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The mighty Casey is up to bat once again for Love Notes from Brooklyn. This time, though, it's a more complete three track artist EP on offer. The music, of course, encapsulates everything that's great about Casey's sound: the lush pads, the crispy percussion, the emotional strings, and the dance-floor destroying basslines. Alternative Faction utilizes one such dancefloor destroying bassline to create a real fist pumping moment in the title track; That Time of Year uses a wriggly acid synth line over the aforementioned emotional strings, and to great effect; and New Mission ends the EP in a unwavering fashion; with heartstring-tugging, terk jerking, emotional pads over an acid line in signature Casey Tucker fashion. Dare we say yet another classic both artist and label's catalog

Washington DC's Rush Plus drop four superb techno cuts entitled 'The Sweat EP' on P.Leone and Caiazzo's E-Missions imprint.

Having dropped three quality releases on their own eponymous label, Rush Plus continue to turn heads with their imaginative productions, gaining support from the upper echelons of techno with names like Rodhad, Ben Klock, DJ Spider, Ben Sims, Slam, Answer Code Request, DJ Deep and many more getting behind them. Following up a release on Ambivalent's Valence Records, they now join P.Leone and Caiazzo's rapidly rising E-Missions imprint.

'Megabust' initiates the package with twisted sci-fi synths and syncopated drums whilst rattling metallic elements operate throughout. Intricate hits of percussion are soon followed by rumbling bass in 'Rebirth' as the track gradually becomes more and more twisted using filtered effects and soaring pads, making way for the shuffling 'Sweat' with its menacing stabs and echoing voices. Finally, the package concludes with 'Slow Release' - a high-octane and ominous roller.

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

The - here & Now Ep' Is The Second Instalment Of A Three-ep-series Coming Up In 2018. Christophe Salin Is Taking Us On His Musical Journey And Paves The Way For Cooperation With Future Artists On His Very Own Imprint - salin Records' That He Runs With His Wife Daria Salin As A Platform For Electronic Music And Art.

No Intro Needed As - dreams Sometimes Come True' Instantly Takes Us On The Groove Line. - astra Perle' Keeps The Groove Alive With Some Heavy Jazz Samples. You Maybe Remember Sitting In Your First Car (christophe's First Car Was Named - purple Pearl' And Was An - opel Astra ) And Just Cruising Thru The City. Imagine To Be Suddenly Overwhelmed By A Creative Hole, - ohh No, Not You ... Turn Over To - can You Pay My Bills' The Journey Continues With More Jazzy Vibes To End Up With A Downtempo Lounge-dub-work Which Is Indeed - different But Sweet .

Shunter, the new album by the Berlin-based duo Driftmachine, is their most ambitious work to date. Although instantly recognizable, featuring their trademark Kosmische and Avant-garde sounds, it also presents a new journey into abstract and hallucinatory worlds. Filled with eerie textures, their electronic visions are darker and more vaporous than ever.

Driftmachine's fourth album (also the fourth one for Umor Rex) offers a new perspective on their ample sound spectrum and systemic narratives. Shunter overlaps and mutates their post-industrial-dub motives. It was conceived and produced in search of a very different kind of imagery, with sections of noise and field recordings intersecting with analogue sounds, a mixture of contrasted fragments, where the usual creative process of modular-synthesis leads Gerth and Zimmer to the discovery of a dark, hazy and diffused experience. There is a protean quality to the rhythmic elements, with tempos constantly contracting and expanding, a departure from the mono-beat-rhythms of "Nocturnes" and "Colliding Contours". The first half of Shunter is made of four pieces named "Shift", although individually separated, they are conceptually linked and can be understood as a sort of score. Imagine a late stage of the industrial revolution, with the interaction between heavy machinery and human beings. The second half of the album is not completely separated, but it has three other substantial melodic moments. Somewhere between the hauntological and the realms of archive-music, a huge range of subterranean beats and distinct patterns dotting the landscape of early electronic and post dub music.

All songs written & produced by Driftmachine (Andreas Gerth & Florian Zimmer), Berlin.
Mastered by Rafael Anton Irisarri. Design by Daniel Castrejón.

Crosstown Rebels celebrate their fifteenth year with their monumental 200th release. American DJ and producer Arthur Baker reunites with Rockers Revenge for the first time in thirty years. To complete the package, dance music heavyweights Francois K and Michael Mayer take on remix duties.

On A Mission is exactly that, 'a mission of love, a mission of peace'. The positive vocals hark back to those of early 90s house tracks, which created unity through music and clubbing. The rhythmic beat of the drum is determined, as percussive layers build and the vocals bleed into the synths. Francois K provides two variations of the track. His remix features more prominent drumbeats driven by a growling bassline. On his rockers dub version, Francois goes all out and dubs us into the stratosphere. Up next is the Michael Mayer remix, with a more electronic take on the original with driving synths and a whirring, throbbing bass-line.

Created in 1982, Rockers Revenge was the brainchild of Arthur Baker and Donnie Calvin. Donnie provided lead vocals with Baker's wife, Tina B, Dwight Hawkes and Adrienne Dupree Johnson on backing vocals. Their most prominent track, Walking On Sunshine, was a post-disco hit reaching #1 in the US dance charts and #4 in the UK charts.

Three years ago Baker and Hawkes reconnected through social media with Baker sending through his original Mission idea. Baker is known for his work with hip hop artists like Afrika Bambaataa, Planet Patrol, and New Order whilst also remixing the Pet Shop Boys' 1986 hit In The Night. Fast forward to 2018 and the group performed a monumental live show at Get Lost Miami, and are currently in the studio working on new material. This Summer they will shoot a new documentary and perform live at various events.

Good news, kids: Now you can play a different Kitjen record every day of the week, because just as last summer, we have some hot Dutch jams coming your way for Kitjen 007: Utrecht's own Stijn Sadée, who has been making moves in the Dutch scene for a while and runs the infamous Club Sauvage night, brings us three mystically exotic joints that showcase his manifold sources of inspiration and will bang your gong this summer. None other than Hessen's love doctor Gerd Janson stops by to seal the deal by turning "Affetto" into a 12 minute dancefloor journey. Pack light!

Twenty-eight Years Ago, Pissed-off Twelve-year-olds Around The Universe Discovered A New Planet, A Black Planet. Public Enemy's Aggressive, Benihana Beats And Incendiary Lyrics Instilled Fear Among Parents And Teachers Everywhere, Even In The Border Town Of Laredo, Texas, Home Of The Future Founders Of The Latin-funk-soul-breaks Super Group, Brownout. The Band's Sixth Full-length Album (out May 25th) Fear Of A Brown Planet Is A Musical Manifesto Inspired By Public Enemy's Music And Revolutionary Spirit.

Chuck D., The Bomb Squad, Flava Flav And The Rest Of The P.e. Posse Couldn't Possibly Have Expected That Their Golden-era Hip Hop Albums Would Sow The Seeds For Countless Public Enemy Sleeper Cells, One That Would Emerge Nearly Three Decades Later In Austin, Texas. Greg Gonzalez (bass) Remembers A Kid Back In Junior High Hipped Him To The Fact That Public Enemy's bring The Noise' Is Built On James Brown Samples, While A Teenaged Beto Martinez (guitar) Alternated Between Metal And Hip-hop In His Walk-man, And Adrian Quesada (guitar/keys) Remembers Falling In Love With Public Enemy's Sound At An Early Age. when I Got Into Hip Hop, I Was Looking For This Aggressive Outlet . . . And I Didn't Even Understand What They Were Pissed Off About, Because I Was Twelve And Lived In Laredo . . . But I Loved It And I Felt Angry Along With Them.'

Joseph Abajian (fat Beats' Owner) Must Have Sensed The Deep Hip-hop Well Lying Beneath The Versatile Band's Latin-funk Veneer. i Thought Their Sound Would Work Covering Public Enemy Songs,' Abajian Says, And, it Was Good To Know They Were P.e. Fans . . . We Came Up With A Track Listing And They Went To Work.' Despite The Band's Eagerness To Work On New Original Material (an Album Of Original Songs Is Slated For Next Year), They Couldn't Pass Up The Opportunity To Pay Homage To This Iconic And Influential Posse.

Translating Sample-based Music To A Live Band Turned Out To Be More Of A Challenge Than They Anticipated. Adrian Tried To Get Inside The Bomb Squad's (public Enemy's Producers/beat-making Team) Head In Order To Find The Inspiration To Reinterpret P.e.'s Songs: imagine The Bomb Squad Going Back In Time And Getting The J.b.s (james Brown's Funky Backing Band) In The Studio And Setting Up A Couple Analog Synths And Then Playing Those Songs.' While Some Songs Closely Follow The Original Musical Blueprint, Others Use The Source Breakbeats As Jumping-off Points Later Sweetened By Trombonist Mark speedy' Gonzales' Horn Arrangements, Synth Wizardry Courtesy Of Friend-of-the-band Peter Stopschinski, And Dj Trackstar's Turntable Scratches. But Don't Listen Expecting To Hear Paint-by-numbers Recreations Of Classic Public Enemy Jams. our Approach Is Never In The Tribute Sense,' Adrian Explains. we've Always Taken It And Made It Our Own, Whether It's The Brown Sabbath Thing Or This Public Enemy Thing.' Coming Off Numerous Tours As Brown Sabbath And Even A Stint Backing The Late Legend Prince, Brownout Is Arguably The Tightest And Funkiest Band On The Road Today And They're Psyched To Bring This Revolutionary Music To The People. For A Band Without An Overt Political Agenda, They Collectively Couldn't Resist The Opportunity To Play This Music Live, Especially Now. if There's Any Way That We Can Use The Already Political And Protest Nature (of P.e.'s Music), We Would Like To Try,' Beto Says. the Album's Title, Fear Of Brown Planet Is Definitely A Relevant Idea Today And We're Not Afraid To Put It Out There, Because We Want To Speak Out.' By Reinterpreting These Hip Hop Classics In Their Unique Style And Channeling The Spirit Of Public Enemy That First Echoed Around The World And Captured Their Imaginations All Those Years Ago, Brownout Is Doing Exactly That.

Prairie is the project of multi-instrumentalist and producer Marc Jacobs, hailing from Brussels with roots in The Netherlands. He previously released an EP (I'm so in love I almost forgot I survived a Disaster - 2013) and an LP (Like a Pack of Hounds - 2015) on the Berlin imprint Shitkatapult. On stage, Prairie plays with two or three musicians and together they re-create a free association of musical ideas and atmospheres. Prairie has played in selected venues and festivals across Europe and toured with Apparat in 2016.If the apocalypse was painted in several layers of pastel gouache, its soundtrack might be PRAIRIE's Flash Flood. Listening to the album, we drift through a series of frozen landscapes that gesture at a post-apocalyptic ambience. This is a kind of blackened music that has been left to sediment, excavated from traces in ice core samples. Flash Flood showcases a deep sensitivity to narrative and rich cinematic textures as Marc Jacobs returns with palimpsestic sonic layers. It has been three years since PRAIRIE's last release—the 2015 Cormac McCarthy-inspired Like a Pack of Hounds—and it is clear that it has been several years of pensive reflection. Now, PRAIRIE takes the sentiment of his 2012 debut, I'm So In Love I Almost Forgot I Survived A Disaster, several steps further: it is after the apocalypse, and no one has survived. And yet with Flash Flood, we can hear the hum of this impossible future.

'After the Flash Flood' introduces the sonic ruins of distorted guitars, field recordings, drum programming and synths that create the textures of the entire album. The melancholic and subdued black metal churn of 'Raindeath' becomes the cold backdrop for unnerving, paranoiac speech. The third track, 'Sisters', foregrounds this coldness while slowly moving away toward alternate vistas where the acoustic timbres of the saz-driven 'A Permanent War Economy' take over. 'Underwater Body Hunting' and 'Rabid Ibrahim' are hard hitting beat-oriented tracks that insist on burning slow. There is a patience with PRAIRIE's FLASH FLOOD that is difficult to deny. The lamentation of 'Elephants Will Rise Again' perhaps signals that it is not only the human that is lost after catastrophe. The album closes with 'Hard Water: Cracked Ice' and 'Hayashi Clock'. The former is a beautiful coalescence of clean harmonious tones and softly overdriven drums, while the latter brings us back to a meditative state, drifting through the final pastel tapestry.

"... his cosmos is located somewhere between Bohren & der Club of Gore and Sunn O))), ambient is as familiar to him as brachial sounds, and he is as much acquainted with guitars as with synths and modern technology" (GROOVE)

"... Like Ben Frost, (Prairie) exudes a certain harshness while tempering his work with moments of sublime beauty. This isn't club material, it's music for the hammer in one's hand, the confrontation of the demon, the soul-shattering revelation." (A Closer Listen)

Described by Crack Magazine as a 'hypnotic slow-burner' and noted by Ransom Note as one of the most interesting albums to emerge in 2017, not only did Dollkraut's second album 'Holy Ghost People' herald the launch of Jennifer Cardini and Noura Labbani's adventurous new label with fitting mystic gusto... It also gave us a beguiling LP that keeps on giving, exciting and inspiring over a year later. Proof can be found in these three superlative remixes. Subversive Berlin duo OTTO take the lead with a warm, Arabic twist on the album opener 'Bonnie Says' by lifting the groove with a little organ-squeezing spring while maintain its faraway haze and mystique. Accurately hyped Romanian-also-in-Berlin Borusiade follows with an overwhelming floor-ready update on 'Have I Told You'. Already a familiar face with the label, she weaves a chasm-like new-wave narrative that sucks you deep into the mix and galvanises the pundit attention she's getting right now. Finally Mannequin Records founder Alessandro Adriani joins the party with a tunnelling twist on the somnambulant aesthetic of 'Valium'. Flipping the dreams for a much darker 3am reality, it will leave your dancefloor pining for more. Don't worry, there's plenty more to come. Dischi Autunno are only just warming up...

Gifted Culture collective kicks off with Zinnigheddas Jam Berlin, first 12' of a series of three releases recorded exclusively during improvised jam sessions. Gifted Culture wants artists to breath and to represent in music the contemporaneity that surrounds us. Gifted Culture catches that very moment on tape. This is an itinerant music project, to highlight the context as influence on the artistic process.

During the first session Two Thou, Autre, Xinner and Demo gather together during a Sunday night in Kreuzberg with an electric bass and a bunch of synthesizers. There they start to tell us how they feel the 'now'.

The Land of Look Behind soundtrack returns to vinyl in a remastered and expanded edition that includes a download of three previously unheard and unreleased tracks from the original sessions. Alan Greenberg, who wrote and directed this film documenting the funeral of Bob Marley, provided K. Leimer with location tapes which were used to originate many of the rhythmic patterns for Land of Look Behind. Loops of the monologues and phrases that exhibited more distinctive cadences and pacing, the words, glottal stops, clicks and coughs of witnesses were used as cues for the percussion instruments. In effect, speech became the organizing principle of the musical score. By eliminating the accuracy of click tracks, musicians were prompted to rove through the inconsistent intervals of the voice-derived patterns. Also included is a four-page insert featuring an essay by Paul Dickow.

K. Leimer founded Palace of Lights in 1979. Leimer's early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s — his current catalog includes seventeen albums plus two collaborative albums with Marc Barreca.

Leimer's work is included in the collection of The British Library.

Italian club staple and producer Kaiser turns to MOC for his Debris EP, showcasing three agile Techno slices and a remix from Exploration Records chief Johannes Volk.

'Parachute' opens up the release in a spellbinding, energy-heavy manner, with its whirlwind groove and lead taking no prisoners. Next up is 'Debris', showing off an equally energetic prowess channeling zig zagging synths and a more melodic, yet still heavy strung bassline. 'Esplosione Di Colori', translated as 'color explosion' aptly translates into sound what is usually only possible for a paint canvas. A lighthearted, arpegio-ridden track in original, Johannes Volk works his magic, turning it into a versatile piece of raw, dubby Techno.

Rhyw is Alex Tsiridis aka one half of Cassegrain. On this, his solo debut for Arcing Seas, his smoul-dering alien techno sound manifesto continues to thrive over three unique tracks.

The morphing, deconstructed acid of 'Unpunishable' - a molten statement of lusty intent - strikes first in a heady, hazy pummelling of doom-funk. 'Vertisol' pushes crisp and dry snaking percussion through an anechoic chamber; the bass end neatly warming at first then burning hard through your mid section.
An icy cold shot of 'Aqua Velva' is the final offering - a pushing sub-level trip through Rhyw's private domain - where tingling rushes of bass and static charges wash over us leaving a sinful residue.

Label info:
Arcing Seas is an anagram of Cassegrain. It started out as a secret alias, releasing a couple EPs on Our Circula Sound. The secret was less well kept after the duo appeared at Berghain under this name. A year later, after deciding to start a label, it finally made sense to bring the two together.
CASSEGRAIN = Co S o S o G o R o N o A o E o A o I = ARCING SEAS

Greenvision is the collaborative brainchild of two ESP Institute artists, Juan Ramos and Luca Trentini AKA Trent, both longtime fixtures of Berlin's infamous playground known as Cocktail d'Amore. Separately, these two explore their own very personal avenues of expression, putting their time in the trenches and endlessly polishing their works (this makes Juan's third release with the label), but when their efforts overlap we're gifted a view into their uncanny synergy. Juan and Trent channel an exorbitant amount of smoke-fueled creativity, building layers upon layers into music so dense that the bulk of their studio time might then be spent navigating and formalizing their output into tangible tracks. Greenvison's collective debut with the ESP Institute showcases three intense cerebral workouts, Banana Paradiso, Rambutan and The Color Of Maracuja, an array of experiments pulling from all the corners of the duo's imagination—it is disorienting, cacophonous, introverted and psychedelic, but at the same time playful, melodic, euphoric and undoubtably arresting—guaranteed to induce hallucinations under proper circumstances. We welcome the induction of Greenvision to the ESP Institute, and with us as your guide, we welcome you to accompany on our descent into their abyss. Try not to get lost.

AZZUR owner, Melokolektiv returns on Galaktika with his first solo vinyl Ep on the imprint 'Where Are You Earth '.

A side brings three amazing original tracks to the table made of synthetic melodies, spacey beat and acid basslines. "Control the Night" and "How to be Drawn" will, with no doubt, pleased the dancefloor while "Where are You Earth" presents something deeper and melancholic.

On the B side, we are happy to welcome two of our all time favorite producers.

First, Langenberg, who offers us a sublime reinterpretation in the line of his deep and organic releases on Liebe*Detail, Drumpoet Community and Poker Flat.

Then, UK legend Mark E who delivers a functional, raw and hypnotic reinterpretation. Definitely something which will please Dj's. Timeless!

Strut presents the brand new album from cosmic jazz travellers The Pyramids, led by saxophonist Idris Ackamoor, 'An Angel Fell'. I wanted to use folklore, fantasy and drama as a warning bell,' explains Ackamoor. The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.' Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early '70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting 'Soliloquy For Michael Brown' and the lilting, beautiful album closer, 'Sunset'.

The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor. After forming in Paris and embarking on a cultural odyssey' across Africa, the group recorded three independent albums, 'Lalibela' (1973), 'King Of Kings' (1974) and 'Birth / Speed / Merging' (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors. German label Disko B released the freeform album 'Otherwordly' and in 2016, they released their first album for Strut, the acclaimed 'We Be All Africans'.

'An Angel Fell' is released on Strut on 11th May 2018 and features full hand-painted artwork by Lewis Heriz.

New concept album by leading cosmic jazz collective exploring global apocalypse, climate change and the healing power of music
Produced by Malcolm Catto of The Heliocentrics - Superb cover painting by Lewis Heriz
Full priority worldwide PR campaign and marketing
Release supported by major European tour dates in May and key Summer festivals

Ryuji Takeuchi provides Instruments Of Discipline with an EP of noisy, hypnotic tracks, ranging from giddy, stomping, left-field techno to melancholic ambience; the EP's title 'One's Sentiment' provides a thoughtful angle to this at times cacophonous collection, for while they are bristling with noise there is something contemplative about the pieces, expressed in a way that suggests more than one thought trying to take life at the same moment, Ryuji finds space for conflicting voices both spatially and in terms of mood, the first three tracks, 'Ambivalence', 'Sadness' & 'Sorrow' crawl with competing elements, synth lines drool over and meld with throbbing kick patterns, anxiety & excitement are tightly wound in focus as tracks build and develop, leaving the listener to navigate these abstract planes, intoxicated; while the final track 'Regret' is a compelling piece of noisy, ambient minimalism that allows for an austere pause after the eruption of the initial works. It becomes evident that Ryuji's journey as a producer, through periods of hard-techno, deep-minimalism and the more abrasive ventures on HueHelix, has created a powerful and nuanced voice that is fully on display in 'One's Sentiment'.

Ryuji Takeuchi - Artist Bio

Ryuji Takeuchi (Local Sound Network / LSN, HueHelix) was born in Osaka, in the late 90s, he moved to the United States where he discovered Techno, House and Electro Music, influencing his desire to produce & DJ. His first wave of releases on LK Records, Arms, Mastertraxx, FK Records, SWR, Innervate, I.CNTRL, Impact Mechanics, Silent Steps, GSR & Brood Audio to name a few, were straight-up, hard techno,

In 2011, Ryuji started his own imprint, 'Local Sound Network / LSN', a platform for a new generation of both Japanese & global electronic music & later on, in collaboration with Tomohiko Sagae, Go Hiyama & Kazuya Kawakami, the label, 'HueHelix / HHX', developing further the voice of Japanese techno & experimental electronics, with a focus on distorted, industrial sounds.

In 2012, Ryuji launched the 'Local Sound Network Digital Solutions / LSNDS' series born from a desire to both discover and introduce a wider range of electronic music to the world.

Ryuji Takeuchi provides us with an EP of noisy, hypnotic tracks, ranging from giddy, stomping, left-field techno to melancholic ambience; the EP's title 'One's Sentiment' provides a thoughtful angle to this at times cacophonous collection, for while they are bristling with noise there is something contemplative about the pieces, expressed in a way that suggests more than one thought trying to take life at the same moment, Ryuji seems to find space for conflicting voices both spatially and in terms of mood, the first three tracks, 'Ambivalence', 'Sadness' & 'Sorrow' seem to crawl with competing elements, synth lines drool over and meld with throbbing kick patterns, anxiety & excitement are tightly wound in focus as tracks build and develop, leaving the listener to navigate these abstract planes, intoxicated; while the final track 'Regret' is a compelling piece of noisy, ambient minimalism that allows for a pause after the . It is testament to Ryuji's journey as a producer through periods of hard-techno, electronic minimalism

Far Out Monster Disco Orchestra returns with Black Sun, its second full-length album of 100% original, unadulterated disco sophistication, featuring all three original members of pioneering Brazilian jazz-funk trio Azymuth, a full orchestra with arrangements split between Arthur Verocai and Azymuth's late maestro Jose Roberto Bertrami, plus members of the legendary Rio funk group Banda Black Rio.Since its critically acclaimed self-titled debut album in 2014, the FOMDO imprint has released a string of remixes by some all-time greats of dance music, including John Morales, Theo Parrish, Mark Pritchard, Marcellus Pittman, Andres, Dego, Volcov, Kirk Degiorgio and Al Kent. To huge effect in clubs and festivals around the globe, some of the more recent remixes teased the new album material, which for the first time, is presented in its original, soul-heavy incarnation, alongside instrumental versions highlighting the album's stunning arrangements and compositional brilliance.Far from a throw-back - with disco music firmly entrenched in the modern club vernacular - Black Sun is ecstatic dance music at its finest.

'Pat Thomas Introduces Marijata' is a seminal Ghanian album that fuses highlife, reggae, folk, funk and soul, from legendary vocalist Pat Thomas. Originally released in 1976 on Gapophone Records.
'Marijata' was a group made up of three members - Kof 'Electric' Addison on drums, Bob Fischlan on organ and Nat Osmanu on guitar, hailing from Ghana. Pat Thomas career began in 1969 with the 'Broadway Dance Band', leaving a year later to join the 'Uhuru Dance Band'. He then played with Ebo Taylor's 'Blue Monks' and fnally formed the 'Sweet Beans' in 1973 where he really made his name. The group released 'False Lover' in 1974, split and then reformed as Marijata, releasing 'Marijata' (also available on Mr Bongo) and this album, 'Pat Thomas Introduces Marijata'.

Thomas career spans more than 50 years and he stll tours regularly across the world.

Replica original artwork, ofcial Mr Bongo reissue. Licensed from Gapophone Records courtesy of George Prah.