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There are some tunes that rock around so hard... like Ascender did, or like Popof And Noisebuilder did ... A long time ago CYB-X Sound system did a pure jewel of a tune... but this one, from another member of the sound is just a blaster... At a even higher level ! This EP also offers 2 remixes from Brent Brain and FML 010 : one in a tribe hardfloor acid way and one in a Hackney Hardest way... 165 to 175 BPM fiull-on record ! MUST HAVE !

For Our Number 013 We Have Label Boss And Founder On Command. Kessell Delivers Four Slices Of Precise, Expertly Crafted Modern Techno. The Minimum For The Maximum Motto Works Perfectly To Describe This Ep, Nothing Is Left Over, All The Components Are Carefully Chosen To Convey Sensations And Say Something.

Linear Synth Sequences Constantly Evolving, Profound Kicks And Sharp Hi Frequencies, Continuous Arrangements And Solid Components, No Drones, No Breakdowns, No Big Reverbs. Functional Tools For The Real Players Out There.

It's 1977. There's A Chill In The Air, Like On A Usual December Evening. It's Cold, But The Night Is Fraught With A Strange Ferment, A Mysterious Energy That Seems To Announce A Revolution.

- Chas & Dave - Gold brings together the Greatest Hits of Chas & Dave.
- 180G Heavyweight Gold Vinyl with Original Artwork housing the Very Best of Chas & Dave.
-Classic Tracks including Rabbit, Ain't No Pleasing You, Gertcha, Margate, Snooker Loopy, London Girls, The Sideboard Song (Got My Beer In The Sideboard Here) plus many more..






(Got My Beer In The Sideboard Here)

Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.

From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.

And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.

Tommy Rawson releases are sporadic but always high quality. As a former member of the Souled duo who ran the excellent Fresh Minute label - he's been around the more tropical end of UK house and broken beat for many years and this, his first full release for Bergerac ushers forth a new level in his sound. This whole record is a masterclass in post bruk, forward thinking, shining, bright UK dance music. Unmatched in emotion and vibes. Deep Blue is quite simply the sound of the summer. Sun drenched, euphoric and soaring. Broken but not broken, 4/4 but not quite housey. Jazzy, soulful....yeah.... It was the highlight of Red Rack'ems Olive Grove closing set at Love International last year when it provided the most halcyon of moments. Live trumpet from Vicky Flint and a whole bag of vibes from Tommy Rawson. This is a classic. Trust. Past Tense is a super tropical African tinged house stomper which shows Tommys love of sunshine vibes once more with acres of space, insistent chants, dubby pianos and a tinge of Jungle roller bass.
The final track Into The Future takes us into almost Blade Runner-esque orchestral emotion but with a kind of Balearic feel tucked in there too. Beautiful, lilting, emotional memories. You can feel so much love in this track.Such a special record. Buy it. Love it. Treasure it.

'Jump Trax' is another essential piece of early Chicago house music crafted by the legendary Duane Thamm JR back in 1984. Fusing together a myriad of influences including early 80's Euro pop, Italo Disco and HI NRG, Thamm JR was responsible for helping create and influence the burgeoning House sound that would emanate from the city all throughout the second half of the 1980's. Not only were these sounds new and fresh, they were experimental too, 'Jump Trax' sees the BPM's gradually shift throughout the duration of the tracks seamlessly giving the more adventurous DJ's out there more ammunition and room to experiment with styles and BPM's. A truly visionary approach to production and all recorded and mixed within Chicago's city limits by Thamm JR at his Reel To Reel Studio located in Villa Park, Illinois. 'Jump Trax' continues to be as influential today as it was back in '84, with many top DJ's still citing the record as a 'go to', powerful indeed.

Chicago's Still Music are proud to present this fully legit, remastered and repressed piece of Chicago house history. A truly pivotal record now made available again for 2018. Essential sound for those who love the real deal - snoozing not advised, OG copies of this monster are hard to come by!

(glossy laminated) His deviant disco songs talk about love and the happiness it breeds, while letting the rage of a rather different-looking militant crooner go.


Cola Boyy, aka Matthew Urango, is a 28 year old musician, coming from Oxnard, California, discovered on the occasion of a concert in Los Angeles during June 2016.
Cola Boyy is an unusual and self-taught musician & singer. His very typical but natural voice is the consequence of a disability from birth.
His deviant disco songs talk about love and the happiness it breeds, while letting the rage of a rather different-looking militant crooner go.

Penny Girl is the soon-to-be 2018 disco hit telling the story of a crime of passion. Poetic as a McCartney's song, as effective on the dancefloor as a Patrice Rushen's tune, and fun like the Frankie Smith's Double Dutch Bus.

Have You Seen Her is the kraut-disco curiosity from the EP, halfway between the Ghetto Brothers' rage and the funkiness of a Kurtis Blow's instrumental. You will also find there a chorus made of extreme noisey guitar chords and a Michel Berger like piano solo, all swaying to the dancing beat.

Buggy Tip is the track that could have been in the hands of an eclectic DJ like Nicky Siano at Studio 54. Disco strings, catchy choruses to sing along... Cola Boyy turns the melancholic memories of an ex girlfriend into a banger to dance & shout in a hot late night club.

The whole EP, recorded between Los Angeles and Paris, produced by French producer 'nit', is a witness of his raw talent and the foretaste of an album coming in 2019.

"Dueños de Nada" announces itself as a strong and tough proposal. It comes with the intention to get away from what we are used to hearing from the Chilean producer. As a first album, and by incorporating broad influences into a range of genres, industrial sounds and punk, the debut by Tomás Urquieta feels huge and accurate.


The "Dueños de Nada" sample, which belongs to Martin Sorrondeguy, is used by Urquieta to assemble a classic techno piece mixed with a new sound proposal, and by uniting these elements, a catharsis and collective osmosis movement is generated on the dance floor that does not need further explanation.


The proficiency that Tomás has developed when creating percussion doesn't go unnoticed either. It is the sensation of a new breath in his music, a replacement, a much more mature sound is demonstrated by the high instrumentation mixed in with a full on Techno base. The rhythms are wild, futuristic and with a completely personal vision. There are tracks that lock you up and there's others that leave the need for a club ajar. It is a heavy album, political, metallic but very organized. There are voices in Spanish of direct protest towards the system, voices where he invites us to be part of a march to despair, a liberation march for the dance floor . If we could summarize "Dueños de Nada" we would say it's a cry for freedom, a cry which asks us to enjoy the feeling of complete freedom across 11 tracks that embrace this anarchy in which Tomás Urquieta invites us to join.

Released in 2006 as a follow-up to Sufjan Stevens' 2005 Illinois, Asthmatic Kitty Records is finally releasing Avalanche on vinyl on August 31st, 2018. Initially conceived as part of a double album version of Illinois, Avalanche instead became a 'companion' (a polite word for 'b-sides') to Illinois. Since its release, fans have had mixed reactions. '3 versions of Chicago!! Enough already,' wrote 'biografiend' on Sputnik. But 'cravenmonket,' who gave the album 4.5 stars on rateyourmusic, suggests that we all 'stop thinking of The Avalanche as more Illinois. It actually owes more to Michigan.' Cravenmonket may be right. Take 'The Mistress Witch' or 'Saul Bellow,' both of which could have lived on the 2003 Michigan as much as on Illinois. One can hear Sufjan's 2004 Enjoy Your Rabbit in 'The Undivided Self.' And the band jam on 'Springfield' looks forward to 2010's All Delighted People. Then there's 'Pittsfield,' which, at least lyrically, foreshadows the more personal themes of 2015's Carrie & Lowell.
All that to say, a vinyl release of Avalanche is long overdue. With gratitude, we happily present Avalanche as a 2xLP a mere twelve years after its release, complete with all 21 songs from the original release, including the three versions of 'Chicago'

Inner is the 5th full-length from Bordeaux composer Franck Zaragoza's Ocoeur. Inner evolves from 2016's Reversed by arching away from the piano-centric works and focusing a bit more on ambient synth motifs. The piano (Mother, Unseen), strings (Inner, Shelter), and sound design (Passage, Echo) are still ever present, but Zaragoza elongates his sounds out by allowing the synths to swoon, drift, and decay. Each note having its proper and due time to ascend. While there is a transition in the overall feel of Inner from Zaragoza's previous output, it feels like the natural progression in the Ocoeur catalog.

Volume five of the killer Britxotica! series, looking this time at 16 super rare and briliantly bonkers latin and percussive pop cues from the wild British Isles!

HISTORY:
Britxotica! (pronounced 'Britzotica') neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.

For this, Part Five of our planned Britxotica! series we head to lively latin tinged dancefloors where Brits could cha cha cha to the KIrchin band, 'Jump In The Line' with Frank Holder and Mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary loungecore hit 'House Of Bamboo' plus the stunning 'Jonny One Note' by Ted Heath, the track that originally introduced John Craven's Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UKs most wild record collectors. Also, there are men in underpants on the sleeve, What's not to like

- special Thanks To My Family, Friends, And All Those Who've Inspired Me To Keep Making Music. These Compositions Are A Reflection Of My Musical Journey, Reminding Me There's Always More Room To Grow. - Like (pac Div) gabriel Brings The Funk And The Soul, Fresh Drum Patterns With The Right Swing And Most Importantly, The Diversity Of Every Single Track Makes This Record Never Boring.' - Lefto (worldwidefm, Brussels) gabriel Is Fusion Cuisine At Its Finest. Like Combines Ingredients That Shouldn't Work Together, But Do, Because He's A Ill Chef Like That.' - Ivan Ave (mutual Intentions, Jakarta Records)

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

"The next one is signed by one of my contemporary idols. His zero-f*cks-giving attitude and his aim to move forward make Ascion the perfect artist to keep telling this story which two years ago was started to write. It could have been nineteen ninety two or today. It could be acid, techno-trance or even 'ardcore (you know the score). Echoes from Belgian New Beat and UK's Intelligent Dance Music resound all along it. Call it how you want and no matter when or where. This rave instrument is going to fill many epic warehouse moments. There is no way to escape: welcome to Your Finest Nightmare."

- Hector Oaks
September MMXVIII

Having Previously Released Some Rare Solo Material From Ende Shneafliet Member Hanjo Erkamp Aka Dr. C. Stein, Artificial Dance Is Now Serving Up Something Special From The Cult Dutch Minimal Wave Band's Lesser-known Side Project, King Ende Shneafliet. The Result Is The First Ever Vinyl Release Of Tracks From The Outfit's Cult Dimension Mix Series.
Adding king' To Their Name In Honour Of Original Dub Maestro King Tubby, King Ende Shneafliet Produced Far More Experimental And Out-there Material Than Their Better-known Big Brother. They Released Their First Cassette, Dimension Mix Chapter I In 1981 Via Cult Label Trumpett, With Batches Of Follow-up Material Trickling Out On Various Obscure Tapes And Later Cd-rs Up To The Year 2000.

Artificial Dance's First Dip Into The Dimension Mix Archives - A Second Vinyl Volume Will Follow Later In The Year - Features Selections From Chapter Ii (1999), Which Was Originally Recorded Between 1981 And '88. The Magical, Mind-altering Music Is Raw, Lo-fi, Spaced-out And Forward-thinking, Combining Effects-laden, Sample-heavy Sound Collages And Reverberating Ambient Soundscapes With Pulsating Proto-electro Jams, Moody Minimal Wave Instrumentals And Kosmiche-influenced Throw-downs. It Effectively Joins The Dots Between Early-80s, Diy Electronic Exploration And Dub Soundsystem Culture.

"The Room", Fenster's fourth album and their first release on Altin Village & Mine marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, "The Room" serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation - within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop.

Fenster is Elias Hock (Germany), Jonathan Jarzyna (Germany), Lucas Ufo (France) and JJ Weihl (USA). Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts.

The songs were tracked live in a house where the band ate, slept, and played together. Often the songs were recorded without implementing a click track. They were intent on finding and locking into a human groove—one open to imperfection—while still maintaining a tightness between them. They wanted to make the songs feel alive—as if the listener were present in the room with them in the moment of creation.

The album's title track "The Room" opens the record like a rollercoaster ride. There is a tension in the first bars that ties us to earth, a minimal riff that guides us to the first chorus where we feel we are slowly lifting into the air—and by the time we reach the second chorus it has exploded into a space far away from the planet's gravitational pull.

The band's use of juxtaposition is not just a way of channeling a vast library of musical genres and concepts, it is a means of expression. Combining tender pop melodies with kraut-beats, disco grooves and psychedelia frees the band from any one sound and creates a genre all its own.

This playfulness is especially vibrant in songs like "Rhythm A" and "HAHA lol" which deconstruct and fuse together disparate moments of explosive rock, tender harmonies, percussion made of splashing water, voices from a radio, and electric piano. Even "Feel Better", a sparkly pop ballad is cracked wide open by a long trippy interlude that appears unexpectedly within an otherwise classic structure.

The cover art, created by the band's own Lucas Ufo, invites us into a room in the shape of a human skull. If one looks "out" the window in the picture, one finds oneself looking in to an infinite portal of rooms within rooms. The record plays a lot with this idea of perception. In "HBW", the relationship between the bass and the drums creates the feeling of an infinity loop. The lyrics lend an enigmatic tint to the landscape of so called objective reality v. perceived reality: "I was a phase — you were going through — said I was the one but there is no one — there's only the sun — that gives shape to the moon"

The record starts with "The Room" and ends with "Two Doors". Maybe one door is an exit, and one leads to another room... who knows The song has something mysterious and expansive, like a digital ocean flooding the room, carrying everything away. The whole process of making a record is about capturing a moment in time. This is the record they made - in this point in time, all together, in a room. The last words of the record roll out with the waves: "What you leave behind for someone else to find — Two doors inside — neither one is right"

Tracklisting

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

Boredom, anxiety, pain killers and frustration make a heady mix for both reflection and action. For three weeks I stared out of the window of the tower block onto the tall brick towers of the old asylum chimneys. The past was a strange land suddenly out of reach, the present confusing and claustrophobic, the future something I could only visualise and idolise.

From the balmy Autumn day of my release a light was switched on, buzzing urgently like a neon street light on my path. Life took on new vigour and meaning. Pleasures starkly illuminated, annoyances inconsequential. Old work was re-examined and appreciated. Machines were treasured and connected. My basement filled with ever greater warmth and excitement.

The toy towns of our inner minds are constructed of a million tiny building blocks of experience. But there's a freedom that comes from realising what might have been. Peace in reflection, untethered from the everyday distraction and I take pleasure in the hum drum. Unhampered by trends, untethered to a scene, stripped back to essential carnal influences and desires. Who are we but the sum of our experience.

'Everything Is Quite Now' meanders through a reimagined landscape of personal history, releasing musical fragments to dri* amongst soaring treetops, hollowed lakes and labyrinthine concrete structures, liberated from genre and form - alive at last. In these great expanses, light and dark are presented not as polar opposites, but as a limitless, unified whole.

References to EBM and industrial techno manifest within the sporadic percussive framework whilst gauzy ambient backdrops form an entire world of their own, constructed from the gentle hiss of a looping tape, the booming caverns of a muffled kick, the vivid distortions of a crystalline synth. In the depths of a misty forest, warmth permeates, absorbing inside it all of the darkness, pain, romance and beauty from before.

Prequel Tapes is a work of deep synthesis. Fragments of melody and memory orchestrated into densely layered tapestries; a deeply emotional study on a life characterised by a shi*ing relationship to electronics. The pieces serve as a chronology of desire and reflection, reconciling a nascent passion for industrial music with a history in the club. Oscillating between utopian to claustrophobic, the evolving synth work, deep techno atmosphere and traces of clangorous energy of early European ambient and industrial tell a distinctly German tale, forged between the forest and the autobahn.

Everything is quite now. What else can it be.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

There Smokes And Whistles In Zenker's Machine Jungle. The Best Loved And Best Known Brothers Of The Techno Scene Are Causing A Multi-layered Schwirbler, Which Is Likely To Destroy Many Dancefloor Lasting For Years.

Jelly3000 Are Essika And Andreas Damaschun. wave A Wand' Is Lashed Forward By A Powerful-impulsive Arp, While Synths And Piano Dances Light-footed About It And Spreads A Sustained Mood.

Kessel Vale Has Recently Caused Quite A Stir With Two Eps On Tanstaafl Planets And Rhythm Nation. stroke' Should Further Expand Its Reputation As An Idiosyncratic Excellent Producer With A Penchant For The Playful.

Steril - That Artist You May Know From International Deejay Gigolo Records, Erkrankung Durch Musik, Schamoni Musik, Lasergun And Müller Records...oldschool.

Walter Gibbons, a true master of the mix, a disco legend, a pioneer of dance music. There's literally very few who can lay claim to progressing the artform of studio mixing and technique than the late Gibbons. His contribution to contemporary music cannot be understated, first as a DJ where his drum laced experimentation captured the ears and minds of his peers and the dancers, then later as a mixer and studio genius where he continued on his quest. Often fixated on the percussion and breaks within records his versions would often dive into spaced out, dubby and stripped back territory that very few of his peers were even contemplating at that time, fervently reconstructing the tracks themselves and often the time, space and dancefloor within which the record was being played. A true original, Gibbons was behind many of the 'definitive' versions of the classics, his unique style often catapulting records that were just fine in their original form into brand new colourful, cosmic interpretations that flourished sonically and rhythmically with brand new sounds that bristled with vision.

Salsoul Records thought a well programmed and thought out retrospective of this legends output was in order and this incredible collection of tracks is where we find ourselves. A stellar compilation across 2 heavyweight slabs of wax featuring of some of Gibbons' finest works. Included you'll find genre defining cuts like his mixes of Double Exposure, Loleatta Holloway, Love Committee, First Choice and many more.

A truly essential package for the die-hard Disco aficionado or for those who are exploring this most important movement in dance music for the first time. Curated with the full input and backing of Salsoul Records and carefully selected to reflect the truly timeless nature of the music contained within. For listening, for dancing, for turning on a party!

Remastered by Optimum Mastering. Artwork & design by Million Dollar Disco. Fully authorised.

In the '70s, Yan Tregger was far to believe he would become one of the most emblematic artists in the "sound illustration" scene. Yet today, his albums are highly coveted by "diggers" all around the world. At the time, nobody paid much attention to all those records that were classified as sound illustrations, or library music.
Yan Tregger started out in this environment in the late '60s. He was remarked after making several recordings for the credits of TV shows, and received a proposal to compose his first album. It was a small label (Marignan), the sleeve design was skimpy and the track titles were bizarre... Yet when you listened, the sound was seriously groovy. The album was called Freezing Point and a mere 300 copies were pressed. Thanks to this first test, other "illustration" professionals were convinced by Tregger's qualities.
During this period, there was no lack of work but there was no glory on the program either. In the '70s, many different labels such as Neuilly, Montparnasse 2000, or the Italian CAM label, called on
his services. Shortly afterwards, Philips released two of his records under the name Major Symphony, and then Polydor issued the two M.B.T. Soul albums, including one international
success, "Chase". Up until now, despite the interest shown in his discography, no reissue had been undertaken - an
omission that has just been fixed thanks to the release of a compilation that we are pleased to present. Let's start with the main information: the tracks included on the album were selected jointly by a number of collectors and Yan Tregger himself. The selection is rich and surprising. The A side is more "seventies", with an instrumental pop style and a psychedelic vibe, while the B side is more rhythmic and melodious, corresponding more with the funky disco moods of the eighties.7

Planet Mu are excited to announce Ital Tek's 'Bodied', the follow up to his acclaimed 2016 album 'Hollowed'. Stepping in a different direction from that album, It's as if Hollowed's detailed world has been fleshed out and filled with the spectre of human voices.

As on his last album, the sounds on 'Bodied' are highly designed, but this time barely a whisper of dance music remains. Instead it's built around acoustic elements and ghostly choral arrangements, refracted and transformed into atmospheric, alien forms which are given the time to settle and transform. Rhythm is used only as a tool to give his world a sense of dark, mechanical momentum.

Alan explains; "After completing 'Hollowed' I had over a year away from writing any of my own material. I was working, composing music for a video game and a number of different projects. I needed to find a way back in and I rediscovered the joy of music being a release as opposed to a job. I was getting up really early and sketching out lots of ideas very fast, squeezing in quick bursts of writing at the beginning or end of long studio day spent working on other musical projects."

"It was important for me to define the world that the album was going to inhabit before taking it any further, so I put a much greater focus into the sound design and palette than I had before. I wanted to make the music sound very physical, geometric, and monolithic, as if it inhabited a physical space."

"On 'Bodied' the music focuses on the interplay between the minuscule and the vast, beauty and brutalism. With this album I was much more concerned with dynamics and the discipline of holding tension; the use of space and silence to provide a counterpoint to the intensity."

"Most importantly, I was keen for there to be a human acoustic foundation, so I did a lot of live recording of cello, violin, harp and guitar - anything I could get my hands on. I was certain that I wanted there to be a greater vocal presence - nothing lyrical or at the forefront but to give it an underlying organic quality - to impart some humanity into the music."

As Ital Tek moves further from his roots, he's creating new sounds and spaces in which his music can exist. It's up to the listener to decide what kind of world 'Bodied' evokes, but it's certainly one that's beautiful and rewarding to spend time in.

Limited Edition 300 ONLY

Drum & bass pioneer and Hospital Record's crown jewel Danny Byrd is back! He's set 2018 ablaze with monolith anthems 'Devil's Drop', 'Salute' ft MC GQ and 'Hold Up The Crown' ft Ky Lenz, now he proudly presents his first album in five years.

A 15-track funk-fuelled compendium of rolling dancefloor-fillers that tributes to the jungle foundation moulding his early discography. Collaborations with the likes of I-Kay, Maduk, Ownglow, Times x Two and MC GQ, fuse with powerful
doses of Danny's hip-hop and R&B infused 174BPM productions. 'Atomic Funk' is undoubtedly Mr Byrd's finest work to date and includes one of the biggest future D+B anthems 'Holy Star' that's brought to life with vocal delights from MC Foxy.

'Just A Step Away' (ft. Ownglow) has become a silver bullet for the Byrd, taking a spotlight in his DJ sets as his finishing move. With its gorgeous vocals, volatile rave synths and humming sub-bass, it's not hard to see why. However, that's
far from the only weapon in this legend's locker. 'Roll The Drums' is a certified sub shaker bringing a fierce bassline and thundering percussion, plus there's raw jungle madness with 'In The Meantime' (ft. Hannah Symons). With fifteen incredible tracks from Hospital Records' longest standing signing, 'Atomic Funk'
is Danny Byrd at his best. Crafted for the dancefloor and Feel-good from start to finish, a must-have for a true Hospital fan.

Label head honchos Rhode & Brown finally debut on their own imprint, Slam City Jams, after putting out music on fellow labels Toy Tonics and Public Possession. Produced over the past two
years, the Wave 100 EP might be the most versatile record by the Munich-based fellas so far.

On the title track we have an euphoric hint of 80s synth nostalgia, slapped bass and banging woodsticks (did someone say Safri Duo!). 'Sparkle' on A2 feels like the joy of a fresh breeze on hot summer days whilst living la vida loca in the clouds - b/w phat bass, sweet flutes & strings.

On the flip there is 'Love Lane', a classic house track with a funked up bassline, shuffling snares and the most erotic vocal in human history. 'Moon Bells' on B2 is the soundtrack to that road
trip you did back in 86' with a Juno 106 arpeggiator bassline, percussive drums and airy synths all around. 'Over Europe' on B3 rounds off this special 5-tracker with beautiful ambient spheres
straight from outta space.

For the inaugural release on TILT, Faerber presents 070717, a four-track package of spiralling techno due 03.09.2018. As a joint venture from Hamburg's renowned PAL nightclub and Berlin-based DJ/producer Faerber, TILT will serve as a platform for a range of experimental artists to present their work without restraint.

070717 is a disorienting trip through four swirling cuts, brandishing references to electro, industrial and ambient whilst permeating warmth through vast concrete structures.

The title of this first release - a reference to the date of the G20 summit in Hamburg last year - represents a period of instability for both the nightclub and Faerber, who is a booker and resident DJ there. Ongoing heavy police presence outside its front doors resulted in a lack of visitors; so much so that the future of the venue became uncertain. Despite a series of obstacles linked to the highly controversial political summit, PAL continued to throw parties, eventually reaching a point of stability through sheer dedication and a focus on experimental bookings. Now, after a slight delay, they are ready to launch their own imprint.

070717 is the soundtrack to resistance against all odds.

Butterflies is a 12' EP compilation (1983-2016) by the Amsterdam based label Top Tape (founded 1986). On this release of 500 copies on yellow vinyl you find old and new work, old and young artists, like the talented Parrish Smith. There is also a great Restauration by Dunkeltier. The album has been remastered with care by Rude 66.

Thomas Fehlmann steps away as co-member of The Orb following two acclaimed full lengths on Kompakt (COW - 2016, Moonbuilding 2703 AD - 2015) and embarks back on his solo career with a career defining album 'Los Lagos' - from Detroit to Schaffel techno he conducts a broad spectrum of electronic music into a seamless flow.

Thomas Fehlmann has been active since the late 1970's from Palais Schaumburg, the Tresor defnining trio 3MB (with Moritz von Oswald and Juan Atkins), Ocean Club (together with Gudrun Gut) and of course The Orb.

Artwork direction and design by DESIGNERS REPUBLIC.

'Los Lagos' is Thomas Fehlmann's seventh solo full-length, his 4th for Kompakt following his Berlin inspired 2010 full length 'Gute Luft'. in the musician's own words it's about "checking the juice".

Establishing a picture of his current artistic condition, as suggested by the title - los lagos / die lage / the situation (literally translating to 'the lakes' but taking the meaning of 'wassup' in the context of a relaxed discussion between friends), the album refers to Fehlmann's "musical motivation, dreams and wishes" through the language of music exclusively: a way to "allow myself to techno" he says, "to techno as a means to deconstruct and rebuild again. Set up an area of tension, loose it in the flow of the grooves. Magnifying some detail out of proportion, regroup around that and slowly knit a texture. Expand."

"It was time to take a bend and head where the sun rises or sets, wherever my heart drives me." This is pretty much the kind of decision Thomas Fehlmann has made. 61 and shining, longstanding member of The Orb, multi-talented composer and boundless experimentalist, had to make in the twilight of his collaboration with Alex Paterson, eager to taste the flavours of the unknown on his own again. "It was the moment when felxibility would have become compromise'. Far from being the demise of their joint dream, this was bound to split it in two distinct, parallel fantasies - rich of their own singularity.

As goes with that essential love of his for the free-flowing nature of electronic music, a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, experimenting with an unpredictable outcome", 'Los Lagos' "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk". As he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective ; not afraid to leap from a deep, dubbed-out hypnotism ('Window', 'Morrislouis', 'Freiluft') to the playfulness of '90s-style bleepy schaffel ('Tempelhof' featuring Max Loderbauer), through out-there, muscle-flexing dancefloor cuts ('Triggerism') onto the calmness of ambient ('Geworden').

In need to keep his inner balance in check, Fehlmann committed himself to "switch off the control" and follow his intuition, which isn't so much of an easy process as he also wanted to incorporate the side disturbances experienced: "it's a complex process of search and destroy to bring out a new beauty trying to expand my vocabulary". With 'Los Lagos', Fehlmann looked at finding "the structure that's surprising, disturbing and rewarding". The artwork for the record, courtesy of contemporary artist and friend Albert Oehlen whom he shares lots of artistic ambitions with, echoes the producer's "funky use of shape and space, sludge and clarity" like a second skin. A search for light and harmony that Fehlmann sums up eloquently: "Does your inner musical voice respond", that is the question. Then "doors open up in unexpected corners, rays of light appear; you follow through and you're in - in your oasis."

We really think there are no accidents in life, or rather it's chance that makes things happen. When we started our project 'In The Meantime' we could immediately feel a connection, that invisible line joining people who have the same passion and feeling
towards music. We shared emotions and ideas, making music in harmony and mixing our visions like if we knew each other since longtime. This collaboration was a great opportunity for us both artistically and personally.

'In The Meantime' is a project that aims to find new ways of expression mixing ambient, electronic, techno and drone music into original dimensions and evocative atmospheres.

A love beyond...

Andrea Fiorito returns with a 4 tracks of solid old school Chicago Flavoured house. Of course Andrea always keeping on track with his signature off kilter arrangements leading his listeners down a different path of groove discovery with every play.

Two long-time friends Juho Kusti (Deep Space Helsinki, Parabel) and Ville Vähäsaari (Rezonans) bring you their brand new label, No Future But What We Make.

The label's first release features two broken beat burners on the A-side from Detroit-based Uun (Mord, Ego Death) coupled with a more straightforward remix from acid mammoths Boston 168 (BPitch Control, Odd Even, Enemy Records) on the B-side.

Make a difference. Get involved. There's no future but what we make.

The young virtuoso producer Prins Emanuel follows up his acclaimed debut album on Music For Dreams with something quite different than what we're used to hearing from him. While Arbete & Fritid was an epic odyssey into the furthest corners of disco with an array of studio wizardry and complex rhythms, Diagonal Musik is a sparse and delicate exploration of the acoustic guitar. Steering away from his comfort zone, the Prins follows his intuition for experimentation and lands somewhere in a field of genre-defiant folk-jazz meditations; a development that fits like hand in glove for the eccentric nature of Music For Dreams. The album reads like a soundtrack to the country house Emanuel shares with his family and friends, a place on the map called Oran. From atop a hillside overlooking a lake, Oran is lodged deep in the heart of the Skåne landscape, the southern part of Sweden that once belonged to Denmark. This place encompasses the whole of the album, as the track titles all pinpoint crucial locations on the courtyard and its surroundings. 'Orön' which opens the album is named after the small half-island that sits in the centre of the lake. There's the hand-built sauna ("Bastun") at the edge of the yard, and behind that in a slope the old root cellar ("Jordkällaren"). While the nature here is anything but balearic, the overwhelming calm of the country life seems to inspire the same laid-back attitude and passion for all things organic (and not just musically, as this is where Emanuel also makes cider from local apples according to the vin naturel school). Upon listening to Diagonal Musik one might be keen to draw references to works in similar style, such as the output of late 80's new age label Windham Hill or the dreamy lullabies of long-time friend and Music For Dreams affiliate 55 Cancri e. This is all circumstantial however, surprising as it may seem.

In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt's ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic bers sway like pendulums from static melancholy to motorik bliss. Dissolvi, the artist's rst full-length with Ghostly International, engages sublimation from an ontological perspective: by dissociating the self. Hauschildt steps out from the singular path, for the rst time in a traditional studio, to compose and arrange contributions from friends. As a result, his most collaborative work to date extends a vast, vibrating framework in which to consider the state of being.

The album's title — a reference to cupio dissolvi, the Latin phrase meaning "I wish to be dissolved" — needn't be taken one-dimensionally or as purely solipsistic. It does, however, serve an apt reference. Physiological phenomena are of interest to Hauschildt. These back-of-mind ruminations nd their way out. Songs are cerebral in orientation, but beyond explanation, the music is truly visceral.

Involuntary eye movement inspires the serene, sanguine-nearing-suspicious "Saccade." Hauschildt feathers soft percussion beneath the echoed refrains of Los Angeles musician Julianna Barwick, together shaping a svelte suggestion of the anxieties brought about by modern-day surveillance; if everyone is being watched constantly, there is no individual, no self, only a broadly monitored and clumsily cataloged populous. The work of Chicago poet Carl Sandburg comes to mind: 'I am the people—the mob—the crowd—the mass.' The individual dissolves into the taxonomic crowd.

Minimalist techno impulses provide a stylistic through-line for Dissolvi. Understated synth phrases and drum grooves take hold in selective moments, like synchronistic structures onto which nebulous mists, like the rapturous voice of Gabrielle Herbst aka GABI on "Syncope," cling to and cloud, producing a dazzling rift in consciousness. The 7-minute centerpiece "Alienself" reiterates this creative logic, burbling like an amorphous body of water on a low-gravity planet, on the verge of dissolving, but never fully dematerializing.

The album was constructed in Chicago (where Hauschildt now resides) and partially in New York. "Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music," says Hauschildt. "The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative." Embracing new methods and philosophical curiosities, and in turn, expanding the range of his repertoire, Hauschildt proposes a fascinating and profoundly rich experience in listening, being, and deliquescing.

Seilscheibenpfeiler 003 comes from Canadian native Graham Douglas via his moniker Nautiluss. Having released several EPs on Turbo and Hemlock, he's now bringing his bass influenced sound from Toronto to Berlin.
In Liquid Sky and Reak, Nautiluss puts his skillful use of percussive elements into action, completed by playful synth lines and thus creating heavy bass vibes which won't let you keep your feet still. However, there's no such thing as a comfort-zone for him! Inky, surely the hidden gem on this EP, shows a different side of his production skills: Starting like a 4/4 warehouse banger, it gets a full on twist a` la Nautiluss. An energetic ending to his first release on Seilscheibenpfeiler...

First Time Out is a cosmic soul transmission from Nigeria's own Diana Ross, Theadora Ifudu. The arty co-host of hit TV program, 'The Bar Beach Show' hooked up with the guys from Monomono to created an album that is sultry, sexy and effortlessly cool. It's a smoky, New York Soul Club on wax. A graduate of the New York film school, Ifudu considered herself an artiste, and the opening track, 'Hello There!' Is arresting in its cinematic scope and intriguing strangeness. After briefly channelling Miriam Makes in 'Gbata Ngwa', she moves into full diva mode. '(When Will It Be) Right Time' features vocal runs that Mariah Carey would be proud of and 'That Man' has a smoky, jazz club vibe. It's easy to imagine Theadora, under a single spotlight, dazzling in a sparkling figure-hugging crowd, holding a hard-to-please New York audience in her thrall. At times funky, laidback and smooth, the greatest compliment that can be paid to First Time Out is that it sounds international. The musicianship is first class, the vocals faultless and the mood super smooth. Theadora Ifudu, the self-proclaimed 'moon watcher, ragdoll and artiste', created an Afro soul masterpiece for the ages. - Peter Moore,

A Band Called Flash's third EP on the J4J record label continues to expand with a new group of future funk goodies. With the highly anticipated release of the hypnotic dance track 'Dracula' along with the funky vocals 'There Will Be A Time' and 'VSL', artist, songwriter and producer Jared Hines doesn't disappoint. Add to that, the intergalactic groove 'Song For Spike' and you have an EP that will surely satisfy listeners and dancers alike.