Suche:this is head

LP comes pressed on 180 gram vinyl.

On 29th March, Reclaimed Records are proud to present pianist and composer Taz Modi's elegant debut solo album 'Reclaimed Goods', which brings to light his love for contemporary composition – something which may come as a surprise to fans of soulful dance music heavyweights Submotion Orchestra, and jazz trumpeter Matthew Halsall's Gondwana Orchestra - for both of whom Modi plays keys/piano. Whilst also gaining further demand as a musician, including for A-list studio and live work for funk 'n' soul legends Dennis Coffey and Fred Wesley, plus beatmaker heroes DJ Shadow and Mr. Scruff, Modi has been discreetly pursuing an additional passion during down-time for years – and his prolonged, patient crafting shows in the record's tasteful and beautiful spirit.

Calling to mind the piano music of Cage, Frahm, Hauchska, Sakamoto and Aphex Twin, 'Reclaimed Goods' is a graceful affair, in which lush strings and gently pulsing rhythmic flutters sit alongside prepared and plaintive piano, with the tunes ranging from sparse beauty to weightier moments of electronic rhythms. This allows the music to appeal equally to fans of heavier electronic acts such as Cinematic Orchestra and Bonobo, to devotees of ambient and contemporary classical music, as well as those familiar with Modi's work with both Submotion Orchestra and Matthew Halsall.



Positive review by John Lewis for the Guardian's contemporary music album of the month section: 'An even more effective exploration of solo piano territory comes from British pianist Taz Modi; best known for his work in various jazz and funk ensembles, his solo debut Reclaimed Goods features a host of introspective instrumentals that are reminiscent, variously, of Ryuichi Sakamoto (Libra), Nils Frahm (Time to Practise, Crystalline) and Hauschka (Ethical Tourist).

Featured in Music Week's Tastemaker section, 15th April 2019 with Haydon Spenceley: 'Listen to it; it'll lift you high above our care-worn world to a place of safety and grace'.

First single 'Ethical Tourist' featured as a premiere on 18 Feb 2019

Second single 'Crystalline' premiered on Boiler Room's 4:3 video channel, 12 Mar 2019

'A kaleidoscopic album that seductively pulls you in and leaves you curious about the inspiration behind the songs' - AAA Music

Positive review on Magazine Sixty

Support on Soho Radio, Dom Servini

Played on Worldwide FM, April 3, Gondwana Records show

Featured on Bleep's Spotify playlist 'For Your Ears and For Your Head', April 2019

Played by Mischa Kreiskott, NDR Radio Germany, ndr.de

Worldwide FM's Gondwana Records show on May 1 featured an interview with Taz Modi, along with multiple tracks from the album.



Musicians:

Taz Modi – piano, keyboards/electronics, arrangement and production

Natalie Purton – violin + viola

Liz Hanks – cello

Margit van der Zwan – cello

Seb Hankins and Jon Scott – drums

'Mallumo' is the introspective and therapeutic works of Nottingham born musician, producer and composer Neil Tolliday.
Known to most simply as Nail, on this his first solo LP under his given name, Tolliday releases four meditative dark ambient pieces recorded between 2010 and 2015 that explore the depths of his psyche.Made as a direct response to a period of clinical depression this self therapy gave birth to soundscapes that branch between hope, tranquility and torment as a man searched for solace through sound and his own creativity resulting in the listener being taken on a heady ride through their own subconscious mind. Limited to 300 copies, this 180 gram double vinyl LP comes with your own Utopia Project incense and a download code for the full hour long versions of each movement.
Cover photography shot and printed by Michael Bradley, Design and curation by Alexander Bradley for Utopia Records, London 2019.

As a winemaker hailing from the Palatinate, Florian Hollerith understands a thing or two about vintage. It's something that also comes through when you sample his music - rich, full bodied with just the right level of acidity. 2018 was already a good year with Ohrenzirkus featuring on both Sven Väth's Sound of the 19th Season mix CD as well as this year's Dots and Pearls vol. 5 compilation. Florian certainly announced his arrival on the scene in style, so it's only fair that he gets the chance to demonstrate his full range of skills on his very own Cocoon Recordings release. 2019 however, has a darker, more complex flavour...

Florian certainly knows a hookline when he finds one. On the EP's title track Perlas, he's working from the inside out with complex layers creating a vortex of sound. This dense sonic mesh is playful yet dangerous, with ethereal voices and jagged chants adding to the disorientation of the opening exchanges until the congas and skipping bassline give us something to hold onto. The dance floor melts under our feet as a raw, tripped out groove takes hold before the bass suddenly morphs into a brassy acid line that spreads its wings and soars. It's music for the headstrong, a celebration of the timeless tribal ceremonies that have come to define us.

Love Summer adds a contemporary twist to the melodic joys that drenched the early nineties in pure ecstasy. The soulful vocals soothe the mind as horn stabs punctuate the sensual groove, generating power and passion in equal measures. It's a straightforward approach, revolving around a familiar yet eminently seductive riff that just keeps on rolling, propelled forward by the force of its own momentum. There's no need to fuss when you hit on a winning formula like this.

More retro futurism abounds on Electro Indianer as arpeggiated bleeps usher in another vast, sprawling soundscape designed to induce a collective trance on the dance floor. Whistling, circular effects wash back and forth increasing the tension notch by notch as we're led deeper into the wormhole. Finally, the track deconstructs slightly, creating enough space for classic Casio-style bleeps and percussion to embellish a beautiful blissed out ending that trails off into the sun rise, as ancient Native American pipes pick out a haunting melody in the distance.

Summer is coming sooner this year, and you can tell from the heat of the two latest releases from Slow Motion: yes ladies and gents, Italian Dance Wave Compilations are back! The first of the two, “Italian Dance Wave Disco Sette”, is here to delight you: starting from a half Italo and half Asian influenced Altieri track, killing it with a dancefloor belter that will make you sweat the night away, raving sensations guaranteed. Lukebox (Fabrizio Mammarella and Umberto Saba from the duo Loudtone) will serve you a slightly more downtempo, modular, weirdo beast that will make your head bang without you even notice: banger. Back on your turntables, is also Robotalco who is providing some proto-house extravaganza and adding some charme to the dirty, chunky beats of the compilation. Last but not least, José Manuel, delivering a touch of biting deep house and electro tribal feels to close the gap, and make us scream “hell yes”.

Mount Liberation Unlimited are Tom and Niklas, two Swedes from space who have spent the last 5 years

carving out a particularly vivid niche in contemporary electronic music. Their previous work has seen them

connect with an impressive list of global dance powerhouses: New York's Beats In Space, Melbourne's

Superconscious and Munich's Permanent Vacation have all released 12'' heat from the duo, while their

hometown buddies at Studio Barnhus provided an outlet for what has been perhaps their biggest and boldest

release yet, 2017's double smash single Double Dance Lover. Their live shows are fervent, fast-paced and very

multi-instrumental affairs, performed non-stop at an increasingly prestigious list of clubs and festivals, serving

as prime examples of the MLU boys' core obsession: the interaction of human rhythm and electronic pulse.

They have their own great little radio show on Gilles Peterson's Worldwide FM! Australia loves them! They

got their artist friend Tom-Hadar Elde to sculpt their heads for their debut album cover!

That self-titled debut, to be released May 31 on Studio Barnhus, has been in progress since the very formation

of the MLU project in 2014. It contains some of their earliest work and of course their very latest – all perfected

at the Neve desk of legendary Gothenburg studio Svenska Grammofonstudion, in cahoots with mix engineer

Christoffer Berg (Depeche Mode, Robyn, Fever Ray).

The result is a sonically fascinating, endlessly generous and straight up FUN record that takes the listener on a

joyride through bittersweet stoner disco, frenzied scando-kraut jams and some of the sweetest dance pop to

come out of Sweden this side of Super Trouper.

The record is preceded by a limited 10'' release of album track Climb Me Up, complete with an exclusive club

mix of the song.

Chen Yi aims for a collective approach of art. As an isolated group of humans/numbers operating directly from a secret place in Chelmsford (UK), they developped a personnal and “bizarre” utilisation of guitars, machines, voices, distortion, giving as result an unconventional regroupment of compositions amongst a lot of lost/unreleased recordings. This is likely what got John Peel interested which leads to an inexplicable CBS contract. More couldn’t be finalised, because CBS suddenly pulled out of the contract. “Due to their raw and alternative ’self-made’ musical approach, they’ve been compared to the likes of Throbbing Gristle, Borghesia & Severed Heads or more underground names as Het Zweet, Biting Tongues…

Booming and banging, crashing and smashing, wriggling and writhing: the 'Black Snake Whip' cracks and out come the bats. INDEX:005 is a continuum of electrical fields that will psychologically ensnare and physically coerce you. Feel the tension from your ears to your toes; only dance will set you free.

This is a body of music, made for your body. Its Influences have been cultivating in the minds of industrial space enthusiasts and warehouse ravers for years. The sound of peaky synth leads and trebly harsh drums will make you grit your teeth as you succumb to the urge to move.
Take a whiff of this sonic bouquet from Black Snake Whip.

Part of The Optic Sevens Reissue Series
Limited to 500 copies on splatter vinyl Includes Poster & Postcard
The Servants second single, Originally released on Head Records in 1986 as a 12” EP . This is it’s rst appearance as a 7” single.
In 1986 The Servants recorded a John Peel session, got a full page feature in the New Year’s edition of the 1986 ‘NME’ hailing them as the next big thing, appeared on their C86 cassette and played shows with amongst others the Jesus And Mary Chain, Felt, Primal Scream, the Go Betweens, the Pale Fountains and the Wedding Present

Soft Machine is a surreal wander through the mystical sonic forest. A vision curated and designed by Chicago native Justin Aulis Long. A Cyclopian point of view while gazing through a wide lensed scope, which exists in the liminal spaces where light meets dark and angelic forces bath in the sludge and stardust of unfiltered eroticism.

Eye of the Minotaur - collage 001 is a collection of artists working in varying musical practices that are channeling the solitude of mutantness, strolling through the familiar yet unfamiliar halls of the uncanny, refusing ordinary structures of the mundane, grasping the cold humor of cynicism, basking in the dichotomy of cosmos and chaos, and invoking the energies of Eris and Eros.

Setting the ground is Ciarra Black, a Berlin based New Yorker who makes no apologies for her bare knuckled soundscapes. DuPont Street is a ritualistic unification of discordant entities that summons visions of Pazuzu (lord of the demons) and Inanna (goddess of love) fornicating beneath The Tree of Life. Razor edged synthesizers slice through the atmosphere with the precision of an avenging angel’s flaming sword, while a psychedelic drum code activates ritual movement of the body.

As the needle passes beyond the next threshold it is met by a towering totem, bristling with the illuminated light of the sonic astral plane. Erected from the foundational matter that birthed the Detroit electro punk sound, Eyes Up continues to add to the narrative that is drenched in deranged electronics intuitively mangled in a post punk tradition. Dystopian percussive rhythms generate an unorthodox domain where muffled utterances present an aural Rorschach test. Could this be the riddle of the Sphinx, or an ancient spectral being that possesses secret knowledge? Only its creator, Stallone the Reducer, holds the key.

Fixed at the axis of the journey, Perfect Headache Forever, a mystic operating within the DIY spaces of Chicago, levitates on a transcendental mass that is equally melancholic and optimistic. Her voice hosts a strength equal to a pantheon of titans. Armed with a magical electronic musical box, she weaves narratives that are prophetic. Itself Ecstatic is a voyage through a misty soundscape that begins at one point, but ends in a distant other, in accordance with a system of divination.

Gazing into the murky waters of the oracle’s cauldron, Circling Vultures, (a collaborative effort by Justin Aulis Long and Kenneth Zawacki) channel and evoke the spirits of Antonin Artaud and Geroges Bataille. The poet’s voice, engaged in an act of mutilation and self cannibalization, howls while projecting visions of sacred conspiracies, sensations of vertigo while peaking over the edge of the abyss, and the looming weight acquired from the solitude of the Minotaur alone, sitting silently at the center of the labyrinth. Accompanying the mystical bard’s verbal declaration is a triggered mechanized synth that roars with the vitality of Cold War era Wave music, which is then juxtaposed against applications of loose keyboard playing. The artist’s hand is revealed against the calculated actions of machines.

Bringing the document to its finale, Libby Del Barrio, a multi disciplinary artist based in San Antonio, performs a closing ritual in a manner that only she knows. Setting fire to the Elysium Fields while personified as Moze Pray, Del Barrio rejects plastic narratives that aim to pacify. No Tears, is an unapologetic account of life’s feedback loop around the Wheel of Fortune. Sacrificial actions through ceremonial performance reveals a gateway founded on truth and torment. Moze Pray’s ability to combine musical production, poetic vocalization and ritualistic body performance is charged by chaos and amalgamates into a product of pure expression that defies the rose colored filters aiming to conceal harsh realities.

FWM Entertainment has kept that same energy in its second release by label head, Stefan Ringer. The A side track 'SO' is instantly exciting! The chorded turned arpeggiated melody and rhythm section take over your body and the song invokes different feelings and emotions as it progresses; this is a song you will definitely want to have for this summer and beyond. Over on the B side, 'Afrotine' brings a more tropical broken beat type of flavor. The percussive yet chromatic sound of the kalimba is almost hypnotizing. Sunshine, cool breezes, and smiles come to mind when hearing this one. The B2, 'Time' is a slowed down vocal groove that slaps! The melody floats effortlessly along the beat with the bass line following closely behind, complimenting the changes throughout. Overall this one is a keeper and a great follow-up to the acclaimed FWM001

Moonshoe Records has bowled over first listeners by presenting this new side of their sphere - Air Space Ark’s debut, “All Rivers Lead” charts the course of divergent streams of contemporary ambient music, downtempo rhythms, and electroacoustic experimentation, arriving at a calming confluence of these sources. Across the 6 songs on these two sides, they evoke a calming and contemplative headspace

333 is an exquisite study in balance - the intermingling of bird song water sounds that could equally be field recordings or synthesized foley - the ambiguity adding a delightful trompe l'oreille effect - and crystalline keys ; these airy sounds weighted by washes of subbass.

BLANK PAGE is almost like a version of the previous track, retaining the nimble birdsongs and heavy sub, but foregrounding a lolling, stumbling hip-hop beat and placing more emphasis on the effects wizardry as abstract sounds careen across the track in wipes and wisps, before stripping down to a beautiful coda of birdsong, piano plinks and a textured backdrop.

The celestial keys, flute-like thrums and gentle chimes of WORDS BETWEEN SELF evoke the golden age of spiritual jazz, but the hazy ambiance and shuffling beats transmute the other elements around them into something more introspective and personal than jubilant praise. Lyrics aside, the subtle funk coupled with the pensive, meditative air channels the spirit of Stanley Cowell’s classic TRAVELLIN’ MAN.

LOFT IN 7 Is the most “out” moment here. It has echoes, literally, of jazz. Like decaying tape reels disintegrating in real time, we feel the tape buckling and warping under the weight of time as the sounds of a synthetic band warp and shift against electronic impulses and glitches, eventually leaving just a lingering, ghostly imprint. .

DUST SONG veers the closest towards a straightforward instrumental hip hop cut - a submerged sounding breakbeat coupled with a tender piano melody - but is buoyed by drifting pads and a dense, hallucinatory bed of effects.

CONCRETE closes proceedings. Charged with a crepuscular energy, it’s all-together as mercurial and magical as the transition from day to night. Different elements swirl and coalesce, honing in on dense, textural moments across a horizontal drift. The end effect is hypnotic yet captivating, so much so that when the track eventually blooms into silence at the end you’re struck by the brevity of the whole experience. Thankfully you can listen to it again!

Italo-disco inspired house music, IN MY DREAMS is the latest single from New York/Moscow duo IPF aka INTERNETPOWERLIFTINGFEDERATION. A warm, galloping bass line fuses with razor-sharp synth stabs, creamy pads and late-80’s house drums. A dual-vocal exchange explores self-delusion, obsession and a single-sided relationship between girl and the boy who lives in her head. Melancholic yet pop-y, IN MY DREAMS wouldn’t be out of place in club run by Erasure, Depeche Mode or Human League at their most soulful and dancefloor-ready. In the spirit of classic 80’s dance music traditions, the original mix gets three additional reworks: a classic Electro version, a “big room” friendly HI-NRG version and stripped down version. This is the first release from New York city based label Daddy Issues, limited pressing 150 copies only.

Hard Fist comes back stronger than ever with a sixth release, this time from Pletnev with a remix from Sascha Funke.

Extra prolific Russian born Alex Pletnev has been making music under various aliases and in a number of live bands. Now settled in Vilnius he explores stellar chugging rhythms, afro and oriental vibes for labels like Media Fury and Bahnsteig23 and more atmospheric, dark and industrial EPs on Le Temps Perdu records. This new one is “the tale of an imaginary world, a babel myth of when human beings were together as one because they spoke a single language. It is an allusion of No Border movement supporting freedom of mobility and fighting human immigration control.”

This fantastic release is the most club focussed music Pletnev has ever produced with instrumental, heady opener ‘Guest from Bangkok’ really locking you in a groove. Loose percussion and churning drums make for dark disco of the highest order. Then comes ‘Peep of Dawn,’ an almost frightening, long and slow ceremony of menacing electronic music. A voice resonates while powerful bass sends shivers down your spine and the whole atmospheric and absorbing affair really casts a spell.

Excellent punchy guitar riffs and shamanic rhythms on ‘Red Shoes’ reminds you of a run to catch the setting sun. It’s another spellbinding and rock-laced disco track that oozes grit and rawness. With the closing track, BPitch Control man Sascha Funke remixes ‘My Word Against Yours' into a cosmic and jerky affair that alludes to a journey into outer space. It’s sparse and creepy and brilliantly evocative.

Once again here, the Hard Fist label—which has its own residency at Paris’s mighty Rex Club—tells its unique story with forward thinking club music full of a wide array of influences.

Schmer Schmer has been looking for the next Prototype 909 since 1995. While they may never be found, we have instead found a few artists that with the same spirit of adventure have taken electronic music to new frontiers of unimaginable creativity. Primary among them is Lena aka Galcid aka Lenacid.

Lena's electrifying live performances utilizing eurorack modular synths with vintage and modern machines follow three simple 3 rules:

NO PCs, NO Presets, NO Preparation!

She has been called Jeanne d'Arc of modular because her style her appearance and her fearlessness.

For Schmer, Lena has created an EP made for the melting of your mind, if it doesn't first melt your speakers.

Lena uses her electronics in the most effective way possible. The classic acid machines are deployed to establish the themes the modular synths bring in sounds that take these tracks to another level. The eponymous track will hypnotize you into the state of focus necessary to allow you to go deep inside. Then the Acid Police show up! A funky drum machine rocker sure wake you out of your trance. Steel Vein has the intensity to rewire your modular mind. bpmf provides an hard driving aggressive take on Melting to help us turn on the switch.
Legendary DJ and producer Hisashi Saito has been making acid and techno since the early 90s. Using his unique
skills this EP has a rare clarity of sound not often heard on such ambitious recordings. Lenacid “Melting EP” opens up a new frontier for acid, for Schmer and for Lena that you are invited to explore with us this spring.

As Galcid, she has played alongside world renowned artists such as Nina Kraviz, Daniel Miller, Oval, DJ Nobu, Isao Tomita, Takkyu Ishino, Ken Ishii, G-man (LFO) among others. In 2016, she was invited by the Japan Media Art Festival to play at the special exhibition, held at the Eyemyth Media Arts Festival in Mumbai, India. Her 1st album “Hertz" received a worldwide release in digital format on the Detroit Underground label. The release attracted the attention of Karl Hyde (Underworld), Chris Carter (Throbbing Gristle) among other well-known musicians the world over. Shortly thereafter, Galcid played at "Boiler Room Tokyo". In July 2017, she embarked on her first EU tour playing shows in Barcelona, London, and Madrid, after she came back, she participated in Iron Island Festival and Mutek Japan garnering high praise in the media. In December 2017, she was invited to headline Future Mix's 20th Anniversary event and workshop in Shenzhen where she performed and held a talk with techno pioneer Mijk Van Dijk.

Dirty Games EP, is the second project from Jaja Saine and Leo “Love Tiger” Smith. The duo has been making their mark both as DJs and producers in the very competitive electronic music scene in Stockholm. Dirty Games EP 2019, is a wide range of tracks for various moods and settings. None of the tracks are alike, this EP definitely highlights the various elements and styles they have been influenced by as artists. The title track “Dirty Games” and “Moon Monster”being the tracks you just can’t help but dance to. Label info:"2MR is an electronic record label headed by Mike Simonetti (Troubleman Unltd), Adam Gerrard and Mike Sniper (Captured Tracks).

Ry X Has Announced The Release Of His Much-anticipated New Album, Unfurl, Available 15th February 2019 Via Infectious And Is Available To Pre-order Here. Ry Has Shared A First Track Entitled 'untold', Which Is Streaming Here, And Announced News Of An Extensive International Tour To Follow The Release, Including 4 X Uk Shows In February. Ahead Of Those Dates Ry Will Be Visiting London This Friday (12th) For A Headline Barbican Performance Backed By The London Contemporary Orchestra Which Has Been Sold Out For Months. Upcoming Tour Info Below.

For the second release on the Galaxiid imprint, a label of electronic music archeology and quality, we are transported to the strange sonic world of an elusive 90s pioneer. Solar X's 1997 album X-Rated will be released for the first time on vinyl, as well as reissued digitally, with new artwork by the Japanese artist Keiichi Tanaami. Two worlds connecting sonically, visually and culturally.

Solar X enjoyed a burgeoning career in post-Perestroika Moscow making playful, low-tech electronica from Soviet analogue instruments, which he masterfully configured to forge animated compositions and dancefloor rarities. Fascinated by chaos and complexity, his music explores the ways in which our minds can be manipulated by structure - an endeavour quite plausibly linked to his other career as a lecturer and researcher of AI, information theory and cognitive science, his interest in which was in turn triggered by his young experiments in computer music.

Solar X gained international attention at a time when Russia was (quite unfairly) seen as a vacuum for electronic music, but was exploding in the period of piracy, poverty and freedom following the collapse of the USSR. Young Russians had benefited from the soviet education system and there was a strong DIY computer programming and music scene, fuelled by hackers, gear freaks and party animals. Viewed from today, the album is reborn at a time of further political and social strife, which many see as fuelling the huge creativity and radical thinking of modern Russia's young creatives.

X-Rated treats tempo and form as fluid concepts, administering sudden changes to its sonic landscape with disorienting effect, underlain with a subtle dose of humour and experimentation. Downtempo trip-hop sits alongside frenetic IDM and blistering electro, all bound together by peculiar melodic inflections and lively distortions. Warm, trippy harmonies and robotic synths are offset with angular drums, shifting erratically through moods and genres with cunning intent. Much like his contemporaries from the era, it's his ability to breathe life into a humble production setup that makes his music so compelling some twenty one years later.

The track titles are from a book of call girl cards in London phone booths, that reached the artist in Moscow in 1995. "I liked the titles from these cards, which were self-promoting and offering pleasure (e.g. "Mistress awaits you"). So, I thought since my tracks also offered some kind of pleasure, they might as well advertise this through their titles.'

Label head Nina Kraviz was introduced to the work of the 83 year old sensei Keiichi Tanaami by Ukawa Naoshiro, founder of Dommune in Tokyo, one of the brightest figureheads for the arts in Japan, responsible for the graphic design of the cover. In September 2017 Nina played for the opening of Tanaami-san's first exhibition in Moscow at Gary Tatintsian Gallery. Nina performed a live sound palette, to accompany the looping 7 minute animation, of experimental music from the Soviet Union, Russian pioneers of electronic music like Species Of Fishes and SolarX, Soviet-time pioneer Lev Termen, Kuryochin, avant-guard rock mixed with some Stockhausen and just pure abstract sounds, as well as treasured artists like Biogen.

Tanaami's illustrative work has strong sexual elements, so out of the five art pieces Nina selected and commissioned for Galaxiid, the first fits perfectly for 'X-rated'. The vertical line of text on the left is the traditional form for Japanese covers of foreign releases. The cover, together with the accompanying poster and sticker, are printed in Japan to ensure the highest print quality and purity of the colours.

Five years after his track 'Mr. Croissant Taker' appeared on Soulwax's Grand Theft Auto V radio station, Belgian producer Transistorcake releases his official debut release, the 'Future Plans' EP on Eskimo Recordings. Featuring 4 tracks of hazy electronica that would sit neatly alongside early releases on Aphex Twin's Rephlex label or recent excursions by the likes of Palmbomen and Betonkust.

Opening tracks 'Future Plan I' and 'Future Plan II' sets out Transistorcake's stall nicely. Swirling synth melodies, an ever evolving bassline that leads you down a labyrinthine maze and diaphanous strings and pads all add up to create an ecstatic yet at the same time melancholic quality to the music that manages to sound both ancient and modern.

"Future Plans I and II are constantly changing routes of ideas, improvisations and coincidences," explains Transistorcake, "nothing is a constant in the two numbers, outside the pulse of the drums. You can see them as two possible versions of the future or as an old version of the future alongside its current variation."

Whilst cut from the same cloth as the previous tracks 'Ribbles' has more than a touch of the Nordics to it. Sparkling, playful melodies glitter like snowflakes caught in the flash of a strobe light before a pulsing disco beat rockets the track into the stratosphere. In his own words the track is "an ode to spontaneity and dancing without braking. I pictured it being played by a live band next to a pool at an LA cocktail party in the '80s."

Closing the EP we have 'Kluts', driven by a stuttering, head-nodding, rhythm that recalls that rapping sound of a woodpecker in the forest, the track is gently swaddled in a warm embrace of synthetic stings that gradually develops and asserts its dominance over the course of nine, all-too brief as it happens, minutes. For all its gauzy textures there's also an undeniable solidity to these tracks, an underlying organic quality and nostalgic warmth that permeates them.

Having previously studied jazz composition and played in several bands over the years, Transistorcake brings a sense of spontaneity to the often all-to-structured world of electronic music. This EP just capturing a snapshot in time of these songs that can be endlessly reworked and reimagined in his live set, where live bass and drums, are added to his collection of vintage synths to an endless back and forth between man and machine.

Electronic Body Music, abbreviated as EBM, is a term whose origin stems from the Belgian group Front 242, chosen to describe their electronic music; cold and dancing, free of the dominant influences of the time. Powerful, cold and minimalist electronic rhythms were the hallmarks of this new genre.

The movement quickly garnered followers with the British group Nitzer Ebb but also in the rest of Europe, with the likes of Borghesia and The Neon Judgment, later signed to labels like PIAS, Antler- Subway, Wax Trax!, Mute, Off Beat, Zoth Ommog, Pendragon and Metropolis.

EBM’s popularity grew rapidly in the underground scene during the 1980s and early 1990s, especially in Europe, before breaking through in the rest of the world, also influencing the subsequent electro-industrial scene.
‘Dancing In Darkness: EBM, Black Synth & Dark Beats From The 80s’ - to give it its full title - is a compilation of some of these bands; bands that changed contemporary music in terms of ideology, politics and aesthetics.

CD version in digipack with poster booklet. 2LP version in gatefold sleeve.

Infuse welcomes Pierre Codarin with an excellent three track release, ‘Pork Chop Express’, featuring a great KOKO remix to boot!

Pierre has been bubbling on the underground surface for few years now, releasing material on respected labels such as Adult Only, LAATE, Tervisio and his self-titled label was launched at the beginning of 2016 and has seen heady plays from the industries peers with each release granting praise from the media, DJ’s and collectors. Pierre brings a very raw and rich sound in both his productions and Performance with a very in-depth knowledge of record selection leaning towards a nostalgic U.S. and U.K. influence.

The title track ‘Pork Chop Express’ is a driving, rib-rattling, pad-infused, triumph of a track causing quite a stir on the floor. On the flip and ‘Lo Pan’ jacks the tempo and gets rough as Pierre drops a smorgasbord of key fills and stabs to keep this beast a grooving! Finally, following on from their brilliant ‘Generation K’ EP on Infuse early this year, KOKO deliver a blistering dance-floor led remix of ‘Pork Chop Express’, perfectly rounding off this great package.

ZamZam 70 is our first team-up with the man of mystery known as Marcus Anbessa. An enigmatic figure whose identity must remain secret for the time being, his infrequent releases on labels such as Lion Charge, Tribe 12, and The Most High (as “Unknown Artist”) are eagerly awaited by those who know, charting an uncompromising vision down a path untrod by the weakheart or the follow-fashion. We love music that builds its own sound world with only passing reference to familiar genres or signposts, music that believes in itself utterly - for this reason we feel genuinely blessed to present these two sides.

“March of The Falasha” is pure roots music that, firmly planted in the soil of dub and sound system, reaches back even further into the mists of time through technological means. Downbeat steppers is the idiom, pure heartbeat is the pulse. Like an old soul young in years but full of wisdom, a distorted flute melody wanders ahead through the undergrowth of bass, light filtering through the ancient canopy above in the form of swung percussion and flickering echoes overlapping and intertwining like vines and creepers weaving on temple walls. Ancient-to-the-future.

“Creator” strikes a different yet equally dread chord, 140-ish post-apocalyptic Rasta business focused squarely on bass and space, hard, insistent drums and infinite echo trails flinging from the snares and percussion, creating hypnotic tracers like sparks swirling heavenward from a well-tended fire in blackest night.

Imagine African Headcharge on Jah Tubbys, or a rootsman groundation resuscitating ancient machines in the crumbling ruins of a near-future world and you begin to see what Marcus Anbessa brings. This music reminds us that nature herself will some day claim Babylon and grind it to dust, regardless of our efforts to save it or hasten its fall.

* The latest EP (S.U.F.O.S. Save Us From Ourselves) from South London based producer, arranger and multi-instrumentalist, Wu-Lu.
* Pressed using 180g clear heavyweight vinyl
* Includes collaborations with long-term friends, Binisa Bonner, Kwake Bass, Nubya Garcia, Eun, Demae Wodu, and Morgan Simpson.
* Recorded at The Room and Abbey Road Studios
* Limited edition of 300

Having worked with the likes of MNDSGN (Stones Throw) and Andrew Ashong on his previous 2015 EP Ginga, Wu-Lu has already secured some strong production credits. These include Ego Ella May, Oscar Jerome and Poppy Ajudah, as well as work alongside Joe Armon-Jones (Ezra Collective) and Kwake Bass (Kate Tempest, Sampha) on a brand new project coming in 2020.

S.U.F.O.S. sees Wu-Lu collaborate with long-term friends Binisa Bonner, Kwake Bass, Nubya Garcia, Eun, Demae Wodu, and Morgan Simpson (drummer from band Black Midi). Thematically, it’s a reflection of where Wu-Lu sees himself and his people in 2019 London. This EP taps into racial injustice in Britain, black empowerment and self-exploration. Spending much of his time working behind the scenes for a range of artists, this EP helps define him as a soloist.

Speaking about S.U.F.O.S. Wu-Lu says, “The EP is about family in every sense of the word: blood family, spiritual family, extended family, your family. It’s the perception of my own experience and the young people who haven’t got a loud enough voice yet”.

Wu-Lu is no stranger to experimentation within his music. He has constantly been experimenting with the various influences on his Brixton doorstep, as well as some of the complex issues that a young, mixed race man living in London may face. It’s the live stage where the impact of Wu-Lu’s passionate retellings really come into their own. Recent standouts include sharing the Field Day main stage with the likes of Erykah Badu and Loyle Carner, Brainchild Festival and a feverish Clash Music LIVE appearance at Metropolis Studios alongside Masego.

Catch Wu-Lu headline The Windmill, Brixton on the 25th April 2019.

Presenting 'Fire Zone'. Album written, produced & mixed by Zane Reynolds and pressed on 180g vinyl, by Ekster. Coming out May 2019, including poster 57x57cm artwork by the artist. Mastered & cut by Helmut Erler at Dubplates & Mastering.

The music of Zane Reynolds AKA SFV Acid celebrates lysergic life in small town America. His are urban hallucinations. Conceived in 'business parks, strip malls', in 'blue collar luxury'. On a diet of 'diner burgers'. From the self-released, hand-painted cassettes of his high school years, he has moved to work commissioned by locals 100% Silk, Japan`s Big Love, and Dutch imprint, BAKK. His latest long-player, Fire Zone, will be issued by Belgian label, Ekster.

The album continues to reference Zane's Los Angeles home, and in this case the devastation that rages there every Summer. The concept however, reaching away from the horror and flames, to offer an escape.

There are moments, interludes, that hint at, and hide, something darker. Where drone twists from tape hiss. Bends. Out of shape. Where chords distort. Their degraded edges disintegrating. Charred perhaps But Ai welcomes you to 'San Fernando Valley', and a low-riding 808 booms. Less L.A. More Overtown, or Liberty City. Its racing booty bass calmed by wind chimes. The rapid Electro-Funk clip countered by modal synths. Its sunny disposition reflecting the SFV climate.

Playful rhymes, fragmented dialogue, and answer phone messages, rub up against Rave sirens. Roland`s silver box squeezes out a Sci-Fi Jazz. Through ping-ponging percussion. Through a drum and bass battery. Punched by keys that wanna be horns. Rewinds that create a bin-blowing vacuum. Shore-line samples washing the more head-nodding tempos. Euphoria rising while a perfect beat pops and locks. (text: Robert Harris)

mule musiq's sub label studio mule has formed a group of shifting members and are now releasing a debut album with 8 tracks of reworked obscure japanese gems.

the album contains the three singles the group released so far, featuring miyako koda of the ex-perimental pop band dip in the pool -- whose "on retinae" was reissued by music from memory to great acclaim -- on vocals and mule musiq staple kuniyuki on production with direction by label head toshiya kawasaki.

one of them, "carnaval," is a cover of the japanese dance classic by taeko ohnuki, produced by ymo. "shinzo no tobira" is a remake of the track by mariah, a band led by sax player yasuaki shi-mizu, from their album utakata no hibi -- which was one of the reissues that sparked the global interest in obscure japanese music in the last few years. studio mule's version features japanese lyrics rewritten by miyako koda. "face to face" is a cover of the ambient pop gem from the ultra rare album desire by yumi murata of mariah -- an album visible cloaks is a fan of.

also included is a rework of "kagami no naka no jugatsu," a song by tamao koike produced by ymo, turned into a dubby balearic pop track -- dubbier than the version included on the yen label compi-lation -- sang by nanako sato, one of the artists enjoying some newfound success following a string of reissues stemming from the "city pop" revival craze. the oriental ambient pop "yugao" by singer songwriter mioko yamaguchi is covered by vocalist saho terao, whom some describe as this gen-eration's taeko ohnuki.

"the april fools" is a rework of yukihiro takahashi's track, which itself was also a cover of the origi-nal song by burt bacharach. this new version boasts a more experimental arrangement with nanako sato handling the vocals. ymo's "ballet," originally with vocals by yukihiro takahashi, was reconstructed into a dance floor-ready instrumental by kuniyuki. many say yoshiyuki ohsawa's "soshite bokuwa toho ni kureru" is one of the greatest songs of the '80s. the 12" dance version is reshaped here into a melancholic balearic house track.

the album cover is by the increasingly popular hotshot photographer kota shouji.

Another Van, the label head of Ran Music’s sub-label Ran Groove, is releasing his debut EP “ The Night Is Yours” (RGV010-12) on his own label which includes 6 tracks rang-ing from Acid House to Minimal that he created between 2015-2017 in Beijing and Shanghai, performed and recorded all at once using his hardware live set-up. The immortal acid sound and minimalist groove are his forever loves. In 3 years the time, locations, and people kept changing, and all the memories of his life experiences are being mixed and melted into these 6 musical stories.

The EP name “The Night Is Yours” is inspired by a billboard which says “The World Is Yours” in the movie “Scarface”. Another Van believes that the night never belongs to anyone, the night is itself an eternal DJ, and this EP is full of tracks that touch you the most before sunrise.

For the label to finally reach its 20th catalogue number is a seminal moment. To reach it with the original logo designer for Encrypted Audio and all round top gent is an even greater honour.

Mesck has a slew of releases on friends and family labels such as Chestplate & Crucial Recordings but with this release we wanted to create the feeling that no side was an A. Knowing Zach's style he did not let us down.

As we are referring to this release The Double Header..... 'Locust March' testament to the commanding way Mesck uses percussion and synth tones in a controlled fashion to create anticipation in the way they are used. In a track dominated and driven by a raw sub and mid punch combination that Mesck knows all so well. Joined by the equally amazing 'Fugazi'... There is no other way to describe this piece of art than EPIC.

Back in 2014 when we first released the self-titled Chupame El Dedo we weren't sure if people could hold their mojitos while banging to their music. In 2019 we seriously advise to keep your hands free while listening to their second album. Formed by psych cumbia master Eblis Alvarez (Meridian Brothers) and Pedro Ojeda (Romperayo), the man that found the perfect cocktail mix for acid + folk + tropical beats, Chupame El Dedo are ready to mess around with Satan. 'No Te Metas Con Satan' it's a humorous title for music that expels cartoonish metal-vibes mixed with tropical rhythms. It's a pitch perfect title for a record that's never at the right pitch. The humour makes way for the funny stories that Eblis and Pedro explore in their lyrics. Souk's fourth release is a daring adventure in global beats. Frequently it comes to mind the universe of Quasimoto, Madlib's abstract hip hop that sounded delicious in the early 2000s. Chupame El Dedo lives in the same kind of power trip, fuelled by intense salsa rhythms dressed with heavy metal images.
That's where Satan comes into place. The Devil wears many clothes, but none are as multi-coloured and trendy as the ones we see in 'No Te Metas Con Satan'. We are advised of that during the first side of the LP. Each song dares the listener, with a multitude of ideas, sometimes dissonant ones, that find their way to make sense. An example The first song 'No Te Metas Con Satan' sounds like a perverted version of 'Da Ya Think I'm Sexy' and when you think it's over, it starts again, repeating ideas and leaving you extremely confused. What the fuck just happened Chupame El Dedo happened.
And it goes on. Flip to the other side and 'Alexandra Candelaria' says hi. A 7:43 minute long sinful & hilarious soup opera. No-one is ready for this. Laughter mixes with intense head banging, while we listen to what would happen if Jodorowsky made a Cartoon Network show. A damn good one. Maybe it's a good idea to not mess around with Satan, but you'll be in serious trouble if you don't listen to this. Seriously.

Shape-shifting left
coast producer Sage Caswell likens his latest full-length to a surrealist
architectural space: "I walk up to a building and Evil Twin is playing. A copy of
me is at the door and I let myself in. Inside the house is inside my head; each
room is a different song and emotion." A distinct dream sequence logic threads
together these nine nuanced tracks, which swerve from vaporous melancholy to
ecstatic motion to nocturnal wanderlust, alternately lucid and opaque.

Last year's relocation
from his beloved home base of Los Angeles to Madison, Wisconsin certainly played
a role, as pulling up roots inevitably does: "I love L.A. more than I can
properly articulate, but I saw an opportunity to leave so I took it." The
experience prompted an exploratory set of recordings inspired by notions of separation,
vulnerability, and "how it feels to identify the things in your life that don't
feel like you." Evil Twin captures
Caswell at his most fluid and dualistic, mapping a multi-hued maze of twisted rhythms
and refracted textures, fluctuating between beatific expanse and amniotic
bangers.
Previous releases for
Spring Theory and Far Away showcased Caswell's capacity for innerspace club
voyaging but here his vision skews even more vividly elusive, immersive and
immaterial, lost and found. The record's contradictions were deliberate and,
most importantly, therapeutic: "Evil Twin was intended to be as much a visual idea
as a soundtrack to feeling out of control. I didn't really want to talk about
it, so I made this album."

London's elusive Lukid has never been one for convention. In the few short years between 2007-2012, he struck out on a seemingly effortlessly impeccable run of releases on fellow iconoclast Darren 'Actress' Cunningham's mighty Werkdiscs imprint, as well as his own label Glum. Those albums and EPs flaunted genre distinctions and embraced a freewheeling approach to melody, rhythm and atmosphere that felt at once exotically psychotropic and yet grounded in a resolutely english eccentricity. Thus, they feel like especially-prescient recent classics that continue to find new fans.

In the intervening years, Lukid's energy has been poured into his stunning monthly transmissions on NTS while his output has been sparse aside from a pair of mindbending EPs via Liberation Technologies and Glum, respectively. Those radio sets serve as a telling blueprint for his contribution to the ongoing Arcola project. From low slung Memphis rap mixtape cuts to clattering industrial cassette rarities, turbulent grime and outsider synth hallucinations there is a warped palette that comes vibrantly alive across the four included tracks here. The stormy bump and spectral melancholy of 'The Drip' and 'Clappers' seems to wed them together as thematic bedfellows across both sides of the EP while 'Head Shrinker' tries to squeeze an overcast psych-pop opus out of a rack of malfunctioning hardware. Spit out the other side of this ride you exit to the chopped-and-screwed goth grime of 'Conked Out', having had your brain smeared with the uniquely viscous ectoplasm that only Lukid can excrete. Perfectly slimy.

After a standout Ep on Nachtbraker's label, and an Ep as NOTE on Tartelet Records, the Berlin based artist VERNER lands on Axe On Wax with the Debbie Coke Ep. The Album varies from U-R style dreamy electro, to drum machine jams, croaking basslines and jazzy synth driven tracks. This Ep is is a must for all house heads! Already getting early club and radio plays from Honey Dijoon, Brame & Hamo, Marcel Vogel, Eclair Fifi, Yu Su, Carista and Jaques Renault! TIP.

Has there ever been a better time to fuck off to the stars? Is a prison breakout ‘escapism’? Crisis carve some wound-space to let the dreams back in. In nights we turn to fire, in flight we burst into stone, where are the exits in this theatre of the damned? Strict luggage allocations – guitar (D. Knight), saxophone (S. Thrower) – and all the electronics your thoughts can carry. Headspin echoes, round and around, tilt wind-sails at a dark horizon, cut a stutter through the distance barrier. In to be out through the structure of the eye, encrusted with rotor-slime, pushing on through border erosions as everything melts into smoke, burning objects may be closer than they appear. Nebulae dazzle the shadows, tunnel through memories and the pulp-mass of neurons, forwards heading backwards, end of tether snapped, slide into the earth like ancient worms and breathe.

UnicaZürn’s core instrumentation blends analogue synthesiser, mellotron and electric piano with electric guitar and saxophone. Knight is reknowned for his pioneering multi-textured fretwork with Danielle Dax and Shock-Headed Peters, and his ambient guitar settings for Lydia Lunch, while Thrower’s reed playing provided rage and melancholy in Coil and turns to electro-acoustic texture in Cyclobe.

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the Mouches it is now time to set free another Black Beast amongst discerning listeners.

Following their hotly tipped 2018 debut album 'On' - Altin Gün returns with an exhilarating second album. 'Gece' firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

Some words from the label:

The world is rarely what it seems. A quick glance doesn't always reveal the full truth. To find that, you need to burrow deeper. Listen to Altin Gün, for example: they sound utterly Turkish, but only one of the Netherlands based band's six members was actually born there. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music.

'It really is,' insists band founder and bass player Jasper Verhulst. 'The songs come out of a long tradition. This is music that tries to be a voice for a lot of other people.'

While most of the material here has been a familiar part of Turkish life for many years - some of it associated with the late national icon Neset Ertas - it's definitely never been heard like this before. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene.

'We do have a weak spot for the music of the late '60s and '70s,' Verhulst admits. 'With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We're not trying to copy it, but these are the sounds we like and we're trying to make them our own.'

And what they create really is theirs. Altin Gün radically reimagine an entire tradition. The electric saz (a three-string Turkish lute) and voice of Erdinç Ecevit (who has Turkish roots) is urgent and immediately distinctive, while keyboards, guitar, bass, drums, and percussion power the surging rhythms and Merve Dasdemir (born and raised in Istanbul) sings with the mesmerizing power of a young Grace Slick. This isn't music that seduces the listener: it demands attention.

Altin Gün - the name translates as 'golden day' - are focused, relentless and absolutely assured in what they do. What is remarkable is the band has only existed for two years and didn't play in public until November 2017; now they have almost 200 shows under their belt. It all grew from Verhulst's obsession with Turkish music. He'd been aware of it for some time but a trip to Istanbul while playing in another band gave him the chance to discover so much more. But Verhulst wasn't content to just listen, he had a vision for what the music could be. And Altin Gün was born.

'For me, finding out about this music is crate digging,' he admits. 'None of it is widely available in the Netherlands. Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country's musical past, their heritage, like 'House of The Rising Sun' is in America.'
As Verhulst delves deeper and deeper into old Turkish music, he's constantly seeking out things that grab his ear.

'I'm listening for something we can change and make into our own. You have to understand that most of these songs have had hundreds of different interpretations over the years. We need something that will make people stop and listen, as if it's the first time they've heard it.'

It's a testament to Altin Gün's work and vision that everything on Gece sounds so cohesive. They bring together music from many different Anatolian sources (the only original is the improvised piece 'Soför Bey') so that it bristles with the power and tightness of a rock band; echoing new textures and radiating a spectrum of vibrant color (ironic, as gece means 'night' in Turkish). It's the sound of a band both committed to its sources and excitedly transforming them. It's the sound of Altin Gün. Incandescent and sweltering.

Creating the band's sound is very much a collaborative process, Verhulst explains.
'Sometimes me or the singer will come in with a demo of our ideas. Sometimes an idea will just come up and we'll work on it together at rehearsals. However we start, it's always finished by the whole band. We can feel very quickly if it's going to work, if this is really our song.'

Just how Altin Gün can collectively spark and burn is evident in the YouTube concert video they made for the legendary Seattle radio station KEXP. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock. It's utterly compelling. And with around 800,000 views, it has helped make them known around the world.

'It certainly got us a lot of attention,' Verhulst agrees. 'I think a lot of that interest originally came from Turkey, plenty of people there shared it.'

That might be how it began, but it's not the whole tale. The waves have spread far beyond the Bosphorus. What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.

'Not a lot of other bands are doing what we do,' he says, 'playing songs in that style and seeing folk music in the same way.'

Emotional Rescue announces the second EP of music from one of the label's favourites as part of a non-defined series where two of their (un)classic songs are remastered, reappraised and reinterpreted with new versions by a contemporary artist for reinterpretation today.

Thomas Leer is a respected and revered musician in both experimental and electronic circles. Having moved from Scotland to London in the late 70s, he moved away from playing in punk based bands, to debut his self-financed 'Private Planes' 7" in 1978, before releasing the cult-album 'The Bridge', with Robert Rental, the following year.

Signing to Cherry Red, he released the heralded '4 Movements' in 1981 and followed with 'All About You' in 1982, and it is from these 2 EPs that this release is sourced. The release starts with Saving Grace from the latter, a long famous "Cosmic classic"; it's mid-tempo, spacey, lifting repetition is the perfect soundtrack for those Baldelli trips straight to the stars.

This is backed with Tight As A Drum, a quintessential Leer production, where Teutonic drums is overlaid with sequencers and synth tones to elevate the song to some kind of disorientating outer-dimensional dub, while his lucid, spoken word vocals instill degradation and reinvention.

Asking Bullion to offer his own take on these two songs was the perfect pairing. A revered artist in his own time, the warmth and depth of his versions takes the originals to his own inner world; sampling, rewiring, reprogramming, resigning and replaying. An EP for the floor, the head and the heart.

Warehouse Find!

Danish producer Paxton Fettel joins Delusions for his debut EP for the label entitled Night Waves. Despite his youth, he has notched up an enviable catalogue of original, eclectic releases including two LP's for Greta Cottage Workshop as well as EP's for Plumage, Kolour LTD and Apersonal. Paxton's unique sound and audiophile approach to production has led to remixes for Uffe on Tartelet, Chocky on Secret Reels and most recently Sunrom on edgling vinyl-only label The Bricks.

For his Night Waves EP we get a snapshot of the mans diversity across three original tracks. The opener sees Paxton in his most raw, jacking, dance oor focussed mood to date and the result is a high energy house track which punches hard on a big system. Featuring his own bass playing, snipped and squeezed through the sonic mangle, Night Waves steams along with big bold pianos, swinging hats and just the right amount of oating synths. Simple elements which combine to be so much more than the sum of its parts and one of those stand-out cuts that will be stuck in your head long after you've left the danceoor.

Flipping over we have Paxton going full-on jazz mode in Pacica 399 To Freedom. A track which once again has his beloved Sandberg California live bass part pushed to the fore, pianos, strings and synths building around the driving disco groove. Feel-good sunshine vibes oozing from the speakers as little melodies dance around the sizzling hi hats and encompassing pulse of the kick drum.

Finally we have a deeper note to close on with It's Clear. A repeating vocal hook runs throughout the intro while intricate drum programming gives a nod to the sounds of broken beat and live jazz sensibilities. The end result is a warm, loose and dubby jam which completes the package in ne style and leaves us looking forward to hearing more from this talented young producer from Copenhagen.

Daughters Of The Sun's singer / guitarist Nick Koenigs has been toiling solo as Filthy Huns for a couple quiet years at this point, layering grease-stained drum machines with badlands guitar, mirage keys, and desolate vocals, alternately broke-down and road-burned. His debut is a dusty midnight ride through black hills. “Watch Of The Bear” in particular captures a loner-in-leather mood, headlight off, pushing 70, chasing the horizon under a sea of stars. Elsewhere there's woozy, hungover dub (“Hot Morning”), peyote campfire awakening (“Infinite Ride”) and stoned sunshine raga (“Out Of The Grave"). Barren times on the highway, through darkening deserts.

Headz up! Guti's current club cutter 'Red Eye' continues to wriggle and writhe its way hypnotically into our sets and psyches with these two crucial versions from one of house and techno's most respected gentlemen... The one and only Kenny Larkin.

Weighing in at a combined length of 20+ minutes, both remixes capture the Detroit legend at his deepest and most cosmic with his hands glued to the dials. Not just part of the biggest single from Guti's 'Year Of The Conga' album so far, they also tell a unique tale of their own...

These mixes were originally meant for the full release earlier this year, alongside killer mixes from Loco Dice and Priku. But when Larkin received a shiny new Moog One he rang Guti and label bosses the Martinez Brother and told them that they'd have to wait... He was about go back in with a whole new modular perspective.

You can feel it, too; that deep throb on the subs and trippy psychedelic swirls of his 'Black Eye' mix and that wobbling voluptuous bassline in his 'Pink Eye' mix are just two examples of Kenny's attention to sonic detail and pure analogweight on these two immersive, alluring remixes.

Well worth the wait, and another precision chapter to the beautiful back-to-roots adventure that is Guti's third artist album 'Year Of The Conga', don't sleep on these... They're going out strictly as Record Store Day specials. Vinyl crew, this one's for you.

- Utopia Music are extremely proud to present UM022, Hydro's debut album 'Lateral Thinking'. - Spread over 3 plates (4 including the sampler), Hydro manages to really showcase the variety and musicality that he's known for. With over 20 years of experience, he manages to comfortably wear his many influences whilst offering something both fresh and new at the same time. The palette covers light and dark, warm & cold, ambience, jungle, funk, soulful, techy, rolling, half time, 130 & 140 bpm, hip hop, jazz, tribal, and even meditative vibes. Inspired by a lifetime of music, travel and memories the aim was to deliver an eclectic album that could satisfy both the DJs and the headz whilst also being able to transport the listener elsewhere on an emotional and cerebral level. Dance music that can work beyond the dance floor.

- Hydro has been releasing incredible music since 2003 on almost all of the big labels. Since his production beginnings collaborating with Break, he has continued to work on many different styles and with many other different producers. He's become known for his musical diversity and his name is synonymous with quality & finesse. It's an absolute honour to be able to introduce his debut album to you. This project also features War, who again establishes himself as one of the best engineers in the game. Since first collaborating in 2011, Hydro & War have proven to be a formidable team, known for consistently delivering essential releases, including for Utopia. The only other artist featured on the album is Mateba, who joins in for two of the more uplifting tracks. A talented French producer and a long time collaborator of both Hydro & War.

Wehbba collaborates with ghetto tech legend DJ Deeon, to deliver another superlative EP on Drumcode.

Since his debut on Drumcode in 2017, Brazil's Wehbba has become one of the most dependable and impressive artists on the roster. Last year saw two standout EP's 'Eclipse' and 'Catarse' drop on the imprint, alongside 'Just', his strong contribution to A-Sides Vol.7. He also made his mark playing Drumcode events at OFF Week, Resistance Ibiza and the much talked about double header in Manchester and Bristol when DC took over Warehouse Project and Motion respectively.

A true master craftsman in the studio, his first contribution for 2019 is typically impressive. A huge inspiration to Wehbba since his nascent raver days, ghetto tech icon DJ Deeon contributes a fierce vocal to 'We Have Bass', after a serendipitous hook up in São Paulo. A peak career moment collaborating with one of his original heroes and the artist responsible for the classic 'Freak Like Me', the resulting percussive-heavy cut kicks like a rodeo bull. 'Third Wave' is coffee geek Wehbba's homage to his favourite brew, constructing the production to mirror the experience of a caffeine fix, as a loopy trance-inducing groove leads to powerful synth stabs that are heavy on impact. 'Steamroller' is a stripped back slice of techno driven by the Brazilian's Korg MS-20 and found form after it initially begun as a studio jam inspired by Richie Hawtin's 'Minus Orange'.

A Jean-Michel Jarre fan stretching back to his childhood, 'Another Mistake' was conceived after Wehbba saw the French legend in concert last year and was subsequently able to meet him backstage through a mutual friend. While creating the track, the producer imagined Jarre playing the main layers of the hook on his famous Laser-harp, eliciting an almost celestial quality with the melody. This is a stirring slice of techno fit for stadiums. The EP ends with 'Purge', the artist's stream-of-consciousness expression recorded in one-take and a beautiful beat-less way to conclude the work.

"Incarcerated deejay touts Sikka Rymes as next big thing in dancehall" say the Jamaica Star headlines; referencing Vybz Kartel and Sikka's cousin Shawn Storm, all of Portmore's Gaza Nation dancehall royalty...........

So then we have Love Di People EP: Sikka's first solid gold release after strings of strictly Vevo hits ('Life of the Party', 'Nuh Change') lie between his previous hook up with producer Genesis Hull (on Duppy's 2016 Fresh Clipp'd). Genesis' prods are pure widescreeen sub-tension and speed - now of Mexico City, he carries Sikka's flow into gleaming new future chrome jobs of the dancehall chassie, the madness of 00s dancehall returns for global review. In This Time Of Many Dancehall Think-pieces: Live Long And Grow Strong.

The weight of two year's of Drive demos caused Miro Tape to spontaneously burst into the world on Bokeh last year, we told you it was just a mixtape - Love Di People is the first wax seal on the Bokeh x Duppy Gun relationship, and not the last one of 2019. Founded by Sun Araw and M. Geddes Gengras, Duppy Gun pairs under-cover West Coast producers with Jamaican vocalists like G Sudden, Early One & others from their island HQs in Portmore & Spanish Town.

Wex 003. A special double LP that that depicts the mind of the Dutch producer, Eversines. This album is his first release and explores much of the vast world of electronica. From ambient to techno and much in between this is a special album for both the dance floor and your home listening. For the rest we will let the music speak as let you explore the sounds. Be sure to grab this while you can as it will be a limited double LP press on 180 gram. Photography from label head, Marco Malpeso. Stay tuned with much more to come in 2019 and thank you to all who have supported us thus far.

Billie Eilish's meteoric rise to global stardom has been nothing short of phenomenal and arguably unparalleled to date. Since her 'ocean eyes' debut, Billie has quietly, yet unapologetically infiltrated the forefront of pop. Thanks to a growing legion of loyal followers across the globe, an EP that has sat in the Billboard Top 200 for more than 18 months now, on the cusp of going Gold in the UK and more than 5 billion combined streams globally, her tours have sold out consecutively around the world, and this week, the teenage marvel has confirmed she will be releasing her highly anticipated debut album 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' on March 29 on Polydor.   'When we made 'bury a friend,' the whole album clicked in my head,' Billie explains. 'I immediately knew what it was going to be about, what the visuals were going to be, and everything in terms of how I wanted it to be perceived. It inspired what the album is about. 'bury a friend' is literally from the perspective of the monster under my bed. If you put yourself in that mindset, what is this creature doing or feeling' She continues. 'I also confess that I'm this monster, because I'm my own worst enemy. I might be the monster under your bed too.' 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' was written, produced and recorded entirely by 17-year-old Billie Eilish and brother Finneas in their childhood home of Highland Park, Los Angeles. Recorded in Finneas' bedroom opposite Billie's, the pair spent most of 2018 writing songs on the road, then spending many days and nights when off the road, at home, recording the album. The first to be revealed since the album announcement is 'bury a friend,' a driving tour-de-force of a song, trailblazing its way into the world and sounding quite unlike anything else that's out right now. Reaffirming Billie Eilish's place, always ahead of the curve, never compromising her sound or vision.  More exciting news to come from Billie Eilish very soon. 

Broke EP is the 6th release on the Deep & Roll imprint, and their
first various release. The vinyl is Electro/Breaks oriented and
features producers from all Europe.
On the A side, the rising Sicilian producer Clafrica - based in
Edinburgh - delivers 2 top notch bangers, that your mums will def
move their heads on. On the B side, the established Parisian
producer KM3 associates with Rob C. Trax and gets out of his
comfort zone, offering a Rave gem that might blow your speakers.
The B2 rounds off the vibe of this EP with acid flavors: the German
producer Colkin composed this track while living in Paris. Def a wax
to have on your shelves!

Life is all about rhythms. We don't know what we're dancing to until we're in so deep we can no longer control ourselves. The rhythm controls us.

Right now both Guti and the Martinez Brothers are dancing to the conga rhythm. Guti's third album, they've been dancing to it since the summer, teasing us with a whole slew of percussive new... And they'll continue throughout 2019. Chance are you will, too. Eventually the rhythm will control all of us. It's too infectious not to.

Here's the 411: 'The Year Of The Conga' is Guti's third and most rooted album to date. It came about through a personal request from brothers Chris & Steve Martinez. Both unapologetic Guti fans they wanted the very first album on their Cuttin' Headz label to be his. The result is a total reconnection back to his Argentinian foundations, his club roots and everything that first lured him to the dancefloor...

'I'm back to my roots and found my Latino groove again,' says Guti who wrote the album throughout 2018, starting it whilst bulleting through Japan by train, the majority crafted in the jungle of Dominican Republic, having collected and sampled native percussion instruments, and then finally mixing down on his return to Europe. 'Every song is full of rhythm and created to make you dance...'

He's not messing around; from the writhing snakelike percussion and rousing calls and cries of opener 'Aee' right through to the final mesmerising waves and farewell struts of finale 'Voladora' this an album is born both for and from the dancefloor. No overthinking, no purism, no exclusion; just unabashed physical hypnosis, fuelled for the floor, guided with gut instinct and years of groovecraft. It's the sound of an artist who's disconnected, explored and reconnected. He's older, he's wider and more in tune with his own pace and palette. One of the most diverse and explorative artists to come from Loco Dice's Desolat stable, this is Guti simplifying his passions down to an essence of everything that's magic about his roots and our shared dancefloor culture.

The highlights are in abundance; those hazy-but-persistent New Jersey organs on 'Telling The Truth', that wobbly sub on 'Red Eye', that shimmering sinewy acid line on 'Se Baila', the spicy pianos and wet horns of 'La Orchestra Fantasma', the list goes on. Each cut designed for deep mix pleasure, each cut rolling with a strong organic flavour and alluring percussive dynamics, each cut showing Guti at his most inspired, warmest, playful and ready to wrap you up so deep in a conga you'll soon lose yourself.

Cuttin Headz, cuttin straight to the chase but never cutting it fine... Let us be the first to wish you happy new year with the first ever album on the currently unstoppable label. We'll wish you a happy new conga, too. 2019's going to be a vintage and Guti and the Martinez Brothers are leading the charge.

With brand new interest in beats and rhythm once again coming into play, Puzzlebox label owner, Keith (K-1) Tucker, has now decided to revise and revisit the music from his catalog as "Puzzlebox Classics." The very first release is a valued gem of an EP called, "Atomaton", featuring:

"Nemesis" - An instant classic, which brings on Tucker's signature Electro/Techno beats (Aux88), a tough as nails funky bassline, and his trademark eerie strings. Robo-vocals recall us to remember that "The future of the electro movement is upon us"... Believe it.

"Oscillator (bonus beats)" - Brings us the perfect beat, a dramatic bassline, and swinging percussion attitude to the fold.

Sure to be a hit with new ears as well as "heads" from its mid-90's release. Additionally brought to popularity in Detroit by WGRP TV's, "The New Dance Show", as a favorite go-to party recording. Made with the intent of DJ's, by a DJ.

"(Techno) On My Mind" - Mind-bending arps and clicky pecussion shoot this off-world thumper into overdrive for your ears. While the relentless hard snare battles for attention against a triggered piece of electrofunk provided by a 'K-1' bassline, weaving itself around anything constant in the tune, listeners are guaranteed transport to a realm within an alternate universe and the urge to move their feet. A mental-mover, indeed.

#thetimeisnow
#getthisenjoythis'AUX QUADRANT' for what it is.

As part of their 20th Anniversary celebrations, Strut present the first new volume in their pioneering 'Nigeria 70' series for over 8 years, bringing together rare highlife, Afro-funk and juju from the '70s and early '80s. Compiled by collector and DJ Duncan Brooker, this new selection of tracks is receiving its first international release outside of Nigeria.

The compilation returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk and musicians brought a proud new message post-independence. Brooker places the spotlight particularly on some of the incredible Ukwuani musicians from the Delta State region as guitarist Rogana Ottah and Steady Arobby's International Brothers Band forged their own fluid brand of highlife and soulman Don Bruce drew on the US R&B greats for a series of great albums and explosive stage shows at his residency at Hilton Hotel in Abuja.

Elsewhere, the album explores the close connection between Nigeria and Benin's music, most famously through Sir Victor Uwaifo, appearing here with a killer mid'80s ekassa jam, as well as highlife hitmaker Osayamore Joseph on 'Obonogbozu' (Joseph made headlines in Nigeria for very different reasons in 2017, surviving a one month kidnapping ordeal).

Other tracks include 'Sickness' a 1979 lament on how all countries share troubles by Prince Nico Mbarga, the Nigerian / Camerounian star behind the smash hit 'Sweet Mother'; reggae singer Felixson Ngasia switches to funk and disco for a heavy workout with potent lyrics around black identity; another major highlife great Etubom Rex Williams unleashes a punchy psych funk gem with 'Psychedelic Shoes' and Africa 70 member Pax Nicholas vocals a simmering Afrobeat groove from Jacob Lee's Saxon Lee & The Shadows International Band.

'Nigeria 70: No Wahala' iis released on 29th March 2019 on CD, 2LP and digital. All tracks have been restored by See Why Audio and mastered by The Carvery. The package features comprehensive sleeve notes including exclusive interviews with some of the original artists.

Marco Spaventi and MOS label head Aroy Dee link up for another of their intriguing collaborations. They have done so before on this label back in 2012, and their latest offers another vital mix of raw house and ambient. Opener 'The Way We Love' features typically rough, blistered drums and sci-fi synths, but this time with a heavenly vocal and uplifting chords up top that tug on your heart strings. An ambient reprise of the same track is a perfect excuse to kick back and get lost in your own thoughts. 'The Way We Move' then takes a long view, with far-gazing Detroit pads and mid tempo drums getting you deep into a dreamy groove that is wide open and expansive. Last of all, Marco remixes this one on his own and flips it into something that is even more melodic, with circling pads and a musical bassline all making for a beautiful piece of timeless house music.

FLOAT proudly welcomes their second artist into the fold. UK electronic artistand Szun Waves band member Luke Abbott, presents a special 10-track album tocelebrate Piano Day 2019 - an international event series initiated by NilsFrahm which acts as a platform for piano-related projects. 'Music From The Edge Of An Island' sees Abbott divert from his typicallyexperimental electronic style to explore a more compositional approach centredaround VST instruments. Rather than the usual themes of synthesis andimprovisation, the album is lead by piano motifs, structured around emotivemelodies and sparkling arrangements. The record began as a part of asoundtrack commission by producer / actor Jessica Hynes for her film 'TheFight' and ultimately became a fully-realised album. The film script had acoastal setting that created the record's thematic idea: "I had this ideaabout being on the edge of England, almost ready to fall off a cliff into thesea but keeping your balance on the edge." The idea of writing for the piano had been ruminating for some months asAbbott found himself spending an increasing amount of time playing on theinstrument. Without a piano of his own though, he found a strangely enchantingway to fulfil his creative impulse. "I used to have an upright piano, but I'dgiven it away when I last moved house, so I ended up using a piano VST in thecomputer, which I actually really enjoyed. Writing the music became a bit of aweird fantasy process, I was in an odd headspace for a few days." The writing process was remarkably quick, resulting in simple yet inspiredpieces that subtly blur the lines between MIDI computer music and liveperformance. 'Music From The Edge Of An Island' can be seen as a collection ofgentle reveries that sway between the twilight hours, marked by moments ofsoft, contemplative ballads and more active and expansive motions. Openingtrack 'Sea' begins with a mysterious piano waltz before unnerving synth dronestake over. 'Island continues with piano triplet figures plus addedorchestration of cello strokes and airy glass pads, before heading into themelancholic 'Tree', bringing in more strings and added pathos heard in therestless piano motif. Quieter passages are contrasted with the Gamelan-esque'Moments' and the uplifting 'On Rope', whilst more lyrical moments on thealbum can be found in tracks such as 'Adjustment' and closing track 'ADifferent Tree'.

Second release comes from label head Traxman and legendary Fast Eddie!
As goodie on top of this great ep there is the track called "Eddie's House" which was recorded in 1987.
It's now for the first time on vinyl!

Swazi Gold have created a debut album that shimmers like the coast. There are six songs, two created by each member; through pure collaboration and participation. Swazi Gold are a true democracy.


Formed by the chief songwriters from Melbourne bands Crepes, Dreamin' Wild and Sagamore, this new band brings old friends together. Chris Jennings and Sam Cooper grew up in the Victorian coastal towns of Barwon Heads and Ocean Grove, while TimKarmouche was an inland man, hailing from Ballarat in the state's north-west

"We've been playing together for so long; in different mediums and in different bands. We've played our own key roles, but now we know what each other wants. Swazi Gold shows off our relationship from over the years, which is really cool," says guitarist and bassist Jennings.



Swazi Gold's other guitarist and bass player, Cooper, has a theory about the unifying power of their regional origins:

"It's this kind of small town thing where you strive to be different and creative. Because you're more isolated, you focus on your creativity and align yourself to similar people. I think growing up down the coast has meant I've continued to be drawn to people from other isolated places," he says.



It's this togetherness that's at the heart of Swazi Gold's debut album,Jehovah's Whispers.Recorded in a single weekend in 2017 at the Cooper's family home in Ocean Grove (affectionately termed the "Cooper Ranch")Jehovah's Whisperscaptures a musical intimacy and deep friendship between the three members.



"The bond with all the tracks on the album isn't necessarily lyrical, but it's 100% sonic. The simplicity of the instruments we use and the set-up we have is what's really rad," says Jennings.

"It's a fantasy of what we imagined Jehovah might be whispering in your ear," he adds, grinning.



Drawing from their collective love of African music, American funk, and quirky, melody-driven pop music, the album explores the space between conventional genres and styles of production.

"Using drum machines has made the song-writing process a lot quicker and opened up a whole new avenue stylistically.

Combo Lulo returns to Names You Can Trust for their sophomore single, digging deeper into the diversified sounds of the Caribbean that helped define their debut. While the first single took a Jamaican foundation south into the neighboring continent, fusing the sensibilities of rock steady with those of classic Afro-Latin orchestras, this single goes far east. Inspired by the heady and sublime sounds of foundational ska mixed with East African influences, (think Buster's Islam, Don D's Addis Ababa or Further East), The Sieve & The Sand is a brand new composition within this natural order, albeit with the fortune of different reggae eras and studio styles to draw from. Divided into two parts (but also available seamlessly as it was played in the studio), Combo Lulo's talented players move effortlessly from the galloping shuffle of ska into a deep and dark, Roots Radics-styled instrumental. It's a lovely ode to the original styles of reggae, but also another impressive accomplishment that will surely leave listeners and new fans in anticipation of the shape of things to come for Combo Lulo.

Koehler was hurled headlong flaming from the ethereal sky. This is his first offering for the ESP Institute. Side A recalls the hazy memory of an ear-worm chant heard over a decade ago on the streets of Thailand, a melody that since haunted the artist and has finally been exorcised by his own hand in the shape of 'Melencolia V'. Somewhere between an enchanted bashment and a sailor's watering hole, Koehler found a gargantuan kick drum that lands solely on the 4, slammed it together with a wide pulsing bassline and brutalized Dancehall snare, then laced it all up with his elusive synth melody. Add to this a generous sprinkle of finely-ground cosmic dust and we're all tripping the light fantastic. On the flip side, the artist buckles up for a rough and rapid-paced journey with 'Invidiosa' — a relentless snare scrapes, gouges and corrodes over 7 minutes, coupling with a simplistic bass loop and swiftly marauding through a demented assembly line, accumulating various nuts and bolts of instrumentation along the way — an undeniable dancefloor exciter for those hours when the club becomes unhinged, dancing becomes raving, and slightly more audacious folk can channel their inner truth. These two songs will have you question your existence.

The only "lost track" from the same session as Lucky Brown's critically acclaimed "Mesquite Suite", "Sweet Tea (With My Sweetie)" reminds fans of Lucky Brown's trademark deepfunk sound that he and his crew can still ignite a dancefloor - and keep it lit for almost 8 minutes! "Sweet Tea (With My Sweetie)" is a cool, refreshing swig of sweet instrumental soul to enjoy while watching the sun set over the pecan trees of the Texas Hill Country with your lover.

Belly-up to the bar and gitcherself a couple tall frosty glasses of Lucky's trademark production/sound swirled with a heady shot of his backing band The S.G.'s. Your thirst for funk will be quenched by a solid deepfunk 2-sider complete with a Texas barbecued guitar feature up front, and jalapeño spiced trombone to take out side one. Then, on the flip: a smoked-out saxophone solo, some cornbread trumpet, some super sweet vintage organ treats, and finally building energy to a tasty drum and horn break - Lucky's brand of Sweet Tea is good to the last drop!

The Tramp team is extremely proud to have been working with such a genius for so many years and hopefully for many more to come! We want to thank all of you who have supported us in the past - thank you so much!

So, go ahead, mix up some "Sweet Tea" this summer! Your listeners will be bobbing their heads, smiling, and feeling good while they holler out for another tall cool glass of "More Sweet Tea".

Claremont 56's latest release is very much a family affair. It sees Idjut Boy Conrad McDonnell - a regular remixer of Claremont 56 releases since the label's inception - serve up two spaced-out, dub-wise revisions of a little known cut by Bison, the imprint's very own 'super-group'. The 12' has extra emotional resonance for Bison's Paul 'Mudd' Murphy and Ben Smith, as it marks the band's first release since the passing of fellow founder members Holger Czukay and Ursula Kloss.
Clutching his cherished space echo and tape delay units, McDonnell has delivered two tasty new dubs of 'Salmon Spungcake', a spacey, gently throbbing Bison cut that he co-wrote, produced and mixed for Claremont 56's 10th Anniversary box-set in 2017.
While the original version shied away from the dancefloor in favour of creating a hazy, horizontal mood, McDonnell's 'Zip It Shrimpy Mix' re-invents the cut as a hypnotic dub disco shaker rich in weighty bass, layered hand percussion, locked-in kick drums and spaced-out vocal snippets. In true dub fashion, flashes of the band's original instrumentation - effects-laden guitars, hazy electronics and meandering, deep space chords - float in and out of the mix at irregular intervals. It's the kind of remix you want to get lost in while wearily shuffling at 5am in a dark, sweaty basement.
The glassy-eyed, head-in-the-clouds fun continues on the 'I Think I've Got Gout Mix', an even more spaced-out affair that recalls some of the other inspired dancefloor dubs McDonnell has produced alongside Idjut Boys partner Dan Tyler. Stripped back, heavy, percussive and driven forward by sturdy kick-drums and the track's rich, warm bassline, this is a deep space dub disco tailor-made for space cadets and intoxicated sunrise dancers.

Cardinal Fuzz and Eiderdown Records are pleased to bring forth Prana Crafter and 'MindStreamBlessing' An electric mantra from the deep heart of the Pacific Northwest woods, "MindStreamBlessing" beckons you to relax and crack open your mind for a little while. Prana Crafter is Will Sol, practitioner of fine guitar spell-casting and audio fortune telling. A heady brew of guitar, drums, and organ that traces its majestic lineage from both the wayward strains of a cosmic Americana blues and the rustling sunshine daydreams of a future primitive past. The tunes contained herein drift and sway through the windmills of your mind, leaving the sweet aftertaste of pine and ocean mist. Accept this MindStreamBlessing as a balm for these troubled times.

Stefan Smith has channeled an elevated reverence for process, texture and synth-extrapolation with the forthcoming release of his self-titled LP on the Sapiens imprint. A relative new-comer to the land of rapid fire releases and dance floor formulae, Smith is deeply steeped in the art of music creation, performance and theory.
As a graduate of Mills College's revered music department, Smith's prosaic understanding of music partially explains his migration to Sapiens, a label headquartered in Paris, France, which, under the direction of techno luminary, Agoria, has been expanding the realm of possibility for what a techno label can become. Collaborating with musicians, visual artists, film directors, shamans and sound designers, the young Sapiens platform releases may include political speeches, radio hits, dance floor tunes, sensorial or cognitive music or a gentle computer
virus'. Smith's LP contribution will definitely fall on the more delicious end of this spectrum, having woven a synth-lovers dream tapestry.

The nine tracks composing the album, Stefan Smith', draw the listener in on a river of oscillators, which push just past the banks of perceptible sound with with flawless production and loving sound treatment. The idea behind the album is very raw and organic. Stefan Smith focuses on atmosphere, mood, tones, and frequencies, rather than melodies. His productions are a response to the subliminal, and about feeling.
This album came together from a natural flow of working with computers and synthesisers, and also from the musical connection fostered Sebastien Devaud (Agoria). His approach to the album's production was to edit as little as possible, keeping the original feeling of chance and temporality intact. We can sense here Smith's intuition as sound designer, a role which has enabled him to work with artist Nicolas Becker and through this association further contribute work to the Philippe Parreno 'Anywhen' exhibition in Tate Modern Turbine Hall. The feedback
generated by studio experimentation gives birth to new ideas for aural shapes and textures. If one were only to lie back and identify the various wave forms, like butterflies and birds flittering through dappled sunlight, in each track's canopy of bountiful synth elements the mind's eye would dance with the steady intervals of Smith's real-time probe of his machinery, however, deep tracts of emotion and effortless grooves won't allow for a purely sensory listen. In the spirit of exploration, enjoy the ride.

° +

Under pseudonym "Jean Eon,' Johnny Quinn Alston is the artist behind the project _ - / _ EON, a performance endeavor born out of an intense personal and familial experience in 2011.

_ - / _ EON is a portrait of the various manifestations of energy throughout the wide span of time and space we inhabit, from human experience to multidimensional mystery, as well as a peek into the many emanations that eternal power can create.

Jean Eon is merely a human form attempting to channel what bits of existential mystery he can interpret into sensual experiential form. He aspires to be as comfortable as possible with existence as a flawed, but striving, human being, and is not to be confused with the immortal and cosmically balanced EON itself.

_ - / _ EON is larger than Jean, and the EON is also you, we, and everything in between. We are all already avatars of the EON, and this project makes an attempt to shape truths of the great æther from which we are carved and will presumably* return to, however bittersweet or glorious that eternal promise may be.

+ °

* do we ever really die

+ °

The music released under NEW YORK TRAX 08 results from physical expression as . _ - / _ . EON focuses on channeling physiognomy over dictation. The EP explores pre-existing textural combinations discovered and rescued from stone as opposed to built step by step.

The initial inspiration for this EP arose from driving past randomly unfolding rural scenes. A majority of . _ - / _ . EON's resulting work similarly gravitates towards a series of landscapes discovering each other rather than 'arrangements' played on repeat.

In the back of your head, you know those blinking aircraft warning lights on towers, but how mysterious and ominous they look before you discover what they really are On the surface, this project represents the sound of being struck by the sight of something for the first time, and the ominous, transfixing, thrill of not knowing what it is.

Johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

following a cult classic jazz fusion album on bourbon records, king kong paradise delivered an album of alternative, left-field balearic rock that was way ahead of its time.

an anomaly that sticks out in johnny's disk's catalogue, the rare record may appeal more to new wave, reggae and rock fans than jazz heads—in fact, i wouldn't be surprised if people like dj harvey or theo parrish dropped this oddity in their sets.

if you dig the kind of weirdness that's being reissued by music from memory, you might find this record intriguing.

Production duo Computa Games take the most slamming synth bass, the crispest drum machine hits, and the overall classic vibes of 80's dance-funk tunes to new aural heights. Sculpted using the best modern studio techniques, the 'Cosmic Dispatch' EP fuses funk, disco, soul and electro to various combinations, fitting the feel of the classiest nightclub or the grittiest backyard party. Each individual tune on the EP pairs with a unique vocalist or collaborator, as the project features guests Lovechild, B Bravo, Jackie Rain, NATALITA, and E. Live. There is something killer and personalized on this EP for every type of dancer, funkster, and headnodder around.

The Computa Games project is the product of the combined efforts of Martin Arceneaux and Chris Arenas. Joining their deep roots of live funk, electronic/live production and DJing, they formed in the fall of 2012, and quickly released two singles on the Supermart Produce label. The two debuted their live set at Monarch in San Francisco, with follow up performances at SXSW in Austin, and Tipitina's New Orleans. The group's third single "Rock Creek (Revenge)" was released exclusively on Beatport, where it was a featured track on the site's Funk/R&B page and stayed in the Funk/R&B Top100 for nearly 2 months, peaking in the top15. The group then released the "Grand Design" EP in September 2013 on Super Mart Records, followed quickly by a remix of The Pendletons single "Let Me Turn You On" featuring K-Maxx, and then a remix of New Orleans based funk band Galactic's "Heart Of Steel', featuring the legendary Irma Thomas. In October of 2015 Computa Games released their first vinyl 7' on ABC records with 'Do Your Thing' featuring K-Maxx b/w 'Feel Right 2Nite' which promptly established them in the burgeoning modern funk scene. Their follow up 7' was released in January 2017 with the single 'Computer Rock' b/w 'Computer Rock (West Coast Remix) on the New Orleans label Super Jock Records. Computer Rock garnered the duo more accolades with critics and fans alike.

B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploito double bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protege and future Russ Meyer art director (another heady cocktail) is the product of one writing duo's fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line.

Werewolves On Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany's emerging Krautrock scene or the more localised stoner psych of Skip Spence (whose radically ahead of its time LP OAR was recognised by Columbia Records as their lowest selling record in the company's history). Imagine guitarist Sandy Bull jamming with Munich's Amon Duul 1 or some Swedish prog outfits like Trad, Gras och Stenar or a sedated Kebnekaise. In comparison to the Curb/Allan scores, for films like Wild Angels, Devil's Angels, Thunder Alley, and Born Losers (often released on Curb's own Sidewalk or Tower records), the new music made by Don Gere, only three years down the line, sounds like it's from an entirely different generation...

"Pre-certified biker psych from the hillbilly Haxan. Amazing!" - SEAN CANTY (DEMDIKE STARE)

Fresh from 1986, another slo-mo Disco / Boogie / Garage banger from the Easy Street catalogue. That's right, this is that downtempo electrified sleazy Funk that keeps dance-floors pulsing. It has all the trademarks of the time, dope futuristic synths, slamming low-key drums and a sassy vocal performance from Kim Marsh lamenting a useless guy and her heartbreak! Classic Disco subject matter indeed. This one stands head and shoulders alongside the Tanaa Gardners, Barbara Masons and all the other heavy hitters of the time.

'Main Thing' is a true rarity today and used copies command a collectors price on the second hand record market. Every home should have a copy of this, no proper Disco collection is complete without it. A record that will never go out of style & will always provoke some buckwild reactions on any dance-floor it's dropped on!

Shout out to Easy Street, %100 legit re-issue, re-master & re-press, essential wax!

Rua Sound Is Pleased To Announce We Are Back In Action For Of 2019, And A Welcome Return To The Label Of Touchy Subject, Coming In Fresh From His Aurora D Raynes Project With Dan Dans K In 2018.

Support From Tom Ravenscroft And Giles Peterson.

The Go-to Producers For Cosmic, Rootsy Takes On Up-tempo 160-170 Bass Music, Touchy Subject's Second Four-track 12" On Rua Ups The Ambition And Knocks It So Far Out Of The Park Its Broken Windows In The Next Parish Across.

The General Ep Veers Wildly Between Belligerent, Funky Takes On Dusty 90's Boom-bapàla Dj Shadow On "shudder" And 'turnt Up', Cavernous Soundsystem Workouts On "seek And Find", And The Febrile Halftime (just) Jungle (barely) Title-track "general" Bringing The Emotive Goosebump Vibes.

This Is Soundsystem Music Par Excellence, Cerebral, Heady, And Rousing.

We Apologise Profusely To Those Of You Whose Resolutions For 2019 Involved Losing Weight, But This Is Our Fattest Releases Yet.

The second of March's PY LPs is one the label has been eager to unleash for what seems an age. The killer new full length from ace experimental electronic musician Bernard Grancher. Coming to the attention of the label via his last record on ERR.REC; PY is mining much of this current wave of incredible French electronic music (as previous releases by Dialectric, Alexandre Bazin, (Arc en) Ogive and the mighty Cite Lumiere attest to) and is in hindsight, somewhat an extension of label head Dom's own record buying and digging habits just now (70s French synth LPs featuring heavily in his Utrecht fair baggage twice yearly!)

Grancher himself began his 'career' as a somewhat under the radar, host / director of 'mostly forbidden' radio programmes, where in Bernard's own words, he created 'incongruous sound collages, that gradually slip towards noisy or disturbing sounds intended to replace the music of others', within its broadcasts'. Then, armed with a large accumulation of 'machines I found at low prices, with an unknowing of quite how they function' he sought the help of friends Yan Hart-Lemonnier and Eric Lumbleau (from the hugely respected 'Mutant Sounds' blog, and his project Vas Deferens Organazation).

Then, having released what he describes as two 'rather talkative' LPs by taking again 'the concept of it's emissions: Hallucinatory slogans and Electro punk', Grancher, then released with ERR.REC, leading in turn to the PY full length here.

A fabulous LP hugely recommended to all kraut heads, experimental electronic sound collages, motorik grooves and minimal synth all figure strongly. To use one final quote from Grancher; 'Abandon any idea of listening comfort; this record leads you into a dangerous race that will be impossible to jump on'.

300 copies on vinyl only, released 2nd week of March.

MODU:LAR Music is a new label project born from established Liverpool-based collective, which has now been running for five years. Promising to release straight-up party tracks made for the dancefloor, the label will showcase and expose emerging talents from it's home city and beyond.

First up is a debut four-track EP from Scouse duo, Danny Mc and James Hall a.k.a. UZU. 'The A1' fires off with a swinging, housey groove that's brought to life by danceable pads, kicks and hats, interweaving warm melodies across the duration of the opening track - before a sharp change of direction with 'The A2' sees the feeling head down a contrasting electro-tinged beat with percussive highlights coming through strongly once again, likely the product of Danny Mc's influence on this debut vinyl release as an accomplished musician and drummer.

On the reverse, 'The B1's glossy and sophisticated breakbeat core sweeps into warm synths and vocal constructions that put forward a real garage-like note that'll be a strong fit with different environments and play times. Rounding up the record is a punchy, driving roller that features complex electronic, spacey accents polished off finely by Jim Hall - a signature of both artists production style that'll become more and more evident in future work.

Following his highly praised album 'Word Color' from last year, Gacha Bakradze offers up this stunning EP on Fever AM. 'Monument' sees the Tbilisi based art- ist taking us on a refreshing, sublime journey over 4 pieces featuring his signature melodies, broken beats and striking sound design. Gacha pulls off a very well rounded EP here that works perfectly on headphones at home or on a sound system in the club.

This is also the first artist besides labelheads Mor Elian and Rhyw to appear on Fever AM, opening up a new phase for the label.

Tone Series Remix Series Is Back At This Beginning Of The Year 2019!

On The Occasion Of Our 4th Release, We Welcome French Dj And Music Producer Djebali, Boss Of The Eponymous Label
( D J E B A L I ) And Co-owner Of Elephant Moon, As Well As Moroccan Artist Adil Hiani, One Of The Two Heads Behind Cosmo Records,
The First Moroccan Electronic Music Label. Whereas Djebali Proposes A Groovy And Swinging Tech-house Remix Of David K's Mind-blowing Featherhand (ts09), That Came Out In June 2016, Adil Hiani Delivers A Clear-cut And Thoughtful Interpretation Of David K's Sunny Hawaiian Jam (ts08),
That Oscillates Between Breakbeat And Dowtempo.

Seb Zito is one of the essential pillars of the FUSE London crew and his productions always pack plenty of attitude. Drawing inspiration from rave records of the 90s, he returns to the label with The Source EP, a no nonsense two tracker.

The title track is razor sharp starting with a solid kick and a skippy pads before meandering through breakbeat at halftime. The One heads down a deeper road, but still pays homage to classic rave with a propulsive, low-slung bassline and soaring, dizzying pads remerging post-breakdown with a series of breakneck claps. Another great release from this great talent!

This EP focuses on the group's prescient dance-floor DIN-sync workouts which share sensibilities with contemporaneous early Detroit experiments by Juan Atkin's Cybotron, Ron Hardy's visionary Kikrokos tape edit, Shoc Corridor's extended 808
exercises, and 90s Techno Pop by Haruomi Hosono. Rounding off the EP is the existential electronic soul ballad Words. Remastered from the original reels, 45rpm DMM pressing.

Kansas City, 1983: a band formed, wires connected and synapses fired. Three friends, tired of guitar/bass/drums rock started jamming with newly acquired synths and Roland TR 808. They called themselves Short-Term Memory. Thanks to the vanguard technology of the time, these electronic instruments spoke to each other, and Jim Skeel, John Paul & Robert Duckworth could program their instruments, riding the DIN-sync wave. Weekly jams became more ambitious, and in 1983 they released their first album Every Head Needs Cleaning on their own Silly Poodle Music label. Over the 80s members drifted in and out of the group, and they released two cassettes, an LP and a 7' EP. By the 90s Jim Skeel was at the helm, the only original member, and joined by Tim Higgins he continued to record in MIDI mode for a few years before pulling the plug, leaving recordings and memories that resisted the great fadeout of time, and today sound vibrant and more visionary than ever.

Following 1 or 2 small run / mailorder lathe cuts, Polytechnic Youth follow it's hugely successful 'Popcorn Lung' label compilation LP, with it's first full length of the new year, and man... this one is just wonderful! A mighty record to kick off what promises to be another hugely productive, constantly busy year for the Crouch End based synth label.

PY often likes to quote the artist directly in it's press releases, and this one is no exception. Gabe's own words, more than adequately explaining the path leading to this killer set for 2019; 'It feels a little ridiculous to pretend that the person introducing you to Gabe Knox is some kind of bigwig press agent and not just Gabe Knox himself, so let me, Gabe Knox, tell you a little about myself in that hopes that you'll give my music a listen.

In 2014, after years of moderate success as a local musician and club DJ in Toronto, Canada, I looked at my collection of barely functioning analogue synths and drum machines and said to myself 'Instead of trying to unsuccessfully make music you think other people will like, why don't you make something that you'd actually want to listen to for once' I wanted to make music that had the drive shaft of Neu!, the punishing low end of King Tubby, the interleaved melodic lines of Vince Clarke, the melancholic, otherworldly whimsy of Raymond Scott and Delia Derbyshire, the hypnotic drone of Spacemen 3, and the analogue intimacy of Le Car. I wanted to bring the euphoria and hypnosis of dance music to the rock kids, and the energy and excitement of rock music to the dance kids.

This was going to be a tough sell in the clique-y Toronto music scene, so I figured the best way to get the music out there would be by recording when I can and self-releasing a steady stream of EPs online. They would all be a series, a snapshot of the evolution of that initial idea. ABC represents a compilation of the best songs of the first three EPs, subtly remixed and remastered to best suit vinyl. I hope you love listening to it as much as I loved making it.'

This really is a remarkable record. Displaying all the PY traits of icy cool blasts of minimal synth, motorik grooves, melodic pop via passing nods to early mute and sky records. Never before did label head Dom think he'd get the chance to namecheck 2 musical heroes from wildly differing poles -Vince Clarke and Spacemen 3- into one LP PR sheet, so he's understandably excited for this one's release!

250 copies on yellow wax in hand numbered, reverse board sleeves. Sure to go real quick....

There are some elements in electronic music that make them timeless, elements that if melted together they can give an impressive result, to the mind and to the body. Sawlin - Ursprung is the first album of the career of Sawlin, after his debut in 2010 he evolved like a wonderful orchid, an orchid that never followed the flow of the other flowers around him, but found his own way to the music. Ursprung is the result of an interminable evolution in the mind of the artist, 8 elements that complete a circle built on a very mysterious atmosphere, like a film that you never saw, but you always had in your head, something more bigger then a memory, and something more deep then a picture. This 8 elements are the blueprint of the work that comes from the background of the artist, Deep raw imaginary pictures, mixed with oldschool wallpapers of a new wall based on an old concrete. Sawlin Mix the new to the old in a way that no-one can do, and probably no-one risked to do. This is the power of an artist that needs more attention and more time, you can feel at the first listening that there is something really big going on, but you need time to understand what he wanted to create, meticulous details that he wanted to paint, in a way that we cannot see them at first, but we find them quite impressive after. Sawlin present himself in the most modern way he can, no compromises, he don't want to please you, he want to paint the future. in the most Artistic way possible.

Despite sounding like an 80's cassette only wave outfit La Stèle des Pleurs is a contemporary band from the north parisian suburbs.

They're mostly inspired by the underground tape scene of this period and use a 100% analogue set from synth and drums machines to tape recorders according to their unkwnown masters.

The 7 tracks of this mini-LP are only instrumentals somewhere between the melancholia of Enno Velthuys and the heady sound of Stratis. Their music seems untouched by contemporary world and influences, recorded in order to compose their own enigmatic but familiar universe.

Gloomy landscapes and feelings may appear but surrounded by a glimpse of hope.

Limited to 300 copies.

53 Degrees North marks SK_eleven s seventh release, as Setaoc Mass continues to add to his flourishing imprint; this time with a two-part EP release. 53 Degrees North Part One focuses its efforts on four-to-the-floor club-centric music the label head is renowned for. All four tracks are emblazoned with his signature, disparate pairing of light and dark sound palettes glued beneath rich, atmospheric textures and hypnotism - all the while keeping its muscular club chassis gleaming beneath. Part Two of the double release sees Coates revealing more of his experimental side. The second cut pays homage to past influences of the producer as he floats between ambient, IDM and electro cuts with ease, all rife with emotion and passion.

Prolific soul man Carlton Jumel Smith made a fresh opening into deep vintage soul sounds with his Timmion single debut. Now he's back for more with the dancefloor track "This Is What Love Looks Like", paving the road towards his album, which is dropping on Timmion at the beginning of 2019.

Think of classic funky soul with a little bit of Chicago, some Tighten Up guitar and blaring horn melodies, and you get an idea, where this energizing groove is headed. Carlton gets going with his soulful testimony, while the A-list of Finnish soul and jazz players from Tuomo Prättälä and Jimi Tenor to Jukka Eskola strengthen the Cold Diamond & Mink band to new heights.

If the first single dripped with heartaches and bitterness, this one is a monumental sonic heart emoji instead, seasoned with sweet sunshine. Even though Carlton can play any part the lyric casts him in, the conveyor of positivity suits him well. In real life it's not rare to see the man smiling, and when performing he oozes with peace, love and soul, turning the audience inside out. Here he's laid down one for the dancers!

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

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

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

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

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

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

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

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

Tetrad makes a welcome return to Foundation Audio for the labels 10th 12' vinyl release, precisely a year after his debut 12' with brother Dillon aka Ahkur.

FAV010 is overflowing with big bass lines and dub influenced soundscapes which take you on a journey from beginning to end. Sound system music at its finest from the LA based dub head and a fitting way to celebrate this milestone for the label.

South Cali classmates AFK and Bludwork come from oceans apart -South Korea and Georgia, respectively - but their intertwined social /sonic chemistry are proof that true vibe unions transcend geography.

The pair initially bonded over teacher pranks and 420 habits before rendezvousing off campus to link rigs and jam live electronics, eventually culminating in the six smog-smeared low-key bangers comprising their vinyl debut, Loyalty N Service.

Alternately coastal and concrete, the songs slide between smoky sunset house ('Akina Memory,' 'That Pain') and funked up warehouse bass ('No Equal,' 'Searchin'), tag-teaming melody, MIDI, and drum machinery into compelling composites of Pacific motion and emotion.

Blud is blunt about their bond: 'AFK is one of my most cherished friends; I'd do anything for this guy.' This is music from the heart and for the heads, pensive and propulsive, loose and liquid, raw and rising. 'One of our biggest inspirations is the Rush Hour films. We're the best Black and Asian duo since those guys.'

GREY Area is the new album from Little Simz, her third to date following

mixtapes/EPs and two critically acclaimed albums.



Simbi Ajikawo, crowned Little Simz, lets her work do the talking - and her prolific releases and

boundary-breaking achievements clearly tell a story of a pioneering Hip Hop artist who leads the

way on her own terms. Giving lauded, energetic performances, critically acclaimed albums, sold-out

headline shows around the world, and international tours with the likes of Gorillaz, Anderson .Paak and

Ab-Soul, this visionary 24 year old woman from North London is living out her childhood dreams to heights of

excellence - and inspiring her generation to do the same.

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

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

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

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

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

Night Drive encourages you to enjoy the ride with your car windows down, and volume & bass at
the highest volume possible. Cruise the back roads during Sunset hours, or through some city
lights, as the album titled track 'Night Drive' gives you a warm & fuzzy funky feeling from head to
toe.
'Moving And Dancing' will surely make you move every limb in your body, and it's set to be a
dance floor jam in 2018 & beyond. This melodic groove & retrofit tempo features Brian Ellis on
guitar & Chini on Vocoder & production, setting the upbeat tone for the remaining tracks off the
album. 'Freak Out' features the iconic Linn Drum, who pulsates a heavy groov & Moog bass line
from start to finish. Crunchy vocoder lines, soft pads from the Oberheim, and Chini's experimental
live drumming at the end is sure to make your body move.
'High Life' brings an arrangement of synthesized vocal pads from the Sought-after Korg DVP-1,
which will make you feel like your head is in the clouds. A four on the floor disco tempo from the
LINN drum, a catchy delayed lead & dry bass line form a psychedelic tinge & feeling. This track sets
itself apart, and hopes to please music lovers everywhere. 'Waiting All Night' features Portugal's
underground Funk front man Sair, while Boy Dude (Adam Chini's brother) lays a funky bass line
over the top from start to finish. 'Wanna Do Ya' is a track strictly for the Break dancers & Poppers.
Layered vintage drum machines, Jonzun Crew sounding vocoder parts, and a dirty bass line, set an
aggressive mood for the second to last track. Chini takes you on a wild ride, while closing this track
out with his heartfelt lead solo. 'Clap Boogie' was meant for the 1970's. Chini drives the tune with a
loose style of live drumming, Stevie Wonder influenced clavinet work, dirty bass lines, Brazilian
instruments, live percussion, and more. Cruise in a low-rider & turn the volume up. This tune sets
the tone for what's to come from Chini's future production & style, and will leave you wanting more.

Hip hop heads, 7" freaks - Check this one!

Earth shattering early 80's Bronx sounds transmitted back to us as fresh as the day they were terraformed!
NYC's Easy Street label is known for it's contributions to house music, electronic disco and boogie, but there was a handful of early rap singles on the label too including this megaton bomb from the freshly monikered Lil' Jazzy Jay & Cool Supreme from '85, all the way live. This record has it all, dubbed out FX, vox, cuts and brain frying vocoders..... not to mention the monolithic drum machines and dope braggadocios rhyming.

This is the FIRST TIME this mid 80's rap rarity has been made available on a 7". Both the 'club vocal' & 'dub instrumental' are featured here, cut at 33 rpm for maximum sonics. Made available courtesy of Above Board distribution for 2019. Shout out to Easy Street, %100 legit re-issue, re-master & re-press, essential wax!

Schmer has tried to stop, we've all gone into therapy, but there's no hope, short of setting the world ablaze: we can't stop smoking! 2019 see's Schmer pressing TECHNO records in the EU and PRICED in Europe as a domestic release. As if the continent didn't already have enough problems, here we come with our latest COMPILATION!

First to drop a match is Amber Shoshona aka Bastet. She is a live electronic music performer and DJ based in Baltimore, MD USA. Her live set is coarse-grained and atmospheric, developing a slow-burning, hypnotic groove. In the studio she creates genre bending electronic experiments. For Schmer she made 'Torn', which sneaks right up to you and lights you up.

Delivering oil to the blaze from deep in the Russian arctic is Maxim Makarenko aka 777minus111. The unknown hero from the Russian Techno label he remains in the shade and keeps it real! He runs underground parties in Moscow and is a member of Vinyl Ambulance project in India. He keeps our compilation 'Getting Dirty Quick' with his Dan Bell inspired MINIMALISM.

On the flip the fires start with Vague Audio Tapes label head Dominic Martin aka Hero/Victim. Hero/Victim is a sonic attempt at translating unanswered and unheard emotions. Visceral and physical; so as to both, engage and purge the evolving dissonance. Never content. With sound as a context-sensitive metaphor, stories are heard. He also makes weird electronic music and then Schmers all over us with a 'New Stress'.

Schmerhead BPMF hides a track from another release in this inferno. Its super short as in it goes on FOREVER with a LOCKED GROOVE at the end. If you're gonna be an emcee, do it in a Wormhole on a LOCKED GROOVE so that the rock will never stop.

Liza Weinstein, Zach Vietze and Jason Szostek were Jack Move. In 1994 they may have made two tracks together, but this is the only one we found lying around in the basement floor. Long before the skinny jean hipsters were rocking beats deliberately designed to confuse the dance floor with their lack of flow, The Jack Movers were experimenting with cryptic funk... It was a Jack Move on their part and they immediately ran out of town to escape retribution, leaving behind their 'Krippy Shit'.

We Can't Stop Smoking so you'll always be able to find us because where there's smoke, there's fire... and where there's TECHNO there's SCHMER!

There are some elements in electronic music that make them timeless, elements that if melted together they can give an impressive result, to the mind and to the body. Sawlin - Ursprung is the first album of the career of Sawlin, after his debut in 2010 he evolved like a wonderful orchid, an orchid that never followed the flow of the other flowers around him, but found his own way to the music. Ursprung is the result of an interminable evolution in the mind of the artist, 8 elements that complete a circle built on a very mysterious atmosphere, like a film that you never saw, but you always had in your head, something more bigger then a memory, and something more deep then a picture. This 8 elements are the blueprint of the work that comes from the background of the artist, Deep raw imaginary pictures, mixed with oldschool wallpapers of a new wall based on an old concrete. Sawlin Mix the new to the old in a way that no-one can do, and probably no-one risked to do. This is the power of an artist that needs more attention and more time, you can feel at the first listening that there is something really big going on, but you need time to understand what he wanted to create, meticulous details that he wanted to paint, in a way that we cannot see them at first, but we find them quite impressive after. Sawlin present himself in the most modern way he can, no compromises, he don't want to please you, he want to paint the future. in the most Artistic way possible.