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'Best electronic live set i've seen in two years!' CHRIS CUSACK (BOOKER, BLOC GLASGOW)

Fresh and heady slice of cerebral techno and out-there electro flavours.

EXTERIOR is the artist moniker of Edinburgh producer Doug MacDonald. Exterior represents his transition to electronic music and an embrace of the dancefloor. Doug played hardcore and noise-rock for a long time before eventually abandoning collaboration, nostalgia and formulaic rebellion in favour of synthesis. What he gained on the way was an understanding of the power of live drumming and years of finely honed performance-skills, something of an aberration in dance music.

Exterior thus represents a convergence of disparate personal and musical pleasures. Accordingly Exterior draws on rhythmic mavericks as divergent as Fugazi//Battles//Swans as well as DJ Spoko//Clark//Hieroglyphic Being. In addition, there is a deep undercurrent of melody and texture, drawing on the likes of Burial//Miles Davis//Bjork. Eschewing the modern home computer in favour of an exclusively hardware based approach, Exterior espouses a physical relationship to what is at heart an abstract practice, composing electronic dance music.

Perhaps it's unsurprising, then, that one of the things which really sets Exterior apart is his intoxicating live show. He gets the crowd going every single time he performs, so infectious is his energy, as he throws shapes and struts his stuff behind the gear, clearly 100% in the moment and his element.

His debut EP 'Public Transport' was released on London/Barcelona-based Land Recordings earlier in 2018. Having made his international headlining debut in Berlin in September, more continental sorties are currently being arranged (see below).

This record represents a significant move forward in sophistication and club-readiness.

On remix duties, anonymous analogue techno lover DALI returns on the back of four slices of extended club gear released via two Hobbes Music 12"s (2017-18), boasting colour-themed, screen-printed sleeves and an uber-simple design for that evergreen minimal aesthetic with a hint of mystique. These gained excited support/plays from the likes of Ben UFO, Nina Kraviz, Daniel Avery, DJ Deep, Laurent Garnier, Avalon Emerson, Twitch, XDB, Bill Brewster, Bawrut, Tom Findlay (Groove Armada) and many more... Clocking in (again) at just over 9 minutes, her 'Collapsing Star' remix is another marathon-length effort and does exactly what it says on the tin. Setting the beats to classic electro, everything's pushed hard until it all seems ready to fall rapidly apart (and it very nearly does), before dissolving in a fiery sizzle: a more visceral, dance floor accompaniment to Exterior's heady affair.

Slow things down into a full balearic groove with this latest EP on Dekmantel by the Dutch production duo. Barely breaking a sweat over 100bpm, these smooth sunset synth rhythms, full of muted 80s Italo funk, and breezy drum machines, syncopated with the warm, exotic blend of retro keys and ambience, set the EPs five tracks coastal, vibrant dynamic.

Genre: Electronic, World (Arabic). 180gram vinyl includes 12'x24' art print poster + 320kbps DL card. RIYL: Matar Mohammad, Pauline Oliveros, Nadah El Shazly, Lucrecia Dalt, Chino Amobi, Sote, Arca, Fatima Al Qadiri, Tacita Dean, Stan Brakhage. Jerusalem In My Heart (JIMH) returns with Daqa'iq Tudaiq, the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If I f If If If (ye ar-end li sts at The Wire (#39), The Quietus (#24) and A C loser Listen (Top 10), among other accolades).
Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, Big Brave) and abetted by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa'i q Tudaiq translates as 'minutes that bother/oppress/harass'—which presumably needs no further explanation—and features two distinct album sides of music. Side One realizes a long-held dream of Moumneh's to record a modern orchestral version of the popular Egyptian classic 'Ya Garat Al Wadi' by the legendary composer Mohammad Abdel Wahab. JIMH assembled a 15-piece orchestra in Beirut, enlisting the celebrated Montréal-Cairo composer Sam Shalabi (Land Of Kush) as arranger and musical director for the session. Anchored by the stately hypnotic pace of mallet and percussion instruments (riq, santur, derbakeh, kanun), the piece unfolds with lush, languid, reverb-drenched manoeuvrings through virtuosic Maqam shifts (Oriental scales). Moumneh's melismatic lead vocals and electronic production sensibility pay homage to the genre's documented historical recording traditions, while pushing things subtly and respectfully into new territories of sonic distortion and noised, artefact-laden transmission.
The song's original title (with lyrics penned in 1928 by the poet Ahmad Shawqi) translates as 'Oh Neighbour Of The Valley', but JIMH takes a different line from the original lyric as the new title for its orchestral-electronic re-interpretation. 'Wa Ta'atalat Loughat Al Kalam' (' The Language Of Speech Has Broke Down') is an expression of wordless love and transcendent communication between two lovers' eyes in Shawqi's poem; JIMH re-titles the song with this line, exploding the sentiment with more complexity, tragedy and socio-political meaning - also prefiguring the formal aesthetic ruptures JIMH bring to the piece itself. Love in a time of politics, politics in a world conspiring against love, and the specificity of Arab diasporic experience in our brutish 21st century. Side Two comprises four tracks of non-ensemble 'solo' material by Moumneh which push rupture and decomposition/recomposition of tradition further into avant-garde territory - voice, buzuk and electronics take the lead on a suite of emotive and evocative songs, including the percussive loopdriven instrumental 'Bein Ithnein' ('Between Two' ) and the stunningly unsettling processed vocal track 'Thahab, Mish Roujou', Thahab' ('(The Act Of) Departing, Not Returning, Departing'). Daqa'iq Tudaiq is a masterful, mesmerizing artistic statement and confirms Jerusalem In My Heart as one of the most engaged and forward-looking avant-Arabic projects at work in contemporary music today. Thanks for listening.

We were always living in nonlinear times, but a significant cycle is coming to an end so we are noticing a growing number of severe changes and happenings caused by the nonlinear nature of things. For human beings it's difficult to imagine exponential growth despite it surrounding us in almost every aspects of life.

In music one can find such nonlinear increases or logarithmical declines in the core of sound creation itself, namely in envelopes controlling levels, texture and frequencies. But also in real life in the rise and fall of popularity, in viral news or in the development of music technology.
Utilising his sound pallet comprised of modular synthesis and electronic instrumentation, Florian Meindl highlights these resonances of thought and exploration with a sonic statement of his current vision around electronic music in the form of his 4th artist album.

Long time unsung UK techno artist Aubrey is to release Gravitational Lensing, a first artist album since 2001 and his third in all. It lands in early 2019 on Out-ER and across 12 tracks it finds him getting more personal and instinctive than ever before with jazz, techno, broken beat and house all colouring this most coherent of musical adventures.
Aubrey s discography dates back to the early nineties, when he was a key part of the UK scene on labels like Solid Groove, Textures and Mosaic. Up there with the greats from Chicago and Detroit, he has turned out a steady stream of music that marries perfect dance floor functionality with real musical invention. Always inspired by anything deep with a good groove, everything from synth band Japan to funk king George Clinton, electro break beats to Jean Michel Jarre all inform his work.

As a DJ, he cut his teeth playing the biggest raves in the UK with names like Carl Cox and Eddie C having been swept up by the acid house records that hit English stores when he was just 15. Add in a love of jazz, ambient and US house, and you have all the eclectic influences that this criminally under-the-radar artist has drawn on for his latest album.

It is one that finds him really put his personal stamp on his sound. It s a chance to be more who you are and what you feel without pressure to conform to a particular sound, it s a chance to be free, says the artist of the album process. It was partially produced at Out-ER s studio in Nard , Lecce over the course of a year s worth of studio jam sessions, and is his finest and most cinematic work to date.

Things kick off with the ambient synth modulations of Aerglo Visible before exquisitely loose jazz drums and sci-fi pads suspend you in the cosmos on Floating to Rigel. There is an experimental feel to the off grid drums, rippling chords and drunken keys of Doctor Portia that keeps you brilliantly off balance, and the first deep techno trip is Journey To the Blue Planet , which has gorgeous ambience swirling over rolling, dubby kicks and soulful Detroit synth work. Carrying on through more lush, musical synth work and inventive drums, there are moments of heads down dance floor power and hi-tech soul, serene techno landscaping and chord-laced deep house that is superbly cerebral throughout the album.

In all, it makes for a complete and storytelling record that draws on a rich variety of genres and reworks them into something deep, multi-layered and hugely emotional that works as well in headphones, at home, as it will in the club.

Clutching At Straws is a brand new label established by Brian Ring. Born in Cork, Ireland. Ring has been residing in Berlin for over 4 years, during which time he has lent his dancefloor-focused, predominantly house sounds to a range of renowned labels including Freerange. Running Back and Bordello A Parigi. A producer who values a vehement quality-over-quantity approach, Clutching At Straws represents the first time Ring has helmed his own imprint. Featuring two originals as well as a remix from London producer Kiwi, the Reflections EP is most definitely deserving of the wait.

We kick off with 'Acid Sunrise', a classy house cut that envelops the listener in a warm glow from the off. Full of colourful motifs throughout, it's part acid/part Balearic-tinged sound is the perfect antidote to Europe's current climes. Characterised by a nimble, catchy-as-hell baseline, this one is pure dynamite of the sort that will sound at its most pronounced as the first signs of morning begin to enter the dancefloor.

Next up is Kiwi, a producer who's been making power moves of his own lately thanks to a host of well-received cuts for the likes of Jennifer Cardini's Correspondent, Tennis' Life & Death and Optimo's Optimo Music. His dramatic reinterpretation of Ring's 'Forest Walk' , is a highbrow gem that's full of gorgeous melodies and all-round positive vibes, with the man in charge changing the narrative quite exceptionally toward the track's final phases.

Culminating the record is the sounds of 'Emergency Tool', a real statement track that's sure to leave DJs and dancers in a frenzy over the next few months. An upfront banger of the sort that wonderfully incorporates both house and techno elements, it starts off on a fairly innocuous tip before unfurling into an uptempo beast. Full of clever bells and a vocal that demands us to 'move!' (as well as a wailing cop siren that only heightens the sense of mania), 'Emergency Tool' is a track that's destined to be used by discerning DJs when they really have to step things up a notch.

Limited to 150 copies.

Erol Alkan welcomes Joshua James to Phantasy for his debut release 'Coarse' featuring The Bunker NY producer Justin Cudmore on remix duties.

A fixture of London's dedicated queer club scene, James maintains a trio of distinct residencies, including XOYO, the notorious 'Savage' parties, as well as fortnightly on Rinse FM. On this unapologetic and upfront track, the DJ-turned-producer instantaneously captures the raw energy and sexuality that underpin his life by night, backed by a remix from a key figure in the US underground, Justin Cudmore.

Designed with sweatboxes and serious sound-systems in mind, 'Coarse' wastes no time in establishing its rude intent; hammering jack-bass, orgasmic cut-up vocals and larger-than-life synthlines flirt expertly from the off, before the track descends into outright sleaze in the spirit the of gnarlier edge of acid-house. Only a series of breathless gasps indicate you've safely reached the other side... A personal weapon for James each week behind the decks, as well as for Phantasy founder, Erol Alkan, 'Coarse' is a powerful dancefloor paean with only one (well, maybe two) things on its mind.

Having turned heads with his own uncompromising acidic perspectives on labels such as The Bunker NY, Phonica White and Honey Soundsystem, New York-based DJ and producer Justin Cudmore unfurls 'Coarse' in a trippier, deeper direction, nonetheless still bumping in a style that subtly recalls the peak-time sound of classic 90s NYC clubs like The Tunnel.

1982, Brussels: Living on busking wages and next door to Tuxedo Moon, Antena manage to make a contemporary bossa nova record that provides the missing link between Antonio Carlos Jobim and Kraftwerk. The original Camino Del Sol has been given back its spacious mini-LP quarters, recasting this short-lived combo's forwardthinking mile marker as a modern-day masterstroke

Supercharger head honcho Black Orchid goes in for some seriously deep and authentic sounding
breakbeat driven D&B under his Ark X moniker. X2LV is basically the perfect representation of the
vibe Diamond Life was set up for in the first place: lush pads, solid beats and a slightly euphoric yet
melancholic feel throughout.

On the flip Myor Massiv and Diamond Life stalwart FFF drops one of his prettiest cuts to date.
Know How showcases the breakcore legend's ability to keep things sparse and beautiful, a slow
burner of epic proportions.

Eduardo De La Calle has been doing his thing since the early 2000s, but the last couple of years have seen him move into overdrive. Releases on Planet E, Hivern Discs, Nitsa Trax, Turbo Recordings, Gigolo and Darkroom Dubs to name just a few have shown he is both prolific and consistent, and this new four-track collection is just as compelling as his recent output.rnrnDistortion Theory III is a whirring hypnotic machine jam that melds shimmering synth snippets to mind-bending FX undulations and throbbing low end. Disorientating and wonky as hell, it's the sound of a funky computer malfunction somewhere in deep space.rnrnLight Tunnel continues the theme, coming across like the dying throes of space station spinning out of control due to excessive amounts of sub bass. It's a dizzying, disorientating ride.rnrnAcid Aaron C (Edit) wastes no time getting down to business with its gurgling, incessant 303 line present from the get-go. Shuffling percussion rubs up against heady female vocal lines and wonky detuned 8-bit synth blips, the undercurrent of the track swelling and calming seemingly at will. rnrnThe Dub Math takes things down a notch with hazy sounds and plodding sub bass combining with heavily reverbed vocal incantations which all combine to bring together the vibe referenced in the title.

On Pedro Vian's second album, the now Amsterdam-based artist opens up a new sonic chapter of his life, running through depths of emotions and feelings, traversing moments of euphoria, fury, serenity, hope and love. Recorded between 2014 and 2018, the self titled LP opens with a melodic flourish, drops down through mournful vocal driven pieces and lands on fast moving synths across a set of 12 deeply personal tracks.

A follow up to Vian's 2016 acclaimed debut album 'Beautiful Things You Left Us For Memories' - supported by Pitchfork, RA, XLR8R, Ransom Note, The Quietus, NTS - this sophomore LP shows the breadth and maturity of Vian's sound, falling in between the cracks of downtempo electronica, ambient and post rock. Pedro discloses: 'I have tried to be sincere, transparent and pure. During the recording process I have avoided artificiality. I do not like the overproduction of music. I like to feel the naturalness and the essence of the beat of the instruments. I like to look inside until I find something real with which to communicate'.

'Pedro Vian' arrives on Vian's own Modern Obscure Music imprint, home to like-minded artists such as Jamal Moss, Gavin Russom, Tevo Howard, Ivy Barkakati, Eterna and Sau Poler. Vian initially cut his teeth in the Barcelona scene, first as part of the duo Aster with JMII on Hivern Discs and Jamal Moss' Mathematics then as a solo producer on his own Modern Obscure Music, MM Discos and Spring Theory.

Fresh off their latest VA, The Press Group hand the reins over to up-and-coming Ukrainian producer Sasha Zlykh, here delivering his debut 12" effort. Clocking in with a quartet of club-oriented weapons and off-road house-y pumpers that shall bring dancefloors to a slow but steady simmer, the Kyiv-based producer blends in an avalanche of breaks-strewn rhythms, bleepy melodies and reshuffled UK bass patterns to create his own distinctive hybrids, halfway straight dance functionality and non-formulaic experimentality.

As playful in essence as it is serious in its execution, 'Lie To Your Mom' EP starts off with the title-cut, which works a wonky swagger that proves all the more infectious as bars fly by. Engineering a finely-woven mix of off-kilter drum programming, raucous analogue belches and volatile harp stabs distorted to the max, the track's shadowy intro is eventually offset by overlapping tides of luminous pads, released as one lets the light break through a vampire den. 'RnB Ritual' follows up close in the vein, meshing a brooding late-night-ish atmosphere with playful percussive mechs and sustained rhythmic accidents.

Flip sides and you'll be treated to a choice pair of remixes from in-house groove traders Rupert Marnie and Youthman. First in line, Marnie turns 'Lie To Your Mum' into a straight jacking and shuffling Chicagoan chugger. Going deeper into soulful terrains and lavishly-textured expanses, TPG's main operator exploits the whole melodic potential of Zlykh's original, bringing its anthemic power to further completion beautifully. More on the dubby end of things, Youthman adds his uniquely vibey touch to the main cut, deftly navigating betwixt a classic deep house kinda vibe, post-rave'y electronics and a Basic Channel-esque sound spectrum, which all in all should have people instinctively clapping their hands as their mind begins to sink into a weirdly introspective sense of euphoria.

When the past and the future collide, unexpected things can happen. And when we have music at the core and such talent providing the raw materials being the vector for this encounter is a privilege we like to gloat. Carioca avant-gardiste Guerrinha's Repetentes 2008 is a project that is close to our hearts and minds through its rare ability to convey deep nostalgia in a playful futuristic way, renovating a tradition that is the quintessence of their hometown's musical heritage with a zest for jest. Exactly what the offer here in two irresistible grooves that, while maintaining the clarity of references they lie upon, refresh them in a joyful way: 'Missão Misturebar' and 'Judas Preist'. The flipside 'Gelo Geronimo' takes us across a similar path, but intensifies the emotional element and desnifies the rhythmic components to deliver the kind of track that only a master of French alchemy such as Gilb'r could transmutate by subverting its principles in a somewhat darker take. How about that for science

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.

'Sometimes it's hard to say how you feel,' says songwriter-vocalist
Jade Vincent. 'These songs are vulnerable stories for me to tell -
they're things I couldn't say out loud. But I found that I could sing
them. And then I closed my eyes when they would listen.'
Listening to Vincent's songs were her partner - producer/composer
Keefus Ciancia - and DJ and producer/composer David Holmes.
Together, Vincent, Ciancia and Holmes make up Unloved, the musical
project that evolved out of a late-night Hollywood bar in 2015,
releasing a stunning debut album the following spring and this year
crafting the soundtrack to Phoebe Waller-Bridge's acclaimed new
series 'Killing Eve'.
Introduced to Ciancia through soundtrack work, Holmes found
himself invited to DJ one night and to curate other nights at the
Rotary Room. To invite Holmes to DJ is to unleash a kind of whirling
dervish of musical enthusiasm but through those nights the trio
discovered a shared love for 60s girl groups and French pop and film
noir soundtracks, Brigitte Fontaine, Shuggie Otis, George 'Shadow'
Morton, Bruno Nicolai, Lee Hazlewood and Jack Nitzsche, along with
a tremendous desire to work together.
Their debut EP - 'Guilty Of Love' - and the full-length, self-titled
album that followed in the spring of 2016, offered a quite remarkable
thing: a sound at once hauled out of the silty depths of the past and
simultaneously wholly modern. There was the soft hiss of a lo-fidelity
recording - the murky crackle of sample, beats and half-remembered,
long-lost favourite tunes. However, much of the songs' success
belonged to Vincent's sublime voice and lyrics, both possessed of an
aching, rich-smoked tone of loss and love.
Unloved's second album, 'Heartbreak', is about love. The album plays
out each song like a vignette of nothing but love. The songs that rose
up were in some ways surprising, but also felt insistent. 'They're real
feelings and real experiences that I had the guts to finally say, but
always ambiguous, this is very important to me,' she explains, 'and
always about love, one way or another.'
LP pressed on red coloured vinyl with digital download code.

Spiderland by Slint is post-rock ground zero. It was the band's second and final album, but it's THE ONE when it comes to defining a sub-genre. The band featured Brian McMahan who went on to play with Will Oldham and then form The For Carnation, and David Pajo who has done many good things since such as Ariel M, Papa M as well as being in Tortoise for a bit. He was also a member of Billy Corgan's Zwan.

The story of Seattle's rise to global rock supremacy in the late 80s and early 90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar) and Alex Shumway (drums), the
quintet put out three 12's and a 7' single during its brief existence.
Green River's influence on Seattle's music scene spread far and wide thanks to the members' dispersion into bands including Pearl Jam, Mudhoney and Love Battery, as well as the punk glam sludge rock songs they left behind. 'By '83, '84, there was
definitely a movement that was happening within hardcore, like Black Flag slowing down for My War,' says Arm. 'The Replacements and Butthole Surfers were rearing
their heads, and they're very different bands, but they're not hardcore - the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth's Bad Moon Rising was around, and a lot of really
interesting post-hardcore things were happening.'
Green River, formed in 1984, were part of that evolution, with a sound that straddled a lot of different genres - blues, punk, bloozy straight-ahead rock. The mini-LP 'Dry As A Bone' - which came out in 1987 - and the band's lone full-length
'Rehab Doll' - which came out in 1988 - were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie's 'Queen Bitch' and their marauding version of Dead Boys' 'Ain't Nothin' to Do', in 1990 - but they've been
unavailable on vinyl for years.
Now, these slices of Seattle music history are not only back in print, they're accompanied by items from the vaults that had been forgotten about for decades.
'Dry As A Bone' was recorded at Jack Endino's Reciprocal Recording in 1986 and it shows the band in furious form, with Arm's yowl battling Fairweather and Gossard's
ferocious guitar playing on 'This Town' and 'Unwind' opening as a slow bluesy grind then jump-starting itself into a hyperactive chase. The deluxe edition includes Green
River's cuts from the crucial Seattle-scene compilation 'Deep Six', as well as long-lost songs that were recorded to the now-archaic format Betamax.
'Rehab Doll', recorded largely at Seattle's Steve Lawson Studios., bridges the gap between the taut, punky energy of 'Dry As A Bone' and the bigger drums and thicker
riffs that were coming to dominate rock in the late 80s. This new edition of 'Rehab Doll' includes a version of 'Swallow My Pride' recorded to 8-track at Endino's Reciprocal Recording, which features a more accurate depiction of how the band
sounded when they played live. 'When I listen to these mixes, I think, 'This is how we actually sounded - this is the kind of energy we had,'' says Shumway.
Green River's place in American music history is without question but these recordings paint a more complete picture of the band - and of rock in the mid to late 80s, when punk's faster-and-louder ideals had begun shape-shifting into other ideas.
CDs in digipack with 12-page booklet. 2LP formats in gatefold jacket with custom dust sleeve and digital download code.

Black Rain returns with Computer Soul: the final part of a sequence of Blackest Ever Black releases that began with 2011's Now I'm Just A Number: Soundtracks 1994-95, and a first glimpse of the project's richly imagined future. For this outing Stuart Argabright (Ike Yard, Dominatrix, Death Comet Crew) is joined by BR founder member Shinichi Shimokawa as well as more recent recruit Soren Roi and Zanias (vocalist on 2015's Dark Pool) - making for the most most group-oriented iteration of Black Rain since its earliest days. Sonically too, there is a sense of evolution but also of coming full circle: the cyberpunk techno of Argabright's celebrated William Gibson soundtracks (compiled on Now I'm Just A Number) and extrapolations of Dark Pool's neuromantic yearning cut with glimpses of the thrash and industrial rock energies that animated Black Rain's incendiary live shows - and sought-after tapes for Kombinat and TPOS - in the early 90s. More than ever, Black Rain is propelled by a powerful science fiction impulse, whether responding to the themes and characters of Gibson's Sprawl or the Blade Runner universe (particularly K.W. Jeter's spin-off/continuation novels which extended its mythology, and timeline, further). It's not news that many of these works' most powerful predictions and prophesies have come to pass - the replicants are already living among us - so Computer Soul projects further into several possible unforeseen futures, its events 'set' in the second half of the current century, fifty or so years after those of Dark Pool. The hyperpopulated metropolises of Dark Pool are no more; the apartments are empty, haunted by ghosts of AC current, devices and machines running lonely without their owners...a melancholy internet of things. Where has everyone got to Gone but perhaps not gone. Oblivion beckons - always does - but on the other side of that, something else... another time, another place, a river....and a new way of living.

Diskotopia is extremely proud to kick-start 2019 with Girar, a four-track EP of new kaleidoscopic productions from Lisbon-born, London-based producer Silvestre.

Silvestre is no stranger to Diskotopia, this being his third release with the label, debuting with the gritty noise-and-thump Frank Pike EP in 2014, and following that up with the more buoyant, latinate Floresta EP in 2016. In addition to producing, Silvestre also co-runs the Padre Himalya imprint, putting out 2018's critically acclaimed Focus EP from tombak virtuoso Mohammad Reza Mortazavi, Renato's 2016 Alo Alo, plus his own Sport Theories and All The Things 12"s.

With the Girar EP, Silvestre presents four idiosyncratic cuts: the bubbling psychotropic mutant rhumba of Ir a Sagres, woozy spliff-house Deptford Bus, RC Surfer, a time-stretched reggaeton soundclash and the pseudo-jubilant breakbeat-house Everybody Is Happy; testimony of a truly unique and exciting artist in the modern current of electronic music.

CYRK, the Belgian-German duo of Sammy Goossens and Pascal Hetzel, is giving its debut release on Vakant with three fast-paced no-holds-barred electro jams topped off with a remix by French producer Voiski.

'Superior Things', the eponymous title track, kicks off the EP with driving funk and and acid lead synths, followed by 'Heatwave', another futuristic high-tech-funker. On the flip we have 'Chappers Said So', a sublime homage to classic Detroit electro and last but definitely not least Voiski's remix of the latter, an immersive and trance-inducing techno re-work for you to get lost in.

Artwork by SEO

Ste Roberts supplies us with release 00003 on his handstamped imprint STE. Twisting things up on this outing, starting with the no nonsense tripped out roller of White & Cold. The B side showcasing the minimalistic side of techno with Pumpkin Seed and finishing the EP off with the epic Elevate. More tackle for those later nights.

Samo Records is very pleased to introduce the debut EP from Russian Chandeliers, a new project by Julian Grefe (Pink Skull) and Fringe Society (formerly known as Quell). Berliners by way of Philly and Athens (Greece), respectively, the studiomates have perfectly fused the best bits of their signature styles to create a record that's equally suited for headphones and dancefloors.

"Worm In Worm Out" (A1) kicks things off with a chunky, chuggy rhythm that indeed worms its way into your brain, sprinkling vaguely psychedelic echoes throughout.

"Stay In Seattle" (A2) is a slow-burning charmer that layers bleeps and sizzles over a dark and mesmerizing bassline.

Zombies in Miami put a slightly spooky, frantic spin on "Stay In Seattle" for their mix (B1), turning the moody paranoia into a deliciously foreboding frenzy.

MR TC's take on "Worm In Worm Out" (B2) ups the psychedelia, tones down the bass, and gently hypnotizes you into the best kind of euphoric haze.

"Kosmonauten Aceed" (B3) is an immediately captivating slice of industrial-laced acid with just the perfect amount of krautrock drizzled in.

Format Returns With Another 4-track Slice Of Techno From The Label's Founder, Juan Sanchez, Including A Remix By Lauded Us Producer Mike Parker.

The Ep Opens With Qx02, A Jacking Techno Track Built On Gritty Synth Swirls And An Acidy Pulse. Following Up, Mike Delivers A Much Darker Rework With A Menacing Kick Drum As Its Engine. The Ep's Title Track Dans Ta Tete Pumps Up The Tempo, Delivering A Fast-paced Synth-driven Stomper. Things Close Off With Plural, On Which Juan Explores The More Dubbier Sides Of Techno Across Lush And Warm Ambient Chords.

Fr015 Is Another Prime Example Of Format's Signature Techno Sound That's Successfully Finding Its Way To The Floors.

"Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.


The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds. It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow. From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint. It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.


Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.


This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

ndio was a short lived but influential trio of John Beltran, Sam McQueen and Seth Taylor. They released an album and three EPs of hi tech ambient techno on Derrick May's Transmat and the Rhythmic Tech label between 1999 and 2010. Here, three tracks from their self titled 2003 EP and one that was released on Styrax get put together, remastered and recut for the next Delsin reissue. Opener 'Winter Long' is classy techno cut that looks into the future. A symphony or gorgeous strings lights up the backdrop as scintillating drums dance and shimmery in the foreground. A Detroit sense of melody adds colour and ensures utter timelessness. 'Blue Fantasy' is another track that show off the power of machines to make music that touches your soul with its gorgeous strong stabs and masterful drum programming, and 'Inca' then slips more into a house groove, with busy, shuffling drums driving along beneath acidic twitches and broad, heavenly pads. It's slick, urgent and compelling and 'Nolita' closes things with more delicate dancing machines, rueful synth work and rubber bass. It's archetypal Detroit techno that sounds as good and forward facing now as it ever did.

'String Figures Remixes' is a series of remixes released on December 14th 2018 following the previous-ly highly acclaimed LP String Figures by Zoe Mc Pherson. (Watch her Boiler Room live show)

Remixers for this EP include Ben Vince (Hessle Audio co release w/ Joy Orbison & Where To Now solo album where collaborators include Mica Levi & Rupert Clervaux), N1L (Opal Tapes & UIQ), Hester-1, Bartellow (ESP Institute, Public Possession) & Sukitoa o Namau (First Terrace Recordings).

The EP is pressed on transparent vinyl & comes along with transparent sleeve.

When asked why Zoe chose each artist for her remix album she writes:

Ben Vince is my mate since he opened for my release in London last April and he was really excited about making a remix. Which I think is even nicer is that he only remixed and did not play saxophone. He actually properly very much remixed all the elements, all recognisable, which is a delight to listen to when you know all the parts seperately. The only thing he did is making it a UK club banger track !!!! :)


N1L is a friend whom I admire totally for his capacities of producing incredibly wicked tracks in no time. He's got 10 000 collabs going on ( abit like Ben). I don't know how he does it, but damn his remix is also one of these that are a delight to listen to when the samples are re organised in a very cool way which is his own.


Hester -1 is also a friend, violinist and producer from Antwerp. She is a nerd, her style and projects are developing, we jammed together, and I wanted her to be on the original album, so now she is in the remixes and made a very dark piece and now I'm thinking she should meet N1L :)


Bartellow is also a friend, behind SVS, and he was the first one to make a remix in 1 hour on a flight I think actually even before the album came out!!!! He had already made a proper groovy banger, as he always does, with his style.


Sukitoa O Namau I've been chatting with since a while, she's an incredibly inspiring artist, releasing on First Terrace records, she used to be a dancer and is an explorer of sound and of many things. She basically fucked up my track, by changing the rythms into no rythms and purifying it very much which reveals other things. Only keeping rough elements of it and I think it's absolutely brilliant.

[A] A1 | Sabotage Story (Ben Vince's Perculator Mix) 2) The Gate

Santo Sangre is a project by San Francisco-based artist, producer and DJ Gonzo Manuel. On its first release, Quetzal, perhaps a reference to the central-American bird with bright, ornate plumage Gonzo taps into a Latin-accented, tribal feel that is ably carried on rolling, syncopated percussion with an organic essence, a birdsong-like chant, sporadic and light bursts of actual song and haunting string chords that cut across the sound spectrum, adding dark energy and urgency to the track. This one will sit nicely out on its own, bringing a hybrid organic/robotic essence to the dance or would work equally well rinsed around in the mix, with all its elements appearing and disappearing at just the right time as a transition ascends and peaks.
Oakland producer Indy Nyles remix builds on the tribal theme by enhancing the syncopated aspect of the percussion. He augments this further with a pretty and drifting melody line composed of glassy keyboard sounds. The sense of drama this creates is boosted further by a breathy and repetitive voice sample. This concoction drives along nicely until around the 5 minute mark when Nyles drops a menacing, snaking thread of 303 bass, stabs of icey strings and echo and delay effects that amplify the shadowy, seductive allure of his remix. Its a new sounding track but the acid line and syncopation bring to mind some of the psychedelic, breakbeat classics of San Franciscos halcyon, rave era.
Rounding things up is the Slope 114 Remix. Here Dmitri Ponce and partner
Elise Gargalikis take the track on a house journey that is, like Indys mix, brand new sounding but possessed by the spirits of the classics. Elises vocal flourishes bring to the mind the Latin house, tribalist dynamism of Louie Vega and Indias River Ocean numbers while Dmitri nudges the bassline from chunk and funk to acid and massive without sacrifcing the subtlety of the maneuver. The subtle aspect being that a techno, a tech-house and a straight up house heads will be able to bounce this one to the box without leaving her generic comfort zone: the true mark of a classic.
This release is a strong start for this new artist, look out for more fire from this Bay Area talent

All things come from and return to the same source - such is the theory of Monism; an ancient philosophy, but also accounting for the music of Jeroen Search. Dictated by an ethos of exclusively recording live takes and the only ever editing happening while a tune is being created, each finished track is imbued with that unique magic of the moment. Such too is the nature of Monism, Search's first LP in over two decades of electronic explorations and personal as well as artistic growth. As with any of his music that has been released so far, the tracks on here hold a timeless quality, existing within their own frame of reference than - that is their immediate experience. Across a carefully arranged course, the album naturally unravels its many ideas, ranging from moments of pensive ambient pieces to thick washes of dub echo and layers of modulated synths, all while providing an endless array of hypnotizing bare-bone grooves in the process. A true Figure mainstay, Jeroen Search upholds his artistic relevancy without any reinventing or switching up the formula - rather by simply keeping true to his accomplished craft.

Berlins premiere Bass Collective continue their march into history with yet another TKO vinyl from regular contributor Bridge Guy. His 4 originals are joined by an absolute hammer of Deepness from Jesse Bru who steps up to remix Psilocybin.

Bridge Guy is exploring Deeper sounds in this EP and Isopropyl opens proceedings with a trip of clattering percussion and synth work, all with a laid back slant. Deep enough for the heads but with a sound that just pulls you in.

The theme is somewhat continued in Lone Frenchman, but where the previous track takes a step to the left, The Lone Frenchman turns right and gets his rhythmic jam on. Tightening up the groove and laying the dancefloor to waste.

Psilocybin really pulls the bass and groove centre stage, bouncy and warm and with a whole load of rhythm in the boot. This one is for the turning point right in the middle of the night where things start to get a little more freaky.

Cheese on Toast, drops things back a touch. Thick tones and a more relaxing vibe perfect for losing yourself in, as the last of Bridge Guys originals rounds out a remarkably vibey EP.

Closing out the package we have Jesse Bru's storming remix of Psilocybin, easily up their with some of the best lo-fi House of the past few years. Jesse rings his own vocal work and really heats things up. Peak time killer.

Simple, effective and downright deadly. Mella Dee serves up the perfect sountrack built for basements, dimmed lights and late nights.

Mella Dee's solo sound has evolved from a true passion for all things garage, a perpetual dedication to Hip Hop, combined with a love for house music which was heavily influenced by the darkness of UK funky and Dubstep.

Together these influences have enabled Mella Dee to develop a unique approach to the fusion of these sounds, into one bumpy soundscape that is simultaneously house, garage and techno.

OMENA Omena is finnish for apple. It's also a record label set up by Tobias Lidstrom aka Tooli.
DJ & co-running Local Talk Records & OneOffs.

Drama were the Canadian duo of Eric Simpson (Vocals, Bass Guitar, Guitar) and Don Stagg (Keyboards). Formed in in Mississauga, Ontario in 1978, the pair had previously played together in progressive psych bands Majik and VIIth Temple. Almost every Saturday, Eric and Don would record one song on a TEAC 4 track tape recorder after a couple of takes with very little over dubbing. The pair were influenced by what was playing on the radio during the recording sessions. Everyone else at that time was in a rock or pop band yet Drama were making electronic music. The pair released their debut LP 'Loneliness' on Psycho Records in 1979. There were 500 albums made and about 200 ended up in the garbage as band members shuffled from apartment to apartment. This was followed by a 4-track 7' later that year featuring live drums and additional guitar.
Seance Centre says it best, 'On Loneliness, the pair traded in their velvet and chord charts for thin ties and a cheap drum-machine. The LP still carries a whiff of patchouli, but the sound stings of solder and electricity, and inhabits a nascent zone somewhere between krautrock and new-wave. The vocal cuts are all clustered on the A-side, starting with an ode to the inefficiency of the Toronto Transit Commission - some things never change! The dystopian sci-fi themes are par for the League, and highlights are the love ballad 'Anna King' and the charming 'Feable'. The instrumentals on the B-side feel decidedly more Teutonic, and have a certain CBC charm that sounds like JP Decerf recording for Parry Music. It even opens with a slinky stoned Pink Panther.' For this first time vinyl reissue we've expanded to a double LP with a bonus album of the 4 songs from Old Hollywood 7' and 9 previously unreleased tracks and demo versions. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original photo by Don Stagg taken from his apartment rooftop overlooking Toronto of a young teenager sniffing glue and includes an insert with photos and liner notes by Drama.

The first Follow The Flow release is produced by Jonas Kopp. "Iamik EP" is composed of four hypnotic tracks: "Iamik", "Iamik" (Fragmentor Remix), "Bangua" and "Shasta". The first three tracks of the EP mark Follow The Flow's classy and cutting-edge Techno style. The last track of the EP, "Shasta" is a timeless high quality drone track, which really puts the cherry on top of it all. The cover photo is curated by the famous Italian photographer Alessio Guarino. Follow The Flow is a multimedia project focused on electronic music and nature (botanic, entomology, ethnobotanic, etc). Follow The Flow aims to create audiovisual tools that will help people reconnect with the natural flow of things and "Rediscover Nature Through Technology", which is also the label's motto..

It has been a good year for Idle Hands. The label reached its 50th release with a release from Livity Sound's Pev and November saw the release of Parris' latest 12' featuring a KMOS remix.
For the labels final vinyl release of 2018 it is the turn of Stockholm's Pistol Pete. Idle Hands boss Chris Farrell has long been a fan of this artists work. He may not have put much out over the years but each release has found a welcome home at the Bristol record shop from which the label operates.
On this release we find three club focused House tracks, each exuding a warmth one would hope for in these cold winter monts. 'Orphan' opens the set with crunchy, swinging drums and the deft use of a sample. 'Lundagatan' continues things apace with some concentrated drum programming and a chopped up soul sample. 'Esqpads' rounds things off with a warm Deep House feel and grooving bassline.

Eglo Records are proud to present the second official solo album by the forward facing producer and vocalist Steve Spacek. The album, entitled 'Natural Sci-Fi' originally began production in 2005, shortly after the release of the now classic 'Spaceshift' album (which included the J-Dilla collaboration 'Dollar'), but was never completed. Over the last few years Steve has added a some tweaks and changes - including a new song and guests vocalists Oddisee and Natalie Slade - eventually finalising the project and readying it for its release in 2018. The album continues the post Spaceshift vibration of Steve's signature production style and effortless vocal delivery. Swinging spaciuosly from past to present, packed with soul, sounding as fresh and relevant today as it did when it began back in 2005.
Since the albums inception Steve has released projects with Mark Pritchard as one half of Africa Hitech on Warp, an instrumental LP as Black Pocket for his brother D-Bridge's Exit Records and a concept LP as Beat Spacek for Ninja Tune. Following a string of EP releases for Eglo over the last two years we are thrilled to finally be able to bring to you a full length release from one of the UK's most unique and talented artists.

This triple pronged battle weapon from Cowboy Rhythmbox takes is inspiration from a wealth of disparate elements, the brutal drum machine swagger of early Chicago house, the murky world of 1980's video arcades, the bleeps of Sheffield, arcane home computing documentaries recorded to VHS, public access TV, yes there really is something here for everyone.

Terminal Madness:
A quirky track about the paranoia surrounding artificial intelligence, inspired by early Dance Mania releases and broken pocket calculators amongst other things.
Beware, you'll begin to think that computers have minds of their own!!!

Hands Inside The Car:
Proof that there is joy in repetition, a wonderfully eccentric number with a deadpan vocal hook that wraps itself around a killer combination of sub bass, freestyle beats and deranged reversed elements.

Vodonik:
A stark, glacial rave beast, very much a reaction against Cowboy Rhythmbox's usual maximal approach. This is stripped-down-to-the-bone body music that will work in the most cavernous of rave palaces or the most intimate seedy basement club.

The inaugural release on ninih sees yeyeh001 Spinvis & Vinkenoog reworked and reinterpreted by today's artists of tomorrow. Spinvis & Vinkenoog collaborate one more time to bring you one of life's most important lessons: LEEF MET PLEZIER!
Once you think you've learned your lesson Max Abysmal makes you second-guess yourself on Spiegel. The flip sees Sapphire Slows defying the laws of gravity with a completely new bass heavy Mamamiamarihuana. Lastly Oceanic finishes things off in fashion proving all the naysayers wrong with his remarkable version of Ja!

The demons of night are out again: Seoul's one-stop shop creative collective Byul.org returns this fall with its third international album, entitled Nobody's Gold, out via Alien Transistor (worldwide) and the group's own Club Bidanbaem imprint (South Korea). Comprising 14 new songs, it's a dizzying, haunting affair that channels the group's manifold influences and references points (from post-punk to Stockhausen and back via club culture) and yet sounds intriguingly coherent.

Moving in and out of the shadows, Nobody's Gold breaks forth as pure sonic landscape - a universe of its own, folding and unfolding into both more experimental patterns, yet also with occasional hooks and dark catchy structures, gracious build-ups flickering among the hazy roar and thunder. After the screak and squeal of 'Lamb with a Wolf Mask,' the foreboding sounds of 'The Museum of The Two of Us' segue into a synthesized party tune about a missing friend being chased by police ('Nari Yuko Yin'), one of several vocal tracks with a sinister edge. Taking things up another notch, 'Friendly Enemies' is probably the closest this group will ever get to creating a stadium-ready anthem. On the other end of the spectrum, 'The Place Where Designers Go To Die' is a magnificent void with an immense and irresistible undertow...

Never too jolly (not even while 'Day Drinking at a Seaside Town' or during takeoff via epic pop tune 'Bats We Are'), Nobody's Gold compiles soundscapes with a very tangible, corporeal presence - iridescent sonic sculptures placed in unlikely settings (e.g. outer space, see: 'Dirty Dirtiness'), born at the fringes where night blends into day and vice versa.

Inspired by everyday life, half-remembered drug/club experiences, Pascal Quignard's disturbing La haine de la musique, Stockhausen and Bill Evans, the new LP sees the collective remain true to its DIY foundations while repeatedly questioning our listening habits and 'the exaggerated love for the concept of love,' as they put it.

Founded around the dawn of the millennium as a group of poetry-loving friends who'd occasionally meet for drinks, Byul.org has long become an extremely prolific and versatile collective within Seoul's scene: Main song-writer TaeSang Cho and his mates Yu Hur, Jowall, YunYi Yi, SuhnJoo YI, HyunJung Suh, and SoYoon Hwang went from publishing to recording, from releasing tunes to design, art direction and more. Although their list of clients includes Atelier Herme`s and the Venice Biennale (they did the Korean Pavilion twice), the group still remains a drinking circle of close friends at its core: Pals who simply like to create and carouse and dream and live and perform and play tunes together.

john Yancey' Is The Second Album Illa J Will Release On Jakarta Records, Following The Successful
Release Of Home Last Year. The Project Is The Second Collaboration With Los Angeles
Based Producer Calvin Valentine, Who Once Again Contributed All Of The Production For The Long
Player. While home' Was Largely Inspired By Illa's Native City Of Detroit, john Yancey' Now
Focuses On His Time In California.
(this Album Is) Definitely More Personal Than All Of My Projects, Nothing Specific, But I Basically
Talk About About The Ups And Downs Of All My Relationships Over The Past 10 Years, Still Grieving
About My Bro, Etc. This One Is Trippy Because The First Single Comes Out A Day Before My 32nd
Birthday And The Original Title Was 32 Because This Is A Special Year To Me Because My Brother Died
At That Age So It Had A Lot Of Meaning. But It Makes Sense That It Ended Up Being Called John
Yancey Because For So Long In My Career I Felt Like I Was Tryna Be Me And My Brother, And I'm Finally
At Peace, Like I'm Not J Dilla's Younger Brother Illa J, I'm James Younger Brother John.'
While The Story Of The Album Might Have Changed, There Are Certain Continuities As Well, Built
Around The Strong Foundation Of The Combination Of Illa's Voice And Calvin Valentine's Soulful
Sample Based Production. The Previous Album Already Saw Illa J Incorporate More Singing Into
His Raps And He Goes Down This Path Even Further: i Wanted To Emphasize The Singing But Use
More Of My Natural Singing Voice, As Well As Rap More Than On Home.' In Regards To The Music,
Calvin Wanted To Make The Project Sound a Bit More Polished Where Home Was Purposely
Rough Around The Edges.' Still, The Production Remains Soulful And Rich With Layers To Leave Things
Interesting For The Listener, The More Spins You Give The Record.
The Cover Was Created By Robert Winter, A Cologne Based Photographer Who Was Also Behind The
Visual Appearance Of Home.

Boum Boum Boum! 25 years of KOMPAKT. When a record label still thrives after a quarter of a century thanks to a focus of what was expected to be a short lived music phenomenon called TECHNO, then it stands to prove two things; that it techno has taken its place amongst serious, multilayered musical genres like rock'n'roll, pop and folk music. And that KOMPAKT has never been only for techno, but KOMPAKT stands as a broad-minded, genre-defying entity that has set out to cross-pollinate all kinds of musical inventions within the realm of electronic music. Through its course, KOMPAKT has sent 'Around The World', all kinds of sub-genres, concept series and crossover adventures based on the non- negotiable 4/4 beat. And back again.

Without a doubt, the 100% kickdrum-free POP AMBIENT series is the most endearing and enduring concept that I have had the pleasure to curate. From the start, I felt there was a strong need to add a certain pop- elegance - ensouled by discourse as much as hedonism - to a sound that was recognized as 'Chill Out' music that could be heard in seedy techno club back rooms and forgotten festival areas. Over the years, I like to imagine that POP AMBIENT has crystallized into a highly recognizable trademark sound and a multi-facetted musical universe of its own.

So once again, I had the pleasure to put together this year's edition by plowing through an ocean of sonic jewelry that had been submitted from all over the world by new and old friends. The task was clear: for this special edition, I must create a homogenous listening experience that would both appeal to our trusting followers, to continue our tradition while integrating new micro facets , variations and influences from neighboring musical universes as possible. Obligatory while being innovative. Conspirative while being cosmopolitan. Albeit the headline 'Ambient' might sound a little too humble for a compilation that encompasses aspects of neo classic, atonal music and the most beautiful aural kitsch imaginable, it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland's abstract-floral cover design that keeps on pleasing our sore eyes year after year.

Although each and every POP AMBIENT edition doesn't shy away from diving into the relevant question of 'What is contemporary discourse music' - in the end it all boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. POP AMBIENT is sacral music for non-believers.

Wolfgang Voigt Cologne, October 2018

Bum Bum Bum. 25 Jahre KOMPAKT. Wenn ein Musiklabel, das seine inhaltliche Ausrichtung im Wesentlichen auf den anfangs als schnelllebig und vor allem kurzlebig apostrophierten - hype' Techno setzt, nach 25 Jahren in jeder Beziehung immer noch voll im Saft steht, dann zeigt das zwei Dinge: Das erstens mittlerweile jeder bemerkt haben du¨rfte, dass Techno eben kein kurzftristiger hype ist, sondern vielmehr ein vielschichtiges, ernstzunehmendes Genre, das sich ebenso wie Rock'n'Roll oder Schlager fest in der Musikgeschichte etabliert hat.

Und zweitens, dass KOMPAKT nie nur ein reines Technolabel war und ist, sondern ein nach vielen Seiten aufgeschlossenes Experimentierfeld, das sich von Anfang an der Grenzu¨berschreitung und dem musikalischen Erfindungsreichtum verschrieben hat. U¨ber die Jahre wurden unter dem KOMPAKT-Signet etliche Subgenres, Konzeptreihen und Crossoverwagnisse auf Basis der unverhandelbaren geraden Bassdrum - around the world' und wieder zuru¨ck geschickt.

Eine der wohl scho¨nsten und nachhaltigsten Konzeptreihen du¨rfte wohl die bassdrumfreie POP AMBIENT-Serie sein, die ich als KOMPAKT-- Altvorderer' nach wie vor die ja¨hrliche Freude habe, zu kompilieren. Dabei hat sich u¨ber die Jahre aus dem anfa¨nglichen Bedu¨rfnis der seit den fru¨hen 90er Jahren in den sogenannten - Chilloutrooms ' grossra¨umiger Technoclubs, - Lounges' und - Muzakkneipen' entstandenen - Entspannungsmusik' etwas entgegenzusetzen, eine eher von Pop-Eleganz, Diskurs und Hedonismus beseelte, eigene Spielart ambienter Musik, eine vielschichtige programmatische Musik mit hohem Widererkennungswert entwickelt.

So hatte ich auch im Jubila¨umsjahr einmal mehr die Qual der Wahl, aus den aus aller Welt kommenden, grossartigen Klangpreziosen guter alter sowie neuer Freunde die subjektiv besten zu einem homogenen Ho¨rerlebnis zusammenzufu¨hren. Dabei ist mir immer sehr wichtig, einerseits den Erwartungen der treuen Ho¨rerschaft im Bezug auf Traditionsverpflichtung gerecht zu werden und andererseits auch immer mo¨glichst viele Mikrofacetten, Varianten und Einflu¨sse angrenzender Stile und Universen aufzugreifen. Innovativ und verbindlich. Konspirativ und weltoffen. Auch wenn der U¨berbegriff Ambient, fu¨r eine Kompilation die sowohl Aspekte von Neuer Klassik, Atonalita¨t und Kunstmusik mit den allerscho¨nsten Seelenkitschklangwelten zu vereinen sucht, zu eng gefasst ist, so hilft er doch bei der notwendigen Orientierung im besten Sinne. Ebenso wie die Tradition gewordenen, wunderscho¨n abstrakt-floralen Kunstblumenwelten der von Veronika Unland gestalteten Cover, die ein ums andere Jahr auch die Augen in Verzu¨ckung versetzten.

Auch wenn jede Kompilation sich aufs Neue an den relevanten Fragen zeitgema¨sser Diskursmusik abarbeitet, so ist der erhabene Moment am Ende doch der, in dem sich alles zu Gunsten eines - ho¨heren, kosmischen' Ho¨rerlebnisses, im wahrsten Sinne des Wortes in ambiente Luft auflo¨st.

POP AMBIENT ist die sakrale Musik der Ungla¨ubigen.

Wolfgang Voigt / September 2018

"In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the bands name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!' (Kawabata Makoto 2018)
 
Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows.
 
In recent years, they've experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...
 
'Reverse Of Rebirth In Universe' sees the band return to their old label Riot Season for the first time since 2012's 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.
 
Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.
 
If you stepped off the AMT ride over the years, possibly overwhelmed by the amount of releases they were once firing out ... it could be time to step back on it and check out where they're currently at. In a world that's more messed up than ever, we could all use a little break away from the norm, and nobody takes you as far away from the norm as possible as Acid Mothers Temple & The Melting Paraiso U.F.O.
 

Africa Seven's next installment returns to Cameroon with a special edition version of Momo Joseph's in-demand LP, "War For Ground", with three extra tracks. Momo may be better known for his work as an actor, having featured in such titles as "La Haine" (1995) and "The African" (1983), but his small foray into music is definitely memorable as he lays it out in true Afro-Boogie style. Apart from two singles, "War For Ground" represents Momo's only other body of work, and only studio album which was self-released in 1983. With this "Edition Speciale" reissue we provide you all the originals from "War For Ground" remastered alongside his party-time classic "Cameroon Airline", "Love Africa Soul" and his lesser known tack "Oh Momo".

The A-side starts with "Africain", which also featured on our compilation "Africa Airways Four". Glistening synth lines work it out over the top of romantic guitars, while the continual and hypnotic vocal chant of "Africa" tells you exactly where this music is coming from and what it means. The tempo creeps up a bit with "N'Gon Le Bek" which again takes advantage of driving guitar lines, this time facing off with the horn section. The last cut on the A-Side is "Out Side No Fine", which flows great after the previous two, keeping up the same aesthetic with a bit more of a tropical feel to it.

The B-side kicks off with the title track "War For Ground". In this one Momo starts off rather melancholic before things end more triumphantly with the backing vocals and horn section again providing much of the driving force. The final two tracks on this record make up the "Edition Speciale" element of this reissue. "Love Africa Soul", taken from Momo's 1980 single of the same name, at first seems to be one of the more straight forward disco led tracks on this release until an ecstatic synth line breaks things up in a forward thinking break down before a trademark Momo groove kicks back in. The other track featured on that single was"Cameroun Airlines", a bonafied afro-disco classic. Next we delved into the vault and unearthed a recording session for "Oh Momo", this never released version of the track reflects a slightly different side of the signer, with a more afrobeat feel.

This "Edition Speciale" version of "War For Ground" offers a thorough observation of Momo Joseph's work as a musician and looks to help shine a light on Momo's career and musical genius.

Limited to 500 copies worldwide Coloured Vinyl Includes postcard and poster

The Siddeleys shone brightly and brie y in the late 80's indie scene and despite being tipped for great things split up after only 2 singles, a couple of Peel Sessions and the odd compilation appearance
This, their debut single, originally released on Medium Cool Records in 1987, is a perfect example of late 80's indie-pop, Highly regarded and highly sought after.

Marc Houle needs little introduction, with previous releases on M¦nus, Innervisions and his own label Items & Things. We were humbled by the fact that he sent us a bunch of amazing tunes, and were very happy to release them. Banging, melodic, moody, Its all there, pitch-black.

Composer, Synthesist And Producer Matt Robertson Is Set To Release His New Album 'entology' Via Tape Club Records On 16th November 2018. It Follows His Warmly Received 2016 Album 'in Echelon', Described By Mojo As "nils Frahm's Modern Classical Meets Jon Hopkins' Grainy Techno", "an Album Of Symphonic Electronica And Leftfield Techno Thats Cinematic In Scale" In Mixmag And "magnificent Wild Sound" By The Line Of Best Fit.

As Musical Director For Björk, Cinematic Orchestra And Anohni As Well As Working With Lamb, Emiliana Torrini And Bat For Lashes, Matt Has A Wealth Of Experience Collaborating With Some Of The Most Exciting Artists In The World. Working With A Collection Of Vintage, Modern And Diy Synths, And Combining Electronic Music Production With Classical Composition And Cinematic Soundscapes - Artists, Producers And Film Composers Alike Seek His Enveloping And Distinct Sound.

"i Love The Idea That Not So Very Long Ago, The Idea That A Species Could Become Extinct At All Was Laughed At. In The 17th Century, Fossils Were Believed To Be From Mythical Creatures Like Dragons. In 1796, George Cuvier Presented The Idea That A Species Could Have Existed And Now No Longer Existed, And He Was Laughed At By Scientists. Darwin Then Suggested That Evolution Did Not Need Catastrophic Events To Explain Extinction - More That It Was Due To Perpetual Competition In An Overcrowded World.

I'm Adopting The Word "entology" To Be An Awareness Of Our Current Period Of Geological Time Being An Extinction Period, Where An Extinction Period Is Defined As A Time When A Significant Proportion Of Species Die In A Geologically Insignificant Amount Of Time. I Was Trying To Imagine The Obvious Desolate Spaces Of A Post Apocalyptic World, But Also The Slightly More Opaque Vision Of The Fact That So Many Things Are Becoming Extinct Around Us Without Us Noticing, Or Even Being Aware Of Their Existence In The First Place.

The Idea Is Of Desolation But, Because Of The Awareness, Also Of Hope."

- Matt Robertson

Music Producer, Dj, Label Owner Of Volt Music And Creative Director Of Analog Room.

From Tehran To Dubai And Berlin To London Siamak Amidi A.k.a Skin Has Played It All With One Thing In Heart: Commitment To The Underground Scene And Music. It Was Exacttly This Very Commitment That Led Him To Creating Volt Music: A Vinyl Only Limited Record Label.

His Love Of All Things Underground Teamed Him Up With Like-minded People In Dubai Setting Up A Weekly Party Called Analog Room, A Night Like No Other In Dubai. As Creative Director And Booker For Analog Room Siamak Makes Sure The Party Is All About The Music And Allowing People To Let Their Hair Down And Have A Truly Underground Experience.
Siamak Has An Open Mind When It Comes To Music And Looks Out For New And Upcoming Talent All Over While Staying On Top Of The Game By Playing Venues All Over The World

The 8th record from Muzik & Friendz sees Pat Lezizmo joined by a few especially picked artists.

People who have their own take on Electronic Music and typify the sound the label is pushing.

The Obdurate Session EP brings in Al Bradley, Replika, Dsitb and Harry Light for four different trips on this.

Al Bradley takes us on an atmospheric and 80's tinged dreamstate workout with his Move A Little Closer, a refined production as we have come to expect. Pat & Dsitb keep things strictly deep with their Sea Cake cut. A sampler workout with a close groove that keeps things bubbling. Harry Lights Basement Dub brings a bit more heft to this heavy collection of tracks, pure driving House music whilst finishing the EP Replika's sample based slice of classic House On the Spot warms things up a tad, pitting washed out melody against a funked up groove.

Materia Obscura, launches with witchcraft themed three-part techno series entitled "Trilogia Del Aquelarre", inaugurating with Abstract Division, Cadans, NX1 and Lucindo. Based on Francisco de Goya's black paintings "El Aquelarre", which is exhibited at the Museo del Prado in Madrid.

"Parte 1" is a high-octane and thunderous techno package that includes contributions from Dynamic Reflection duo Abstract Division, Neighbourhood and Clone's Cadans, Nexe Records bosses NX1 and 3TH Records co- founder Lucindo. Kicking things off, Dutch duo Abstract Division's "Blue Void" delivers winding transcendental polyphonics balanced over synthetic techno drums. Cadanss "Don't Tell Me" employs tough heads down percussion and pulsating, metallic drone-like sonics. Then Spanish pair NX1's "MO1" offers heavy duty, machine-like crunches layered over resilient twisted modulations before Berlin's Lucindo concludes matters, supplying thunderous kick drums in "Atto 170" as unearthly type bleeps join vigorous swells.

House Music With Love return with another one of their fresh EPs, this time from the dream team of Kaldera and Lazarusman with remixes from Urmet K, SURAJ and Simina Grigoriu & Moe Danger.

Kaldera a producer from Northern Europe and Lazarusman a poet from Southern Africa and their rhythmic, spiritual journey always makes for real musical adventures. That is the case here with Oceans of My Mind, a deep, swelling house tune with great chords and a dark bassline. The thought provoking vocals drift up top as the turbulent grooves roll on and bring real class to the floor.

The Urmet K remix is more blissful and laid back, with breezy chords and gentle beats rolling you into a trance. SURAJ then layers in plenty of cosmic melody, gives centre stage to the poetic spoken world vocal which brings a romantic feel to the tune. Then last of all Simina Grigoriu & Moe Danger close things out with a more direct, techno leading version that has brilliantly frazzled chords and deriving drums taking you deep into an eerie night.

This is a versatile and vital EP that covers plenty of ground in real style.

Following the recent 'Aset Forever EP' by label bosses Dusky, 17 Steps announces its next release in the form of the 'Off Peak EP' by innovative Russian duo Formally Unknown.

The three broken beat originals will be familiar to anyone who has seen label owners' Dusky DJ recently.

Lead track 'Off Peak' offsets a breakdown of deep, Detroit-nodding chords with thunderous bass, modular bleeps and broken percussion that will test the outer limits of any sound system.

On the remix, Warehouse Music's Mella Dee flips the original with 4x4 kicks, spacey pads and layered percussion that glides in and out seamlessly, providing the EP with a hazy, dubbed out techno gem.

Industrial broken beat jam 'Burnin' again blends atmospheric chords with chopped samples to create a carefully crafted leftfield trip that feels like the perfect soundtrack to an industrial How It's Made video.

Closing things off 'Arp Three' brings things to a darker, stripped back close in a panic alarm buzz of broken bass and twisted FX - with distant rave divas crackling through the mix.

For Fans Of Hot Chip, J-pop, Dada. Perlita Is Responsible For 'sex Instruments', The First Ever Song Made Entirely Out Of Sounds Produced By Sex Toys, Including Guitars Played With Vibrators, Bass Notes From Anal Beads And Strokers For Rhythm. The Track Was Made Especially For A Pornhub Toys Ad Campaign.

Caballo Rojo ("red Horse") Is The Second Album By Perlita, A Band From Cádiz, Spain, Once Described By A British Critic As "a Hot Chip Fronted By Freddy Mercury". For The Follow-up To Their 2016 Debut Cangrejo Yeti ("yeti Crab"), The Threesome Have Come Up With A Titanic Piece That, Mood-wise, Jumps Around And Gallops Between Pop, Flashes Of Andalusian Folkloric Music, Drum Machines, Japanese Voices, Synths And Verses By Spanish Poet And Nobel Prize Laureate Juan Ramón Jiménez, Among Many Other Things.

Perlita Are Based Part-time Between Puerto De Santa María, Cádiz, And The Madrid Borough Of Lavapiés. That In Itself Could Constitute A Music Genre, But It's Not On Wikipedia Yet. Their Music Speaks Many Languages, Some Of Them Invented. There's Something In It That Echoes The South - The South Of The Andalusian Psychedelic Rock Bands Of Yore, But Also Of The Typical Cádiz Brand Of Humour, Of The Famous Carnival, And Of The Northwest-african Radio Waves Reaching The Beaches Of The City From Across The Gulf Of Cádiz.

Having Cut Their Teeth In Many Spanish Indie Bands, With Perlita, The Three Band Members Decided To Explore Other Worlds - Worlds Where Synths And Drum Machines Rule, Yet With Plenty Room For Wild Percussion And Marvellously Poppy Melodies. The New Direction Became Clear On Their First Effort Cangrejo Yeti, And Is Continued On Caballo Rojo: Electronic Pop Made With An Open Mind, With A Special Fondness Of The Poetry In Details, And With A Production That Is Morphing Throughout The Record - From A Sophisticated Accompaniment Gently Rocking Some Precious Verses To A Raw And Forceful Sound Slinging Almost Dada-like Shouts, Like A Poet At A Rave Hollering About The Dunes.

Freamon is a denizen of the modern world, allegedly hailing from NY, according to some, not relevant, says he. What matters is the music - finely honed and carefully crafted dancefloor gems, served up with love the way they used to be, the way they ought to be.

The Hot Damn! EP is his second release on the mysterious Turbocapitalism label, after 2016's Black Grid EP. This time, he has decided to shine a spine-tingling light on our souls. He wants you to raise your hands and put them together in an overdose of holy joy on this unashamedly celebratory slab of sweet gospel grooving. Can you feel the spirit One listen to 'No More Crying' will settle any doubts on the subject. It's gospel-funk. Or gospel-not-gospel, which is like a million samples taken from every soul record you never heard, seamlessly stitched together as if created fresh today, with one idea - to meld together into one big explosion of spine-tingling dance floor joy!

The title track takes things down a notch with a heavy kick drum shuffle - stripped back analogue house, making for an intoxicating, dense brew of sounds, feelings and ideas. Fierce, pulsating free jazz sounds, snaking around that deliciously tense, bustling bottom end, creating an infectious groove that is fresh, different and most of all, impossible to resist.

Meanwhile, Madrid's DJF and Damian Schwartz do what they do best: they take that thing straight to the centre of Detroit, let it adjust to the new environment and then freely cruise the boulevards at night.

For its next release, No.19 Music welcomes one of dance music's most celebrated contemporary artists in Ryan Crosson for a new single coming on vinyl and digital.

Crosson is a true techno tastemaker who hails from Detroit. He's released on long established labels like Minus, as well as going on to form Visionquest with Seth Troxler, Shaun Reeves and Lee Curtis, and the label of the same name where he also put out key EPs and LPs with Merveille. From headline sets at festivals round the world via club gigs at the most tasteful venues in the scene, he is a real giant of underground dance music with studio skills to match, as this standout three tracker proves.

Superb opener 'Comet Pills' is a deep and thoughtful track that encourages your mind to wander off into the cosmos. Slick drums and melancholic chords set the tone, while the bass fleshes things out and sci-fi details bring out a cinematic quality.

The brilliantly mysterious 'Roscoe' is expertly stripped back and reduced house music that takes you on a trip. It's quick and smooth, with watery sound design, soft hits and muffled vocals adding intrigue to a track that is both cerebral yet designed to make you move.

Last of all, 'Snake Oil' is another fully realised offering which journeys to the edges of the galaxy, with long lingering ambient pads suspending you in mid-air as squelchy synths and shuffling drums keep one foot on the dance floor.
These are three terrific cuts of seriously atmospheric house and techno.

Mogwai's first venture into the world of the feature
film soundtracks is for the upcoming 'KIN' (directed
by Jonathan and Josh Baker, the producers that
bought you 'Stranger Things' and 'Arrival', in
cinemas August 2018).

Heavyweight black vinyl includes digital download
code.

Mogwai fans won't be disappointed and it will
appeal to lovers of sci fi film soundtracks.

Includes the single 'Donuts'.

Life is simple. Sometimes you have some big idea, then you produce good music staff and this process needs no cooperation at all. It happens especially if your name is Jacek Sienkiewicz. Then You just make your very own EP with you original mixes only. Thi s is it, so simple.

What can you expect this time
You know, as usual on IDO label, carefully crafted, superior sound quality and music that every techno junkie can't miss.
How can we describe the music Is it this time a deep space journey or just long travel to land of ice and rocks Well. Maybe we'll leave all synesthetic experiences to you...

Some things, however, can be predicted. If you're familiar with Jacek's creations, listening the tracks from this EP will make on you at lest two impressions. First of all, you'll be charmed because you'll find the music here for which you love Jacek so much. Then another tracks and the second impression that will make you say out loud "Wow this is really Jacek's music". So, boys ang girls, isn't it a double win situation And for the end of this story we have a short advice related to experiencing this EP. Just play whole EP once and then... do it again.

After a long summer break, Signatune is back strong! SGTLTD06 is another outstanding VA composed of 4 banging tracks. A1 starts off with Lucianno Villarreal's 'A200', a happy and bouncy bass-filled tune, perfect for getting things going, followed by 'Joints' by FRINJ, a steadier and trippy micro house tool. Only Slave Nation's housey and groovy 'Douce Folie', an absolute sexy bomb starts the B-side with style, and Lex & The Longtail's 'Birth Cntr' finalized the EP in beauty. Out soon!

Optimo Music is delighted to release the new album from Lia Mice, Australian-born but UK-residing DJ, producer and instrument designer.

Here's a few words from Lia - "When I moved to London in 2015, many things changed at once - I started going to more techno and electro nights, I changed my live-set setup, and I had access to a fully-equipped recording studio through my music masters programme. At the same time I was reading a lot of books on time travel, not just science fiction but also psychology and neuroscience - like how the human brain perceives time from moment to moment, how we can experience overlapping time, and how we interact with our past and future through memory and imagination. 'The Sampler As A Time Machine' is the result of all these new influences coming together. The tracks were developed out of ongoing studio experiments interpreting these different ideas of time travel by using samplers and tape to re-sample and manipulate original music performed by me on various instruments including my voice."

Tracks from Aural Imbalance's Propagation Of Light album versioned and rendered for wax.

Just Breathe gets spotlighted on the A-side with two remixes. First up, Maps Of Hyperspace grafts his brand of dubby ambience to Simon's instrumentation for trippy chill house goodness. Off Land strips back the beats and ups the ambient bandwidth on his version to close out the side.

The B-side kicks off with Soul Solution, one of Mr. Huxtable's trademark lusicous atmospheric house tracks. Adriano Mirabile brings his techy production stylest o the desk on Fall Of Stars to wrap things.

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album 'SortLave' on Venetian Snares' Timesig imprint. Recorded between 2016 and 2017 using Richard's custom built Eurorack modular system and two Nord G2 Modular units, SortLave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as 'Revsic' to 'Astra's dazzling juxtaposition of sounds and onto the radiant ambience of the album's closer 'Takara'.

Talking about the album's genesis Devine explains 'I've been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.' 'I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.' This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. 'I really wanted to break free from timeline-based music creation and do things with my hands on the fly,' he explains. 'So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I'm very excited to share it with the world.'

Making his debut in 1995, Devine's releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world's leading music technology businesses and working with companies such as Google and Nike.

It's not the fall that hurts, it's when you hit the ground - that's what - Failing Upwards' is all about. On Lehult's fourteenth release Lucky Charms breaks away from 4-to-the-floor territory to deliver a fun trip through skippy drum workouts and jazzy warmth. Spread out across the full A-Side is 'Einbahnstraßen-Sound". Heard first on the Lehult Worldwide FM Special last year, this highly requested tune finally sees the light of day in all its trippy, warm, analogue glory. 'Oase' takes things a notch deeper by layering lush synths, swarming melodies and ski field recordings over a laid back electro-groove. 'Rex Dubius' translates the vibe of the first two tracks into a more straightforward, dubby groove - not without the skipping beats and the warm counterparts, though.

180g vinyl, limited pressing

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

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

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

'Breathe The Machine' is the first installment of Dojostudio and presents a musical world rich in harmonics, low frequency and melodic impact, yet with enough space in between to allow that perfect breathing room essential for powerful dance cuts. 'Breathe The Machine' portrays a world that initially feels robotic, yet instills an organic fluidity known only to come from humanoid beings, breathing life into a system littered with code and coldness. Billy Dalessandro presents 3 original cuts, plus a rendition of the title track by Mike Shannon.

Both for 'Breathe The Machine' and 'Tractor Beam' the Waldorf Microwave XT 2 and the Jomox 888 were the primary sound sources. For 'Breathe The Machine' the 888 was processed through a Jomox T-Resonator, which added harmonic distortion, and also spread the stereo spectrum out a bit offering the drums a more washed-out feel. The XT was layered track by track by performing patterns live into an editor until the desired ideas were properly recorded. Mike Shannon was brought on board to offer a contrasting expression of 'Breathe The Machine' and when asked how the process went he stated:

"I took the source sounds, edited them and processed them to work with a groove I had written for this remix. I mainly used the pad, lead synth and synth effects from the original. The rest of the gold I engineered."

On 'Tractor Beam', subtle use shows that ample space in between ideas make things seem larger than life. By allowing a more minimal approach in the production process the sounds can easily co-exist, allowing for that 'big room' sound without overwhelming the overall experience.

The digital exclusive 'Deliverance' was created using NI's Maschine for the drums, and FM8 and Reaktor were the sources of the synths. Drum patterns were created in Maschine and then recorded in realtime back into the DAW as it played, with real-time tweaking of the hi-hat to create the desired impact, especially at the break. The synth and pad patterns were recorded as MIDI into the editor, and then automation of the synths' VCF rounded out the expression needed to complete the emotional process.

All in all, DOJ001 is mostly an all-hardware showdown, with 'Deliverance' being the only 'virtual' attempt. Life is in nature, not in machines, yet the culmination of the two worlds can be beautiful, if only properly tamed and understood. Lest we beware! Stay tuned... and thanks for listening!

I Started Making These Tracks Without Much Of A Plan Of How I Would Want Them To Turn Out, Other Than That I Desired Something To Sound Ethereal, Weightless But Also Palpable. After Looking For Hours Outside Of My Window, Watching The Subtle Movements Of The Elements In The Sky And Listening To The Sounds I Was Making And Letting Them Do Their Own Thing, Things Started To Shape In A Way That Felt Effortless And Natural. The Sounds I Had Created Were Moving On The Vertical And Horizontal Axis In A Micro And A Macro Level, But Also In And Out Of The Depth Axis. Beat Rhythms And Basslines Were Intertwined With A Web Of Never Resting Sound Modulations, Mixed With Sinusoidal Pads, Chimes And Hidden Bird Voices, Creating An Other-sound-wordliness, For An Otherworldly Club Space.

This Personal Attempt Of Simulating And Re-interpreting The Flow Of Nature's Phenomena, Produced The Two Tracks, "ektos" And "en", That Comprise Disk Capita's New Release.

Dj Dem
Berlin 2018

Boofy hails from Bristol's fine heritage of progressive bass music producers. Having made a name for himself as part of the Bandulu crew and his own Sector 7 Sounds imprint, as well as dropping killer releases on Innamind Recordings and No Corner.

Lucky for us, he's saved some of his deepest, heaviest hitting cuts for Tectonic! This 4 track EP is a masterclass in minimal effectiveness, with rhythms ready to set the dancefloor off that reveal ever deeper subtitles on repeated listens.

'Back In The Box' sets the pace with swinging hats, thumping kicks and a bass line that will sound like an earthquake on the right system! Follow up for 'Herbie' which takes things in dissonant direction, before dropping hard and with authority.

Flip then for the EP title track, an exploration around the paranoid edges of a creative mind, stretched to capacity. Finally the EP closes up with 'Perfunktion', a rolling rhythm with a lighter mood, somewhat reminiscent of Mala circa 2006. Quality stuff from an excellent producer who is going from strength to strength right now.

DJ Support from: Kahn & Neek, Mala, Tubby, RSD, Joker & many more

Conch Have Enlisted Uk Legend Bakongo Aka Roska On This 4 Tracker Of Uk Funky Infused Club Dubs.
Turning Things Up A Notch The Label Brings In Young Bristol Rising Star Wilf On Remix Duties And Also Deliver A Dub Refix Of Bakongo's bongo Crush' Showcasing The Conch Sound.

Here we see San Proper and The Mole make a welcome return to the imprint following solo EP's, this time they join forces with Hreno for a three track EP from the powerhouse trio.
Leading on the package is 'Friendly Tears' which features yet another leading figure in the house scene, Dekmantel regular Tom Trago, as you'd expect from such an impressive array of artists we're treated so soul drenched house driven by swinging organic drums, infectious funk licks and hooky synth lines before the 'Chunkless Mix' strips things back a little, laying focus solely on the 80's tinged synth work, delayed vocal murmurs and
minimalistic percussion.'On The Floor' then rounds out the package, retaining a similar aesthetic with choppy guitar melodies, penetrating bass stabs, crunchy rhythms and resonant arpeggio synths ebbing and flowing dynamically throughout.

Warehouse Find!

Helsinki-based producer Saine makes his Delusions debut following amazing output on such revered labels as Voyage Recordings, Odd Socks, Omena and Fina. A producer who can flit from hazy instrumental hip hop through to raw, dusty house at the flick of a switch, Saine has built a solid following amongst lovers of left field leanings we've come to expect from the likes of Max Graef, Glenn Astro, Henry Wu and Leon Vynhall.

On lead track Act Natural we find Saine in perhaps his heaviest mood to date, delivering a crunchy uptempo house jam which retains his unique sound despite being aimed firmly at the dancefloor. A speaker wobbling eighth note bassline locks down the groove whilst familiar, much-loved frag- ments from the rave days punctuate the crackling beats. Add to this some simple syncopated chords and you have a winning formula for a timeless track which looks to the future whilst respectfully doffing it's cap to the past.

Jus Right continues in a deeper, more musical fashion with Saine getting busy on his synths, building up layers of warm pads and soloing Moog lines. A prominent vocal brings a soulful touch whilst the minimal, almost hihat-less groove adds an original and fresh feel to this blissful track.
Flipping over we have Low Key, a shuffling deep house number loaded with sliced Rhodes samples, echoing vocal hits, clipped percussion and sublime bass. As the atmosphere thickens, everything falls away to silence before rebuilding, creating some nice tension in the arrangement.

Finally we have Pontchartrain offering up an excellent remix of Jus Right. The Detroit native responsible for some mighty fine releases for the likes of Rocksteady Disco, Lovedancing, Soul Clap, Kolour LTD and Whiskey Disco takes things in a more straight-up house direction with heavier beats, 909 hats pushed to the fore and a distinctively old school feel to the mix.

Fast-moving Times, In Which Popularity And Quality Are Often Equated Or Commonly Confused With One Another, Aids And Abets This Imitation Game Some Call Conformity, Others Professionalism. In The End, Both Paths Will End Up In Predictability. Here's Where Stathis Kalatzis, Aka Mr. Statik, Comes To Play. The Resident At Athens' Multi-purpose Cultural Space Six D.o.g.s Has Not Only Been One Of The Scene's Pivotal Figures, But Since He Started To Release His First Solo Releases In The Mid-00s, The Now Berlin-based Greek Dj Has Earned A Reputation For Being A Trend-ignoring, Unconventional Producer.

Whether His Output For Bpitch Control, Rotary Cocktail, Or Even Last Year's Debut Ep "rogue
Cherub" For Away - Mr. Statik Enjoys Thinking Outside The Box By Crossing His Diverse Pop-cultural Interests And Pulling In Expertise And Perspective From Beyond The Usual Functional Formulas. After A Decade Of Not Staying In One Comfort Zone Or Sticking To One Musical Direction, He Finds Himself More Comfortable In His Producer Shoes Presenting His Debut Album "metamorphose". Housing A Few Film References In This For Mr. Statik Typical Nebulous Fashion, The Ten Tracks Not Only Carrying The Narrative Potential Of An Imaginary Score, But Primarily Exploring A Versatile Array Of Influences, Themes, And Contradictions (which Mr. Statik As An Illustrator Also United On The Albums' Artwork). Ranging From The Sci-fi Infused Album Opener "insomnia", The First Non-dancefloor Piece He Ever Produced Around 7 Years Ago, Over "atastrophe", An Homage To Ancient Greek Theater, To Collaborate With Others Such As Beatrice Ballabile, Jan Niklas Jansen (locas In Love), And Rbma Alumnus Claude Speeed, Who Contributed Synth Work On "soulfur".

"metamorphose" Succeeds In Constantly Changing Its Tones, While Maintaining An Emotional
Frame, In Which Mr. Statik's Melancholic, Introvert, At Times Hopeful And Euphoric, Bottom End
Inclined Electronic Music Can Elaborate.

Mr. Statik On His Album Debut:

"i Have Always Tried To Approach Producing As Storytelling Exercises. This Allowed Me To
Experiment Finding Myself In Uncharted Territories, More Specifically In Music That Doesn't
Necessarily Fit To A Dance Floor - Unless It's A Very Adventurous One. 'metamorphose'' Is Loyal To That Mindset. I Usually Draw Inspiration From Cinema And Comic Books And Have Always Been Fascinated With Sci-fi, South Asian Culture, Surrealism And The Dreamworld. Initially The Album Was Supposed To Be A Collage Of The Various Influences That Had Shaped My Life, But Ended Up Being Something Very Different. During The Conceptualization And Recording Process A Lot Of Things Around Us Have Changed, Primarily For The Worse. I Became More And More Sensitive And Susceptible To Pessimism And Trendy Visions Of 'dystopian Futurism', So That The Lp Emerged Being An Exercise In Positivity: 'metamorphose' Is A Verb Describing The Act Of
Conversion, But In Greeklish It Is Describes The Urge Towards Others To Start Transforming Their
Environment, In This Case For The Better."

2018 was the hottest summer on record...so let's see if we can cool things down while still keeping it warm all over (and over). Enter Kool Customer: a new collab from LA's beatsmith B.Bravo and the Bay's croon daddy Rojai, coming out September 21 on Bastard Jazz. The vibe: think West Coast Boogie Funk A la Dam-Funk, thrown in Styrofoam cup with some 80s synth steez, then escorted to the strip club (at 3AM) dressed head to toe in a white tux lined with gold chains.

The LP's kick-off "Play" is an ode to bed springs, as is the grand finale "Tonight's the Night"— but what happens in between the sheets Prepare yourself for the smooth basslines and raspy bars of "Sweet Tea," the creamy licks and buttery synths of "Pure Delight," and the heads down r&b of "Rain on My Window." You can also envision yourself cruising in a low-rider when throwing on the breezy "Blackberry (Somebody Told Me)," or surfing (slash exhaling) a cloud above the city on the woozy "Nice Touch." Expertly produced beats are nestled up to warm vocals and crafty lyricism about life and love and lust in 2018 a plenty here.


Metaphors aside, the debut from Kool Customer finds two talented musicians doing what they do best: chilling you out while making you move, in perfect unison. Also, keep an eye out for the super-special deluxe pack, that might just come in handy when you need it most. Ooh La La.

Phonogramme, the house subdivision of parent label and integral Parisian record shop Syncrophone dedicates itself directly to the French music scene, with previous releases from the likes of Professor Inc, John Jastszebski, Aleqs Notal and a handful of other local heads. Phonogramme continues to keep things close-to-home through the labels next edition presented by Gibs, who's most notably known for works on his own imprint, 'An.Art Records' - a family run label with music shared by himself and his two brothers.

'Find an Oasis' kicks off the release with rolling organic percussion before progressing elegantly into layered emotive lead synths and mellow bass stabs. 'Jarkarta' is a subdued deeper house cut, filled with an uplifting, undulating melody and raw lo-fi elements collectively creating a luscious calming effect. Last up, 'Der Germain' offers up a fluid, groove filled number balanced with charming, jazzy flutters and tender keys providing a warm, breezy atmosphere to the end the release.

Limited Edition 400 Only Translucent Violet Coloured Vinyl Lp. Housed In A Full Colour Outer Sleeve With Mind Bending Artwork And Download Code.

Third Earthling Society Album For Riot Season Following The Previous And Now Sold Out 'england Have My Bones' (2014) & 'ascent To Godhead' (2017)
 
'mo - The Demon' Was Recorded At Leeds College Of Music Between November 2017 - February 2018. The Basis Of The Album Was To Record An Imaginary Soundtrack To The Shaw Brothers Bat Shit Psychedicrazy Kung Fu Horror 'the Boxer's Omen' Aka Mo Or Demon.
 
The Story Is An Everyday One.
 
After A Hong Kong Kick Boxer Is Paralysed By A Cheating Thai Competitor, His Mobster Brother Vows Revenge And Journeys To Thailand For A Duel. Along The Way, Our Hero Is Met By Bizarre Visions, Entered Into A Buddhist Monastery, And Begins A Quest To Save The Soul Of A Deceased Monk (his Twin Brother In A Past Life) Who Died At The Hands Of A Powerful Black Magician.
 
We've All Been There. However The Movie Descends Into A Kind Of Spiritual Jodorowsky Mushroom Fest That Is Completely Deranged And Is Therefore One Of Those Perfect Midnight Movies.
 
So We Got Free Studio Time At Lcm In November And Just Went 'fuck It' Lets Make An Imaginary Soundtrack In Homage To Such A Great Movie.
 
Taking Inspiration From All The Things Musical That Have Inspired Us Over The Years. Berlin Era Bowie, Prime Magazine Circa 'correct Use Of Soap', Electric Funk Miles, 'caravanserai' Santana, Embryo And God Knows What Else (it Doesn't Really Matter As It All Ends Up Earthling Society), We Think We've Made A Groovy As Fuck Concept.
 
Then, Invited Back In February We Decided To Record 2 Stand Alone Pieces 'spring Snow' And 'jetavina Grove' And Bring All Our Space Rock Elements And Psych Raga Back Into The Fray. Throw In Some Super Cool Korean Vocals Courtesy Of Bomi Seo Of Tirikiliatops And Run The Guitars Through A Harmonizer H910 (as Used By Visconti On Low An Heroes) And Its The Perfect Swansong To The Last 14 Years Of Playing Live And Recording Together.

 

Batida is to release his new album "Dois" via Soundway Records.
Strands of Afro-House, Kuduro, Benga, Semba, samples from old Angolan movies and Afrobeat tracks, African MCs and musicians from all over the world are all deftly mixed together by Pedro Coquenão.
Inspired by the multicultural hotbed of his home city of Lisbon and trips to Nairobi and Luanda, 'Dois' was predominately produced in his own garage-studio over a two-year period.
In 2012 Batida's explosive self-titled debut came out on Soundway Records. Mixing the syncopated rhythms of Kuduro with elements of 1970s Semba and Congolese-influenced guitar licks, Pedro Coquenão won fans for an album that "demanded movement" (The Line of Best Fit) and "gave a view of the old and new, the West and Africa." (The Guardian)
Much of the remix and sampling spirit from the first record remains but 'Dois' also features live instrumentation along with a host of different guests.
English, Portuguese, Quimbundo and Zulu languages all feature on 'Luxo' with Spoek Mathambo (South Africa) & his crew contributing the lyrics together with Angolan MC Sacerdote and a guitar riff by Duncan Lloyd (Maximo Park). On 'Céu' Coquenão pushes things in a deeper direction, dis-assembling and reforming elements of the Francois & The Atlas Mountains studio sessions of the track 'Les Plus Beaux' .
His widely acclaimed live show, featuring dancers, MC's, visuals and live electronics has seen him perform at Africa Express and on the Ten Cities project, live on the Boiler Room and all across Europe at some of the biggest festivals.

Brooklyn based, DJ Monchan, steps up to perform some surgical edit wizardy on four mouth-watering tracks for the ever-dependable Razor-N-Tape.

'Reaction Control' kicks things off with a joyous disco gem, DJ Monchan extending and echoing those killer groovers to create a whirlwind of dancefloor delight. Next up, 'Dance It All Out' has a touch of the exotic highlife sound to it but reworked into a DJ friendly, irresistibly bouncing jam.

Flip it and it's back to the late-night NYC soirees of the 70's with 'Can't Promise' channelling that pure unadulterated fun into an ethereal edit of magnetic proportions. Taking the final slot of RNT042 'Get Down With Your Love' closes out proceedings with a silky smooth soulful heater.

Das Heise Experiment 2" marks the 6th album of The Exaltics. Lovely presented on double 10" vinyl with full cover artwork from non other than the mighty Godspill, who also designed the pre release of this album with an amazing looking shape picture disc. To hold things special the guys from SolarOneMusic put a full comic with the story of "Das Heise Experiment" in each record. The music ranges from dark experimental techno, electro, ambient and soundtrackish nightmares which goes perfect with the story of the comic. Also Drexciya's Gerald Donald collaborates with The Exaltics for one track , which is one of the highlights of the album. This music is nothing for the club its much more, a complete story to feel. Turn your headphones on and dive into the world of aliens, scientists and distant gallaxies. All records come with a comic book!!!

Producer, multi-instrumentalist, composer, songwriter and vocalist Devonté Hynes returns with his fourth album as Blood Orange, Negro Swan, released on Domino on August 24, 2018.

Raised in England, Hynes started out as a teenage punk in the UK band Test Icicles before releasing two orchestral acoustic pop records as Lightspeed Champion. In 2011, he released Coastal Grooves, the first of three solo albums under the moniker Blood Orange. His last album, Freetown Sound, was released to critical acclaim in 2016, and saw Hynes defined as one of the foremost musical voices of his time, receiving comparisons to the likes of Kendrick Lamar and D'Angelo for his own searing and soothing personal document of life as a black man in America. He has collaborated with Solange Knowles, Skepta, fka twigs, Carly Rae Jepsen, A$AP Rocky, Charlotte Gainsbourg, Blondie, and many other artists, and was recently one of four artists invited to the Kennedy Center to perform alongside Philip Glass. In addition to his production work, he scored the film Palo Alto, directed by Gia Coppola.

Negro Swan was written and produced by Hynes. Says Hynes:

'My newest album is an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of HOPE, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.'

They say we are a product of our environment, you are what you eat and you reap what you sow. But what happens when you can no longerdig the earth and your food is toxic Amselcom has forever been near the forefront of change, exposing new ideas and giving insight through music and creativity. Our goal was always to bring the world closer by removing barriers and letting sounds and rhythm demonstrate humanity's true, loving nature. That is why a transformation has taken place and with this latest release we hope to give back and contribute without the shallow, meaningless compensation that feeds the music industry.
Geplantes Nichtstun demonstrates this concept perfectly, by saying it is time to remove ourselves from the machine and make our own way, in our own time. These tracks look to offer introspective that can only be found after eliminating barriers like money and fame. Taking time for idleness lets us forget about the things that try and control our lives, a necessary respite in a time of increasing global noise.Tracks like Opak offer the perfect accompaniment to a quiet time of soulful reflection and Mario Wagner's wonderful Control Room image brings us the idea of self direction and taking charge of your own destiny... one rest at a time.

Infernal Sounds welcomes their newest member to the imprint, Dark Tantrums. After a brief hiatus from releasing music, the producer who's had previous EP's out on both Deep Medi and GetDarker is back with a bang. From the millitant march of 'Command', to the distorted and twisted mind of 'Darkside', with 'Time Warp' rounding things off in a typical old-school fashion, this EP will knock your socks off and deliver a punch for the dance floor. IFS011 not only displays his ability to adapt his style under the 140 spectrum, but continues to prove why he's one of the most underrated artists to grace the scene.

Critically acclaimed jazz reissue on the Disques Vogue label. Dark green & black marbled vinyl. Specialist marketing.

1 Dizzy Gillespie Jazzmen - Dynamo A
2 Dizzy Gillespie Jazzmen - Dynamo B
3 Miles Davis Quintet - Superman
4 Fats Navarro's Group - Move
5 Gillespie-Parker All Stars - Bird Blues
6 Hank Jones Quintet - Night Music
7 Charlie Parker Quintet - All The Things You Are
8 Howard McGhee's Birds - Trumpet At Tempo

Critically acclaimed jazz reissue on the Disques Vogue label. Green & white marbled vinyl. Specialist marketing.

A1. 'Round About Midnight
A2. Algo Bueno
A3. I Can't Get Started
B1. Oolyakoo
B2. Afro Cuban Suite
B3. Things To Come

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

Since the late 80s, Mudhoney - the Seattle-based foursome
whose muck-crusted version of rock, shot through with caustic
wit and battened down by a ferocious low end - has been a
high-pH tonic against the ludicrous and the insipid. Thirty years
later, the world is experiencing a particularly high-water
moment for both those ideals. Just in time, vocalist Mark Arm,
guitarist Steve Turner, bassist Guy Maddison and drummer Dan
Peters are back with 'Digital Garbage', a barbed-wire-trimmed
collection of sonic brickbats.
Arm's raw yawp and his bandmates' long-honed chemistry
make 'Digital Garbage' an ideal release valve for the 2018
pressure cooker. 'My sense of humor is dark, and these are
dark times,' says Arm. 'I suppose it's only getting darker.'
'I would've really just loved to write songs about just hanging
out on the beach, and going on a nice vacation,' says Arm.
'But, you know, that probably doesn't make for great rock.'
Mudhoney, however, know what does make great rock - and
the riffs and fury of 'Digital Garbage' will stand the test of time,
even if the particulars fade away. 'I've tried to keep things
somewhat universal, so that this album doesn't just seem like
of this time - hopefully some of this stuff will go away,' Arm
laughs. 'You don't want to say in the future, 'Hey, those lyrics
are still relevant. Great!''
Mudhoney will be touring Europe in 2018.
CD in die-cut gatefold digipak with custom dust sleeve. LP in
die-cut gatefold jacket with custom dust sleeve and digital
download coupon. Cassette in four-panel J-card in clear case.
Digital download album.

It Was 1968 When Fania Records President, Jerry Masucci, Received A Phone Call From Conguero George Guzman, Inviting Jerry To Listen To His Band. Jerry Turned The Project Over To Harvey Averne, Who Later Reported To Jerry That The Band Was 'out Of Sight' And Suggested That Masucci Sign Them Up. A Short Time Later, Things Became Complicated For George And His Band. First Of All, The Lead Singer Was Drafted Into The Military, Leaving George High And Dry. By The Time A Replacement Was Found, George Learned That His Trumpet Player Was Leaving To Join Another Orchestra, So The Search Was On For His Replacement. One Problem Led To Another And Before You Knew It Several Months Had Gone By Before George Was Finally Ready To Enter The Studio And Begin Recording. Thanks To George And Harvey's Perseverance, 'introducing George Guzman' Was Released In Time For George To Join The Fray Of Boogaloo Bands That Had Brightened Up The Night Scene In New York City In 1968.

The fourth instalment of Moxie's compilation series is back, presenting this exclusive 4 track vinyl sampler thoughtfully curated line-up of artists. Featuring friends of On Loop, up-and-coming producers and prominent names alike. Stepping up to open this 12' sampler is The Maghreban, adding his trademark touch to an off-kilter remix of Steve Spacek's 'Gimmi Da Love'. Lisbon's Violet is up next, laying down her energetic signature breakbeat sound on 'Antifa Beats'. Flipping over, the B-side begins with Nathan Micay's infectious builder 'Basic Plumbing', paving the way for Louise Chen's 'Reach (Raw Mix) a solid house number. On Loop has continued on a straight upward trajectory since it began, with 2017's Volume 3 securing a nomination in DJ Mag's end of year awards for Best Compilation, and the imprint earning a place in Mixmag's 20 Best Record Labels of 2017. As the label steps things up, so does Moxie's NTS radio show, now moving to a weekly slot and cementing its place as a staple dance show for the station with regular parties at Manchester's Soup Kitchen, Edinburgh's Sneaky Pete's and London's Pickle Factory. With an international tour to be announced this year, things are just getting started for the DJ & Radio host.

A A1 | Steve Spacek - Gimmi Da Love (The Maghreban Remix)

Master of snare disaster "Limewax" strikes back hard again on this huge 4 track EP on PRSPCT. Delivering all things great this disturbed but brilliant producer has to offer. Drum & Bass for the freaks and outcasts that crave for more then just a rolling beat.
2 solo tracks + 2 collabs with the likes of L 33, Switch Technique, Dieselboy and Thrasher. Did we mention this release is huge Hell yeah we did! Well it's a good thing as its double huge anyway!

All Hail Limewax and HouJeKKMuil!