling work with Ed Sheeran). It was then a truly international project: Golden was mainly created with African-German producer Sky Adams and a list of contributors including Jesse Frasure, Eg White, Jon Green, Biff Stannard, Samuel Dixon, Danny Shah and Lindsay Rimes, and there's a duet with English singer Jack Savoretti.

However, the album's agenda-setting lead single Dancing was, significantly, first demoed with Nathan Chapman, the man who guided Taylor Swift's transition from Country starlet to Pop megastar. If anyone knows how to mix those two genres, Chapman does. Nathan was the only actual Nashvillean I worked with. He's got a huge studio in his house, which is probably due to his success with Taylor... there's plenty of platinum discs of her, and others on his walls.' There's something of the spirit of Peggy Lee's Is That All There Is, of Dylan Thomas' Do Not Go Gentle Into That Good Night, even of Liza Minnelli's Cabaret about Dancing, a song which not only opens the album but sets out its stall, providing a microcosm of what is to come. You've got the lyrical edge, that Country feel, mixed with some sampling of the voice and electronic elements, so it does what it says on the label. And I love that it's called 'Dancing', it's immediately accessible and seemingly so obvious, but there's depth within the song.'

The experience of simply being in Nashville was an overwhelming one, before Kylie had even arrived. Once I knew I was going to Nashville, people talked about the place with such enthusiasm. They said without doubt I would love it and, I would come back with songs. They were sending lists of restaurants, coffee shops and bars. It really was a beautiful and genuine response and it felt like I was about to have a life changing experience and in a way, I did.' The reality came as something of a surprise, when she found a far more modern metropolis than the vintage one she'd envisaged. I thought it would be like New Orleans: little houses and bars, with music spilling out onto the street. It reminded me more of Melbourne: apartment blocks going up everywhere! The main strip, Broadway, where the honky tonk bars are, that's where the street was filled with music and it was just amazing.' Mainly, Minogue remembers the heat and humidity. It was 100 degrees. It was like it was raining with no rain.' She also relished the chance to wander around unrecognised, visit a few venerable music bars and soak in the atmosphere. I didn't get to the Grand Ole Opry or the music museums but I managed to go to a couple of the institutions there like The Bluebird Cafe and The Listening Room, and just by being there, through some kind of osmosis, you get this rejuvenated respect for The Song, and the writing of The Song. There's no hoo-hah around it. There's a singer-songwriter there, talking about the song and singing the song, to an audience who are there to listen. Although, I have to confess I was guilty of starting to clap too soon during a long pause at the end of one of the songs. The guy made a bit of a joke out of it and got a laugh from it, but I thought 'Of all people in the audience, no...''

It's probably no coincidence, therefore, that every track on Golden is a Kylie co-write, making it arguably her most personal album to date. The end of 2016 was not a good time for me,' she says, referring to well-documented personal upheavals, so when I started working on the album in 2017, it was, in many ways, a great escape. Making this album was a kind of saviour. I'd been through some turmoil and was quite fragile when I started work on it, but being able to express myself in the studio made quick work of regaining my sense of self. Writing about various aspects of my life, the highs and lows, with a real sense of knowing and of truth. And irony. And joy!'

The songwriting process allowed Kylie to get a few things out of her system. Initially, she admits, it was cathartic, but it also wasn't very good. I think I was writing too literally. But I reached a point where I was writing about the bigger-picture, and that was a breakthrough. It made way for songs like Stop Me From Falling and One Last Kiss. It also meant I had enough distance to write an autobiographical song, like A Lifetime To Repair, with a certain amount of humour. The countdown in that song: 'Six-five-four-three, too many times...'. I don't know if that will be a single, but I can just imagine a girl with framed pictures of past boyfriends, and kind of going 'Oh god, when am I going to get this right'' When she listens back to Golden, Kylie can vividly hear the Nashville in it. It is, she'll agree, probably the first time that a Kylie album has sounded like the place it was made. You wouldn't normally relate my songs to the cities. Can't Get You Out Of My Head sounds more like Outer Space than London. But Shelby '68, for example, was written in London but it was done with Nashville in mind. It's about my Dad's car, and my brother recorded Dad driving it! I don't think I'd have written a number of the songs, including Shelby '68 and Radio On without having had that Nashville experience.'

The latter, she says, is about music being the one to save you.' Throwing herself into the making of the record, she says, crystallised that idea. If there's one love that will always be there for you, it's music. Well, it is for me, anyway.' That song, in particular, carries nostalgic echoes of the golden age of Country, as heard through Medium Wave transistors and tinny home stereos in the distant past. Like any child of the Seventies, Kylie had a basic grounding in Country music, mainly absorbed from older family members. My Step-Grandfather was born in Kentucky and though he lived most of his adult life in Australia, he never stopped listening to his beloved Country artists.' If there's any classic Country singer whose imprint can be heard on Golden, it's Dolly Parton.

Kylie saw Dolly live for the first time at the end of 2016, at the Hollywood Bowl. It was like seeing the light,' she beams. It was incredible. Everyone, whether they know it or not, is a Dolly Parton fan. When I was in Nashville, I did pick up a T-shirt that said 'What Would Dolly Do' Maybe that should be my mantra.' And, whether consciously or otherwise, there's a timbre and trill to Kylie's vocals on Radio On that is distinctly Parton-esque. My delivery is quite different on this album,' she says. A lot of things are 'sung' less. The first time I did that was with Where The Wild Roses Grow. On the day I met Nick Cave, when I recorded my vocals, he said 'Just sing it less. Talk it through, tell the story.' This album wasn't quite to that extreme, but a lot of the songs were done in fewer takes, to just capture the moment and keep imperfections that add to the song. I remember on my last album, a lot of producers were trying to take out literally every vibrato they heard. And that's not natural to my voice. I mean, I can make myself sound like a robot, but it's nice to sound like a human!' Working within the Country genre also gave Kylie permission to write in the Nashville vernacular. Because we were going there, I wasn't afraid to have lines like 'When he's fallen off the wagon we'd still dance to our favourite slow song', 'Ten sheets to the wind, I was all confused', 'I'll take the ride if it's your rodeo'. The challenge of bringing a Country element to the album made the process feel very fresh to me, kind of like starting over. I started to look at writing a different way, singing a different way.'

If ever Kylie lost confidence in the Country-Pop concept, and found herself pondering This is great, but back in the real world - my real world - how will this work', Jamie Nelson was there to badger her into sticking to the path. We found a way to make it a hybrid with what we'll call my 'usual' sound. It had to stay 'pop' enough to stay authentic to me, but country enough to be a new sound for this album. The closer we zoomed in, and the more we honed it, I knew Jamie was right. We sacrificed good songs that weren't right for this album, because we wanted it to be as cohesive as possible. The songs that were hitting the mark were these ones, so we decided to be strong, and that's how we wrapped up the album. What he said, that stuck with me, was that 'I'd hate to get to the end of this and really wish we'd gone for it.'' Having worked with Kylie for so long, Nelson was able to put this latest shift of direction into perspective. He said 'You've traditionally done it throughout your career. You had your PWL time, then you did a complete turn when you went to deConstruction, then another complete turn with Spinning Around, and R&B dance-pop, and then another turn with Can't Get You Out Of My Head, icy synth-pop, and this is another one.' He was right. It felt like the right time to have a change sonically. New label, new stories to tell, and a new decade almost upon me.'

Kylie Minogue will, it's scarcely believable, turn 50 this year. This looming milestone is partly behind the album's title, and title track. I had this line that I wanted to use: 'We're not young, we're not old, we're golden' because I'm asked so often about being my age in this industry. This year, I'll be 50. And I get it, I get the interest, but I don't know how to answer it. And that line, for my personal satisfaction, says it as succinctly as possible. We can't be anyone else, we can't be younger or older than we are, we can only be ourselves. We're golden. And the album title, Golden, reflects all of this. I liked the idea of everyone being golden, shining in their own way. The sun shines in daylight, the moon shines in darkness. Wherever we are in life, we are still golden.' One of the album's shiniest moments is Raining Glitter, an exuberant banger which ventures closest to Kylie's traditional dance-pop comfort zone. Eg White, who is one of the producers and writers and a great character, was talking about disco one day. I said 'I love disco, but you know the brief.' We needed to be going down the Country lane, so to speak. But we managed to bring them both together. When I wrote it, I was thinking about the Jacksons video for Can You Feel It where they're sprinkling glitter over everyone. And I think there's a Donna Summer record that's got that feel to it. I think that's my job: I basically leave a trail of glitter after every show I do anyway.'

Kylie is looking forward to the challenge of incorporating the Golden material into her live shows. Mixing these songs in with my existing catalogue is going to be fun. And it could be fun to do some of those songs with just a guitar. It'll make my acoustic set interesting...'Her incredibly loyal fans - to whom one Golden song, Sincerely Yours, is intended as a love letter' - will, she believes, have no problem with her latest stylistic shift. My audience have been with me on the journey, so I shouldn't be afraid that they won't come with me on this part. I've had fun with it, and I'm sure they will too.'

The time spent making Golden has, Kylie says, been a time of creative and personal renewal. I've met some amazing people, truly inspiring writers and musicians. My passion for music has never gone away, but it's got bigger and stronger.' And if there's an overriding theme to the record, it is one of acceptance. We're all human and it's OK to make mistakes, get it wrong, to want to run, to want to belong, to love, to dream. To be ourselves.'

I was able to both lose and find myself whilst making this album.'

Originally from the United Kingdom, funky soul-jazz veterans The New Mastersounds have been touring USA, Europe and Japan for over a decade and return here with their twelfth studio album, recorded in New Orleans and Denver and featuring a slew of musical guests.

"Renewable Energy" expands on the NMS template while still providing plenty of the band's trademark sounds. Guitarist Eddie Roberts, drummer Simon Allen, bassist Pete Shand and keyboardist Joe Tatton are joined on this 11-track effort by a number of guests: Sam Bell, one of the founding members of NMS precursor The Mastersounds who also guested on two previous NMS albums, plays percussion on most of the tracks. Mike Olmos and Joe Cohen of the West Coast Horns once again provide added horn action as they did on "Made For Pleasure" from 2015, while Adryon de León from LA band Orgone contributes vocals on "Gonna Be Just Me". Uptempo numbers "Tantalus" and "Yokacoka" see the band flexing their playing chops over a tightly-wound rhythm, while "Green Was Beautiful" and "Groovin On The Groomers" are toe-tapping slabs of soul jazz. The band's cover of James Gang's "Funk 49" takes the album in a fuzzed-out psych-rock direction with Eddie singing the lead, while the moody Hancock-esque inflections of "Stash" and the sweet mellow vibes of "Swimming With My Fishies" add the final brushstrokes of colour to the canvas.

Spread across two 180g discs, spanning 24 cuts and served in a gatefold sleeve designed by members and affiliates, the Young Echo LP is a capsule intended for cementation through time.
It's been almost five years since their last album. As a group, extended radio submissions, prolonged studio sessions and notorious club nights make up the cogs of time. Over the course of these years, the network has grown continually, both as one, and with singular, multi-directional paths from each of the 11 artists that make up the Young Echo collective, counting Jabu, Vessel, Kahn, Neek, Ishan Sound, Ossia, Manonmars, Bogues, Rider Shafique, chester giles and Jasmine towards the crew, with projects such as Bandulu, FuckPunk, O$VMV$M, Gorgon Sound and ASDA adding to the table in their individual ways.However, this record aims not to be judged on any single producer or vocalist. It is most effective as a whole, simply titled Young Echo. Of course each of the artists has an important part to play, but it is very much about the act of balance, accepting individualism to form a greater whole.A good example is the welcome addition of new energy coming from Jasmine (1/3 of Jabu) who injects endless space with her vocals, perfectly answered by the cool-killin' wordplay of Manonmars - who makes his long awaited debut here - sharing stage with the immediate poetry of ASDA's very own chester giles, along the mighty sound of Rider Shafique, and Bogues' versatile style that can flit between rap & song within seconds. Five very different vocalists that could've tried to find a compromise, but instead choose to connect in different ways, finding their niche in the equal range of rhythms and sounds that sprawl in this shared space, the juxtaposition.
Detuned soundsystem stylings, love songs swaying in hacked up ambience, skeletal dancehall, microphone technique, dread electronics, outsider pop, this record manifests the outcome of the shapeshifting anarchy which rears it's head when no one idea can rule, embracing the diversities when one path must be made up of many.

Gitkin sold guitars. To be precise, he re-branded, sold and traded knock-off Gibsons. A lone, travelling salesman, he toted his counterfeit wares to guitar stores and music emporiums. His trade took him to most corners of the USA, passing through big, smoggy cities and nowheresville small towns. His nights were spent at not-so-salubrious motels. It was at those nocturnal stop-offs that he'd often cross paths with newcomers to the States. His fellow travellers were mostly immigrants, newly-arrived, from places like Ethiopia, Mexico, Indonesia.

Or at least, that's the story as Brian J Gitkin has been able to piece it together. This album, '5 Star Motel', is by a different Gitkin, an ode to the one described above. Or to put it another way, this is the younger Gitkin's homage to his elder relative: the elusive, guitar salesman uncle he never met. A steady drip of anecdotes have construed an image of his relation's itinerant, huckster lifestyle. Finding a cassette of his recordings, it spoke of the effect of those encounters: lo-fi and scratchy, the music leaped seamlessly, in difficult to discern ways, between different far-flung styles.

On '5 Star Motel', that younger Gitkin (henceforth referred to simply as Gitkin) has sought to expand the philosophy he encountered on that tape. The guitar is common thread, the raft to navigate a sun-dappled stream of ideas. It's an embrace of cultures where folkloric stringed instruments still rule, or where they've led to a more recent embrace of the electric guitar. He traces the loose, meandering paths which join them together.

It's about America, the world outside its borders, and the inscrutable, inevitable dialogue that exists between them. Take 'Cancion Del Rey', where the sound of Peruvian chicha - steady-moving, alluring, and lyrical - winds its way through Gitkin's fuzz-filtered licks, and the rhythm underpinning it. Or 'Yama', where Middle Eastern influences echo out of grooving, cyclical riffs. Touching on the distinctive tones of Tuareg music and the Sahara, too, 'Grand Street Feast' charts a sand-dusted, melodic misadventure.

The Pendletons return with their latest EP, Funk Forever, a Jazz flavored boogie affair with soul inspired song-writing that evokes old school vibes while still staying fresh and current. Horn lines, Yamaha dx7 keys and snapping hip hop inspired drum programming topped by sweet singing with heartfelt themes, the group carves out a bold new sound on these 5 solid tracks. Featuring Elive, Potatohead People and Ishtar.

The Pendletons are a long-standing boogie-funk and modern soul project of E da Boss (of Myron and E on Stone's Throw) and Trailer Limon. The group emerged with their very first release in 2010, a 7" inch of "Coming Down/Waiting On You" on the Slept On record label, which set the tone for the group to emerge... it instantly became a cult classic receiving constant play at nights like Sweater Funk and Funkmosphere, and fetching for serious sums among collectors. Most recently, in 2016, they released the EP "Gotta Get Out". The title track caught the ear of renowned DJ Gilles Peterson, who liked it enough to release it on his Brownswood Bubbler compilation.

In 2018 the group is hitting the ground running with a brand new EP out this spring, and a full-length album to follow later later in the year on the renowned Bastard Jazz label. Now armed with a horn section, a vast array of accomplished jazz and funk contributors, and a knack for quality song-writing, the Pendleton's sound has shaped into something fresh and unique, setting it apart from the legions of imitators.

Running Back welcomes Andreas Grosser for the start of it's non-dancefloor series 'Running Back Incantations'. Think Tornado Wallace's 'Lonely Planet' or Suzanne Kraft's 'Missum' who both would have been good and early contenders for a series like that, and you are half way there. Andres Grosser though, was 'there' and that way before. Probably best-known for his 1987 collaboration 'Babel' with Klaus Schulze, Grosser is a bit of a dark horse in the universe whose big bang was krautrock and that went on to be called cosmic, space music or simply new age.

A native East-Berliner, Grosser crossed the Wall in 1981 and next to studying piano, his day job was to advise, sell, maintain and invent electronic music instruments. Naturally, Grosser had a good connection to and support from local Berlin musicians and groups, while working at night in his own studio and in those of others. Fast forward 37 years and Andreas is now one the worlds leading microphone technicians specialising in German and Austrian vintage types.

'Venite Visum' is an anthology of recordings made between 1976 and1980. Released in 1981 on UK's York House Recordings as a cassette tape only, it features some of the most out there, hypnotic and still state-of-the art space music ever to be known to man. For the first time transferred onto vinyl, compact disc and available as a digital download, it was perhaps best described by one reviewer at the time as; "powerfully relentless, repetitive themes which are constantly embellished and subjected to variations in tone colour and instrumentations. The music surges, coming in waves that approach and recede, but with each surge the waves seem to be higher up the shore.'

Now carefully transferred from an archived tape, remastered and compiled on a double album for the first time, it features the previously unreleased and not less mesmerizing 'The Quantum Leap'. Come and visit the hidden and almost forgotten

First new LP in over 15 years. Builds on 3 successful ATFA reissues of Mergia's music. Legendary artist still active after decades of historic work. Modern Ethiopian jazz built on ancient scales and standards. Capping several successful years traveling the world performing to audiences big and small, Hailu Mergia's Lala Belu has been a long time coming. It builds on Mergia's remarkable career resurgence over the past few years. Beginning in 2013 with the reissue of his dreamy Hailu Mergia and His Classical Instrument followed by the enormous success of his seminal Ethio-jazz masterpiece Tche Belew and continuing with last year's widely acclaimed Wede Harer Guzo, Mergia has received considerable accolades from listeners and press globally, including The New York Times, Pitchfork and The Wire. His old recordings are cherished revelations for Ethiopian music fans; however, Mergia's return to the stage has been just as inspiring and electrifying. Mergia's vintage recordings are known for an inherently mysterious and worn-in quality, while his new recordings echo his band's 21st century live show with modern instrumental interpretations of crucial Ethiopian standards and Mergia's own original compositions. Tony Buck (drums) and Mike Majkowski (bass), who have backed Mergia on tour throughout Europe and Australia, form the bass-drums trio on the recording. Having played venues from Radio City Music Hall and the Kennedy Center to jazz festivals, rock clubs and DIY spaces all over North America, Europe and Australia, Mergia and Awesome Tapes From Africa want to document this moment in his landmark career with a snapshot of Mergia's current sound. Since he emigrated from Ethiopia and built a life in Washington, D.C. around 1981—where he remains working as an airport taxi driver when he is not on tour—Mergia's career has followed a humble trajectory. He made a few recordings in America but they didn't easily reach fans back home. He kept making music on his own and with friends but after the early 80's his gigs in the U.S. mostly dried up. It wasn't until he began working with Awesome Tapes From Africa and putting together bands with the help of booking agents and musicians in Europe and the U.S., that he was able to chart a new path. With a broad audience of young listeners in diverse venues and distant locales, at age 71, Mergia is enjoying his comeback and is not slowing down.

Originally trained in classical piano through his mother and some of Indonesia's legendary classical music virtuosos, Fariz made his own historical moment when he became Indonesia's legendary Pop Icon of the eighties. With his unique talent as a multi instruments musician, Fariz wrote not less than 1,760 songs within his magnificent years between 1980-2000 and still leading the role as one of the most in demand and legendary Indonesian performers and producers ever noted by history. During his brilliant career, Fariz collaborated with the most famous names in the business, locally and internationally. This stunning compilation of incredible and hard to find tracks covers his early years from 1977 to 1982.

- Remastered from original sources in collaboration with the artist
- Strictly Limited Edition of 500 copies
- First reissue ever of collector's material

* Still Circles announce the release of their debut album, 27:36, available March 30th via Killtone Records.

* Currently at 7 in the chart on the Josh Hannen show Amazing Radio

* Session for Alan Raw BBC Introducing on Sat March 3rd 2018

* Comprised of Natalie Kolowiecki and Jack Donnison, the Bradford based duo bridge the worlds of trip-hop and ambient music: splicing slo-mo beats, grainy atmospherics, haunting melodies and soft-wax drones. Their first single, 'Only Noise' is testament to this - with its manipulated vocals, heavy bass line and lurching percussion, the track's stark surrealism evokes the thrum of their northern English town.

* Upon the surface, 27:36 has the indelible markings of the band's influences: Brian Eno, Poliça, Adrian Sherwood (to name a few) - but the duo never settle into pure pastiche. Instead, they contort the sounds of these artists into something all their own. 27:36 is an alien vision of what pop music could be.

Riding the wave of the German beat craze of the early sixties, British singer Tony Sheridan became a regular on the Hamburg club circuit, recruiting an ever-changing roster of back-up musicians that included, in 1961, The Beatles featuring John Lennon, Paul McCartney, George Harrison and Pete Best. Although still very much on the scene, bassist Stu Sutcliffe did not appear on these sessions. While most of the songs here are covers sung by Sheridan, Lennon and Harrison did write the instrumental "Cry For A Shadow". Hamburg is also where the Beatles first picked up the mop-top. Picture disc LP.

* To celebrate the second anniversary of Khemia Records we are pleased to welcome back In Aeternam Vale, the legendary French artist who inaugurated the imprint on a split Ep with Bronze Teeth in March 2016.

* This is the first single-artist Ep produced by the label, initiating a new series that will run parallel to the V/A editions.

* The tracks 'Dave' and 'Circles' form an elliptical conundrum composed of various references including Kubrick's alchemical allegory 2001 A Space Odyssey, (sampled in French) with it's existential narrative of a schizophrenic artificial intelligence lurking in the shadows. The Deus ex Machina wondering if mankind is still useful to machines, or perhaps even dangerous to them The infamous Seveso chemical disaster at the pharmaceutical laboratory ICMESA caused by human error, the glowing blood-red sphere of HAL 9000, the all-seeing eye of the sentient super-computer and the circular composition of the toxic compound 2,3,7,8 Tetrachlorodibenzo-p-dioxin (TCDD), released into the atmosphere at Seveso. With this cryptic feedback loop, Laurent Prot is suggesting that the new technologies we are developing now, for use in our near future could result in catastrophe when human control is lost to the self-learning of AI. The homicidal consequences of a machine take-over find visual form in the bleak, dystopian aesthetic of Evelyn Bencicova's cover artwork.

This EP shows the musical development of the past 2 years in which KAUW has translated their live sound to studio recordings. It's made with the intention to work well for the club, while all of the live elements such as acoustic drums and bass guitar are on the foreground of the tracks. It's important for the band to show the energy of their live shows in the record. In this way, this EP is a switch from the more funky, live first record (which suggests the electronic side) to this EP which is on the crossroads of live music and produced House music.

The A side featuring 'PITCH' is a bit darker and a real dancefloor killer. Hard synths, deep bass, clear drums and an intense dynamic in which you're taken on a Kauwjourney to which it's unable to stand still. The B side featuring 'Nergens' is more funky, light and sweeter with beautiful synths, funky basslines and groovy drums, inspired by the mix of '90's Disco and House. San Proper's remix takes this funky track to a real Proper-world with beautiful guitar melodies, deeper basses and extravagant vocals.

Darren Cunningham's eagerly~awaited new album is an adventurous, ultramodern, thoroughly British affair, rummaging about in the inner lives of house and techno, and brilliantly elaborating the accomplishments of his debut, Hazyville.
Determinedly off~the~map and resistant to pigeonholing, Cunningham is an enigmatic and playful figure, citing Francis Bacon and Monet as inspirations longside Theo Parrish, Anthony 'Shake' Shakir, Daft Punk, 'binary codes and numeral systems', and The Avengers. He's a hard man to pin down - somehow a key player in the post~dubstep diaspora and yet not there at all - but everything comes across in his shape~shifting, richly textured music.
The South Londoner's acclaimed debut lived up to its name: a series of dreamlike sketches and ideas. For Splazsh the fog has lifted, the sounds are less submerged than before, but still sticky and close - a signature combination of exuberance and introversion, luminescence and puzzlement. Unconstrained by the formal cliches of the dance music he loves, Actress' melodies and arrangements are enthralled by their own genies. Worlds of disturbance and melancholy revolve giddyingly inside the insidious funk of tracks like Get Ohn and Lost. A range of musical influences is redrawn, from speed garage (Always Human) to grime (Wrong Potion), with none crowned king. There is a reflectiveness - the ambient drift of Futureproofing, the radiophonic judder of
Supreme Cunnilingus - in amongst the industrial, synth~wave flavours of Casanova, and the stirring, stately Maze.
Actress has quickly and justly become one of the most respected names in the UK's new dance music underground. His own label, Werk Discs, has proven itself one of the most formidable and taste~making UK independents of recent times, bringing the world extraordinary albums from Zomby, Lukid, Lone and Actress himself. In love with the mysteries of groove and repetition, Splazsh is both a culmination and a new beginning for Actress, a substantial and eccentric work from a brave and coolly individual artist.
With international press interest gathering - photo features in Dazed And Confused, and Fader in the US, and a session with Wolfgang Tillmans for the cover of the German magazine Groove - the stage is set for Actress.

"Shatterdome", cut deep across the whole first side of this record, is a no-prisoners-taken club workout that comes of surprisingly lightheaded with a pushing low-end and dusky athmo-stabs. "Lola T70" is a late night car chase on cyber-highway, reminiscing THX-1138 leaving everything behind in the classic George Lucas sci-fi film: A state of floating acceleration and melancholy. "Say Hi to everyone" is signature.

* From the pumping heart of The Magnetic System comes the 'dirtiest' Da-Da-dancefloor anti-jams with this lost 1979 blueprint of Italian conceptual cosmic disco played by the cream of the Goblin studio band. Ultra-rare and unscrubbed,Finders Keepers finally snip the trip from the cash machine to the trash machine.
* Carving its own grubby niche as an early prototype of cosmic disco cum Italo space funk whilst simultaneously harbouring Dada hat stand satire with a junkshop glam aesthetic, this ecological illogical poplitical crab cabaret clearly broke the mould before way before the jelly had set.
* Fans of 'other' obtuse outernational agit-camp might find a fantasy fusion between France's JP Massiera and Sweden's enviroMENTAL marvel Kaptain Zoom while trying to unravel the Madfilth tangle - but rest assured there were method men behind this madness and a portal to Italian funk royalty still festers
at the bottom of the psych rap scrapheap.
* Originally drip-fed out of Cesare Andrea Bixio's Cinevox stable as one of a tight grip of non-soundtrack LPs, made to test the label's commercial potential, Madfilth would follow the band Goblin (and their non-cinematic Roller) as well as the hens' teeth eponymous long player by the group The Motowns in what was perhaps the last-ditch attempt at custom built popsploitation - combining the skills of overqualified composers with undercooked conceptual mind belches. Naturally, after almost 40 years in the barrel, this micro-brewed oddity finally quenches the acquired taste of a new breed of shambolic psychotropic guzzlers proving that 1979 was obviously good year for fool's gold. The Madfilth medicine has finally come to cure your psychic ills so open wide and don't bite the spoon.
* It is beneath the flamboyant rhythm rants and vari-speed osric slop of alt-comedic sarcy-satirist Alberto Macaro (a genetic beneficiary of a vaudevillian comic bloodline) that we find The Magnetic System maestros Franco Bixio and Vince Tempera as the sonic driving force behind this unmarked treasure trove of
B-musical diamanté discoids. It will also come as little surprise that
Cinevox/Dario Argento favourites Goblin were not too distant from the whiff of this curate's egg with the men who many consider to be the group's greatest assets - bass player Fabio Pignatelli alongside sports rock drummer Agostino Marangolo. It was this unison that remained consistent throughout Goblin's career, weathering the temporary departure of Claudio Simonetti and
maintaining the stylistic heartbeat of the group. Madfilth's inclusion of Goblin synth Maverick Maurizio Guarini and the band's mid-period guitarist Carlo Penessi (founder of the band Etna) pinpoints the jobbing Goblin session group during the time they recorded the soundtracks for the films 'Buio Amiga' and 'Squadra Antigagsters'. This lesser-celebrated late 70s era also witnessed the mutating Goblin rhythm section providing discoid backbeats for records such as Giorgio Farina's 'Discocross' album, Simonetti's own Capricorn alter-ego and the homoerotic nightclub spin-off Easy Going - all of which, alongside Madfilth,
provide a strong mutual stylistic support system for their claim to cosmic disco's deep red bloodline.

Dark Entries present the debut album from Bézier titled 'Parler Musique'. Bézier is Taiwanese-American musician Robert Yang who is also part of the Honey Soundsystem crew. A multi-instrumentalist, Robert grew up in Southern California then planted his roots in San Francisco in 2005. Over the years in SF he has built an impressive analog synth-based studio, which also serves as the creative hub for his riveting live performances.

Parler Musique clocks in at over 52 minutes with 8 tracks are spread across four sides for maximum loudness. The album title is a French transliteration on the phrase Parlor Music' and is evening music for a meeting of minds in a drawing room or a literary salon. To 'talk about music', the actual translation of the title, the album is a hotbed of ideas. Different genres are crisscrossed: punk, synthpop, jungle, new romantic, industrial and new wave. Airy melodies, surging arpeggios and symphonic breakdowns counterpoint cold digital drum sounds to convey beauty within inescapable and impending daily processes. The track titles for 'Parler Musique' zoom in on Romantic preoccupations with mystery, unknowns, depths--where themes combine to form an occult revelatory experience.

All songs have been mixed by Mark Pistel (Meat Beat Manifesto, Consolidated) at Room 5, San Francisco and EQed for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a jacket featuring a surreal circuit board pattern with pink bubbles flickering on an abstract horizon of water designed by Eloise Leigh. Each copy includes a postcard risograph-printed in fluorescent pink and dark blue with Dadaist text by Justin Aulis Long.

Is the drum the successor of human sacrifice or does it still sound the command to kill' Adorno, Motifs (1951)

Exclusive edition imprint, very different from the general style of the TochnoTechno label but still in a techno acid way and includes 4 names of the biggest producers coming from Eastern Europe. We are calling it "Acid Era" in present days so why don't we put out something provocative. We are excited about Tripmastaz' debut on the label who has absolute support by Josh Wink, Dj Sneak, Ricardo Villalobos and many more... Oleg Mass real techno star of Fachwerk Berlin and Koett, rhythm composer and genius from South of Russia who makes the most underground and cool party XoXo. Yulia Niko is dropping last track of her album she has done in 2016 at Brooklyn before moving to Berlin.

After 2 long years, Michal Wolski is back with his second release for International Day Off. From what we can hear, we're definitely sure that at least half of this time he wasn't leaving his studio. The music just sounds big, 4 fat tracks, including remix from Gathaspar, is a heavy based techno stream, making every cardiovascular system pumping more blood. Thanks to the fact that Michal apart from production was responsible for mastering, we guarantee that this Ep will generate the appropriate sound pressure from every speaker so be careful with the volume knob!

Support: Âme, Aurora Halal, Carl Craig, Drumcell, Electric Indigo, Ilario Alicante, Richie Hawtin, Slam, Subjected...

It is Melodies International's greatest pleasure to bring forth its latest reissue comprising two stripped-back, reflective pieces of US folk soul.

Largely forgotten for the past forty-odd years, Bobby Wright (now Abu Talib)'s "Blood Of An American" and "Everyone Should Have His Day" resurface as politically-infused works that shine bright and still hold meaning to this day.

The 60s and 70s constituted an exceptional era for its unique blend of popular culture and political radicalism. Household names such as Sly Stone, Marvin Gaye and Gil Scott-Heron used art to express their discontent with the current state of affairs, namely the US government's involvement in warfare and their inability to deal with critical social issues of the time. Though not a musician, Muhammad Ali (born Cassius Clay Jr) was advocating a similar anti-government stance in the boxing ring, and his objection to serving in the Vietnam War sealed his status as an icon for the wider counterculture generation.

Meanwhile in Queens, New York City, Abu used to work several jobs as a construction worker and cab driver - but still found time to play with his band in clubs for $100 a night to support his family. Against the backdrop of international conflict and violence, most of his surroundings failed to listen to how he felt. However, he considered music to be the greatest form of communication with the world and it was his belief that a positive message should be spread to future generations.

After one band member was killed in Vietnam and another went into the service, Abu resolved to pick up his guitar and record these songs as a duet in 1974 with his bassist - the only other remaining band member. Combining guitar, bass and a voice that quavers with emotion he self-released the record in 1974, one which holds its own alongside the all-time greats.

These songs of introspection remind us of the beauty there is in simplicity and how moving art can be when the feelings expressed come from the heart. MEL009 will be released in its original 7" format alongside a 16-page Melozine, featuring words from Abu Talib, social studies professor Paul Rekret and much more.

Soundway Records presents the debut EP from Amsterdam based The Mauskovic Dance Band - a potent, modern blend of Afro-Caribbean rhythms and space disco, destined for bustling dancefloors.
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The Mauskovic Dance Band is the brainchild of the Amsterdam-based producer and musician, Nicola Mauskovic. A seasoned drummer, he finds himself constantly in demand - as part of Turkish psychedelic outfit Altin Gün, a recent tour with the revival of Zambian legends W.I.T.C.H., and a worldwide tour with psych-pop artist Jacco Gardner, with whom he then went on to form the dance-oriented duo Bruxas (released on Dekmantel). Throughout this hectic schedule Nic still found time to begin studio experiments that would eventually lead to several 7' singles, released on Swiss label Bongo Joe Records in 2017 under the name The Mauskovic Dance Band'.

Snad aka Shyam Anand is an artist from Chicago of Indian descent. He just moved to Berlin. And this is his first release on Suol.His debut EP for us is a three-tracker and absolute quality. Its title 'Home Away From House' alludes to a musical career spanning three continents and to the 'most enlightened circles', as Snad puts it, 'who still travel the Silk Roads and who take their underground seriously -- wherever they call home'. What this means becomes apparent quickly as the title track drops us straight into a softly stabby, hypnotic little sequence on top of an elegantly subtle combination of a drum machine groove and synth bass. Things build up patiently with luscious delayed chords before rising strings transport us to a beautiful place where the Goa sun shines onto the streets of Chicago. Just like all tracks on the EP, 'Cut!!!' is purely instrumental but it doesn't need words to tell its story. Clever drum programming and cool reverbs are in perfect harmony with a melodic bass riff and a silky, modulating analogue lead that guides us to the end with a smile.

'Deep Looking', the EP's final track, has a solid groove at its centre and some delicious ear candy around it. Syncopated toms and claps join forces with a fast hi-hat pattern to provide plenty of momentum for this otherwise dreamily floating acid house number.

The third chapter in the vinyl installments on Gaze ill's Danish Cue Line Records is written by Belgian artist Zygos, Georgio Roumans. An unforgettable piece formed by 3 distinct original tracks plus an outstanding remix by Italy's most wanted, DPRTNDRP (D- Operation Drop).

The EP opens with the toxic symphony of 'Laicism'. By chest pressuring hits right from the beginning, we're pushed into another world where everything is moving though it feels like time stands still for a moment. Mellow melodies formed in layers of feedback alike sounds and endless reverberated stabs generate a persistent tension held tight by the static, marching drums. The title track 'Sudd' forms part 2 of the journey through Georgio Roumans' explorative universe. To think everything can move this fast yet keeping a minimal expression is beyond reality. From 8th to 16th to 24th notes - variations through the bass, percussion, and melody sections - a discreetly conducted progression is reached throughout the track. Accompanied by weird background soundscapes the sub bass takes the lead on the tight Halfstep- package of 'Tapered'. The drums are simple and hard, which is just what's needed to tame and control the strong movements from the sub. Super minimal for the sound system. Italian DPRTNDRP brings new life to 'Sudd', which awakens in a completely different light than the tempo- filled original. Strange sounds and rhythms, raw and dirty. DPRTNDRP makes the remix a must hear.

The vibe is intense from start to end, and the EP hits perfection due to Georgio's naturally alive style, and the clever remix from the ever boundary pushing DPRTNDRP. Signature sound, deluxe on 180 grams heavyweight vinyl!

For the second release on their Black Series, Ravage invited electronic music veterans Al Matthews and Patrick Walker to team up under their Forward Strategy Group moniker. The last release of these legends was quite a few years ago, but the wait was worth it. Their East Port Rangers EP kicks-off with Nine and One, a hypnotic, heavy-loaded stomper containing some uplifting, loopy vocals. Following is the most minimalistic track of the EP, Lisp Your Way, yet it still has a lot of substantial punch and lash to it.

The B-side starts off with heavy broken beats, combined with a classic rave sound, taking the listener back to the blistering sound of the nineties. Finally, the EP oozes down with the track In Abeyance; a haunting, down-tempo track with a melody to send shivers down your spine, which could be deemed a real creeper.

collecting orders for repress...!

"Milan, Italy, 1983. In the midst of the 80s economic boom, which gave an injection of optimism after the heavily political 70s, a group of young local musicians meet every night in a basement to rehearse and record a peculiar breed of Italian disco music. Originated from the ashes of various other projects, and rooted in the broader jazz-funk tradition, the group creates music which is equally inspired by contemporary fusion as well as by the first wave of the italo-disco sound. Over approximately 3 years the band has recorded and played live, until the dismantling of the project towards the mid 80's.
Fast forward 35 years and the genuinely mediterranean flavor of Qvark's demo recordings are still enjoyable, both for the actual resurgence of the Italian disco tradition and for the groovy quirkiness of a project which has been too long forgotten. After an intense work of audio restoration of such tapes, heavily affected by time, Early Sounds is pleased to present a compilation which is an important find to define the sound of late 70's and early 80's Italian club sound."

This record is special release for the label. It's a tune I have been chasing for years and just had to get released so that everybody can own a copy. Originally written in 2006, Snow Forest was a Slew Dem anthem and when I got to know Spooky in 2009 it was one of the first tunes I asked him for. Rarely given out to anyone, it was one of my favourite dubs but I always dreamt of putting it out on my label. After finding the original CD that Spooky gave me back in 2010 the time was right to finally get it pressed up on vinyl and in the shops. Backed with Funky Dub, a tune from 2009 that still gets a massive reaction.
This release shows that good music is timeless, simultaneously cartoonish and menacing with a blend of rudest bass and daftest melody in a proper UK style.

10" aqua green coloured translucent vinyl in pvc sleeve with sticker

A generation younger than the founders of the Teklife crew, DJ Rashad and DJ Spinn, DJ Taye was originally a rapper and beat maker before hooking up with the collective and jumping into the world of footwork production and DJing.
However, it was Rashad's untimely passing in 2014 that was the unlikely catalyst for developing the sounds and ideas for this album. He says, "When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something...make something brand new."

100% committed to pushing further the potential of the footwork template, Still Trippin' is ambitious in its range and scope. Taking two years to formulate, the record broadens the possibilities of the sound, forcing it to adapt to songwriting, and also revives Taye's talent for MCing and producing beats to which he can rap and sing. Furthermore Taye definitely ups the ante with his complex and precise drum programming, never losing sight of footwork's ability to confound. The album features a range of guests that span contemporary music, the eccentric, instructive rapping of Chuck Inglish of Detroit duo the Cool Kids is featured on 'Get It Jukin', Odile Myrtil, a young vocalist from Montreal, lends her smokey soul to 'Same Sound', Fabi Reyna, the editor of the celebrated women's guitar magazine She Shreds, sings and plays bass and rhythm guitar on 'I Don't Know' and Jersey club queen UNIIQU3 offers production and rapping on 'Gimme Some Mo'.Also, Teklife members DJ PayPal and DJ Manny assist on production, and DJ Lucky is a guest MC on 'Smokeout'. Taye is ambitious in his hopes for the album, "I took this as an opportunity to not have boundaries with footwork. Different approaches to our 'underground' sound to make it broader. It's only underground until it crosses that visible threshold.' This album brings all of this to the forefront.

The Shadows is the new album from Leeds-based six-piece Tomorrow We Sail. Building on their debut release For Those Who Caught the Sun in Flight (Gizeh, 2014) over the course of three years, this new work combines perfectly the soaring atmospherics, gorgeously intertwined vocal harmonies and dramatic shifts in tone and dynamics that have come to characterise Tomorrow We Sail's sound. Yet, there is a new sense of urgency here. Very much an album of its time, The Shadows draws upon the same sense of connection to both past and present that defined its precursor but features storytelling that's even more defiant and deeply personal.
Like its predecessor, the record features seven songs but from the chiming guitars of opening track Side By Side it is clear that the stately pace of For Those Who Caught the Sun in Flight has made way for a far more dynamic and driving energy; perhaps best captured in the righteous anger of The Ghost of John Maynard Keynes. Tomorrow We Sail still invoke a keen sense of measured grace in their songwriting - from the sweeping, elegiac title track, through to the sparse, restrained, yet haunting beauty of Winifred and To Sleep. Urgent, yet assured, The Shadows demands your attention.

Long-term Soma collaborator Tony Scott drops his debut album with the label under his Edit Select alias, the perfectly crafted experience, 'Cyclical Undulations'. Having released with Soma under his Percy X moniker for years and having countless hits under his belt, Scott reinvented himself as Edit Select. Known for his dark, expressive and expansive music, Edit Select has become once of the most well respected and renowned artists in the genre. With this latest full length, he continues to explore the furthest reaches of the Deep Techno spectrum.

The Cyclical Undulations journey begins with Insta Grain, a mesmeric odyssey of ebbing pads and sparse percussive elements that seem to drift of into the expanse. A perfect opener before the first foray into more 4x4 territory begins with Above Ground a pulsating affair before Two Step Phase, a more stripped back affair, reminiscent of earlier Percy X works in it's 90s heyday. Undulation, more propulsive in it's approach, melds warping synth hooks alongside spectral tones. Horizon#1 follows in a similar vein yet drift into slightly more hypnotic territory as recurrent tones lead the track. Scott flourishes with yet more machine-throb crafting Close Up & In The Beginning She Was, both stacked with subtle nuances of his stylised percussion lost across dream like states. The later half of the album has a distinct minimalistic approach yet seem to provide maximal output with every beat. Horizon#2 is dark and ominous yet still characterised by a tough percussive element. Contact, produced in collaboration with Claudio PRC, delves into more submerged sounds with heavy sub bass and echoed drums, finishing of with Towards The E; a shuffling broken beat affair with after hours vibes and an endearing ethereal quality.

Cyclical Undulations demonstrates a mature sense of production from Edit Select. An assured collection of material, each track providing a striking insight into a true artistic mind.

At the beginning of the 70s, in Italy, the revolutionary surge of 1968 was beginning to turn into something grimmer (and definitely not linked to left-wing ideology) but the concept of factory' still had a key role in the economic and social life of the country. It was not just an alienating workplace, where you often spent your whole life, but also - and overall - the place where demands were made and political struggles took place. Therefore, a feasible imaginary soundtrack for the factory was the daily noise of machines, tools, hammers: an idea that, years later, would be embraced by dozens of industrial bands all over the world. But, in 1972, that reality was documented by Gerardo Iacoucci: We went into factories and workshops and recorded the noise of the machines, then we put on it special musical effects and did an accurate mix', he tells in the liner notes. Industria N.1, divided in Fabbrica on the A side and Impianti meccanici on the other side, is an amazing work mixing field recordings and experimental music, proving how you can combine political commitment, art, avant-garde and pioneering noise music in a brave record.

Andrew Scott, aka NY*AK, Scott has remained a consistent representative of the music scene and we're delighted to have him on board for the first release of 2018 on Local Talk, Bound EP.

We're treated to four tracks, the opening track 'Bound' is a cut up, soulful disco house slammer.
Next up we got Dancing, a perfect example of Andrew's skill when it coms to slowing down the tempo but still letting the track have enough character to keep you...'dancing'.

On the flip we got 'See More' which takes you straight to a dark and gritty club with it's stuttering chords, tight drums and pulsing bass.
Last but not least we got 'Sandwiches' which features long time collaborator Ian Blevins.
A stunning low deep groove for any Theo Parrish or Marcellus Pittman fans out there.

Hopeton Brown, better known as Scientist, has been a pioneering figure in the world of dub for nearly 40 years. His early love of electronics proved fruitful when (still a teenager) he was hired at King Tubby's studio in Kingston. Brown quickly ascended the ranks and became heir to Tubby's throne, producing imaginative and technically impressive mixes that solidified his forward-looking nickname.

Introducing Scientist - The Best Dub Album In The World, his 1980 debut LP, lives up to its boastful title. Recorded with Sly & Robbie at Channel One Studio and mixed at King Tubby's, the album features hypnotic basslines, reverb-drenched keyboards, and fluid, start-stop rhythms. Opening track "Steppers," with its well-balanced phrasing and organic contours, shows Scientist's mastery of the studio-as-instrument concept. On "Scientific," the effects-laden guitars are stretched to their outer limit to create magnificent, spaced-out textures and muted tension. Introducing Scientist displays the talents of a man obsessed with every element of production, drawing out the very best of the dub form.

Described by Clash Music as one of America's best songwriters', Brendan Benson has consistently unfurled unparalleled melodies and lyrics in his acclaimed career. Over twenty years in, he's still wowing folks and Half a Boy, Half a Man' is a powerful dollop of power chords wrapped into a tale of split personalities. Backed with an astute cover of Jules Shear's Big Kid Face' from his 1989 album The Third Party' in which Benson helps shine a light on this oft-overlooked but seminal songwriter.
Best known as half of the songwriting team at the heart of the Raconteurs (along with Jack White) Brendan Benson's career has never slowed across six solo albums, two Raconteurs full-lengths, countless collaborations and placements and a seat as one of the most respected and reliable writer, performers, producer, engineer and musical jack-of-all-trades.

'Intraverso is a journey in that momentary 'inbetween land' that many of us experience sometimes. It explores the turmoil of feelings of when one gets stuck in the middle, floating in between ambition and complete stillness'.

Fabrizio Lapiana is a well-known name on the contemporary Italian techno scene. He has been involved in music since the 90's when he started DJ'ing in his hometown Rome. To date he has over two handfuls of releases on labels such as Figure Jams, Arts and M_Rec Ltd - as well as his own imprint, the well renowned Attic Music, founded in 2008.
Intraverso is Fabrizio's debut album, set for release on his label. The record is a very personal journey, according to the artist himself. You here find him examining different territory than where he usually heads within his productions. The album, which consists of nine songs in total, was composed between April 2016 and February 2017 in his studio in Rome. Written in a state of 'introspect', we here see an artist in motion. Changing. Evolving. The perfect moment to explore something new and unveil a different side of yourself to the world.

The intro 'Early Morning Waves' opens the album with its own quiet dramatic tone, waves hitting the shore as we move into 'Bret'. A cloud-walking kind of melody welcomes you, accompanied by a curious beat driving the journey forward. A deep heavy bassline and almost ancient sounding melody rises in 'Onironauta' (reflecting 'Early Morning Waves' mystical mood) until more playful elements blends in. The contemplative bass elements continue in the title track of the album; 'Intraverso' is a track of mind traveling discovery, yet before drifting too far you are grabbed by a snare, a clap of white noise and a pulsating beat to keep you on track. Further on, 'Lost In Negative Thoughts (reshaped)' reveals itself with its heavy ominous drumbeats and a dark spun web of strings is joined by sounds of distant life and machinery. Then there is 'Distance' which is the album's first flirt with more dancefloor friendly territory. Still under a veil of ill-lit melodies, expertly programmed percussion and claps creates something for a more personal body move experience. Moving into 'Again' sees the expedition continuing journeying through the dancefloor, albeit in a deeper landscape where flickering extraterrestrial sounds watches you go along. In 'Backlit' you find the albums most organic moment, an ambient slow thoughtful walk through the consciousness of the producer - only to end up with the album's final moment; 'Freckles (beatless)'. Here we drift deeper off into slow ambient melodies with a comforting thoughtful bassline taking us to the end of our voyage.

Lapiana has composed an album where you get to travel with him on a sonic journey into the deepest corners of his mind, baring vulnerabilities as well as strengths. Intraverso carries a feeling of ancient atmosphere via its melodic language through its whole running time, perhaps since the foundation of the album is based on emotions and the mind. Thoughts, feelings and mental states that always have been with us, no matter the time and place. It is a mature debut album for an artist that proves he is willing to risk going into different areas than the tried and tested ground. One might say Intraverso is a record created for an introvert introspective dancer, willing to see what lies beyond that of which is visible at first glance.

One of soul music's great female voices, Millie Jackson's reputation was made by the release of Caught Up' and Still Caught Up', released in 1974 and 1975 respectively.

Here we reissue Caught Up' on vinyl. Both albums deal with infidelity - and see it from both the wife's and the lover's point of view. The combination of spoken word raps and forceful, risqué lyrics was to become Millie's trademark for several years to come

Side One belongs to the lover and gives us an eleven-minute plus version of 'If Loving You Is Wrong'.

Superb backing from the classic Muscle Shoals Rhythm Section line-up of Beckett, Johnson, Hood and Hawkins features throughout, with long-time Millie Jackson producer Brad Shapiro at the controls.

Classic Original mix (Remastered) + 4 (!) long Ricardo Villalobos Remixes All
Get Physical's 16th year continues to serve up plenty of excellent and exciting new music with this, an EP full of mesmeric remixes from the one and only Ricardo Villalobos. The source material here is the classic 'We Are Phuture' by pioneering Chicago acid outfit, Phuture. The original is included in specially remastered form and the Chilean minimal techno hero serves up four of his own unique versions. Ricardo has been remixing for this label for well over a decade and just last year his 'Hauswiedermischung' version of Reboot's 'Are You Losing My Mind' was one of the standout tracks of Get Physicals´s oeuvre. The original is an abrasive and jittery house track that bristles with frazzled synths, dark filtered vocals, acid twitches and coarse percussion. It's one to electrify the floor, and still does plenty of damage 20 years after it first came out on Trax. Up first is Phutur I Remix, which strips everything away to leave a fluttering snare line, rubber drums and minimal synth that shapeshifts for nearly ten minutes. Add in some trademark Villalobos vocals that are alien and unsettling and you have a real classic in the making. The Phutur II Remix is busier, with deft drums that ride up and down and have a spoken word vocal floating up top. Alien sound designs and occult acid all join the mix later on, while Phutur III sits somewhere in between.

The Afro-Funk side of the Latin Soul maestro!

Born in Gao (Mali), Boncana Maïga is one of the most talented and popular producer of West-African music since the 60's. He studied flute and Latin arrangements in Cuba during the 60's and founded the famous Les Maravillas du Mali' in 1968.

He became orchestra leader for the national Ivorian TV in Abidjan in the mid-seventies, and toured all over the world with the famous Africando band. During his recording sessions in NYC at the beginning of the 80's with a lot of Latin musicians' from Puerto Rico, Venezuela or Colombia, Boncana Maïga also recorded few rare Funky tracks with heavy breaks!

With the artist, we decided to reissue four rare tracks from 1978 to 1982 dedicated to dancefloor, including a really rare soundtrack for the oil company of Ivory Coast called Petroci'.

In 2018, he'll be back on tour with Les Maravillas du Mali', still have a weekly TV show on TV5 Monde and with this reissue will continue to warm your Afro-Funk parties!

Fully licensed, 12inch vinyl (45 RPM) including interview. Remastered by The Carvery!

Vozduh (air) marks the first in a series of EPs by Nocow for Figure, showcasing his emerging signature-style of Electronica-tinged techno. Drawing inspiration from the sheer endless winters of St. Petersburg, his series builds on classic IDM tropes, imbuing them with a noticably Russian and deeply personal sensitivity. As each part of the trilogy is represented by an element, the tracks on Vozduh are vaporous by nature: from the crackling ambiance of opener Bouis to the weightless vocals on stoic Forgiven, as well as a surprisingly introspec-tive take on ghetto-house or the wafting melodies closing out the record's B-side - all forms seem to be in con-stant shift, casting a dense yet permeable body of sound. With two more releases on the way, which will be exploring the themes of voda (water) and zemlya (earth) within this artist's singular spectrum, the outlook (which also includes a full- volume edition) on this approaching season is anything but gloomy.

Next up on Francis Harris's newly-founded record label Kingdoms comes something very special from Brooklyn-based film composer, songwriter, producer and performer Léah Lazonick. Movimenti della Luna D'Oro ('Movements of the Moon of Gold' translated from Italian) is a four-track EP from one of the most exciting musicians and performers around - a beautiful quartet of contemporary classical music with a twist. Lazonick is something of a polymath, having composed and conducted orchestral and electronic scores for short films and commercials as well as being a classically-trained pianist. Lazonick is also a connoisseur of analog synths and vintage drum machines, and will release a second EP focussing on these passions during the course of 2018. Here we are treated to three luscious works for piano and string quartet, written for a one-off performance at Studio OFF Interarts, an art gallery in Montreal. The piece was performed in a forest-like immersive environment, and was originally called In a Forest (A Piece in Three Movements). Lazonick performed the piano parts along with a string quartet she had assembled for the performance/recording. Lazonick explains: 'As opposed to most of the other songs/compositions I have written, I have no concrete sentimental story behind writing this piece. The motivation, inspiration and overall idea behind composing it was of a more technical nature; attempting to relay the music in my head at its purest form, without any compromises, by primarily making use of melodic and harmonic dissonances whilst still keeping the content captivating, musical and continuous.

raw, soulful and agitating: glenn astro, the humble house sorcerer from berlin, produced four tunes and a sweet interlude for mule musiq that point out: house music is still heading for the future.
with countless eps, album's and collaborations for labels like ninja tune, tartlet or his own co-owned imprint money $ex records, the dj and producer already emphasized that he thinks house counter to the trend.
his new ep shows this anew with unpolished, speedy, even techno-like rhythms and deep gentle melodies. dance music for jagged movers that have enough of high gloss sounds.
if house music is a spiritual, a body, a soul thing, then glenn astro delivers some real fresh groov-ing prayers.

Zemlya (earth), the final installment of Nocow's three-part EP-series for Figure unearths the artist's maybe most drastic work to date. While opener Libbi still sprouts gently into crystalline arteries of ambiance, the incessant arps of Synchronicity loom ominously. Equally challenging, yet offering conciliation in form of string-led soothing is Rave Button, after which the record finds closure in the seemingly open-ended sound spiral of Troubles Will Be Miles Away.