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One of the most important labels in the history of dance music, Easy Street reflected New York club-land through its most

exciting years. From the Garage to The Sound Factory the clubs of the Big Apple echoed to the anthems released on Easy Street and then onto the world.

This compilation gathers up 12 of the most vital and important tracks. From 1984s Go Deh Yaka by Monyaka, through Da Lacy's house anthem 'Hideaway' via Adeva's anthemic 'In & Out My Life' all the bases are covered, whilst seminal producers Blaze, Paul Simpson and Todd Terry are amongst those who were behind the desks on these recordings.

The release is a loud cut double LP, that comes housed in a stunning sleeve and printed inner sleeves that highlight the label's
distinctive label art.

Duke about this EP: Ironically one of my very first records was a disco sample in 1990 taken from Queen Samantha. I don’t know exactly what inspired me, but likely coming from the Hip Hop world where everything was looped and sampled brought me to doing the same for house and therefore the disco, funk etc samples for the house stuff. The first techdisco EP was done in 1995. I think there may have been a handful of other house records out that sampled disco tracks at the time. Harvey Mason’s Groovin you comes to mind. Sneak also had done a few, but maybe Pal Joey was one of the originals too that used loops, particularly Dance by Earth People. Joey also came from the Hip Hop world so we likely were inspired by the same style of loops.
The main concept was the idea of fusion. I was heavily into fusion jazz in the early 90s and that is really what spawned the techdisco and techfunk series. A mix between genres that hadn’t really been done before. Not saying I was the first, but I did my best to create a new and distich style.
I did everything myself when it comes to the techdisco series. In 1996 I traveled a lot DJing, in the states but mostly in Europe. I didn’t have time for a resicency at that time like I had prior to me being full time DJ/producer/label owner. I did do some remixes back then, but maybe not as many as I would have thought. Perhaps because people looked at me as having my own label and doing my own thing.

Berlin-based, Dutch-born Steffi possesses near-boundless prowess. As a DJ, she’s proved her effortless mastery of disco, house, electro, and techno; as helm of labels Klakson and Dolly, she’s long maintained her status as tastemaker; as a producer, she has graced us with three solo LPs and numerous 12”s. Dark Entries is now honored to unveil the debut of her project Crushed Soul, a moniker she had used only once in 2013 for an Ostgut Ton compilation track. The mutual esteem of Steffi and DE has been previously fruitful, with Steffi providing a remix for Cute Heels’ 2016 EP on DE, but this is their first full-length collaboration.

The Family of Waves EP represents both familiar and novel pastures for Steffi. While her love of electro and classic Detroit techno have been oft-evident, here we witness the darker shades of new wave and industrial creep to the forefront. This turn for the twisted feels not just natural, but predestined, an inevitable succumbing to morbid forces. But Steffi also views Family as “a playful association...a mix of my past and new modern waves". There is a kernel of whimsy, even joy, lurking within the record’s temporal jumblings. The A-side opens with “Gravitational Field”, which juxtaposes its gnarled bassline with unearthly percussives and a recurrent resonant gong. The wild sonic palette speaks Steffi’s singular voice. “Scalar Property” continues the paranoid propulsion with an unhealthy dose of what can only be described as Metroid-funk, its staccato bass jabs interlaced with ghastly vocal pads. The B-side contains a diptych of slower tracks that juggle reference points both retro and futurist. In “Family of Waves”, a churning EBM-esque bassline battles acerbic yelps. On this track, the collision of past and present is most pronounced, as if A Split Second were covering Mike Parker. “Diffusion of Heat” closes the EP with what feels like a perfect synthesis of Steffi’s musical passions: funky, warbling chord stabs; intricate rhythmic diversions; the ecstasy of repetition. Here, disco, new wave, and techno marry harmoniously, if only to inform us of the disharmony of our present.

All songs have been mastered for vinyl by George Horn at Fantasy Studios. The sleeve and accompanying postcard were designed by Eloise Leigh using video art stills by Goldenliustra.

it's been a while since we decided to open and launch this new project, we were just waiting for the right moment, and maybe we waited too long. or maybe not. we were a little stucked by the indecision of when to put it out, how to contextualize, and all the usual "psychological" practices that one faces before starting a new journey. but ever since we received the masters of this wonderful concentrate of different minds, we have been looking forward to smashing it out. and whether it's the real right time or not, it's now finally here! the true meaning behind this capsule is not so definable in words, perhaps because it is an attempt to look back and forth at the same time, without getting lost in a one concrete definition. but when we got to the tracks, first individually, and then together, it came spontaneous to glimpse something new and unconventional as a whole. we are therefore proud to present another of our musical journeys, this time in certainly more experimental and odd territories. the sounds you hear can definitely be taken as the true manifesto of this new chapter. proto? post? everything in between. ENTER >

Two high grade tracks by one of Grime’s greatest producers D.O.K. 06 is Grime at its purest; gliding synths, weird bleeps and a heavy bassline whilst the flip Look Uno continues on the Coolie Joyride path. Relentless beats, a heavy sub and catchy samples. Perfect. Out on the 19th of July on marbled purple vinyl

Four smoking hot disco tunes picked by Mr. Fonk and reworked by our veteran edit producer and KitKat resident Billy Idle. Sounding like the mid 70s and early 80s, these tracks have all been tested thoroughly on our Disco Bizarre floor to maximum effect. No fillers, just thrillers!

For the third installment of Henk, the two DJ’s and producers from Cologne, Germany showcase once again a wide variety of styles in their production. With the A1 being a collaboration of the two, the 3 other tracks are solo works by Stikdorn. “Reset” quickly makes it’s way into any raver’s heart. Fast-paced drums and percussions meet mellow pads and 90’s vibe arpeggio’s, making this a sure shot on any dancefloor in summer. It’s clear that the A-Side on this one is reserved for the bangers once you dive into “Come Closer”. A haunting 303 acid line garnered by steadily pounding drums and vocal snippets reminding you of the early hardcore days making this a must-have for any DJ-Set. On the B-Side things slow down significantly. But only in tempo, not in deepness for sure. “Anemia” is one of these tracks that evolve while floating through space and time, taking you to the trippier and more thoughtful places, either on the dancefloor or wherever you are. “Low Lights” highlights Stikdorn’s affinity for breakbeats once again. Perfectly suitable to take your DJ-Set into another direction or for the early/late hours in the club.

Soweto Soul Orchestra is produced and composed by Sipho "Hotstix" Mabuse, whose importance to South-Africa's music scene can hardly be underestimated. Being a formative member of The Beaters, which was later renamed Harari, he toured Africa extensively and even hit the American charts with their "Party" single. After Harari split in 1982, Sipho went solo and scored another hit with "Burn Out", which could be heard in every township, and produced and recorded for Hugh Masekela and Miriam Makeba among others.

The Soweto Soul Orchestra project boasts a variety of funky tracks, all marked with that jazzy South-African sound. The stand-out tune on this one, for us, is the epic 8 minute long cosmic disco cover of "Hang em High", the original soundtrack for the eponymous classic Western movie.

This 2020 re-issue sees all tracks cut again from the official studio files, ensuring both audio quality and originality.

Originally released on and licensed through Gallo, 1981.

The Bit is the second recorded collaboration between Aidan Baker (Nadja / Hypnodrone Ensemble), Simon Goff (Jóhann Johannsson / Hildur Gudnadottir) and Thor Harris (Swans, Shearwater, Thor & Friends).

Following on from 2017’s Noplace album, The Bit treads a similar path in terms of the recording process as the trio spent a day improvising at Voxton Studios in Berlin whilst on a European tour. The result was then edited and moulded into six hypnotic tracks that ebb and flow with beauty and ease.

The Bit finds the trio painting with a lighter touch than on its predecessor. Thor Harris’ motorik beats still underpin the music but the atmospherics take a more prominent role and there is a pure and cohesive path to be found throughout the record. Much like on Noplace, Baker’s guitar and Goff’s violin weave together beautifully, forming a deep bed of melody, ambience and reverb.

Given the trios credentials it’s not surprising they have created another immersive and stunning record.

Lamunai Records presents Curiouser and Curiouser, a treasure trove of millennial music era from a duo pop group called Santamonica from Jakarta, Indonesia.

The concept of this album is making music from a trip to the adventures of Alice In Wonderland, an eclectic mix of pop, bossanova, electronics, waltz and shoegaze. From Astrud Gilberto and Antonio Jobim, Pizzicato Five meets My Bloody Valentine or Stereolab's 60s sensitivity to Broadcast. A collection of multi-layered analog audio sets, the noise of Joseph Iyup's noisy guitar combined with Anindita's fairy voice melodious lines of strange lyrics wrapped in curling beats, very dynamic, very rich. Listening to the album, on several tracks, we can hear French Pop's acrobatic 5/4 beats until the roar of the wall of
sound becomes a combination that is difficult to imagine at the time and is still very relevant to listen to now.

Now, for the first time ever, one of the phenomenal albums of the 2000's Indonesia wave is now available in a limited format in 2xLP-Gatefold-Marble colors vinyl with an additional 1 song that has never been released before.

Released in 1971 while Gil was living in London, this is the third self-titled release from the bossa nova and tropicalia legend. Gil recorded this album while in political exile from his native Brazil and its somber, straightforward tone is a welcome change from the experimental, psychedelic assault of his 1969 long player. Featuring 8 originals and a brilliant cover Steve Winwood's 'Can't Find My Way Home,' this Water release also contains 3 bonus tracks including covers of Jimi Hendrix and The Beatles. A tropicalia classic.

Affûté broadens the scope of its sound once more by adding Amandra to the roster. The young artist delivers two tracks made of his signature sound: mechanical rhythms and repetitive melodies.

French comrade AWB's remix is a distinctive and clever remodel cut of Ruban Rouge, further deepening the emotion of the track. Edit Select brings a darker, haunting touch to Tour Karin with his modus operandi akin to Amandra's: a slow, subtle and detailed progression.

Teo Drean gives Tour Karin more horsepower, coupling a heavy kick with wondrous choir sounds.

Chicago’s soul super group Windy City released their only album ‘Let Me Ride’ in 1977 on the ChiSound label.

The album was produced by Carl Davis and Otis Leavill – respected industry executives • Stand out tracks include – ‘Windy City Theme’ (the Norman Jay anthem) and ‘Good Guys Don’t Always Win’

Pressed on 140g classic black vinyl, with original artwork and printed inner sleeve

Yosh steps up on Vivid 01. 4 killer tracks for the floor. Rewind

ALTER is proud to present ‘Tendrils’, the first LP release from London based artist & musician Malvern Brume. After gathering some hushed praise from the UK underground for a couple of excellent cassette releases and strong local live performances, ‘Tendrils’ is the first definitive document of the Malvern Brume sound world. His instrumentation and sound sources would be considered familiar staples in the world of “experimental” music, but Salter does an admirable job of making them his own. Comprised of 8 pieces, this is electronic music at its core but a kind that sounds as if it’s being played through fog. Like spores growing on a damp surface. Densely composed and thick with an almost asphyxiating atmosphere - even during the record’s more minimal moments - track titles like ‘Caught In The Exhaust Trails’ and ‘Sunk Into Plastics’ only heighten the tone further.

Salter was originally born in the countryside and since relocated to London, a place he finds “over stimulating in every sense”. Much of ‘Tendrils’ could be taken as a response to the city and a means of equating the two. Camberwell is listed as the location for composition, but field recordings are attributed to rural landmarks. The Rollright Stones on the Oxfordshire / Warwickshire border and Seven Sisters Cliffs by the English Channel are two in case, but despite their picturesque origins Salter renders them into abstract clatter. As if dubbed from the private tape archive of an old eccentric. In addition, synthesised electronic tones hum and buzz, occasionally giving away to strange, slurring sequences that sound like lost transmissions from the radiophonic workshop. Despite the nod to this electronic music institution, it’s lacking the sincere level of esteem that can turn one into a heritage act. There is a strangeness and distant other worldliness to the music that feels unselfconscious and keeps Malvern Brume from being easy to define by contemporary terms.

Salter says the album is defined by movement and the environments that have inspired him over the years. In his own words, “each of these tracks is inspired by a journey or moving through a space, not in a wishy-washy cosmic sense but more as a practical A to B.” With that in mind, ‘Tendrils’ is perfect music for solitary inner-city marshland walks and urban bike rides to forgotten local suburbs.

Welcome to the curious world of Peter Graf York: a world full of city centre safaris and epic train journeys, Soviet cosmonauts and Oakland rappers, filtered synths and plucked mbiras. It's a wild ride inspired as much by Jamaican dub sorcery as by playful minimalism outta the Pacific Northwest.

Many of these tracks were composed on the hoof - literally en route across sections of the ever-reliable Deutsche Bahn network. As such, there’s a certain travellin-without-moving dynamic across this collection, capturing that cinematic feel of window frames flickering past graffiti'd signal exchanges, morphing into rolling hills and green forests. Expedition Bahn is the sound of ideas being set in motion, each track heralding the arrival of an uncanny destination. Blazed beats give way to acid-fuelled electro, and dub rhythms step aside for 4th world meditations as readily as sleepers on a train track.

We can leave the last word to heroic USSR cosmonaut Vladimir Komarov, who spent the final moments of his fateful re-entry giving the administration an earful of righteous proportions (regarding the technical failures of the spacecraft). Taking his place as the first martyr of space travel, Komarov accepted the Soyuz mission despite safety concerns, in order to protect the other cosmonauts. It's an attitude that echoes throughout PGY’s sonic universe - make the most of the trip you're on... ‘cause you never know just which way it will go.

Gear used: Tascam MIDISTUDIO 644, MPC1000, Roland JX-3P, MODE MACHINES DT200, Electro-Harmonix MEMORY BOY analog delay, Nord Drum 3P, MacBook Pro, Logic Pro 9

Marcos Cabral returns to L.I.E.S. with a new six track mini lp after a run of cult releases for The Trilogy Tapes as Chemotex. Here we get Cabral in top form falling somewhere in-between his last works for L.I.E.S. and Chemotex tracks. Through the record we get a rough yet refined style moving from metallic gnarled electro to melodic IDM and/or destructive the electronics as heard on "Secret Air". Our favorite being the introspective closer "Wearing Petrichor" Cover photo licensed from legendary NYC street photographer, Richard Sandler.

Buena Onda - Balearic Beats is a lovingly compiled collection of exciting music from the new Balearic generation that captures the essence and eclecticism of their Berlin party oasis, Buena Onda. It takes in 12 tracks of fast and slow, acid and downtempo, lush and dreamy sounds to transport you to a place of beauty, warmth and soul. It has been compiled by Hell Yeah label boss Marco with Buena Onda 's resident DJ and co-owner Gallo, and arrives later this summer as a 12" sampler, limited cassette, download, stream and original t-shirt. This first sampler features four tracks from it with artists Lucas Croon, Sergio Messina & The Four Twenties, Gallo, and Black Spuma all featuring.

First Up, Lucas Croon takes us on an epic 10 minute trip with his head-in-the-clouds sounds, long legged drums and summery pad work. Next, Sergio Messina & The Four Twenties mix vocodered vocals with lush acoustics on the dreamy 'Fly Away' while on the flip, Gallo's Tropical Hinterhof Remix of J-Walk layers up lush chords with new age hand drums and synth gorgeousness that is soothing and cleansing. Last of all, Phillip Lauer and Fabrizio Mammarella aka Black Spuma's mid tempo drums sink you into a groove that is embellished with heavenly chords and plenty of oceanic breezes all carrying you away. This is a fine taster of the full length compilation to come.

House and techno focussed FINA sister label FINA WHITE comes through with more direct dance floor grooves from Bodyjack, aka Chris Finke. The veteran artist serves up two killer tracks, one dub and four locked grooves that provide serious heat for DJs and dancers.

Before now, former DMC competitor Finke has established himself with his Bodytrax label in association with the Clone.nl crew, standout mixes for Radio 1 etc and EPs on the likes of UTTU, Hypercolour and DEXT, all while being a famous former resident of titanic techno party Atomic Jam and playing the world's finest clubs for years.

Arresting opener 'Measure Twice, Cut Once' is a big, buoyant techno monster with warped acid lines and raves vocal stabs all adding fuel to the fire. The locked grooves serve up scintillating breakbeats that are hugely powerful and ripe for abuse in the club, and then 'Enfant Terrible' is a dark and eerie warehouse monster. The bass is loud, the kicks rock solid and an echoing female vocal lost in the midst of it all draws you in deeper. Closing things out, the dub versions strip things back to gritty chords and heavy, well-swung kicks that make you march.

This is high class, high functioning techno from one of the finest in the game.

Philadelphian multi-instrumentalist, producer and engineer SWARVY makes his solo debut on Kamaal Williams's imprint Black Focus with a stunning new EP entitled ‘Sunny Days Blue’, his first release as
the primary vocalist.

Smoked-out sound beds and lofi guitars sit gently with SWARVY’s voice, creating a juxtaposition of melancholic, yet sweet, melodies that loop in your mind’s ear long after the record stops spinning.
‘Bones’ opens with a stripped back rhythm section and existential observations referencing the human condition of overthinking, a recurring theme throughout the EP. ‘Cool’, ‘No Compute’ and ‘Smile’
subtly infuse jazz, funk and hip hop elements, while ‘New Moon’ plays out as a low slung hypnotic hymn echoing gracefully into the record’s closer ‘Ginger’ - a meditative ambient spiritual for solo piano.

Since relocating to Los Angeles in 2015, SWARVY produced a variety of records via DJ House Shoes’ Street Corner Music, Leaving Records and Fresh Selects. His writing and engineering credits extend to dozens of tracks by artists such as Maxo, Earl Sweatshirt, Nia Andrews, Mndsgn, Liv.e and the late, legendary Tony Allen.

Green vinyl includes digital download card.

Following the Turner Street Sound collaboration with Rings around Saturn, Melbourne producer and DJ Midnight Tenderness presents his second offering to Butter Sessions, Digi Modes. Throughout, Midnight Tenderness maintains his fixation with dub-wise rhythms and heavenly melody, delivered with his signature silky smooth production.

Digi Modes begins with the complementary pairing of tracks Crosswinds and Dub Dreams which feature on the limited yellow 7". Crosswinds is a bright medley of garage breaks against hazy synth-work that gently inhales and exhales. Dub Dreams, as its title affirms, is a mirage of sweeping synth loops and chattering rhythms. Elastic Dub is a more traditional homage to early dub works of the 1980s, marked by persistent echoes and rumbling bass that divides and conquers. Reflexitones, and the EP's endnote Regent St Dub, both add a sprinkle of house and electro, primed for a discerning dance floor or perhaps for now, a dance at home. As a whole, Didi Modes is an affirmation of Midnight Tenderness' mastery to adopt and adapt acquainted sounds in a unique way.

After four years of silence the hot edits queen Rossella is back!
Featuring two dancefloor absolute banger tracks: House/Kwaito on the A side and brazilian Carimbò on the B side.
First Pressing limited to 200 copies

Das Debütalbum des Briten Jake Storm Glover aka Stametshroom, der von Alex Paterson (The Orb) gebeten wurde, einige Ambient/Downbeat-Tracks für dessen Resident-DJ-Sets bei WNBC Radio zu erstellen. Das Ergebnis sind diese fünf entspannten Tunes zwischen Balearica, Space-Electronica und Ambient/New Age in Längen zwischen drei bis acht Minuten.

Eric D. Clark
"Written in approximately 1996 or shortly thereafter & born of a night out on the town naturally!
...having been to hear Ranga Tikki (Ms. Codi from New Zealand) drop knowledge in Berlin's SO36: she'd
played the "I have a dream" speech orated by Martin Luther King;
...the mind stopped at "From every Mountain Top"! I walked back through the streets shouting that to myself
until entering the flat then started immediately on the song!
Written and produced: ERiC D. ClARk
publisher: SUBCURRENT Music lTd.

Hans Nieswandt:
Between 1996 and 2000 (and in some cases beyond), Cologne project Whirlpool Productions produced a lot
of music, both as a group and as solo artists, at the legendary Can Studio in Weilerswist, a small town about
20 kilometres south of Cologne. Much of this music has been released, most notable the international
classic „From: Disco To:Disco“; but some of the music never saw the light of day. These two tracks I
produced myself at some point shortly after my first solo album „Lazer Muzik“ and I’m super glad to get a
chance to finally release them - because there is the important cause of helping to save the Paloma Bar, a
place where I played times and always loved it - an experience I dearly hope to repeat many times more.
And because I always liked those two tracks a lot, they just never found their proper platform, for whatever
reasons. As I think they are quite fitting to the sound of the Paloma, I’m more than happy to support this
unique place with this humble contribution. Written and produced by Hans Nieswandt around 20 years ago
at Can Studio, Weilerswist. Original date unknown.

Lowtec & Marvin Dash:
"Es gibt ein paar Lieblingsclubs in Deutschland, kleine Clubs wie z.B. Paloma in Berlin oder Pudel in HH -
wo es nur um die pure Liebe zur Musik geht - wo keine Kompromisse eingegangen werden müssen in
Bezug auf Trackauswahl oder zu deepen Sets, weil das Publikum einfach versteht worum es geht.
Sozusagen das verlängerte Wohnzimmer... Bei gefühlt jeder 2. Platte fragt jemand nach einer Track ID, alle
paar Minuten bringt jemand etwas zu trinken...das wollen wir unterstützen." (Lowtec & Marvin Dash)
Marvin Dash – Lost in the Woods: Written and produced by Ronald Reuter in around 2010. Previously
unreleased.
Lowtec – Museum Of Natural History Of Life: Written & produced by Jens Kuhn, 2000. Previously
unreleased.

Matthew Dear has unveiled a new alias, Brain, which will debut with a double-EP called The World on Planet E. It’s the latest in a long line of trackier Matthew Dear aliases, including False, Jabberjaw and Audion, whose 2006 classic “Mouth To Mouth” came in at number 20 on Resident Advisor’s Top 100 Tracks Of The ’00s feature. The lead-off cut on the inaugural Brain release, “Boss,” was first heard on Carl Craig’s Detroit Love Vol. 2 compilation.

FIZZY is a selection of eight tracks by Catastrophe, for the first time gathered on vinyl. Born in 2016, Catastrophe would like not to forbid anything, even if it means the risk of ridicule. Whether in forests, on rooftops, crossing France and summer festivals (Rock en Seine, We Love Green, Francofolies), Catastrophe imagines. On stage, surprise reigns supreme and explodes into a musical kaleidoscope.

In 33T and with printed innersleeves, this vinyl is a beautiful introduction to the world of Catastrophe. Their recent performances on major French and international stages (Eurosonic, Reeperbahn, Munich, Tokyo, Warsaw) show the growing interest for their music and energy. This selection is an ideal gateway to discover them.

Multi award-winning saxophonist and composer Nubya Garcia is back with her much anticipated debut album, SOURCE. Her first release on Concord Records, under the iconic Concord Jazz imprint. The album follows her 2018 self-released EP, WHEN WE ARE, the title track of which was described as “effervescent” by The New York Times and named one of NPR’s Best Songs of 2018. Her debut EP, NUBYA’s 5IVE, released in 2017, was hailed as “exceptional” by The Vinyl Factory and sold out on vinyl within 24 hours. In 2018, Garcia also featured on five of the nine tracks on WE OUT HERE, the Brownswood compilation project celebrating London’s young and exciting jazz scene. She won the Jazz FM Breakthrough Act of the Year Award and the Sky Arts Breakthrough Act of the Year Award in 2018, and the Jazz FM UK Jazz Act of the Year Award in 2019.

A collection of sonic mantras to live by, SOURCE is a deeply personal offering in which Garcia maps cartographies around the coordinate points of her identity, her family histories, grief, afro-diasporic connections and collectivism. SOURCE is fundamentally about getting grounded within yourself, so that you can be present with others. It's about a realization of personal and collective power: the evolution of the saxophonist’s values as she re-connects with herself, her roots and her community. Garcia digs deep to present an album with a global outlook: from London to Bogota, Caura to Georgetown, it's a record drawing inspiration from the many places Garcia calls home.

Repress

Techno Letfield legend. Peder Mannerfelt returns, this time in original format, with the second version of a track called The B. The first version probably never existed. As you will hope that this one never existed too while your brain is melting in a Swedish oven spiced with hoovers and sub bass.

Hard to deny the back and forward energy between the Copenhagen scene and KAOS. Repro is back in the show. The moment of impact is a heavy trip on high energy mode. Please wear your helmets.

Dirty Rocking Bassline is most probably one of my (and SPFDJ) top 3 most played tracks ever. That would be a reason to be more than excited to welcome directly from Devon (UK) to Darc Marc. But you wanted more: Running With The Devil has been another sure hit in your TRACK ID?? requests in the last months. Free-party rooted, hyperdrive, sexy, dark, fast... And now you believe.

The hardcore-IDMish dystopia from Uncrat closes poetically this new issue, giving more meaning than ever to that mighty quote that once a wise friend of mine said at an after and that I take now as life motto.

#TOOMUCHISTHEMINIMUM

Third release of Jerelo Records, that includes very precise minimal-tech groovy tracks for the dancefloors. Vinyl Only.

Middle Name Dance Tracks Vol 1 is the second release from Sampology’s new imprint. The Middle Name Dance Tracks project reflects standout live & club nights in Brisbane of recent years, where there has seen a steady cross pollination between the club and soul/jazz communities. The blurred line between these two musical worlds has delivered an array of diverse and joyful events for both artists and avid music fans.

This project is a collaborative creative effort between Sampology, Megan Christensen and Sam Stosuur. The recording process was live in nature with Megan on piano and keys, Sam Stosuur on bass/bass synth and Sampology on MPC drums and programming. Having live conga & timbale from Brisbane based Latin percussion staple Gus Cereiji glues the groove together. These sonic choices were inspired by listening to NYC early 80s disco labels, especially Prelude 12" releases, which balanced drum machine & synths as well as live studio musicians. Vocals on 'Only Joy' were recorded by Kerry Raywood. Vocals for 'Bless' come from Brisbane jazz vocalist Merinda Dias-Jayasinha. The combination of the Middle Name Dance Tracks trio and the additional Brisbane artists offers a specific music palette that’s live in essence, dancefloor in orientation, and magical in delivery.

Middle Name Records Dance Tracks Vol 1. artwork was created by artist Sue Poggioli, Sampology’s mother who also created the artwork for the 2016 Natural Selections EP.

The founder of Modern Obscure Music (MOM) presents this release which culminates a creative process that has led him to work during years with labels as respect- ed as Hivern Discs of John Talabot to Mathematics Recordings of Hieroglyphic Being.
Pedro Vian surprises us with a an album that is impossible to categorize into a single musical style. This LP guides its audience through musical scenes typically attributed to the artist, with atmopheric tracks like Pandora or Paradiso (available on the digital version). But it also travels through abstract, sonic labyrinths in songs like Maia or Nine is Nine, accentuates the rhythm with techno tracks such as Le Fou, Invisible Objects or Indian Strings, and even submerges us into the depths of pop with 801 Nite, where Pedro Vian collaborates with the young and talented singer of Mourn (Captured Tracks/USA) Carla Pe´rez Vas. Another cut that resonates is the influence of the Cocteau Twins.
Beautiful Things You Left Us For Memories is the most mature work signed by Pedro Vian, where he clearly manifests all of his influences and distances himself from the introspection prominent in his last EP’s, where he collaborated with artists like Inga Copeland from the Hype Williams Duet, or Pye Corner Audio. This is a bold move forward on an international trajectory that has received robust recognition from specialized, international critics.The new project will be published through a digital version with twelve originals; and through a reduced vinyl version where photographers Adria Can~ameras, artist Irene Royo and graphic designer Marc Monguilod have collaborated, and audio engineer Josh Bonati has mastered the sound. This is a kaleido- scopic work, adamantly supported by artists like Gold Panda, Laurel Halo, Barnt, bRUNA, and the north-american producer Chris Taylor (Grizzly Bear) among others

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before

Duñe and Crayon have been working together for a few years now. Crayon, discovered by Kitsuné is a close relative of FKJ and Kartell. Duñe, on the other hand, has evolved with the duo Saje.

It was within the Roche Musique family that they met and naturally started working on a joint-EP in 2016, soberly entitled Duñe x Crayon. Both self-taught producers, Crayon and Duñe, former inhabitants of Parisian suburbs located at opposite positions, yet quickly found each other.

For their first album, they lock themselves in their studio day and night, until they choke. It would take them several years - interspersed with a few solo projects - for the two artists to give birth to Hundred Fifty Roses. An album through which they expose themselves, both in production and in writing but also in interpretation. On rhythms sometimes inspired by Anglo-Saxon sensuality, but with a production that is indie enough to infuse more warmth. A groove with a soft pop feel to which Thomas Clairice, former bass player of HER, also contributes. To accompany Duñe, bright voices were invited on six of the album's thirteen tracks : We hear French singer and rapper Ichon‘s velvet voice (whom Crayon also produces) on "Pointless"; Gracy Hopkins brings his soul on "Your fruit". Ph Trigano - another artist who produces Ichon - participates in "PS" along with Swing.
Lossapardo - with whom Crayon had already recorded on his solo projects - close the album with "Slowdiving". On the English side, we discover Jadu Heart, a duet signed on Anchor Point, Mura Masa's label, giving the replica on "Invisible". More than perfection, Hundred Fifty Roses resolutely seeks emotion. The album is the musical result of an open discussion in an intimate context, halfway between the live experience and the digital exercise.

First up is Nehuen, an Argentinian born but Barcelona based artist who is notorious for his abrasive dance floor workouts on I Love Acid, BNR Trax and the Classicworks label he co-owns with Cardopusher. Cardopusher is, of course, a true electronic legend from Venezuela. His dizzyingly diverse sound takes in rave, acid, electro, techno and house influences and distills them into hugely
Raw and energetic new forms.

Nehuen's Psyops Part One kicks off with the excellent title track, which contorts acid and electro into a writhing monster filled with dark energy. The visceral 'Toxic' is built on slapping hits and spangled basslines that will tie you in knots as the bumping drums drive things forward. The late-night menace continues on 'Bailar', with tight synth arps layered up in robotic forms over clunky drums that are industrial and futuristic in equal measure. Last but not least, the eerie 'Desire' strikes a more twisted note with double kicks juddering beneath echoing hits. It's pure, filthy, brilliant body music.

Cardopusher kicks off Part Two with the fantastic 'Disobedience' (feat. Lbeeze) a slow-motion drum workout that is like dark disco mangled through a psychedelic filter, with robotic vocals and stiff arp
jerking your body. 'Abyss Antidote' is then a flurry of drum breaks and electro bass, frazzled synths and whipping hits that keep you on the edge of your seat. Darkness abounds on the gritty 'Initial Decay' (ft. Lbeeze), which layers up taught drums and hits with spraying synths that come from a dystopian planet.

Closing out this epic mini-series is 'Mutant Brain', a cyborg techno meltdown with manic acid for
company.

These are devilishly distorted tracks from two of the best producers around.

Originally released in 1982, on Cobiana Records.

Limited deluxe version of 500 copies on 180 gram vinyl, with insert and tip-on cover.

Tustumnhos di Aonti can be defined as “a testimony of the weakness of yesterday.” The album is an African Groove made with European instruments, but with its heart and soul deeply grounded in Guinea-Bissau. The eight tracks represent Ze Manel’s (member of Super Mama Djombo) poetic yet frustrated account of what was happening around him. “Love is a social thing, when I see something I don’t like, I sing it in my way. About the people. The people are never wrong.”

Runden is a collaboration by Martin Brugger (bass) and Simon Popp (drums), both of contemporary Jazz quintet Fazer, and neo-classical pianist Carlos Cipa. Their debut LP is a conceptual record reflecting on Minimal Music, Afrobeat, and Dub Techno of the late 90s/early 2000s.
While Cipa's solo works build on clear harmonies, for the recordings of Runden he prepared the piano to make it sound like a faintly tonal percussion instrument and his mechanical patterns contrast the syncopated drum grooves of Popp and the deep and sparse basslines of Brugger.
The musicians explore, over the course of seven tracks, the concept of circular music. Each piece is based on a four-bar-motif played in a loop and varied subtly but steadily over time, creating a sense of eternal recurrence and timelessness.
This makes Runden a meditative but demanding record, that only grows with every listen.

Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

Apollo Brown, one of the first members of the Mello Music Group production team, is the Detroit producer first grabbed the nations attention on Finale's Pipe Dream & a Promise album and then again as the Detroit Red Bull Big Tune Champion. The Reset is the first Apollo Brown-produced release in 2010 on MMG.

The Reset was an introduction to Apollo Brown's production: Reworked tracks, fresh verses, new production, new hooks, and new features, recombined to create an entirely new album that captures the haunting street soul of Detroit.

Producers: Apollo Brown
Featuring: Oddisee, Tranquil, Hassaan Mackey, Buff1, Magestik Legend, Diamond District, John Robinson, Kenn Starr, Rapper Big Pooh, Black Milk, Stik Figa
(Original Release May 25, 2010)

Post lockdown does not mean we need to fall back into the same patterns like we did before. This EP contains a smooth transition to a new reality. ULTRATERRENO is TAGLIABUE`s (@josephtagliabue) newest EP on the Berlin and Zurich based micro Label Lustpoderosa.
The celestial sounds from the italian producer Tagliabue is a healing process of well tempered analog synthesizers. The cure is in the mix of pre dancefoor and ambient tracks inlcuding a slow trancy chug from well known and apreciated selector @AnatolianWeapons.
Tagliabue is not just inspired by the afro cosmic heritage of Beppe Loda and Daniele Baldelli, but also from post-folk, rock, prog and kraut infuences of 70’s and early 80’s, passing through New Wave and Synth Pop ofGaznevada or The Stupid Set and not to forget italians rave culture of the 90s with Franceso Farfa and MarcoDionigi just to mention a few.
This very intimate EP is a meditative and transcendental journey to another world. Literally

2020 Re-issue of Keith Kenniff's debut under his Goldmund moniker. Originally only released on CD in 2005 via John Twells' Type Recordings, this album of rare and unusual minimalist beauty is now presented as a vinyl edition for the first time.

Multi-instrumentalist Keith Kenniff is a busy man. He has appeared as Helios on a number of acclaimed releases, including Deaf Center’s ‘Neon City EP’, and released a debut album ‘Unomia’ on Merck records which has appeared on many best of 2004 lists. All this while studying at the prestigious Berklee College of Music, and playing drums, guitar or contributing production to a host of amazing musicians. Kenniff lives and breathes music, something that is very obvious when hearing tracks under any of his pseudonyms.

As Goldmund, Kenniff has disregarded the electronic elements of his music almost entirely in favour of just a piano, a microphone and occasionally a guitar. ‘Corduroy Road’ is thirteen tracks of pure recording, the sound of the piano being opened and the feet on the pedals, the sound of fingers pressing lovingly onto the keys. This is a record of rare and unusual beauty, so shocking and yet unpretentious in its simplicity. When the guitar does emerge from beside the delicately touched piano, it serves as a balancing point for the record. Weaving in and out of the melodies, it adds another layer to what is already incredibly moving music.

‘Corduroy Road’ is rooted in Kenniff’s love of folk music from the American Civil War. We can hear this directly from his rendition of Civil War era classic ‘Marching Through Georgia’, but the influence carries throughout the record. There is an unheard voice which propels each track through history, maybe the ghosts of dying soldiers whispering in a long forgotten bar. Every haunting note drifts deep into the psyche and is lost in the ether of nostalgia. In this way it is a concept recording of sorts, it certainly has a narrative and has to be listened to in sequence. The story has clear themes; loss, history, friendship, camaraderie, forgiveness and hope, all clearly marked out by musical segments. It is no surprise that Kenniff’s passion for cinema shines through so strongly.

It would be hard to draw comparisons to music so rooted in folk traditions, but the music evokes traces of Ryuichi Sakamoto, Mark Hollis, Keith Jarret or even Eno’s more piano based compositions. Yet influence seems unimportant when listening to this deeply personal work. Just let it sink in and drift into the psyche.