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January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke’s Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen’s O.U.T. project and Susanne Kuhnke completed the Line-Up.

Malaria! started touring intensively soon after the release of their 12”, commencing with a concert with New Order at Brussel’s Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, Einstuerzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin.

While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin (How Do You Like My New Dog? 7”, Weisses Wasser 12”, New York Passage 12”, Revisited MC, Emotion Album). At the BBC studios in London Maida Vale Malaria recorded an Kit Jensen and a John Peel Session.

Malaria! took a break in 1984 - Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form, with Beate Bartel, Matador, but not before they recorded their Mini-Album, Beat the Distance. 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12”. Elation was followed by Cheerio, Album, which again was recorded in Berlin.

Chicks on Speed did their own version of Malaria’s song, Kaltes Klares Wasser in 2001, and the Remix went into the German Top 10.

Malaria has been an instrumental part of Berlin Music History, as recently presented at the „Zurück zum Beton“ at Düsseldorf’s Kunstakademie, Kunsthalle Wien „Punk!“, „Geniale Dilletanten“ Goethe Institut, and in B-Movie.

BIBA KOPF 2019
The theme song for that great German road movie yet to be made, Malaria!’s 1981 single “How Do You Like My New Dog?” etched the E into the motion music of their soon-come debut album Emotion with its trail-out line “Immer vorwärts, nie zurück...”. Always forward, never back: from West Berlin to London, Paris, New York and Tokyo... from here, there and everywhere to eternity, the Autobahn goes on forever, with Malaria! at the wheel, spinning new moves from timelines crossed in records and songs right on the money evoking Zarah Leander, fighting the power, staring down Death, and a whole lot more. In all, one merry hell of a ride, and on the evidence of Compiled 2.0, it’s not over yet.

MARK REEDER 2019
"Even today, their originality in everything from sound to style, has proven just how relevant Malaria! are. In my opinion, their music has stood the test of time. To me, Emotion sounds as good today as it did when it was first released and it was a pleasure to revisit it. They might not have had any zillion selling albums, and their image might have been copied, while their sound could never be. They remain exclusively unique and their influence and legacy will reach far into the future. This band is both an inspiration and a statement and they prove what five very creative girls can achieve, if given the right support to allow them to evolve, and it is exactly that, which has made Malaria! Germany’s most successful and renowned, all-girl band...“

DIEDRICH DIEDERICHSEN 1991
"...Malaria! put across so many clear, manifest, attractive, certain, muscular, and harsh symbols, just as they refused - defying the customs intrinsic to these symbols and the worlds in which they circulate - to weave all these things into a readable, reproducible and manageable, generic text..."

Secretsundaze return with a second volume of their new mixtape series. After the success of the Joe Claussell tape they turn to Carista for another introspective mix aimed at a relaxed home-listening session.

In May 2018, Carista performed one of her first international gigs at Secretsundaze in London and went on to play 2 other shows for them that year. A year later, she has become a mainstay on the European club & festival circuit, playing to an ever growing, passionate and loyal fanbase week in week out, already playing shows that most DJs would only dream of, including closing a stage at Lowlands festival to an audience of 10000. No wonder a recent Mixmag article crowned her as "A DJ star in the making".

Her residencies on NTS and Red Light Radio showcase her love of house, boogie, broken beat, disco, funk and beyond. Her DJ gigs can also see her explore further into house and techno but this mixtape showcases a different, softer side of Carista blending ambient soundscapes, jazz, dub and soul as well as some poignant words from Nina Simone.

The DJs Pareja have been flagging they’re a DJ duo in love long before the recent trend. ‘Pareja’ literally translates as ‘couple’, and that is just how Diego and Mariano do life; in tandem. It may not seem so radical these days, but the Pareja’s have been unapologetically queer trailblazers in their hometown of Buenos Aires, Argentina - throwing raves and putting out pop dance records for decades. It took us years to get these boys to come play for us in San Francisco, but when they finally did, minutes off the plane we were hugging and shedding a little tear in front of the Castro theatre sign. I always knew that one day we would get them on the label, and this EP is a product of how far this new gay techno underground has come. So it is with great pleasure we present 4 tracks produced south of the Equator, mixed for the gods, with some signature vocals and some sounds we’ve never heard from these Argy boys sleeping in a Queen bed.

Albert Tales release their two debut singles as a double A-side funk 45". Based in Israel, Albert Tales are a neo-soul, funk and soul band. After developing a cult following in Tel-Aviv they were picked up by UK Label Freshly Squeezed - and shortly after attracting the attention of Craig Charles, Disco Freaks as well as gaining direct support from local DSP platforms such as Spotify Israel and Apple Israel. Although only their first ever release, the quality of the music and the noise building around them hints towards their future potential. Released as a dinked 7 inch and with limited supply - we hope to see this early product transition into a collectors item down the line. Albert Tales will be entering the european festival circuit next year with plans forming for the UK, Italy and surrounding nations.

A mainstay of the independent funk, soul and blues scene - Dr Rubberfunk's home-grown, honestly composed, and intricately produced recordings, combined with a hands-on approach both in front of and behind the mixing desk, have earned him a well-deserved reputation for being a name synonymous with quality.

That quality just keeps coming as he carries his successful 'My Life At 45' singles series into a third instalment. With two sell out runs of limited edition 45's having won praise from the likes of BBC6 Music, driven mixes on Mixcloud to the top of their charts, and garnered support across the blogosphere, it made sense to continue the good work and get to work on number three.

Extending his fruitful relationship producing fellow Jalapeno Records artist and soul gospel specialist Izo FitzRoy, the lead track sees them team up for some timeless songwriting in the shape of 'A Matter Of Time'.

Izo is on a real hot streak at the moment having featured on Pt.2 of this 7" series before going on to work with Shawn Lee (BBE Records) and Dimitri From Paris (Glitterbox) on singles that tore up radio charts worldwide. And she delivers on this track once again, with the catchiest melody you'll hear this year over Rubberfunk's tasteful, upbeat and lively production.

Backing it up is the bluesy 'Slim's Mood' which allows the Rubberfunk band to stretch their legs over a driving soul jazz arrangement that's a must for fans of 'Boogaloo Joe' Jones and Grant Green. ... As before, it's likely to be another sell out run, so move quickly before they disappear!

50 years ago, a young Panamanian singer by the name of Ralph Weeks, who a few years prior had cut his teeth in the US music landscape with the group Johnny & The Expressions, self-produced and independently released a record with an absolute monster of a soul ballad called "Something Deep Inside." It was a song that Weeks had come up with on the spot during one of many gigs in the heart of Brooklyn's Prospect Heights, at the time a cultural hub and community for many Panamanians living in the borough. Along with his group, The Telecasters, Weeks often played at a Panamanian-owned club in the neighborhood called 4 Star's (STA4R's) which would independently sponsor the release of the tune on a 7-inch single.

Fast forward to 2019, where a serendipitous meeting between Ralph Weeks and Names You Can Trust turned into a solid formation of musical synchronicity, bonded over a shared belief in musical fusion, a weaving of musical threads that was similarly the foundation of that earlier era in Panama. It's a fusion that has become a constant theme throughout the Names You Can Trust catalog in the last 10 years, connecting the dots from NY, the Caribbean and Latin America. An immediate plan was put into motion: return Weeks to a studio atmosphere that had eluded him in the preceding decades, a vibe and live musical presence that would be reminiscent of his time recording with The Telecasters and The Exciters in Panama.

In the ultimate tribute to Weeks and that foundation, NYCT label mates Combo Lulo unpacked the 50-year old original tune and refashioned it into a timeless rocksteady ballad. It was an opportunity for Weeks to acquaint himself with a new band and a new generation of musical talent. Ultimately, it was an unexpected chance for Weeks to reconnect to the music he wrote one fateful evening in a Brooklyn club. For Combo Lulo, Names You Can Trust, and now the rest of his musical admirers, it's a chance to hear how gracefully Weeks' voice has aged, still silky smooth with those beloved falsetto runs, sweet and rounded like a barrel-aged añejo rum. It's a testament to the timelessness of Weeks' original music, and certainly another reminder of how far and wide even the smallest of musical blips can spread.

Presented as a double-sided bilingual 45 single, both versions of Weeks' classic tune, "Algo Muy Profundo" and "Something Deep Inside," have been formatted in the traditional Jamaican style, skillfully cut live and mixed under the guidance of NYCT and Combo Lulo's talented musicians. It's a tribute to a brilliant record and an unsung architect of Latin American sweet soul, but also a love letter to a very particular NY-Caribbean fusion that theoretically could have happened 50 years ago, depending on the borough you resided in. After all, there was always something deep inside. Comes with NYCT / STA4R'S Company Sleeve & Liner Notes.

Taking inspiration from a vast musical sphere, the Munich-Vienna pair Jorkes are widely recognised for their open-minded and passionate approach to electronic music which is translated through their Freeride Millenium imprint and own unique productions. ‘Cross The Line’ will be the duo’s first outing since 2016 seeing them join up with the Italian pair Hard Ton who are known for releases on Wonder Stories, Luv Shack Records, Toy Tonics and many more. Jorkes invite Live At Robert Johnson artist Massimiliano Pagliara and Philpot founder SoulPhiction aka Jackmate for remix duties which tops off this distinctive release highlighting the openness and sensibility of their musical philosophy.
‘Cross The Line’ begins the EP with alleviating pads balanced harmoniously with alluring, heart-warming vocals and gentle keys drifting throughout before Massimiliano Pagliara delivers an infectious remix focusing on hypnotic bass grooves, effervescent drums and undulating pads fluttering naturally with the stirring modulations.
‘Jackmate’s Dub Mix’ deploys low-riding resonations fused with muffled tones and thrilling, shuffling rhythms within whereas ‘Jackmate’s 90s Mix’ focuses heavily on organic percussion rolling throughout with robust musical elements and looping vocals. SoulPhiction’s ’Dub Mix’ completes the pack with a tranquil take on the original laying focus on funk-infused instrumentals and subdued jazz drums.

Apparel Tronic comes back after the heat of summer introducing the first V/A on the catalogue as well as its 10th release overall (Varioustronic 1). This 3 tracks V/A is an ambitious project that unites 3 great artists with diverse approaches to music production, 3 different minds and visions, 3 declination of the same verb brought together under the same roof, our roof. We always like to experiment, to try and push our boundaries over again in everything we do and surely this is an organic evolution to the so-called "Bliss-Beat": the identificative concept behind our ideas. The 3 producers we chose, Anton Kubikov, Artizhan & Tommy Vicari Jr. need no introduction so we're simply grateful to them for their availability to huddle up and create some great music for one cause and it's surprising how the three tracks, colliding, offer different but likeminded perspectives, like fragmenting planets creating new ones. This release is the result of 2 years of research, ending up choosing Anton's "Freak Out Little Bit", Artizhan's "Birthday" and Tommy's "Conceal" amongst many others. APLTRONIC010 V/A is clear for the take-off, on vinyl and digital versions, and we hope you'll like it!

Shovel Knight began as a modest, yet highly promising Kickstarter project in March 2013. Billed as 'a groundbreaking love letter to 8 bits!' by Indie developer Yacht Club Games, this 2D side-scrolling platform game released in June 2014 to universal praise and accolades. Fans and industry professionals praised Shovel Knight for its charming retro-2D visuals, humorous story, fun characters and strong gameplay design, which all came together to offer a game that is nostalgic yet very modern. The efforts of Yacht Club Games paid off when Shovel Knight was won the prestigious 'Best Independent Game' award at The Game Awards 2014. The game's chiptune soundtrack, composed by Jake Kaufman and Manami Matsumae, is integral to the game's modern-retro identity and has been similarly praised for its outstanding arrangements, memorable melodies and strong technical composition. This definitive soundtrack contains all music from the original Shovel Knight game released in June 2014, with a vinyl tracklist crafted by Jake Kaufman himself. The package cover and inner-gatefold have been designed exclusively for the soundtrack by Hitoshi Ariga; an interview with co-composer Manami Matsumae; and character artwork from the game.

“Having moved forwards emotionally from the wilds of dystopian stalking and associated hobbies, Madonnatron have instead been found frolicking through the green pastures of gangsta pimps, Hindu God wars, Cyber Men invasion, loveless nightclub hook-ups, modern Italian Nabokov, and revered screen goddess Elizabeth Taylor. Think of them as post-punk lab rats in the Secrets Of Nimh, feasting dubiously on back-dated episodes of Top Of The Pops. With notorious roaring guitars, chanting vocals and rabid drums they audibly glow in the dark, are strong-armed, and will probably bite you.”

Like their debut, which was released to much acclaim in July 2017, Musica Alla Puttanesca was produced by Liam D. May at Trashmouth Studios.

Their atmospheric, raw, and confrontational live shows carry a sonic force that by turns will make you weep, cross yourselves, and weep again. In the last couple of years, Madonnatron delivered a successful UK headline tour; supported The Moonlandingz,

With its fourth catalogue number, Steinlach returns to the vinyl format with a remix EP. On board are international friends of the label, who layed hands on Wice's originals with outstanding re- interpretations. While the A-side contains two groovy and club-oriented remixes of "Just kiddin", the trippy flipside focuses on the second outcome of the label and refers to the two pieces "Absent" and "Hertz".

The record opens with a fast-paced and jacking "Just Kiddin" version by Deep'a and Biri. The two guys from Tel Aviv re-interprate the clubby aspect of the piece, furnish it with a portion of percussions and accompany it with a volatile beat. Discharging the track with a big bang, they're leaving the listener with no chance but to move energetically to the groove patterns while cherishing the original lead melody.

Just like Deep'a and Biri, Jon Hester bets on the energy and the recognition value of the original synth line. As typical for Jon, he gives a more Chicago-style housey and bouncy touch to the composition. The lead is getting chopped, re-interpreted and re-arranged into a new groove and melody pattern, sure to inspire the floor to shake and to catapult everyone around into a frisky dancing mood. Suddenly, the well-known arpeggio of the original comes in and makes for the climax of this brilliant remix.

With side B, the club aspect of the record might not be left behind, but moved into more stripped and trippy terrains. The B1 track is fashioned as a ruthless "Absent" version, unmistakably having Refracted's writing all over it. The smallest variations of the synth line, drones, and pads, without resorting to typical drum rack aspects, find their way deep inside the listener's head, and draw them into their subtle rhythm. The unapologetic roughness of the interpretation is striking and makes it a brilliant peaktime weapon.

Rounding up the whole EP, the last remix of the record is a wonderful re-interpretation by the talented Australian that is Mosam Howieson. He ministered to Wice's personal favourite piece and crafted a loving and deep version of "Hertz", which translates the magic of the original into own words and emotions, adds a subtle groove to it, then invites to listen more carefully. One quickly dives into a hopeful world in which a certain magic seems to be present, and where everything seems to be alright. Be it as a perfect last piece after a long fulfilling evening, or as the outstanding means to make the sun rise in the morning-Mosam's interpretation sure hits the spot.

Special thanks go out to our close friends Simon Sandleitner who is always in charge of the great artworks and Roger Reuter (Roger23) for having always an open ear, his helpful advises and his thought-out criticism.

Time is Local is a project by Danish collective We like We and sound artist Jacob Kirkegaard built around a 12-hour live sound installation and performance at Thorvaldsen Museum in Copenhagen.

The piece was initiated and performed by the artists during the G((o))ng Tomorrow Festival in 2017. As they slowly wandered the halls and rooms of the museum for a whole day, they performed extended sound compositions for a visiting audience at each of the 12 chambers for a longer session - a haunting experience as the outside world disappeared and the focus was on quiet sonic moments unfolding in midst of the grand, reverberous space. For this album they have collected 12 fragments revolving around the chambers in the museum. Each chamber is being represented by its own handful of tones, instruments and voice. The statues within, depicted by neo-classicist sculptor Bertel Thorvaldsen get their own soundtrack of quiet emanating gusts. Barely heard frequencies reflect through the walls. The marble carved busts of Greek gods that line the museum hallways gaze eternally with a blank stare as decades pass and new audience arrives.

Although We like We should need no introduction to followers of the Sonic Pieces label, the Danish all female sound quartet consists of Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice). Together they have forged a dynamic and intuitional sound beyond genres through the last decade. Only two years ago they released the nordic neo-classical opus Next to the entire All. This time they emerge in collaboration with sound artist Jacob Kirkegaard. Jacob’s works are sonic reflections on complex aspects of the human civilisation, treating themes such as radioactivity, melting ice, border walls and tones emitted by the ears. Through the last decades he has released records and sound documents through labels such as Touch, Important Records and more. As a document of their 12h performance, Time is Local is a beautiful sonic evocation that shines as a bright line of sun through the cracks of a tomb.

R&S present the eponymous, debut, full length album transmission from Lost Souls Of Saturn.
Epic in scope, time and space, this multidimensional mind trip is for fans of Mark Leckey's 'Fiorucci Made Me Hardcore', David Morales' Red Zone dubs, Don Cherry's 'Organic Music Society', The Orb's 'Ultraworld' and KLF's 'Space' and much more besides.
This ambient house masterpiece combines flavours gathered from across the galaxy, stewing them up into a delicious primordial soup. Old sci-fi soundtracks, acid, free jazz, avant garde, musique concrete, world music and more all whirl around an underground-dance-music axis.
Primarily LSOS are Seth Troxler and Phil Moffa, plus further opaque participants congregating to combine music, imagery, and storytelling into an inextricably linked whole, all wrapped-up in a philosophy of their own making.

Transversales Disques proudly presents the first LP reissue of Défense de savoir (L’uomo a destra basso nella fotografia) original soundtrack written by italian composer Bruno Nicolai.
During the Giallo boom of the early 70’s, a lot of French film directors started working with maestro Ennio Morricone. French director Nadine Trintignant decided to hire the maestro’s
musical orchestrator and collaborator Bruno Nicolai to compose the score of her fourth movie, a political thriller starring her husband Jean-Louis Trintigant. Recorded at Morricone’s Ortophonic studio in Rome, this OST is undoubtedly the most
underrated Bruno Nicolai’s soundtrack, probably because it was only released in France at the time. Presented here with previously unreleased tracks as an alternative to the rare original
french pressing. Limited Edition. Remastered from the original master tapes.

In early 2018, Jas Shaw, one half of Simian Mobile Disco was diagnosed with a rare health condition – AL amyloidosis – a disorder of bone marrow cells. Having just completed SMD’s 7th studio album Murmurations and with a special show at the Barbican scheduled for April, things were thrown into confusion. At the time, no one, including Shaw, knew how the prognosis would pan out. Jas had to start chemotherapy almost immediately, which meant cancelling the tour. The duo decided to go ahead with the Barbican show in spite of Shaw’s illness, which was especially poignant as all involved knew it could potentially be SMD’s last ever live performance – in the end it turned out to be a tour-de-force. If this was SMD’s swansong, so be it.

In the year that followed, Jas spent months receiving weekly chemotherapy, learning to live with his condition, and when he felt well enough, spending hours in his studio making music.

The result of this was twofold, firstly a collaborative album with Derwin Dicker (Gold Panda), released as Selling – On Reflection, on City Slang Records Secondly, a growing archive of solo work, which is now ready for release. Entitled “The Exquisite Cops”, this 20+ track growing body of work will see the light of day via SMD’s Delicacies label – with a 2-track single released every fortnight /month and a limited
edition double LP scheduled for 27th September.

At the end of 2018 a difficult year was capped with hopeful news. With his condition in remission, able to stop chemotherapy Jas is able to start DJing and playing live again.

Jas: “The Exquisite Cops tracks seem to have made their own system for creation. Normally I record electronic music like a band would, as a take. So, it’s kind of surprising to me that that this batch of tracks wasn’t made this way. Instead of a single take that gets edited and developed these tracks were all made in bits, usually months apart. Some days I’d make a drum track, often editing it down so that it’s some sort of semblance of a structure; on other days I’d end up just making a synth sound or texture. This wasn’t something that I gave into reluctantly, it’s nice to be able to give a feedback based pad your whole attention rather than just set it up and only attend to it if it gets really out of hand.

The process of matching these misfits together was originally born out of laziness, rather than break open the synths to make something to develop an idea, what if I could just use something that I already had; slack. The interesting thing was that in pulling two takes together that were done months apart, they cast each other in a different light and though sometimes making them fit together was a hatchet job, sometimes they locked up together in an improbable way, making the rough structures that I’d improvised make a different sort of sense; often a more interesting sort of sense.

The more I did this the more it felt like this was not just a slacker’s way to use up offcuts, this resulted in combinations that I’d probably not have chosen if I’d done the tracks in one go. Also, and I know this isn’t something that’s important to everyone, there was a level of fastidious detail that I’d never have got if I’d had the textural and rhythmic elements playing together. It’s a longwinded process but it’s changed how I record and how I think about recordings I’ve made; plus I enjoy all parts of it so why cut it short?”

Sarah Benabdallah and Alexis Lebon are a very 21st century musical coupling, absorbing their metropolitan surroundings while tapping into a rich cultural heritage, not unlike fellow countrymen PNL or the Dutch band Altin Gün. A Paris-based duo set for greatness they might be, but it’s fair to say Mauvais Oeil are operating under a misnomer: while their name means “evil eye” in French, you’ll only experience enlightenment when you lay eyes (and ears) upon them. Mauvais Oeil are set to release their debut EP Nuits de velours, a magical melting pot of musical shibboleths and contemporary grooves. On opener “Mes nuits de velours”, we’re transported in the land of 1001 Arabian Nights, with the music every bit as smooth and alluring as the subject matter. “Afrita” is a trance-inflected musical acclamation evoking all
the madness and gayety of a midsummer souk. Sung entirely in Arabic with delightful blasts of strings, it’s a North African-influenced banger with a delicate wistfulness. “Asha” meanwhile is in a reference to Asha Vahishta, the middle-eastern concept of truth
according to the ancient religion of Zoroastrianism. Sung again in Arabic, it features catchy Phrygian guitar manoeuvres played over ambient analogue keyboard strokes. The E.P. is completed by “Constantine”, a song of longing, dedicated to the home of Sarah’s forebears. Having met in the arty northern faubourgs of Paris, Sarah and Alexis soon developed a musical telepathy and a shared sonic agenda, mining their own histories for the profound
cultural roots that underscore Mauvais Oeil, while absorbing the ubiquitous sounds of the suburbs, where Turkish, Armenian and Ethiopian music ring out. The band’s moving and melancholic chansons are delivered with a delightful French pop sensibility, making Mauvais Oeil one of the most exciting and musically diverse prospects in 2019.

The original freaks SES are back for another mind melting EP called “Saboteur”.

Completely tuned for a sweaty underground club system, the kicks in ‘Sounds Like’ hit deeper then your typical sound-boy bass lines of 2019.

Europa is on some dystopian Kraftwerk transeuropean express tip with all the attitude you’d hope to squeeze into four and a half minutes.

Hijacker kicks off the B side with continuing paranoid themes of the SES back catalog.

Flesh Tone simply jacks you in half and makes you throw shapes like it’s 1989. Only in Hi Def.

- all tracks blend with each other flawlessly, so buy two copies why don’t you.

The title Ghost Frequency works on several levels. I was introduced to the term when I first began learning about recording techniques. It was used (usually negatively) to describe sounds that appeared on recordings due to signal interactions that resulted from “improper” mixing or recording and read as “noise” rather than the “music” that was being recorded. I became instantly fascinated with the phenomenon and intentionally creating these sounds in my recordings by deliberately using supposedly incorrect techniques has become a big part of my composing and recording process, probably the most central and consistent practice of it. I’m interested in how the presence of these sounds, and traditional production’s insistence on eradicating relates to larger ideas about the eradication of vital social practices relating to the dead such as ancestor worship, mediumship and history itself in favor of state and market dictated modes of understanding existence. The internet abounds with references to the the term, but applied to ultra low frequency or “infrasound” which can allegedly be responsible for inducing supernatural perception experiences. These posts from the margins posit a Ghost Frequency that operates on the same level as a radio station, one can simply tune into paranormal activity. It’s also a pun on an imaginary metric of how frequently ghosts might be around at any given moment. The songs on the EP employ (as does all of my music) a large amount of Ghost Frequencies (i.e. sounds that appear on the recording as the result of signal interactions rather than those sounds being performed on an instrument) and they also orient themselves toward interaction with the dead as a necessary component of human experience, and a mode of resistance to state power and it’s accompanying carceral technologies.

It seems KPM have long been fans of Smith and Mudd and, after being introduced to each other by mutual friend Andy Allday, the peerless Balearic maestros were invited to contribute to the library label’s digital-only “Album Shorts” project. The results are predictably wonderful.

With past projects under our belt working with everyone involved so far it made perfect sense for Be With to take on the vinyl release of this instant library classic. But why is it called “Tea With Holger”?

“Holger” is of course Holger Czukay and the whole LP is dedicated to Smith and Mudd’s time spent with him and Ursa Major at Can’s famous Inner Space Studio in Weilerswist, near Cologne.

When not recording it seems they spent a great deal of time sat around being entertained by Holger’s stories and drinking many cups of different sorts of tea from all over the world. These moments provide some their fondest memories of their visits:

“Looking back, it was pretty incredible that we spent part of our lives with Holger in one of the most magical places we’ve ever known, Inner Space Studio. We have our memories and, of course, the Bison album we made with him. But to honour the time we spent with him, we wanted to dedicate an album to him called ‘Tea With Holger’. The names of the tracks are about that time.”

The album was recorded over several years in London, Margate and Gorthleck, a small hamlet in the Scottish Highlands. Mike Piggott, who played with Bert Jansch, handled the strings and played violin whilst Sam Creer lent his virtuoso cello work to the proceedings. The sessions employed a key recording technique from their time with Holger: hit record and play. They wanted to capture magical improvisational moments live and not do the work later on in editing.

In their own words (and in classic library record sleeve style) these tracks are collectively described as “Balearic themes including breezy soul, sun-dappled melodies, warm pianos and sweeping strings”. You want to hear this, right?

The album is vintage Smith and Mudd. The gentle piano ushering in opening track “The Gardener” is soon joined by low, bubbling drums. When the time is just right, lush guitars glisten above a Welsh language vocal that floats like silk. Easy as a sea breeze. “Innerspace” is of course a nod to Can’s aforementioned studio. Dark, heavy piano meets rolling drums before warm chords and luscious strings take over, gliding over moody grooves to drive you home. Closing out side A, “Weilerswist” delivers more beautifully rolling piano and guitars over thumping cellos and building drums.

Side B opens with the full, string-enhanced version of “Away From Me”. This is Smith and Mudd’s prefered version and it’s only available here on this vinyl issue. For us it’s the standout on this all-highlight album. Tribal tones, piano and cello set a melodic staccato for violin to soar over while rolling piano lines and gospel organ chords descend into a drum drop that leads to a glorious vocal lead finale.

Distant synths introduce sun-drenched guitars and uplifting strings in “Kölner Street”, before a spacey Moog solo leads to a spellbinding, sci-fi drop. The sunshine returns before the track ends. The album closes with “Tea With Holger”. Airy vocal swells are punctuated by plucked cellos and picked guitars, all wonderfully warmed by a soulful piano.

Cut by Pete Norman and pressed in the Netherlands by Record Industry, “Tea With Holger” comes in a classic KPM green sleeve complete with track descriptions from Smith and Mudd themselves. The finishing visual touches come courtesy of Richard Robinson. We’ve given this record the same care and attention as we give to each our KPM re-issues, and it’s just as essential.

“Requiem” is the name of the new Cold Beats Records release. The reference number 14 of the catalan label is written by L´Avenir, the cold synth side project of veteran electronic musician and sound artist Jason Sloan. Known throughout the space and ambient music scenes for his contemplative electronic soundscape work for close to two decades; Sloan founded L’Avenir in 2012 to explore his long time love of synthnpop and dark minimal wave music created purely from analog and vintage equipment. While still retaining the atmosphere of his solo records, the music of L’Avenir is rooted in the tradition of the minimal, analog, synthesizer music of the late 70′s and 80′s ( Fad Gadget, Depeche, Click Click, Chicago’s Wax Trax Records scene etc…). Growing up through the original scene while it was happening, it’s no suprise that Sloan’s music would eventually move in this direction. While releasing over a dozen solo albums and E.P.’s under his own name, Sloan has played live all over the US, Canada and Europe including the influential Live Constructions radio program at Columbia University, STEIM in Amsterdam and Philadelphia’s The Gatherings concert series, one of the country’s oldest continuing ambient and electronic music series. Sloan is a Professor teaching full-time in the Interactive Arts department along with being the founder and program coordinator for the Sound Art concentration at the Maryland Institute College of Art in Baltimore, Maryland. L’Avenir returns with Requiem, the fourth, full-length album for Barcelona’s Cold Beats Records. Requiem finds L’Avenir visiting themes of postmodernity, alienation and spiritualism while expanding the sonic palette far beyond his minimal synth beginnings. The music of L’Avenir has, at times, been compared to 4AD era Clan of Xymox or mid-period Depeche Mode. But while echoes of the former can be heard, L’Avenir brings a uniquely fresh perspective unheard in other bands of the genre. Requiem features eight new songs and is available on limited edition blood red vinyl. Requiem is L’Avenir’s sixth release was written and recorded between February 2018 and January 2019 in a Minimal Space, (Baltimore). Limited edition of 300 copies lacquered pressed on 140 gr. high quality red vinyl and digital album.

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.

Marcus Fjellström's second album Gebrauchsmusik, initially released a decade and a half ago, is a bizarre sound document that deserves a closer look. Listening back to it now only re-confirms the unique mind of the Swedish composer, who sadly died in September 2017, only 37 years old.

"Gebrauchsmusik" is German for 'Utility Music', and his second excursion into post-classical experimentation is exactly that; thirteen tracks with each one written to suit a certain theme. War, art, festivity, sadness, death and resurrection are all interpreted by Fjellström in his unique style, taking a classical framework and distorting, confusing and manipulating them into far fetching scenarios that is only limited by ones own imagination.

Marcus worked with the Swedish Royal Ballet, the Scottish Chamber Orchestra and Sinfonietta Cracovia as well as numerous other orchestras, ensembles and soloists, artists and filmmakers. He spent the last half year of his life scoring the AMC series The Terror. In his works, Marcus often aimed to combine opposites so that they don’t contradict each other, but rather fuse into a natural, third element - “High” and “low” culture, the naïve and the sophisticated, good and bad taste. These are all elements that comfortably blend together in his works. Musical influences range from electronic acts such as Aphex Twin and Autechre to 20th century composers such as György Ligeti and John Cage. Further influences include impressionist composers Maurice Ravel and Claude Debussy as well as film music composers Bernard Herrmann, Angelo Badalamenti and Zdeněk Liška.

Vinyl edition ltd. to 300 copies, incl. 8-page 12" booklet with drawings by Marcus Fjellström.

Shuta Yasukochi is an artist from the Saitama prefecture in Japan.
'In full Bloom' is Shuta's first outing on Vaknar, it sees the artist readapt the nature themed formula found in previous works, both sonically and in name, while expanding on the thematic by presenting the album in a story like arc, slowly unfolding throughout the duration of the album.
In Full Bloom is most aptly experienced in its entirety, revealing the albums mediative like properties as the listener is slowly enveloped in Shuta's graciously rippling compositions; glimmering chimes and faint strings quietly protrude through layers of serene, reflective ambiance.

Limited pressings of analog techno and electronic music .

The project highlights the personal outlook of Gaffarel’s underground sound.

known as Gaffy on his previous singular productions, percussive DJ sets and stupendous live acts, this imprint is a new platform for the Parisian artist to introduce his solo work, collaborations and remixes.

He has skillfully blended forthcoming EP’s with a mix of complex mental grooves, meticulous frequencies, conspicuous themes and textures, capturing a musical universe with remarkable knowledge.

We've reached a pivotal moment for Local Talk.
What better way to celebrate a centenary of forward thinking releases than to present one of the best kept secrets out there, MLiR aka Modern Life Is Rubbish this time joined by Arnau Obios.

After making a serious impact with their remarkable 'Swedish Lo-Life' and 'Trans-World Junktion' releases on fellow Swedish label Studio Barnhus, we're thrilled to have them onboard for our 100th release on Local Talk.

Yes, that is correct, we’re celebrating the big 100. Since the very beginning we've covered everything from the deeper shades of house to the jackin' and the gritty club jams, released some slower BPMs and also the uplifting, vocal and organic house.
As you probably noticed - we love it all.

The 100th release main track 'Lajbans' is one of those sublime tunes that is bridging the gap between all styles of dance music and got the MLiR trademark, it's epic and manages to offer plenty of subtle details to keep you locked for the full 9 minute experience.
Accompanied with the original is a masterclass in dub 'Lajbans (Bellaterra dub)'.
You got the versatility of the original carefully stripped back but also absorbing layers upon layers of seductive sonic moods, it's a trip for sure and you don't want it to end.
Once again MLiR proves why they will be a force to be reckoned with for years to come...

Artwork by Leolyxxx
Mastered by Sasse at Blackhead Studios

Wanubalé - nine guys from Berlin, inspired by the city's fresh Jazz scene and distinct club culture. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin.
Heavy influences from Jazz, Neo Soul and Funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them are into Dub, Bass Music and Broken Beats. And several members are DJs, as well. The Wanubalés are first rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their Jazz skills. Songwriting is a collaborative affaire, everything is developed organically.
Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote. But Wanubalé do their own thing.
Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. All songs are written, produced and arranged by Wanubalé. Recorded at Jazzanova Studio, Berlin.

Jatinder Singh Durhailay and David Edren released Tea Notes as a cassette back in April of 2018. London-based Jatinder Singh Durhailay is a painter and student of Indian Classical music. He has trained in both the sitar and the Hindi singing technique, Dhrupad. He also plays two traditional Sikh instruments; the bowed, stringed Dilruba and Taus. Poetic Pastel Press issued his solo debut, The Last Ballad Of Mardana, in 2017. David Edren`s expertise lies with machines and modular synthesis. His Kosmische and New Age-Inspired electronics have featured on numerous cassettes, and compilations, produced for imprints from the current Belgian underground, such as Jj Funhouse, Social Harmony, and Ultra Eczema. These recordings appearing, since the turn of the millennium, either under his own name, or the moniker DSR Lines. Jatinder and David’s collaboration, Tea Notes, is a celebration, a meditation, on both the beverage, and the communal time shared imbibing. The coming together to partake in its ritual. Each of the six tracks represents a different infusion. The opening piece is a tribute to semi-oxidised Oolong, from China`s Wuyi Mountains, with hammered dulcimer-like glissando. Gongs shimmering, gently crashing, as if signaling a change in the weather. A calm of thin, stretched synths and Ai angels introduces Tulsi from India. The Holy Basil of Hinduism, used in the worship of Vishnu, Krishna, and Rama. A traditional herb of Ayurveda and Siddha medicine. Automated arpeggiated sequences raising a vibrating wall of hallucinatory sound. Pairing swooning strings with a racing robot heart. Ceylon is a modern twist on the classical raga. Serving to tell the story of a tea smuggled into Sri Lanka in the 19th century. Plants stolen from South West China, where the brew had been enjoyed since the days of the Shang Dynasty (1766 to 1122 BC). The contraband founding fresh industry in its new home when the indigenous coffee crops failed. Muted organ and sleepy, treated sine wave microtones describe Kava, the Polynesian fireweed root, whose extract serves as both sedative and euphoriant.Shincha are the first young leaves of the season. Picked in Southern Japan and steamed to prevent oxidization, retain their flavour and green / gold colour. Their musical counterpart finds Edren establishing an ecclesiastical drone, while Durhailay`s strings chart an ancient romantic ache. Sonic stars shine. Singing out to the infinite, the universe, before dissolving into knots of Radiophonic Workshop noise.Melodies treated with subtle sustain and delay denote Pu-Ehr, from the Yunnan province. The only truly fermented black tea - made distinctive by the action of bacteria, moulds, and yeasts. Its musical themes hovering in the vapour trails, the atmospheres, they themselves create. Spiraling, soaring, reaching for the heavens, while pretty music box glitches - tiny chimes turned in on themselves. Catching, reflecting, like light at play on fresh running water. (words: Robert Harris)

Hand stamped 10” white label from a new collaborative project between Paul Purgas (Emptyset) & artist and musician Imran Perretta. Working with South Asian sound archives AMRA explores diasporic echoes, archival disruption and Indian musical heritage, addressing themes of mythology, futurity and the trauma of partition.

Raised in the multicultural and mind-broadening London borough of Enfield, Loraine James grew up hearing everything from steel pan music to Metallica, from jazz and electronica to drill and grime, and the results of this exposure can be heard on ‘For You And I’. In part the album explores the complexities of being in a queer relationship in London - “I’m in love and wanted to share that in some way … to make songs that reflect layers of my relationship.” – and as a whole ‘For You and I’ is rhythmically free flowing and sprawling, with melodies that evolve into rippling keys, feeling like a live jam session with a jazz mentality, contrasting the delicate and abrasive. Opener ‘Glitch Bitch’ is a warm ear-worm, brandishing swirling textures with undulating keys and compressed percussion, with an introspective theme revisited soon after on third track ‘So Scared’, whose glitched percussion and syncopated dub bassline build to a frantic meltdown melody. On ‘London Ting // Dark As Fuck’, inspired by Dizzee Rascals's ‘Boy In Da Corner', James explores the darker side of her production with her frequent collaborator Le3 BLACK laying verses over the skeletal track. ‘Hand Drops’ is an instrumental, about public displays of affection in a queer relationship. ‘Sensual’ reflects on intimacy with vocals by UK singer Theo, who's lyrics capture love and gentleness over a soft, minimal production of ethereal keys and scattered glitches. The albums’ title track is also the most colourful, it’s ecstatic and effusive chaos driven by fervent synths expressing elation and the joyful side of her relationship, while ‘My Future’ is a more reflective moment, where warping synths wash in and out with compressed kicks, as the artist considers the dangers that may come with her relationship : “I wanna tie the knot / But the rope is dangerous”. ‘For You And I’ is a deeply intimate and personal offering, expressing happiness, anxiety, joy, sensuality and fear through a vivid sound palette and an experimental sense of rhythm.

With the release of their first two albums and live shows supporting Snarky Puppy, Roy Ayers, Marcus Miller, Larry Mizell & the Blackbyrds, Butcher Brown, Yellowjackets and more, Resolution 88 have already established themselves as one of the UK's leading exponents of funk jazz. Their music is synonymous with the silky, buttery sound of the Fender Rhodes. They're also a bona fide band, a refreshing change in a musical world increasingly occupied by online collaborations and viral videos. They're best mates who love to hang out, play together and make their own music - that sincerity is evident in their songs and their chemistry on stage.


'Revolutions' represents a lot of firsts - the first time Resolution 88 have recorded to multi-track tape, the first time that they've included a real string and brass section, the first time they've included special guests on record and the first time they've pressed an album on vinyl. Imagine a combination of an undiscovered Herbie Hancock album from the mid' 70's, rare-groove samples from the golden era of hip hop (ATCQ, Pharcyde etc) and the new London sound of bands like Yussef Kamaal.

Every track on'Revolutions'represents an aspect of music on vinyl. On'Pitching Up'you hear the DJ pitch the record up from 33rpm to 45rpm.'Out Of Sync'simulates a clumsy attempt at beat-matching. The hypnotic, circling sax line that opens the title track'Revolutions'(echoed by the strings at the end) evokes the mesmerizing sensation of watching the record label artwork whirling as it spins on the platter.'Runout Groove'fades in and out; the drum beat mimics the distinctive, perpetual rhythm tapped out by the stylus as it reaches the runout groove. On the second side,'Sample Hunter'unexpectedly deviates from the main section into Rhodes-drenched interludes; the type of moment that producers searched high and low for back when hip hop was great.Marcus Tenney's (Butcher Brown) lyrics on 'Dig Deep'are all about the thrill of digging for records and'Matrix'is inspired by the hidden messages sometimes left in the matrix markings on record pressings. On'Tracking Force', you can hear the beat twist and morph as the stylus skates over the record. Finally,'Warped Memories'closes out the album with a wistful, melancholy melody. Sit back with a glass of Japanese whisky and a Cuban cigar (or whatever your chosen poison is), stick the album on and enjoy it from start to finish - although if you're listening to it on vinyl, you'll need to get up to turn it over to the B-side ;)

The Juan Maclean return to DFA with a compilation LP of 12-inch singles they’ve amassed over the past six years – re-edited, re-mastered, and ready for fans who may have missed the tracks the first time around. From the dub house sway of 2013’s “You Are My Destiny” to the high-energy stomp of this May’s “Zone Non Linear,” and featuring two never-before-released tracks, “Quiet Magician” and “Pressure Danger,” The Juan Maclean once again justify their longevity as a musical force that is more than capable of repurposing club tracks for every setting.

The Brighter The Light is put together in a way that lends itself to appreciating the sheer banging quality of the songs while simultaneously being able to dance to them in your living room. For example, take “Feel Like Movin,’” which Pitchfork called “gloriously beatific” and “pure DFA gold.” In the new remastered version, the fullness of the keys and the kicks takes over, unfurling across the listener. Deep house rhythms, sparkling synths and a certain spaciousness are what’s emphasized across the record. Gone is the slow-motion melancholy disco from their recent full-lengths – The Brighter The Light is all fierce enthusiasm and dance floor missives, perfect for those who aren’t quite ready to let go of summer.

Juan Maclean is a DJ and producer who has been a mainstay of the New York club scene, as well as maintaining a rigorous international touring schedule, since the release of his first records on DFA in 2002. Vocalist Nancy Whang is his longtime collaborator, best known as a founding member of LCD Soundsystem and a busy touring DJ. Together, the two artists have released an extensive catalogue of 12” singles and full-length albums for DFA, including 2014’s seminal In A Dream LP. The proper follow-up studio album will follow in 2020.

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

3 banging hard techno pityless kickers and one nevertheless Hardcore kicker ^^ BANG !

Athens of the North is very pleased to introduce part two of our nod to the world of library. This time round Greg Foat journeys into the world of synthesis with good friend James Thorpe. This new LP was recorded in the old Bees Studio on the Isle of Wight earlier this year,a special, different piece of work which I was delighted to receive on ¼ inch tape without warning. Greg's output continues to be prolific without ever tiring, he never plays it safe and is always looking forward whilst having an ear for our musical heritage.

Magic Carpet" is the first Compilation of the German Label "Harmonie Exotic". Jose Manuel selected 12 experimental ambient tracks from the 1982 to the 1994. They are combined by the same feature, namely the magic and mysterious character. Even though all the (remastered) tracks released in different countries, such as Japan, Italy, and France, they are all combined in being rare and obscure songs. In most of them it is possible to verify the oneiric melodies mixed with the different drum machines, typical of that year.

For this reason, they show how the magic has been developed over the chosen years, as they were all enveloped from the same carpet. Starting from this idea the Compilation's title plays an important role in anticipating the dreamlike listening experience.

« Hôtel Costes presents... » is a collection of exclusive music recorded or mixed at Studio HC, the hotel studio, and composed by Adrien de Maublanc guests. This unique studio with exceptional gears craft the sound of MidiMinuit.

The second opus, Round the clock, by Midiminuit, is a modern album where classical and jazz music meet modular synths.
MidiMinuit is a collaborative project between pianist Julien Quentin, bass player Yonatan Levi and electronic musicians Cesar Merveille & Adrien de Maublanc. Four experts in their respective fields are harmoniously combining their music creating a new entity.
Three days, twelve hours of music per day, from 12pm to 12am. This was the primary rule of the jam sessions, giving the band its name. This was the first time all four musicians came together. In those three days, there was no rehearsals. Every piece was improvised, recorded and it was moved on to the next track. Bringing those world-class musicians together had the potential to create something unique. And so… ROUND THE CLOCK was born!

Cesar Merveille is known for his collaborations with labels such as Cadenza and Visionquest, and has been a major player in the electronic scene for the past 15 years touring extensively as a DJ, and has now started his own imprint Roche Madame. He started early on collaborating with musicians from different backgrounds. Combining electronic music with acoustic instruments has been part of his defining style since the early days. His love for modular synthesisers brings a unique colour to the sound and groove of MidiMinuit.

Julien Quentin – Born in Paris, graduated from the Juilliard School in New York, pianist Julien Quentin performed in all major concert venues such as Carnegie Hall, the Berlin Philharmonie or the Concertgebouw in Amsterdam. Julien’s interest after 20 years of classical music on the road is opening up to projects ranging from improvisation to producing electronic music and could be heard live at Sonar Off and Amsterdam Dance Event, or in Berlin clubs where he is now based. His remarkable depth of musicianship and distinct clarity of sound coupled with flawless technique bring its distinctive classical influence to MidiMinuit.

Yonatan Levi – Born in Tel-Aviv, Israel, Yonatan Levi first started with classical guitar and switched to classical stand up bass studies from the Israeli Conservatory of Music in Tel Aviv. He then got a full scholarship at Berkley College of Music. He has been playing alongside some of Jazz greats like Avishai Cohen and Eddie Henderson. In the past few years, since moving to Berlin, Levi has ventured into the vast electronic music world, becoming an avid vinyl collector as well as collaborating with electronic music producers who are known for their cross-genre, multi disciplinary approaches. Bringing all that jazz to the band.


Adrien de Maublanc – Adrien is well known as a producer and sound engineer as one half of the Masomenos duo which is a productive partnership with graphic designer and DJ Joan Costes. They have a long collaboration with the Hôtel Costes music history. In fact, they have been in charge of the Costes presents serie, a minimal electronic oriented serie of albums by glacial, seuil and themselves. Since two years now, they have located their studio in the Hôtel Costes extension that have been on works, and named the place Studio HC. It is in this unique studio that MidiMinuit has been mixed. Maublanc is now part on his own several bands that like midiminuit will be released on Hotel Costes Presents label.

Johnny Clarke is one of the great vocalists that ruled the Jamaican Dancehall scene from the mid – 1970’s to the early 1980’s. While Bob Marley was out conquering the world, Dennis Brown, Gregory Issacs and Johnny Clarke were winning the hearts of the Jamaican people .Johnny Clarke’s use of the ‘Flying Cymbal‘ sound took the Island by storm and produced a run of hit singles few could match.
Johnny Clarke (b.1955, Jamaica, West Indies) cut his first record ‘God Made The Sea and Sun’, after winning a local singing contest in the Bull Bay area of Jamaica. Although the single was not a hit, it led to two follow up tracks for producer Rupie Edwards, ’Everyday Wandering’ and ‘Julie’ that fared much better, both on the island and oversees in England and Canada. These tracks also brought the singer to the attention of producer Bunny Lee and a working relationship that would go on to produce a prolific catalogue of music. Johnny Clarke’s Dread Conscious / Love Song style were to grace many hits around this time in 1974. Such tunes as ‘None Shall Escape The Judgement’, ‘Move Out of Babylon’, ‘Rock With Me Baby’, ‘Enter The Gates With Praise’ to name but a few. All new songs added to a host of cover tunes, recommended by Bunny Lee, many taken from the singer John Holt’s catalogue, that suited Clarke’s vocal style. The rhythms were cut at various studios around the Island. Randy’s Studio 17, Channel 1, Treasure Isle, Dynamic Sounds and Harry J’s, by a group of musicians loosely called the Aggrovators and some tunes incorporating the ‘Flying Cymbal’ sound again introduced by Bunny Lee, working the Hi-Hat in fine style. The tracks were then taken to King Tubby’s studio where Johnny Clarke’s vocals would be voiced.
Another phenomenon that was happening in the early 1970’s, was the version cuts to vocal tracks. This is when the tunes were cut back to the bass and drums and the vocals were dropped in and out in a dubbed style, and reverb and echo and various effects were added to these tracks. The main exponent to this style was King Tubby himself, and as was the fashion at the time, each vocal track would carry a version as its B-Side. Producer Bunny Lee lead this style working closely with King Tubby and all of his singles from then on would carry a Dub cut on its flipside. As Johnny Clarke was one of Bunny’s main singers at the time, we would hear a great selection of popular songs getting the dub treatment and in many cases the single was purchased for its more exciting dub cut, again made popular at the various dances where the dubplates were played out. We have compiled some of the best of these dubs from the time and put them together for this release, hope you enjoy the great voice of Johnny Clarke alongside the productions of Bunny Lee and the creative genius of King Tubby, a great combination we hope you will agree….

For the first time this massive tune by Esnard Boisdur is pressed on record..One of the standouts in the Gwo-Ka genre.. Comes with a rework on the flip by Africaine 808 (Hans Reuschl & Dirk Leyers) - they used the original stems and added drumcomputer and extra live percussion, synthlines, little dub effects.. Not the ''usual standard threatment'' here!! This is class!

“You don’t need to be a fan of Gwoka or even Antillean music in general to fall in love with the deep, expressive voices of the singers of the genre. Artists like COSACK, ANZALA and ESNARD BOISDUR have fascinated music lovers around the globe for decades. It’s not only the drumming style accompanied by their beautiful melodic intonation, but also the revolutionary spirit of these songs that make them a unique and powerful document of the culture and the history of the Antilles and the Caribbean.