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Pique-nique Recordings is proud to present 'Investigate and Enjoy', a deep musical conversation between two of New York City’s most prolific musicians, Dave Harrington and Kenny Wollesen. Harrington (Darkside) and Wollesen (Sex Mob) use a shared language of texture, groove, and space to craft intricate, free-formed, and inventive experimental music.

Wollesen’s forceful percussion opens up side A, which grooves heavily underneath Harrington’s skittering electronics. The flip side features sparse yet rich guitar tones on what Harrington and Wollesen refer to as an “improvised ballad.” Both pieces resonate with a powerful mood as hints of late-Talk Talk and Battles permeate these unique recordings.

This release is part of an ongoing series that aims to capture the New York City jazz scene in its current, always evolving form.


"Of all of the things we've done together over the years, playing as a duo has been one of the most special to me. We never rehearse, we never play any songs, but Kenny and I find ourselves writing music together in real-time. Kenny is the rare drummer who has the ability to not only supply a sort of canvas for another musician to work inside of and to paint harmonically on, but he can make the frame around it, and he can splatter paint himself in a meaningful way that has the power to change the whole shape of the shared dream of an improvisation.

We have recorded together a number of times over the last several years and this music came out of one such meeting. While it is no exaggeration when I say that having my name next to Kenny’s on a record sleeve is a dream come true, the real dream is getting to make music with a true master." - Dave Harrington

Kumail is a musician, producer, performing artist Mumbai, India. Over the last four years, he has ascended to the very top of India's burgeoning culture of electronic music on two parallel paths - as a gifted musician and bandleader drawing expansive canvases of rhythm, texture and emotion, and as a roughneck DJ notorious for breaking ankles. Having started off plunging deep into lo-fi ambient electronica, Those paths have led him to a DJ set at Dimensions Festival 2018 in Croatia, a string of several live festival dates across India, and extensive touring across the country. In the past, he has shared the stage with the likes of Shigeto, Four Tet, DJ Koze, Teebs, Ratatat, Mount Kimbie and Kutmah, and been featured on Boiler Room, Sofar Sounds and COLORS

The new album "Yasmin" was always meant to be the birth of a new sound for Kumail. After spending his formative years delving into textural lo-fi electronica and textural ambient music, he went searching for a new sound more in-tune with his older, more mature, and more thoughtful self. What began as a study of modern soul music – drawing heavily from R&B, jazz and hip-hop – eventually sprawled to include flavours from across the world and time. 80's Japanese funk, crackling gospel, shiny disco, cutting-edge LA beat music and the omnipresence of Dilla, all leave their faint but indelible mark.

But deep within, Yasmin is a gritty world in which not much is going right. That world borders on real-life struggles with sleeplessness and anxiety, and being cooped up in a room in Bombay, India, which is where (and how) most of this album came to life. Countless nights spent making music to distract from a lack of inner calm and rest.

Despite deliberately steering clear from sampling for his career thus far, a day spent digging in Istanbul ended up inspiring much of the album – not only did that day yield a discovery of Pierre Akendengue's 'Olatano, w'intye so du s' Afrika' (a sample of which appears on 'Obota') but also a range of 80's soul records that transformed Kumail into a student for the next two years. With a renewed focus on musicality, practising playing the piano, learning new songs and improving production skills, Yasmin evolved into a 30 minute mood-board of lush voicings and explorations beyond just beat-making. The ensuing recording sessions featured a line-up of both all-star local session musicians as well as invited collaborators - Sid Vashi and Pink Siifu both deliver memorable features. Despite vocal performances eventually making their way onto nearly all songs on the record, Yasmin was never meant to feature Kumail's singing. With or without vocals, Yasmin's triumph is that it is nevertheless unmistakably the sound of Kumail finding his voice.

Sutja Gutierrez is back on Lumière Noire. The finesse of his productions and his implacable stage performances have given him a special place within the Parisian label. In 2017, he released the EP "The Legend of Time" and one year later, he appeared on the compilation From Above with his track "Allodoxaphobia". He comes back here with an LP entitled PHYLAX SOCIETY, which confirms that Sutja Gutierrez is indeed an artist in his own right. Phylax means guardian in Latin, and the album’s title is directly inspired by the “Phylax Society”, a group of people who, in the late 19th century, wanted to create the ultimate canine breed, but who due their lack of consensus failed and dissolved. Later on, an ex-member eventually bred the very first German Shepherd. On this heartfelt record, as emotional as it is catchy, the artist deals with the feelings that come after the loss of a loved one, chiefly nostalgia and melancholia. The result is an ardent record where crooning is sincere and never a posture. The artist’s lo-fi psychedelic pop trademark oozes in every track of this album. Many of these songs feature his vocals, often doused in ethereal echoes or even shrewdly chopped and distorted in a way that reminds us of the great musique concrete experiments of the past. A DIY approach sometimes indebted to punk and post-punk music, all mixed with a vast variety of traditional pop instruments such as guitar, bass, electric keyboards and real drums, but also drum machines, synth bleeps, found sounds and other strange but fascinating samples. EMPTY FLOWER POTS, which was released as a single ahead of the LP, is definitely one of the album’s standout tracks. This catchy mid-tempo song is the perfect entry point into Sutja’s finely twisted world. A world in which you can find that particular balance between nostalgia and optimism. Oh, life is great, what is life? Life is death. . he sings. It is one of those songs that stays in your head for a while. Do not let the idea of alternative pop fool you, it is quite impossible to listen to any of these songs without reacting in some way or another through moving, dancing or thinking, regardless of the tempo or meaning. I’M DIGGIN’ might be the perfect example of this. Deceptively simple and far removed from dance music, this rock-infused number will not only have you singing along instantly, but you will also find yourself dancing and responding accordingly to the energetic mantra of this song... I'm digging for the truth, I am so diggin' into it. Truly, the dance floor is never too far, sometimes quite blatantly and sometimes in a more oblique fashion. Another case in point is PHYLAX SOCIETY, the eponym track which closes the album, a song in two parts, where a slo-mo club groove carries Sutja’s trademark singing to yet another level of uniqueness, with his surreal soundscapes, twisted melodies and everyday life sounds. An ode to humanity and an homage to the ones who are risking their lives every day in the mediterranean sea. It is rare to encounter an album which is immediately satisfying on one hand but also reveals more and more beautiful secrets with each listen. PHYLAX SOCIETY is clearly one of those special albums.

Christoph de Babalon has relished the two years since his last full-length outing for A Colourful Storm, crossing paths with a new guard of prodigies while maintaining ties with a legion of disciples. Aphex Twin, his old foe, even played "Realistic Riot Ritual Routine" at the now-infamous Warehouse Project set, smashing it to bits and pieces over "Polynomial-C". Recurring Horrors dives deep into de Babalon's DAT archive, dragging out ghosts while pressing the jaw-dropping, nine-minute breakcore epic, "No Man's Land" to vinyl for the first time. Unmissable smut.

Pudel Produkte 33 is like a time machine back to homely MFOC ages when Rephlex' very own IG-88 used to be a resident at this very Hamburg club and MFOC-promoter Raf jokingly insulted Richard D. James (with the Aphex Twin standing right behind him, mind you). Blessed times indeed, which quad-ratschulz perfectly emulates with his exquisitely constructed aural body made of braindancing melan-cholodies and thrilling electro boogie. Ralf & Florian meet AFX in an elevator and do have some sto-ries to share. An EP so good you are asking yourself if the upcoming Remix EP can top that (hint: it can). Meanwhile, the dancefloor dictator issues a strict buying order! (Superdefekt)

Regarded as one of the greats from Detroit, Rick Wade has crafted an incredible discography of tracks blurring the lines somewhere between deep house and techno with a sound and style brilliantly his own. His outstanding 'Timeless EP' from 2017 returns to Elypsia Recordings with an onslaught of remixes delivered by a diverse and unstoppable roster of modern musical mavericks - each respectfully twisting the original magic of Rick's original productions and creating a fresh take in their own style.

The Way I Am' comes in the shape of Tresilo aka Oliver Way (of Detroit Grand Pubahs), Esteban Adame and Ben Long (of Space DJz) and is an absolute belter of a prime-time stormer. Dominated by gigantic synth melodies, the track weaves around percussive alterations with hi-hats, sharp claps and energetic rides paired perfectly with the catchy musical wiggles and kicks. The familiar vocal sample from the original sneaks into play with perfect placement - offering a reminder of Rick Wade's awesome original.

Rick's previously unreleased track, 'Academy' receives the first of two remixes from Seattle house hero Pezzner. The 'CR2' Remix takes the groove into subterranean territories with a heads down bouncer of a track, fully embracing Pezzner's more house-focused approach. A percolating bassline keeps the cut moving ahead while soft, divine pads offer a classy sonic texture suitable for wide-eyed ravers and urban headphone listeners alike.

Detroit's Vintage Future joins the remix roster with his take on 'Planet Deep,' one of the standout cuts from the original EP. The track is absolutely saturated with Detroit soul. Deep, machine driven textures and gorgeous otherworldly melodies rest alongside a truly infectious groove. The famed keyboardist for Model 500's live gig, Vintage Future knows clearly how to craft an incredible groove with his keys, and the sounds from this impeccable remix are tip top.

The second remix of 'Academy' from Pezzner continues his remix focus in a deeper house mindset, with Pezzner delivering even softer sounds, and more intense pad dynamics. This retouch includes the addition of some gorgeous orchestral stabs and organ textures which gives the remix a soulful touch - made to focus on a slightly more melodic approach than the previous Pezzner rework.

Barry Brown one of reggaes vastly overlooked talents. His militant conscious style has over time lost none of its appeal. Truly one of the sweetest roots vocalists to come out of Jamaica.

Born in 1962, Kingston, Jamaica, he cut his musical teeth working under producer Bunny Lee. Their first release was a track called ‘Girl You’re Always on my Mind’, although a minor hit, Bunny Lee saw his potential  and was rewarded with his 1979 cut ‘Step it up Youthman’ which became a hit  and has become a roots classic, leading to an album of the same name.  The late 70’s was a great period in Barry Brown’s career and its from this period that we have culled this set of tracks. Straight from the master tapes some of his finest moments and some unreleased gems that we believe should be heard. A great set from his timeless 'Trying Youthman' a tail of struggling times in the heart of Kingston Jamaica.
His rastafarian inspired chants 'Stop Them Jah Jah','Give Thanx and Praise','Natty Rootsman' and 'Lead Us Jah’ work alongside socially charged cuts as 'Politician', 'Big Big Pollution' and 'Mr Money Man'. As with all his tales and inspired lyrics they are put across in such a tuneful way that like all the best songs that carry a message can be remembered also through the strength of the song.

As with many of his artists Bunny Lee encouraged him to go into self-production, and after a time spent with producer Linval Thompson ‘Separation’, and Sugar Minott ‘Things & Time’, he did just that and produced his first release ‘Cool Pon Your Corner’ in 1980 followed in 1981 by ‘Problems Get You Down’.

 We hope this release will find a place in your collection and remind us of the talent  of Mr Barry Brown. If somewhat overlooked, but certainly now not forgotten. Let’s celebrate with the man and  go to the blues one more time....

Tramp Records continues their pilgrimage to the soulful fringes of spiritual jazz and progressive rock and funk with their 3rd and 4th volumes of their "Peace Chant, Raw, Deep and Spiritual Jazz" series, and the world could not be more ready.

As we turn together on this tiny blue ball hanging lonely in space, and as we together face existential threats ranging from climate catastrophe, the rise of brutal authoritarian regimes, the breaking of the industrial storm and the imminent collapse of empire, not to mention the raging covid-19 crisis and the continuing racial and social struggles across the globe, we are thrust into a society-wide grand awakening that has been in the making for a very long time. Of course, our musical teachers have trod this path before us, and have worked out solutions to these problems, the songs of the Peace Chant series ring out loud and clear as our ancestors' proof of concept. They say history repeats herself, maybe it's because we weren't listening the first time. Thanks to Tramp Records, we have been granted another opportunity.

Today, the musical and spiritual truths enshrined within the spiritual jazz diaspora seem to be more and more sought-after, and crucial at a time when we as a society seek higher and farther for those bold truths. With each generation, that truth doesn't change, and the artists featured in the series speak those truths along a continuum that ranges from the late-60s up to the present day.

Volume 4, the second LP opens with a gorgeous and lush Wurlitzer-oriented big band piece that among its many treasures also features the 17-year-old visionary-saxophonist-to-be, Steve Coleman in his alleged first recording! The contributions of Brother Yusuf Salim and Bus Brown, figures who should be very familiar to Tramp Records aficionados, are consecrated here with a live recording of Freedom from one of Brother Yu's last public performances. One of the two European contributions to the comp, Attitude, by Organic Pulse 'onesemble', reads like a double entendre, the word "attitude" meaning simultaneously one's disposition or state of mind, and also one's orientation relative to the horizon. The Peace Chant series continues to touch all the sacred meridians: more devotional music with James Scales & All Stars' Ser-Vi-Tude, trance music of non-dominant traditions with Donn Preston Group's Ghana-Cha!, a modal and blue organ trio offering from Tommy Jones, and closing with a rich and righteous ballad, Quernemoen, from the Wayne Powell Octet.

Peace Chant is the center of the mandala, representing the nucleus of the post-bop, modal jazz, avant-garde, transcendental, spiritual, ethnic, and freedom music universe without necessarily suggesting anything immediately identifiable as any of the above. This is the soundtrack to the raising of human consciousness and the salvation of society's very soul.

We give thanks to Tramp Records for leading our thirsty hearts to this rich fountain.

This 10th anniversary release of Spaven's 5ive on vinyl for the first time celebrates one of the UK's most phenomenally talented drummers. With roots in the UK club and hip-hop scenes, Richard Spaven brings a fresh approach to the instrument that's at once modern and traditional.

Combining machine-like accuracy with jazz-influenced improvisational sensibilities, Spaven's drumming landed him gigs with vastly varied artists such as Guru, Flying Lotus, The Cinematic Orchestra and jazz/hip-hop vocalist Jose James. His brilliance is evident beyond his world-class performance abilities as he's equally impressive in production and compositional territories.

Spaven's signature drum sound often sees him combine high-pitched, crisp snares, round jazzy toms and small punchy bass drums. His cymbal choices are a sonic contrast of dry, lower-pitched hi-hats, rides and crashes.

Altogether, the drummer's tone could be described as a nod to the past while keeping an ear to the future.

Spaven's 5ive is released as a limited clear vinyl edition for Record Store Day 2020.

Heavyweight 12" just in time to soundtrack the demise of humanity. No internet-ready 'deep' home listening tracks but a continuation of the previous 12"s. Big nods to the past, but then again it somehow seems fitting that our demise is founded on the relics of the past. For those who like to get wild or die trying!

The Futurists rejected tradition and introduced experimental sounds and this fact, that influenced a lot of composers during the 20th century, helped them to build a concept that started the career of Barcelona based duo Iro Aka. The evolution of their music started with this EP, fluctuating through psychedelic and esoteric influences, taking as its main references the continuous technological evolution and those new techniques to make electronic music. “Futur” is an extract of the first ideas of Iro Aka. They started the project at the beginning of the 2017 and this EP was produced then, showing the abstraction that they felt at that moment, a path drawn by different sounds that came from different people and different places.

Tapan leaves their mark on Zukunft with reimagining the original as a slowly building, tribal inspired and almost sitting in an alternative timeline. Clever use of percussive elements does not take away from the track being playable in the club.

The slightly psychedelic dance floor experience is delivered by Anatolian Weapons. Pulsating rhythms intertwine with classic drum sounds and paint a mood almost contradicting the vocals of the track. Perfect secret track for any dance-floor.

Third number in the DDS split series after a pair of releases courtesy of Betonkust/Uj Bala and DJ Overdose/Sematic4, "DDS03" sees Budapest duo SILF (alias Farbwechsel chief-operators Alpar & S Olbricht) and Den Haag-based pair Intergalactic Gary and Pasiphae join forces on a quartet of elusive, unpigeonholeable power moves.

Four years after the drop of their debut joint EP on Biorhythm, "Made of Glass", I-G and Pasiphae are back at it with two left-of-centre hybrids of futuristic techno on a whirring electro-industrial tip. An off-kilter jam percolating fine hints of spiritual elation and post-apocalyptic anxiety, "Microwaves" gets the ball rolling on a dichotomous note. To slo-scudding flocks of loud, bouncy kicks supersede skeins of brittle chimes and rattling drums, all woven together by subtle tectonic shifts of moody pads.

A further hi-intensity affair, "Indistinct Chatter" drives that essential heavenly/nightmarish duplicity to higher spheres of consciousness. Fusing lighthearted, daydreaming tonalities with brooding, cavernous onslaughts from the depths, the track has us navigating in a zone of its own, deftly oscillating betwixt moments of mystique-imbued euphoria and darkling introspection. A choice exponent of the Hague-based dyad's capacity at busting antiquated patterns and limitations.

Having slept in the label's vaults for a few seasons, the two tracks composing the B-side emerge from their slumber in all their time-proof bravura. An in-your-face trampler, the ten-minute long "Mono Miner" takes no byway to get its point across, all set to smash basements and warehouses by the dozen with its electrifying compound of 909-emulated gut churn and spinning synth arpeggios circling like birds of prey over your sore, rhythm-enslaved carcass.

Closing the journey on a much softer, hazier vibe, "Aces" steers us towards a realm of ambient wonder, where slo-drip cascades of tapping percussions and elegiac synth waters flow into warm, glimmering summer beds. A most contrasting, tranquillising finale to an EP defined by its propensity to change colours and intensity throughout.

In 1988, after their fifth album for the Virgin label, Martyn Ware, Ian Craig Marsh and Glenn Gregory decided to rest Heaven 17. In 1996, after various British Electric Foundation and individual projects, the ensemble re-grouped to record “Bigger Than America” (now available on DEMREC414 on orange vinyl).

In 1998, Heaven 17 decided to play live for the first time, and a concert was recorded and released in 1999 as “How Live Is”. Aside from a blistering version of “Temptation”, the album also features H17 faves “(We Don’t Need This) Fascist Groove Thang”, “Crushed By The Wheels Of Industry” and Human League’s “Being Boiled”.

The record is pressed on 140 gram clear vinyl.

POWER UP will be available in multiple configurations that will excite collectors and die-hard fans alike, including digital, CD, and deluxe versions. The limited edition, one-of-a-kind deluxe POWER UP box is the ultimate fan package. Hit the button on the side of the box and watch the flashing neon AC/DC logo light up while the opening bars of “Shot In The Dark” blast out of the built-in speaker. Inside the box is the full CD package in a soft-pack with a 20-page booklet that features exclusive photos and USB charging cable allowing the box to remain powered up and on display. The vinyl LP will be pressed on 180 gram vinyl and housed in a gatefold jacket.

Chris Stapleton veröffentlicht sein brandneues Studioalbum ”Starting Over”. Es beinhaltet 14 Titel und wird Chris’ erstes neues Studioalbum seit seiner letzten Veröffentlichung im Jahr 2017 sein. Die erste Single ist der Track ”Starting Over”. Er hat bisher 5 Grammy Awards, 7-ACM Awards, 10-CMA Awards und 5-Billboard Music Awards erhalten. Mit seinen ersten drei Alben hat er bis heute über 8 Millionen Units verkauft, darunter sein Debütalbum ”Traveller”, das sich bis heute über 4 Millionen Mal verkaufte.
Sein gemeinsamer Song mit Justin Timberlake ”Say Something” war auf Platz 1 der deutschen Radiohits.

Recorded between 1985 and 1987, this album brings together the two founders and leading performers of candombe-beat, Ruben Rada and Eduardo Mateo. They hadn´t collaborated in a project since 1969. Both artists had reached their creative prime, with Mateo having released “Cuerpo y Alma” and Rada, “La yapla mata” (which included the classic song ‘Tengo un candombe para Gardel’). 140 gram vinyl with OBI & Insert



This initiative sprang from the artists themselves. But when it was time to create, they rarely got together in the studio, preferring to work on their own. Once finished, the album failed to make an impact, since neither of them promoted it.

This revival brings that semi-hidden treasure to light. It includes two tracks of the artists strictly performing a duet, the only recordings of Mateo and Rada working alongside each other and no one else. It also contains two additional tracks where you can relish Rada accompanied by Mateo’s guitar and Mateo backed by Rada’s percussion. It includes a track where Mateo commands the instruments (as in Mateo solo bien se lame) and another with Rada’s solo on vocals and percussion. There are instances when Rada’s band of that moment and “super-group” (with Osvaldo Nolé on keyboards, Ricardo Lew on electric guitar, Urbano on the bass and Osvaldo Fattoruso on drums), makes an appearance. Sometimes, Urbano comes forth as lead singer, completing the triad of singers of “El Kinto”. All excellent songs.

This album is exceptional and one-of-a-kind, an overflow of talent, musicality, swing, imagination, rhythm, spark, and transcendence.

Guilherme de Alencar Pinto

2026 Repress

Following the Dream 2 Science release on the Rush Hour Reissue series earlier this year, another NYC garage classic by Ben Cenac, also known for his Newcleus outfit, gets a much deserved reissue. Unlike Dream 2 Science, which remained an obscure record at the time, Sha-Lor became an international club hit and a Summer Of Love staple song. The timeless feel of this innocent, heartfelt vocal song sounds as fresh as it did back then and is sure to fill people's hearts with joy again. This reissue features the Caught Up Version, which was the most popular mix from the origin

A welcome solo production from Igaxx on Japanese label LADYBUG !!
As with his contributions to the first release, we're enveloped in perfectly crafted, richly textured afrocentric deepness. With Detroit signatures, and a roots House spirit throughout, these tracks really sound timeless.

Hugo Capablanca provides a dark, psychedelic rework. Superb !!

Lowkey and Kardinal again.. together ! United they stand !!

A side brings an absolute killer that really deserveto become a classic... Loads of deja-vu high times … The flip is a Pure DJ Tool in the Goog Style !

A culmination of paranoia emerges as we lose the human dimension of the city. Glittering canals shape the light in our eyes as we pass by, guiding our spirits safely home as the sounds slowly fade away into night sky. It’s not our time to go although the balancing act slowly becomes more extravagant and abstract until we find another way to stand on one toe. Piecing together all the perplexations, realization that all the shit that you have chatted float down the ether stream to Timbuktu never to be seen again, and the lion at the end dribbles and spits, waiting for words of shite to come walking his way so him and his lioness can slowly butcher every last note, until just dust is left.

Supperb Ep, autorpod from austria... A banger of a kind....

Enjoy !

Black 7" dinked centre hole vinyl. Fully remastered reissue with replica artwork of this super sought after slice of 1980’s disco, 'Rockin – Poppin Full Tilting' celebrating the 40th anniversary of it's original release.

A classic in it's own right, Midland brought it back to the forefront of people's minds, expertly sampling it in the 2016 summer anthem ‘Final Credits’, leaving many scrambling to find an original copy of the 7 inch. And with prices in excess of £125 it's high time an official reissue came around.

Mow Records proudly presents L’enfants De Kita, the third album from a series of five, all produced by label owner Mowgan. Each album features vocalists and performers with African heritage, channeling Mowgan’s passion for the continent’s diverse sounds into vibrant, highly emotive productions. On L’enfants De Kita he teams up with Fanta Sayon Sissoko, a female performer from West African nation Mali. Based in Toulouse, where the album was recorded, Fanta’s musical roots go deep - her father played guitar and ngoni for Baaba Maal and her grandmother is Kandia Kouyaté, one of Mali’s best-known griot singers.

Mowgan always dreamed of working with a female singer from Mali, enchanted by their vocal style. After moving back to France a few years ago he bumped into Eric Diaouré, an old friend who he worked with in his teens. Eric is also a musician and just so happens to be from Mali. Mowgan revealed his ambitions to Eric and a meeting with Fanta was arranged - within a few days they were in the studio together.

Like the other albums in this series, L’enfants De Kita is a fusion of Mowgan’s love for African music and his penchant for electronic sounds. Fanta’s raw, affecting vocals are complemented by Mowgan’s considered production throughout with additional instrumentation from a range of performers, including a group of schoolchildren on ‘Tubani’. Featured artists include Solo Sanou (whose album ‘Soya’ was the second release on Mow Records) playing percussion, Mamadou ‘Madou’ Dembele, a multi-instrumentalist who plays ngoni, Yohan Hernandez on guitar and bass plus Madani Touré aka Chanana (a famous Malian rapper from the nineties) contributing to lead vocals on the album’s title track, with Tim Xavier handling mastering.

Mowgan’s approach to creating albums is to get a vibe going with the singer, produce a batch of songs and then select the best seven for each LP. It’s a pressure-free attitude that has led to some truly heartfelt productions, which encapsulate the purity of the creative process when it’s liberated from rigid constraints. You can hear this freedom of expression throughout L’enfants De Kita, Fanta in her element as she sings with passion and grace across all seven tracks.

The album begins with the title song ‘L’enfants De Kita’, which pays homage to Fanta’s hometown, Kita, in Mali. It is the centre of griotism, the local style of passing on knowledge from one generation to the next via spoken-word storytelling. Chanana joins Fanta on this one, which is the most ‘western’ sounding cut on the LP, Mowgan’s deft touch taking us to the dance floor, while Chanana adds extra depth with his rapid-fire vocal refrain. The glorious ‘Tubani’ tells the story of Djene Tubani, a girl who thought she was a bird. She disobeys her parents and neglects her friends, but eventually learns the error of her ways. Fanta’s vocals are amplified by the voices of a group of schoolchildren, including her own daughter.

‘Mobaya’ is a reminder that we can possess wisdom and deep knowing, but we can also enjoy ourselves; dance, sing and party. This is a club-focused production with 4x4 beats and a traditional house feel, which provide a wonderful accompaniment to Fanta’s uplifting vocals. Next up is ‘Dakan’, a cut which is all about destiny: Everyone has been put on Earth for a reason and by working together we can all achieve our destiny. Layers of percussion skip over the warm low end, with a lively trumpet appearing in the second half.

‘Dounouya’ explores the notion that we live in a world where everyone faces negative criticism. Fanta encourages us to take responsibility and move forward no matter what others think of us with this inspiring guitar-led cut. ‘Djonya’ highlights the fact that slavery still exists in today’s world - modern slavery, hidden from public view but still very much alive. “Our Africa is going to be okay if we all hold hands, if we are all together, all united,” she says. Finally,‘Badeya’, a great outtro which focuses on unity. We are all one family on this planet and this song speaks of people coming together but also respecting ourselves above everything else. The pace is slow and the instrumentation perfectly balanced to allow Fanta’s vocals to flourish.

To accompany the 18 track, 2 x CD Planisphere – Atmospheres release, we’re delighted to present another duo of vinyl for the purists. Atmospheres 2 x 12” Vinyl Album Sampler will feature 5 remastered originals alongside the brand-new Atmospheres. George and Laurent continue to click in the studio, and as the excitement built over the last few months, we just knew they were going to create greatness once again.

Vinyl 1 will house the main track Atmospheres. Taking up Side A, this hybrid groove encapsulates that Planisphere sound beautifully. Theatrical, cinematic, melodic and intriguing. Ambient sequences join a tight breaks pattern before a more driving bassline takes over along with 4x4 beats, leaving us thoroughly gratified and wanting more. On the flip, we have two gems. B1 has So Many Ways, a track that found its way into sets from the bedroom to the mega-party and beyond. A real epic, progressive trance groove filled with swirling, captivating pads and a melody that juts melts into your soul. B2 hosts Lektrophony, a solid breaks track that locks you in with its hypnotic charm and 303 lines. A relentless groover, the breakbeats are so addictive and the acid lines give it a real nice touch. Another epic smasher that never disappoints.

Vinyl 2 features the mighty Deep Blue Dream on the A side. With its relentlessly powerful bassline and dreamy melodies, this one remains a go to track to keep the groove solid. Besides the epic flavour of the track, the break on this is huge. Descending into slow moving pads, the arps never really fades before it all builds and builds into a wonderful climax, revealing powerful, sweeping strings and pads. Over on the B1 slot we have Cyborganic which intros with a Pete Namlook-esque arpeggio sequence alongside a deep droning bass before punchy kicks and huge synths take over. A proper peak time slice full of energy and drive. Rounding up this must have vinyl set in the B2 position, we have the impressive The Lost Planet, which was originally found in a superb two-part release, Sounds From Outer Space back in 2000. This one has everything, a Balearic groove with a spacey vibe. Undertones of 303 lurk as sweet, dreamy pad melodies allow us to drift.

This 2-part sampler is a must have for all vinyl enthusiasts, with limited quantities, keep an eye out for pre-order on our website and socials.

“Easy rider, come and take me higher”. When the world seemingly crumbles around, music can provide an escape few other mediums can. For their debut self-titled LP, Velour effortlessly levitate you above the madness below, each track taking a new turn, cruising over hazy flecked skylines, bustling walkways and bleary eyed bedlam. A trajectory that takes in all of jazz’s vibrancies, blending elements of neo soul, broken beat and hip hop coupled with a much-needed sense of hope across nine deep, soul-searching tracks released via WOLF Music Recordings.

A style and sound taking influence from genres and moods, environments and experiences, Essen-based Velour stretch their legs for this, their first full length album. From the off, they nestle you under their wing with the rustling sax washes of opener ‘CLP’ before diving into an epic slo-mo burner, swooping down into the chaos as singer, Eva Czaya, wistfully narrates the scenes beneath.

Unafraid to shift pace within songs, the likes of ‘Pose’, sauntering from soulful summer groove into woozy late night affair, and ‘Tom's Garage’, that progresses from roadside recounting to grungy basement blowout, finished with a sample of jazz-tinged dusty beats, show that accomplished and adept heads rest on the shoulders of these relative newcomers.

WOLF Music mainstay Mr Fries continues to head up production for Velour, his trademark touch capturing the intimacy of Velour’s sound presenting it in a way that’s considered yet raw - nothing feeling rushed, nor cluttered. A separation and space that gives each element the room it deserves to breathe, with short interludes and skits providing the perfect bridge between tracks, guiding you through smokey jazz bars and twilight whisperings.

Moving through the album, Czaya at points wanders in a serene spoken dialogue, at others letting her voice loose, but always with an ethereal demeanour that comes off with natural ease. One of many highlights, ‘Anthony Davis’ shows off this celestial prowess whilst perfectly embodying Velour’s dream-like escapism. A pent up release of creativity, as moody bass tones mix with deft keys, rolling snares sit behind swirling saxophones.

The journey ends with ‘Luminate’, a transcendent closer laced with space-echoed vocals that reverberate around over-driven Rhodes and feverish drums. Cymbals crash, as modulated synths rise, building and building before easing you off into the night and on your way to a parallel universe.

As a body of work, ‘Velour’ is a shining example of the freedom, energy and enthusiasm of the new school of jazz that’s been captivating minds the world over. An instant on repeat staple - let go, feel the flow, it’s what we need in a time like this.

180g Black Vinyl
The Midgar family is growing larger. We are happy to welcome the italian duo natural/electronic.system, main ambassadors of the amazing moroccan label Tikita and long time friends!

Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Alfredo Linares is a globetrotting pianist, composer, bandleader and producer from Peru with a long, prolific career in latin music. His long sought after by DJs and collectors of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Details: Alfredito "Sabor" Linares is a globetrotting pianist, composer, bandleader and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century. Though Linares has come to recent international fame through his work with William "Quantic" Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the 1970s and 80s during the salsa boom. However, his career began in Lima, backing timbalero Ñico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary 'El Combo de Pepe' album for IEMPSA/Odeon. Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label. These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as "salsa" with roots in the Cuban guaguancó and guaracha genres. One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, 'El Pito', and yet by the second record, there are plenty of original tunes as well. More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations. As Linares himself recounts, "In that era, we fought against a generation that was half-blind, because the people who understood what we were doing were few. We had to fight hard for our space in Perú, that's where the swing comes from." That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes and Carlos Muñoz on lead vocals and Melcochita on coro (vocal chorus). According to Linares, the studio band was "open-ended, some musicians came some days, others on other days_Nilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets. Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone. Another good musician was guitarist Carlos Hayre." Though the recordings were cut "live in the studio" and many were basically composed on the spot, the intrinsic strength and maturity of the performances on 'Yo Traigo Boogaloo' stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela. Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Pablo E Yglesias DJ Bongohead of Peace & Rhythm

Wah Wah 45s are proud to present a unique collaboration between the U.K.'s very own Afrobeat Ambassador, Dele Sosimi, and a producer who's been at the forefront of the South London electronic music scene for a decade now, Medlar.

The pair first joined forces five years ago, when Medlar was asked by Dele's label to remix the title track from his last album,You No Fit Touch Am. The result was possibly one of the most popular and cherished remixes to appear on the imprint. The producer's respect for the history of Afrobeat shined through in the mix of course, but it was his ability to finely balance that with his house music instincts whilst adding an infectious groove and classic 80s analogue synths that really stood out.

The track was an instant classic, and it soon became clear that the Afrobeat Ambassador and Peckham producer needed to make some music together. Having never actually met during the remix process, the dating began, and luckily the two were clearly a perfect match.

After some weeks of pinging ideas back and forth, and spending time in the studio together, it became obvious that this project was also something they could take out live. As so it has been, from their modest debut performance in East London last spring, to playing festivals across the UK and beyond. Never the same show twice, their shows are based around a bank of rhythms on MPC which come alive when combined with Dele's vocals and improvisational keyboard explorations, all of which are dubbed out live by Medlar. Their musical journey is always unpredictable, vibrant and often quite surprising!

With this in mind, when picking tracks they'd developed on the road over the last year to take into the studio,Full Moonevolved into what might be best described as a bossa nova meets country & western lounge track, suitable for sipping cocktails to on a beach, or perhaps in your back garden in the current situation!

"This is really great this track. Really great!" Gilles Peterson

The original version of the song dropped earlier this summer and has been championed by both Gilles Peterson and Moses Boyd on BBC 6Music. When it came to remix duties, there was only one production outfit who fitted the bill, and one who the label had been trying to coax a remix out of for a couple of years.

Lars Dales and Maarten Smeets, otherwise known as Detroit Swindle, have been turning out musical, soulful, tropical and always party starting house music for almost a decade now. Wah Wah label boss Dom Servini hooked up with the pair at a European festival a couple of years ago, and ever since has been waiting for the right project to come along that would spark their imagination.

"When we heard the original of 'Full Moon' for the first time, we really felt the retro style with the cr78 drum, the dreamy pads and that almost overly simple synth flute. For us, that really defined the direction of the remix and we looked for a hook that could make those elements pop in a more energetic way. The vocal is also super laid back so we chopped it up a bit to give it some more spice. I think it was when we wrote the chords for our remix that the dubbed out 80's synth vibe really started to take form. It turned out to be a really nice remix for this time of year and hopefully it'll warm some hearts when people hear it." Detroit Swindle

The follow up single,Gúdú Gúdú Kan,in turn received support from Tom Ravenscroft and Gideon Coe on BBC 6Music. It's Dele and Medlar's own take on an Afro-disco stomper. The title refers to the role the snare drum plays and its relationship with Ìyá Ìlù kan, or the kick drum. It's a simple but very effective metaphor for this unique musical collaboration where once again the pair forged a sound that's all their own.

Taking things back to The Shrine by way of a little Bugz style bruk magic, Daz-I-Kue's remix ofGúdú Gúdú Kanrestructures the tune more in the style of a Fela classic, albeit with a broken flavour and layers upon layers of keys galore! In doing so, Daz creates what we think is a sure fire future club classic.

For the first time you can enjoy the full length versions of both of these top class remixes on a single slab of gorgeous wax!

Giallo is the fourth in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

When we think of 1960’s Italian pulp cinema, the spaghetti western is the genre that comes to mind. However, Italy was responsible for another classic cinematic exploitation movement around the same time, one that is equally as compelling, but less widely recognised. Giallo…

Giallo, meaning ‘yellow’, is the Italian term for crime fiction, it was named after the bright yellow colours of early pulp fiction paperbacks. Film audiences adopted it as the name for a peculiarly Italian sub-genre of thriller cinema that had its heyday in the 1970’s - just as the Spaghetti Western movement was waning. The Giallo can be difficult to define, but essentially it is an Italian crime film that draws from a pool of common themes: stylized murders, amateur sleuths, sleazy glamour, psychological crimes, enigmatic titles and all these themes are underpinned by creepily atmospheric Ennio Morricone music scores. Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Giallo is available as a limited edition of 3000 individually numbered copies on “giallo and black marbled” (clear, yellow and black mixed) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a silver foil spot varnish on the outside and images of iconic movie posters on the inside.

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

The sound of sound of T.E.W. is something out of time, with no context and far from any idea of business, all features that make their music so current. Every time someone put their records on a turntable, their music is able to open a way to suggestions, memories and reasonings that make us feeling their own language so deeply, a kind of sound that has really something to say.

On 2019 T.E.W. are back with a new Habitat release, iPHiiUNiCi 1/3, the beginning of a new musical phase from the duo that many people admitted as one of the absolutely most underestimate techno projects.

In 2020 the second episode: iPHiiUNiCi 2/3 and from the title we don't believe it will be the last of the series..

On December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. “At first I didn’t think it was real,” she admits. But then she heard a recording: Eno was praising ‘Black Willow’ from Loma’s self-titled debut. He said he’d had it on repeat.
At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a gruelling tour
with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd and then into the sea, while the band carried on from the stage - an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?” Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart
(and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become ‘Don’t Shy Away’. Loma writes by consensus and, though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using an Ouija Board and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavor,” he says, “but in Loma, nobody wears the crown, so we have to trust each other - and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular - a vivid work whose light touch belies
its timely themes of solitude, impermanence and finding light in deep darkness. “Stuck / beneath / a rock,” Cross begins, as if noticing her predicament for the first time. Then she adds: “I begin to see / the beauty in it.” A series of guests contributed to the absorbing soundscapes of ‘Don’t Shy Away’, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes/Wye Oak’s Jenn Wasner and a surprisingly bass-heavy horn section.
And then there’s Brian Eno. Loma invited him to participate in the mantra-like ‘Homing’, which concludes the album and sent him stems to interact with in any way he liked. He never spoke directly with the band but his completed mix arrived via email late one night, without warning and they gathered to listen in the converted bedroom Duszynski uses as a control room. “I was a little worried,” says Cross.
“What if we didn’t like it?” But it was all they’d hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno - a perfect ending to an album about finding a new home inside an old one. “I am somewhere that you know,” Cross sings, above a chorus of her bandmates’ blended voices. “I am right behind your eyes.”
First LP pressing on dark green vinyl.

The story of how Transatlantyk came to be is, in many ways, one typical of our times. We've grown accustomed to being isolated, even stranded, in recent months, and Technology has become our means of overcoming these aspects of quarantine.

For Lübeck-based producer David Hanke, a.k.a. Keno, and Los Angeles-based musician Tristan de Liège, their intercontinental relationship began long before the days of lockdowns and social distancing. The pair 'met' on-line through mutual friends back in 2018 and quickly realised they were, in a musical sense, kindred spirits. Their shared tastes meant that what started out as a single track quickly morphed into an EP, and finally the full length album that you're enjoying right now.

Tristan's experience as a neo-classical musician was the ideal foil for Hanke's skills with a sample and production expertise. Both shared a love of the more lush and cinematic end of instrumental Hip-Hop and Downtempo music. This sound partnership is evident throughout the album, but particularly on tracks like Nkosi, and the title track, where luscious string sections dance playfully with fractured, programmed beats; or the melancholic opener, Kouyou, where more laid back drums underpin muted horns and joyous harps.

The pair's perfectly formed fusion isn't the end of the story though, as French chanteuse Elodie Rama is on hand to provide not only some impeccable vocals, but also irresistible melodies to this already mellifluous long-player. Speak The Language sees this brilliant vocalist drift seamlessly between euphonious song and spoken word whilst delivering one of the ariose moments of the whole album. Elsewhere, on Dancing In The Dark, Elodie gives a slightly more sombre performance, combining with lavish strings and driving rhythms to a tee; and on To Find A Way offers up an even more emotional and almost heart-breaking performance, aided by wistful and forlorn instrumentation.

Transatlantyk is a body of work from an amalgamation of rare talents who combine beautifully to take us through myriad emotions; from the urgent and compelling Off The Mark via the pensive Forever We Were, and finally find their Way Across thanks to a shared love of graceful and refined musicality and a good song.

To this day the three have never actually met in person, but here's a last hopeful thought that one day soon, as we emerge out of the darkness, they can finally join together in a physical, as well as a musical, embrace.

The new 7'' on Delights is a vinyl debut for two groove-heavy, retro-futuristic remixes from Markey Funk's vaults: "Magic" by Men of North Country - on the A-side, and "Sparks" by 3421 - on the flip. Both cuts, previously available only on streaming platforms, are a kaleidoscopic homage to the 1960's space age romance, sci-fi psychedelia and cinematic funk.

Limited to 300 copies worldwide.

Automatic Tasty (Jonny Dillon) has been away from Central Processing Unit for five years now, releasing on labels such as AC Records and Furthur Electronix in the intervening time. However, new EP The Future Is Not What It Used To Be shows that the chemistry between label and artist is still in good nick by offering up four tracks of contemplative electro-boogie.

While the preceding CPU/Automatic Tasty drop may be 2015's The Life Parochial, The Future Is Not What It Used To Be actually has more in common with Sentimentalist's Choice, Automatic Tasty's CPU debut which came out back in 2013. This is not due to a huge stylistic shift - all three records bring together classic electro, techno and boogie sounds to create charming and melodious tracks - but more to do with the tone of the record. You see, while The Life Parochial was a squelchy machine-funk delight, The Future Is Not What It Used To Be is a more pensive affair befitting its title.

This isn't to say that The Future Is Not What It Used To Be is a muted EP. Far from it - this record contains some of the most gorgeous electro joints you'll hear all year. The vibe is established on its eponymous opening jam, a vocoder-laced production pitched somewhere between the more ruminative tunes on Posthuman's 2018 LP Mutant City Acid and contemporary boogie acts such as Funkineven/Steven Julien and Galaxians. The track is made by the beautiful, bittersweet timbre of its synths, and these are maintained on following number 'Romance In The Old Country'. Given the offbeat skip in its groove and sunset-glow ruefulness of the keys, 'Romance In The Old Country' is a cut which invokes the instrumentals of Jessy Lanza LPs - and even (whisper it) a little Sade.

The Future Is Not What It Used To Be is an EP of evocative track titles, but there may be none more accurate than first B-side 'Rising Sun'. Here, Automatic Tasty tweaks the wistfulness of the A-side cuts into something more uplifting. While a thoughtful quality remains in 'Rising Sun's soft synths and skittering 808s, the track is driven by the exuberant energy of the 'Woo! Yeah!' drum break to become the sort of tune you drop as dawn begins to break over the rave. 'Rising Sun's afterglow falls over the closing track 'Adventures In The World Of Becoming', a steady IDM-electro pulse that channels the spirit of Aphex Twin's seminal Selected Ambient Works 85-92.

'The future is not what it used to be - no past, no memory'. With this robo-voiced intonation, Automatic Tasty returns to Sheffield's Central Processing Unit with four moving, poignant machine-funk tracks.

It's back-to-backhits with the new Names You Can Trust split single series, the first of which features two up-and-coming acts in the blossoming Latin music scene of the Pacific Northwest. From Seattle via Argentina and Miami is Terror/Cactus, a futuristic electronic cumbia project from musician Martín Selasco. Selasco's machine-forward audio/visual performances combine a mixture of bugged out digital folklore, live percussion and the omnipresent sounds inspired by the canon of South American chicha concoctions. That balance is on display in the group's debut vinyl release "Churro vs Crow." A field recording of a Mexico City street scene playfully intermingles with the track's heavy production, an innocuous battle between a crow and a churro vendor breathes a little outdoor analog into an avant digital landscape.

On the other side of the spectrum, down south in neighboring Oregon, lies Portland's Orquestra Pacifico Tropical, an 11-piece ensemble formed by a crew of talented musicians from the lush local offerings of the Willamette Valley. The band's big sound is an explosive expression of their own roots, representing the heyday of tropical music that graced stages for decades in Central and South America. Clarinet, brass, electric guitars and that familiar percussive pulse are all alive on their NYCT debut "Regreso." Imagine a return to the cross-pollinated sounds of the psychedelic '70s, an echo from the Andes, the Amazon, through the central isthmus and back to the present, only this time landing in the City of Roses.

We are excited to welcome young composer Noémi Büchi to the Light of Other Days roster.

Her debut Ep «Matière» is the result of an extensive study with a modular synthesizer as her instrument of choice mixed with field recordings of sounds and noises surrounding her every day life . Apart from being a student of Electroacoustic Composition and listening to tons of music, Noémi finds most of her inspiration in long nature walks through nearby forests and foggy hills situated close to her bedroom studio.

With her music she leads the listener safely through deep paths of complex rhythms and otherworldly sounds. Her awareness of timbre, nuance and harmonic diversity are constantly matched with her ability to produce fresh and revealing arrangements.
«Matière» is an exciting excerpt from the works and life of a very talented young artist with a bright future ahead.

"...while I like to think that creations are a 'moment in time', this, for me, is much more than just a moment."

Truenoys 2020

"Depression is not just for those with painful traumas but it can lurk in everyone who is willing to live in truth... this album can be a cure or a helping hand...soundwise and lyrically."

Amos 2020

A/T/O/S, pronounced 'A Taste Of Struggle' is a project by Amos & Truenoys.

Introduced by a mutual friend, A/T/O/S started creating music together. Their first creation, 'A Taste Of Struggle' was quickly picked up by dubstep pioneer Mala, who signed them to his label DEEP MEDi. Their debut release received an early spin by BBC 6 Music's Mary Anne Hobbs and impressive remixes by Skream and Commodo.

Their upcoming album 'waterman', is the 3rd on DEEP MEDi, following their self-titled debut 'A/T/O/S' and the follow-up 'Outboxed'.

'waterman' once again sees A/T/O/S exploring new territories with their formula of exciting beats and powerful vocals, accompanied by Michiel De Malsche (@MIDM) on the keys as their 'secret, not so secret' member in the studio & on stage.

Ocean Moon is a solo project from Jon Tye of Seahawks. A long time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon’s latest discoveries. An ambient/new age/modern classical library suite for KPM, this is inter-dimensional music for mind, body and spirit.

Island Visions, the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today’s most visionary musicians: Jon Brooks (The Advisory Circle / Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey’s Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US.

The supremely serene electronic flute and bells of “Crystal Drift” ease us into our journey and we take our next steps with “Rainbow Ripples” as it gently folds space with arpeggiated synth swells and delicate machine beats. Light vocal tones, bells and breath FX on “And Breathe” keep us going, accompanied by synth drones and billows of electric piano.

We travel through the synth-space-surf haze of “Lost Oceans”, with soft bass and warm ambience, to reach the “New Infinity” of revolving melody, spacious pads and light electronic beats. The celestial tone floats of “White Mirror” close out the first side.

Temple bells ring out to running water flowing together with deep resonant vocal tones as the second side opens with “Peace Bells”. “Revolving and Evolving” follows, a tranquil electronic meadow of lush pastoral synth tones where we rest for a while for “Mountain Dreaming”, a light rhythmic dance of zither and birdsong.

The undulating “Forest Motion” ripples with synth arpeggios, dreamy Solina strings and percussive modular electronics before allowing the crackling ambience and Cantonese whispers of “Sleep Golden” to wash over us. Finally we find ourselves on “The Long Path”, its warm temple ambience of drones and chants guiding us home.

Crystal Harmonics is inspired by four particular albums from KPM’s catalogue. There’s The Electronic Light Orchestra by Adrian Wagner from 1975 and then Temple Of The Stars, Breath Of Life and finally Keith Mansfield’s Circles, these last three coming from KPM’s mid-1980s run of modern classical/New Age gems. For Jon, “making library music can be very liberating. I really enjoyed the additional focus it brought to the music working on different facets of composition with each collaborator”.

But Crystal Harmonics is no mere exercise in vulger pastiche. As the past, present and future sound of paradise, this fresh exploration of mid-90s ambient and original New Age sounds exists outside of our linear experience of time.

The cover started as a collage Jon made a couple of years ago, a different expression of the same impulses that guided the music. As a nod to the records that provided seeds of inspiration, the collage was framed by KPM’s house style of the 1980s for the finished sleeve by Richard Robinson.

Mastered for vinyl by Be With’s sonic shaman Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, Ocean Moon’s Crystal Harmonics is the tranquil balm for these turbulent times.