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Our lucky 13th release is here!

We have a powerful serving by Russian team Scruscru meets Meowsn.
Both have really cool releases under their belt on Sloth Boogie, NOmada, Nurvous & Star Creature Universal Vibrations.
So, here at Outplay we're very excited to bring you 'Surr Rendez-Vous EP'

A patchwork of creative sampling, wonky jazz chords and powerful synth melodies with a small sprinkling of tongue-in-cheek makes for a super cool four tracker.
The story of the tracks made us reminisce of the rise of the loose beat, broken house of a few years back, while this one still feels very contemporary.
Being a firm believer of letting the music speak for itself: enjoy!

Taken from their acclaimed self-titled debut album, ‘One Hand Tommy’ is its latest single and proves no matter how strange our world seems right now, it could always be stranger…

In a blitz session of blood curdling vocals, disarticulated fretwork and wickelly deranged lyricism, ‘One Hand Tommy’ sees The Imbeciles tell us the tale of: Tommy; a child trapped in a dystopian landscape of nuclear annihilation with only a giant killer snake for company.

‘One Hand Tommy’ is the latest exhilarating track to be released from The Imbeciles self-titled debut album - out now. Comprising 13 imploded songs which rarely last more than two minutes, the album was recorded on tape in eight deranged days on the Texan-Mexican border. Packed with stripped-down musical information and resonant with atmosphere, the album was hailed by CLASSIC ROCK as “Some kind of Apocalypse Now” (✭✭✭✭). The band also gained masses of support at radio from BBC 6 Music, Radio X, BBC Radio 1, amongst others. The delirious fun of ‘One Hand Tommy’ is just another reason to believe the hype...

And now it’s been remixed by DJ Tennis & Danny Daze, Mark Broom, Suzanne Kraft and Duncan Forbes.

The remixes have picked up a fantastic amount of support from a long list of names, including this lot – Radio 1’s Pete Tong, Red Axes, Jackie House, Len Faki, Gerd Janson, Laurent Garnier, Ben Sims and more!

On Animals Dancing's eighth disc, Dazion aka Cris Kuhlen lets rip with three psychoactive, percussion-laden mind benders for all good dance floors.

A tweaked vocoder mantra speaks in tongues across interlaced layers of live percussion on 'Yu Go Bah' before sirens ring in the distant chants.

Blood Moon takes the marching band down to the basement, fusing more twisted percussion with electro squelch to soundtrack the sweat rain down from the heavens.

'The Chant Of Celebrational Beings' beckons in a sunrise as the last inklings of serotonin jerk a tear to your eye.

Dark Morph is a collaboration between sound and visual artists Carl Michael von Hausswolff and Jón Þór "Jónsi" Birgisson. Today they have announced a new release ‘Dark Morph II’, for release on May 1st via Pomperipossa Records – the Swedish record label led by von Hausswolff’s daughter, Anna von Hausswolff.

The release is dedicated to the oceans of planet earth and to the lifeforms that live in and around them, with the duo stating: “The exploitation of the oceans, in conjunction with the heavy pollution (from plastic waste to nuclear radio-activity) has to stop, and be replaced by collaborative manners co-operating with all life on or globe.”

Carl Michael von Hausswolff is a renowned artist, active in the art and music world with solo and collaborative projects for many years, and Jónsi’s work in the Icelandic group Sigur Rós, as well as his collaboration with composer Alex Somers, is recognised across the globe. Dark Morph formed when the two artists met aboard the M/Y Dardanella ship in Fiji invited by TBA21–Academy in 2018. The ship is a creative platform equipped with sound and video recording systems, and the result of the duo’s first voyage was released in May 2019 at the Biennale di Venezia. This second album consists of material recorded in Fiji and Tonga and was produced and mixed in GeeJam Studios in Jamaica in January 2019.

Outfitted with anthemic romps, tongue-in-cheek pastiches, and percussions that pivot from rolling adventures to rain hitting the windowpane, Intimacy's 'Across the Bridge' marks the artist's fifth release on vinyl and first release on Bouquet.
A grab bag of fun, dancefloor-ready tracks written across 2019, the EP delivers his aesthetic of old computers, sci-fi movies, and science class educational videos configured into deep, spacey line-toting bedroom techno and melancholic house.

The title track features a catchy electroclash-esque (!!!) saw wave bassline, complete with emo Roland D50 strings and bells, all laid over a very beefy electro beat. It crossbreeds a Drexciya strain of low-end thump with a chewy, Eurotrash bassline evoking that time you lost your wallet at Tresor in '98. Strings and bells from the Roland D50 introduce the same euphoric high found in most of the products crawling out of Perdue's lab these days.

'Angelo's House' is a full-forced banger built around a well-traveled sample of Angelo Badalamenti's theme from Twin Peaks, recorded from an Intimacy live set early last year.

The flipside leads with the spiritual acid techno masterpiece 'Datalore 66'. Bubbling basslines hit a boiling point when placed in sequence with flutes showing genetic linkage to the Hartnoll family. Highly reactive material.

'Eternal September' opens a portal to the earliest hours of morning via synthesis of swirling pads and snapping drums. Closing the EP in introspective fashion, the track shows just how much emotional range Intimacy can pull out of decades-old disciplines.

ABOUT THE ARTIST

Parks Perdue is a Memphis-born electronic musician. A culmination of internet research and home listening in the club-barren Tennessee city, his style draws from stoned out Dutch West Coast concept albums, video game soundtracks, and old-school midwest house and techno. Perdue made his vinyl debut under the alias Intimacy in 2016 on the short lived UK, DJ Haus-run label Vector Works. Perdue is now based in Los Angeles, California.

Originally recorded direct to disc and released by Incus in 1978, this new edition from Treader is pressed from the original stampers. Hand-finished sleeve.

‘Parker uses rapid tonguing techniques and circular breathing to create a sound all his own, marked by the simultaneous intonation of multiple notes. One hears a note as well as all the residual tones around it; each breath ends up sounding like a battle between the different registers of the horn. At various times, Parker’s saxophone sounds like dolphin speech, electronic tape squeals, or human murmurs; namely, anything but what it actually is. His language on the instrument is essential listening for anyone interested in acoustic experimental music’ (AllMusic).

‘Eight years after Topography Of The Lungs, and two years after his Saxophone Solos, Monoceros was the most muscular statement of Evan Parker’s solo saxophone muse. Superbly recorded, it seemed to place the listener within the chaotic air flows of the saxophone’s own tubing. Philip Clark said: ‘Parker’s dialogue with the saxophone throws up so much that is unexpected, and indeed unknowable, that the problem he faces is how to keep pace with his own invention’’ (The Wire, Best Albums Of The Year).

Kieron Ifill aka K15 has been releasing neck breaking music for quite a while now, wether on his own Esencia imprint or on established stables like Wild Oats, Eglo, Apron, Black Focus, WotNot and more recently Neroli. With the monikers K15 and Culross Close he has been honing his craft for years delivering a unique mixture of eclectic dancefloor grooves always infused with jazz elements, which clearly show his huge level of musical awareness. “Volume 1” is the first collaboration between Esencia and Mother Tongue, and prooves once again Kieron’s extreme sensibility and visionary approach with the songs ‘Elemental’ and ‘Intrinsic Value’. A jewel of a record and an instant classic so fitting for these trying times!

Black Sheep – and their 1991 ‘A Wolf in Sheep’s Clothing’ album - were definitely an outlier in the Native Tongues fold. They were raunchier and more playful than their peers which, given that those peers were A Tribe Called Quest, De La Soul and Jungle Brothers, is really saying something.

‘Strobelite Honey’ catches that difference perfectly, leaning heavily on a pair of 1980 disco samples rather than the jazz of their brethren, and taking a somewhat less chivalrous approach to women. ‘Strobelite’s slender but fun narrative sees rapper Dres up in the club and fooled by the lights – approaching a girl he likes the look off but backing off when they reveal she’s not what he expected. Charmed, we’re sure.

Dres and his partner Mr. Lawnge were always willing to push boundaries, and that extends to the often confusing labelling of the various remixes of this choice single. 12”s dropped with the ‘No We Didn’t Mix’, ‘Yes We Did Mix’ and ‘Maybe We Did Mix’ (not to mention a separate 12” of House mixes).

The last and best of these accompanied the original version on the now-rare 1991 7”, as it does here. The ‘Maybe We Did Mix’ adds urgent horns - almost like the buzzing of a bee - and a new beat to completely reconfigure the sound into something much more of its era. It’s a reminder of when remixes were about much more than the same beat with different rappers.

Presenting a very special and unique collection of electronic and dance music aimed at assisting and honouring our brave and skilled NHS frontline workforce in this most challenging of times. Artists of all walks of life and of all musical persuasions and styles have contributed hand-picked tracks for inclusion on Care4Life free of charge. Through the challenges of the Covid19 pandemic we have all developed a new understanding and awareness about the role our frontline health professionals undertake, and as a nation we are all united in our appreciation of the incredible work they have delivered in the face of much adversity and pressure in the last couple of months. We hope the proceeds from this amazing collection of music can contribute to easing that pressure in some way.

Care4Life features lots of new, exclusive and unheard music from the vaults, hard drives and archives of UK artists as diverse as The Chemical Brothers, Nathan Fake, Groove Armada, Joe Goddard and Pete Tong alongside tracks from Radio Slave, Locossolus (DJ Harvey), Matthew Herbert, Crooked Man, Daniel Avery and many more. Care4Life is a truly varied and diverse listening experience that not only mirrors the collective talents involved, it wholeheartedly celebrates the openness and love that the NHS has shown us all at some stage throughout most of our lives here in Britain and beyond.

In the continued spirit of people coming together in this time of need the Care4Life project aims to give some much needed support to these frontline workers from our fellow artists and friends in the music industry and its surrounding community. Above Board Distribution is working in conjunction with Dispersion PR and Your Army Music is ensuring that 100% of the proceeds from the sale of this product, will be donated directly to NHS Charities Together (registered charity no.1186569). NHS Charities Together has been consulted throughout this process and are proud to be an official fundraising ‘commercial participator’.

Presenting a very special and unique collection of electronic and dance music aimed at assisting and honouring our brave and skilled NHS frontline workforce in this most challenging of times. Artists of all walks of life and of all musical persuasions and styles have contributed hand-picked tracks for inclusion on Care4Life free of charge. Through the challenges of the Covid19 pandemic we have all developed a new understanding and awareness about the role our frontline health professionals undertake, and as a nation we are all united in our appreciation of the incredible work they have delivered in the face of much adversity and pressure in the last couple of months. We hope the proceeds from this amazing collection of music can contribute to easing that pressure in some way.

Care4Life features lots of new, exclusive and unheard music from the vaults, hard drives and archives of UK artists as diverse as The Chemical Brothers, Nathan Fake, Groove Armada, Joe Goddard and Pete Tong alongside tracks from Radio Slave, Locossolus (DJ Harvey), Matthew Herbert, Crooked Man, Daniel Avery and many more. Care4Life is a truly varied and diverse listening experience that not only mirrors the collective talents involved, it wholeheartedly celebrates the openness and love that the NHS has shown us all at some stage throughout most of our lives here in Britain and beyond.

In the continued spirit of people coming together in this time of need the Care4Life project aims to give some much needed support to these frontline workers from our fellow artists and friends in the music industry and its surrounding community. Above Board Distribution is working in conjunction with Dispersion PR and Your Army Music is ensuring that 100% of the proceeds from the sale of this product, will be donated directly to NHS Charities Together (registered charity no.1186569). NHS Charities Together has been consulted throughout this process and are proud to be an official fundraising ‘commercial participator’.

Les Cooles De Ville is an Amsterdam based alternative Hip-Hop group creating soulful music using elements of Jazz, Bossa Nova and Pop. Recording and performing with live instrumentation and a mixture of samples and electronics they bring a unique, international vibe to the musical landscape quirky colourful, laidback and romantic they deliver a sound reminiscent of contemporaries like The Internet and Tom Misch.

Sometimes referred to as the Dutch equivalent of the Native Tongues the group's sound is inspired by acts like Digable Planets, De La Soul, A Tribe Called Quest, Lucy Pearl and Slum Village.

L.C.V.D.'s new self-titled album is available via digital platforms and vinyl via Season Five Records / Below System Records. The album includes guest appearances by Benny Sings, Roos Jonker, Randell Heye, Delaney Nelom, Benjamin Herman and MARNIX.

ALBUM: I came up with the album title after watching a YouTube video by the channel "Watch Mojo" entitled "The Top Ten Dead Music Genres". In this video, they claimed that Synthpop is dead. Since everybody said I was a Synthpop artist, I was astonished to discover that the genre I play is considered "dead". It's relatively tongue in cheek because I don't believe any musical genre is dead and everything can be revisited and everything evolves. That being said, this is an album in which, at least musically, I am working within the boundaries of this genre, while at the same time starting to experiment with other, more modern sounds and concepts. Thematically, I tackle various topics: dysfunctional childhoods (Shortcut), heroic love in a dystopian nightmare (Billions of Years), self-destructive behaviour (Drink and Drive), unrequited, criminal love (House Arrest) and many others.

BIOGRAPHY: Glitter, glam and good vibes from the heart of Berlin! Stephen Paul Taylor (SPT) is a Canadian artist who went viral in David Bowie's old stomping grounds and has played hundreds of concerts, festivals and weddings all over Europe. He makes Synthpop-Art-Punk with undertones of New Order and Talking Heads.
Taylor was in Post-Art Synth-Folk duo, Trike, for five years before branching off into his solo project in 2014. Trike won a $20K award from "The Gong Show" (in Vancouver) in 2011, toured 22 countries, recorded an album in Denmark and Belgium and played hundreds of shows. Taylor then went solo and began playing all over Europe, from Denmark rooftops to weddings in East Germany. He gained a name for himself after achieving viral status and has continued to play all over Europe ever since. Well known for being a street musician, he essentially quit playing in the street in 2018 and focused exclusively on playing on the stage
His music is a blend of both old and new. A strong beat pulses beneath the catchy melodies and captivating lyrics float atop the whole ensemble. His bittersweet words often contrast the happy melodies within the music. He tackles unique subjects that reflect the 'ennui' our our current cultural climate. His newest album "Synthpop is Dead" is an ironic interpretation of the notion of musical genres actually "dying". Did Synthpop actually die or did it evolve? His new album also touches on other themes, from our dependance on fossil fuels to our addiction to self-destructive activities, like drinking and driving. The album uses healthy doses of humour to hammer down its themes
A year after going solo, SPT went viral with his song "Shi*t's F*cked" (His channel has 7.5 million views on YouTube) and appeared on many TV shows and well-known media outlets, from RBB to Arte to Comedy Central. He was also featured on Germany's "Das Supertalent" in 2016. He has 1.5 million listens on Spotify. He's been on the radio in Italy, Latvia, Canada and Australia, to name a few. He was also signed with Budde publishing and his racord label, "SPT Records" is a subsidiary of "Shitkatapult Records"
Dieter Bolle said his "80's influenced" music was "sehr geile" (very beautiful). Electric Six frontman, Dick Valentine, said he's "a firecracker".

Portuguese- Italian Producer "Vhycepicks" up where he left off,
once again teaming up with the talentedvocalistYves Paqueton Kraak & Smaak's very own Boogie Angst imprint.

He's already got an impressive list of top DJ fans in the shape of
Pete Tong, Claptone, Gorgon CityandSatin Jackets, and it's no surprise given his clean, pop aesthetics and catchy dancefloor sensibilities.Indeed it has led to releases on some of today's most respected dance labels like Kitsune, Future Disco and Casablanca Sunset.

As well as collaborating on their previous single 'Duran Duran' together, Brazilian born soulful vocalist Yves Paquethas previously collaborated with the likes of Aeroplane,and scored #1 in the Belgian dance charts with The Subs. He provides the perfect foil to Vhyce'sbeats with just the tonic – a melodic toplineall about the good times, having a drink and getting high…

In addition to the original mix there's another special treat as stepping up to provide a stellar remix is none other than PrinsThomas, a true pioneer of 'space disco' and regular bandmate of nu disco royaltyLindstrømin their imaginatively titled project 'Lindstrom & PrinsThomas'.

Yes, he takes his arpsynth lines out for a spin and serves up a prime cut of good time, ethereal, dancefloor fire. With all the hallmarks of his crisp and upbeat spacey productions it's not one to miss out on.

For those who are all about the beats, fear not we got you covered as there's an instrumental safely stowed in there too …

Set for release on 17th April, Catching Flies presents 'Silver Linings Remixed', a remix album featuring versions of tracks from his debut album reimagined by DJ Seinfeld, Andhim, Soundbwoy Killah, Laurence Guy, Ron Basejam, Grandbrothers and more.

Support for 'Silver Linings Remixed' so far from Mixmag, DJ Mag, Crack Magazine, Pete Tong, Gilles Peterson, Mary Anne Hobbs, KCRW, Bonobo, Solomun, George Fitzgerald, Mall Grab, Hernan Cattaneo, Kolsch, Nick Warren & more.

George King began Catching Flies in late 2012, drawing inspiration from a wide-ranging palette of music including jazz, soul, hip-hop, house and electronica. His debut album 'Silver Linings' was released in July 2019 and was hailed as "a soundtrack to summertime" by The 405 and awarded Album of the Month by Future Music who described it as "a brilliantly eclectic record…a moving journey that will last long in the memory".

Clash Magazine praised the LP's "killer beats" and "artfully orchestrated introspection" whilst London In Stereo praised its "exceptional production". Other coverage for the album included
The Guardian, Complex, Dazed & Confused and Nowness, with radio support across BBC Radio 1, 6 Music, Worldwide FM and more. Artist support for 'Silver Linings' has come from the likes of Bonobo, Jungle (BBC Radio One Residency), Loyle Carner, George Fitzgerald and Lane 8.





a 1 Opals (Analogue Dear Remix) feat. Analogue Dear

c 3 Kite Hill Theme (Freddie Joachim Remix) [feat. Freddie Joachim]
[d] 4 Opals (Andhim Remix) [feat. Andhim]
[e] 5 New Gods (Ron Basejam Remix) [feat. Ron Basejam]
[f] 6 Satisfied (Soundbwoy Killah Remix) [feat. Soundbwoy Killah]
[g] 7 Silver Linings (DJ Seinfeld's Drum Dream Remix) [feat. DJ Seinfeld]
[h] 8 When The Sun Bursts (Grandbrothers Remix) [feat. Grandbrothers]
[i] 9 Z (Laurence Guy Remix) [feat. Laurence Guy]

Seb Wildblood readies his first new release of 2020, the ‘Hazy House’ EP. After a year that saw Wildblood releasing his landmark LP, ‘sketches of transition' – which received a glowing 8/10 review in DJ Mag and made it into Mixmag’s of Albums of 2019 round-up – his new two-tracker is set for release via his London / Los Angeles based label, all my thoughts, on April 17th. Along with his recently released edit of Rosalia’s ‘A Palé’ for charity, the EP marks the DJ/producer’s return to a more dancefloor-focused sound, having ventured further into the worlds of downtempo electronics, R&B and Balearic-imbued house on his introspective and accomplished debut album.

‘Hazy House’ is an encapsulation of what a Seb Wildblood DJ set sounds like in 2020, fusing tough house rhythms with electro’s futuristic atmosphere and an ear for emotive melodic hooks. With dreamy flourishes and subtle complexities, the EP retains much of the depth that ‘sketches’ emphasized, despite being his most club-ready work since 2018’s ‘Grab The Wheel’ EP. The resulting release is one that showcases Wildblood’s considered, painterly technique, and his capacity to create thoughtful soundscapes even when focused on mobility and energy.

‘Hazy House Vol. 1’ on the A-side is buoyant and lush, with a warm synth bed hovering on top of its bouncy beat before a soft, chiming arpeggio motif floats into the mix, tying everything together in a silky deep house bow.

‘Vol. 2’ is similarly inviting, if a little more robust. With a sharp beat, angelic choral synths, and a subtle vocoder, the track is one for the depth of the night, when the last push of energy carries you through, right into the warmth of the afterglow.

Inspired by moments experienced throughout his second world tour in 2019, which saw him playing DJ sets everywhere from Australia and Japan to the UK and across North America, the title ‘Hazy House’ is a tongue-in-cheek nod to the assumptions some may have about Wildblood’s sound. But as the EP highlights, there’s a subtle intricacy at play in the producer’s work that further establishes him as a distinct voice for both club-driven sounds, and for those more suited to headphones.

Throughout the ‘REFRACTIONS’ EP, Close Counters further signify their skills in blending house, soul, funk and broken beat and to create their own blend of insatiable and infectious grooves through a polished comb-i nation of electronic and organic instrumentation. The duo harness the spirit and energy of the Melbourne soul scene and raise it to new levels in the four polished, dance-floor-ready tunes in REFRACTIONS.

‘The songs were written over the last couple of years following our move from Hobart to Melbourne and was made possible with the help of a number of collaborators, including our live band members Elle Shimada, Lucky Pereira, Paul Bender (Hiatus Kaiyote) on bass, and featuring vocalists Laneous and Wallace.’ – Close Counters

Luz Azul is a group started by LA-based vocal and performance artist Anna Homler (aka Breadwoman) together with musicians Marcos Fernandes and Robert Montoya in 2007. On this record they compose their own mesmerising cosmic universe where the hypnotic speaking in tongue voice of Anna Homler blends mesmerising together with the sound of her found toys intensified by the shamanistic percussion of Marcos and the pulsating electronics of Montoya.

As fellow percussionists and sound artists, Marcos Fernandes and Robert Montoya's collaborations began in 1983 and ran the gamut from ambient to noise, rock to electronica to improvisation. Both were founding members of Trummerflora, a collective of creative musicians based in San Diego from 1999 to 2009.

All three artists were active in the improvised music scene in Southern California and met at Spring Reverb 2006, an annual festival of experimental music curated by the Trummerflra Collective. At the time, Fernandes was experimenting with processed percussion as well as phonography and samples while Montoyawas exploring improvisational possibilities on the computer.

Fernandes and Homler expressed their mutual interest in collaborating but it was not until the fall of 2007 that they performed a series of concerts together. Pleased with the results, they performed together again in the spring of 2008 with the addition of Montoya. There was chemistry and the trio promptly decided to enter the studio to capture their collective magic. The session yielded the music found on Luz Azul.

Anna Homler - voice, pocket theremin, sample sticks, whistles, assorted dry and squeaky objects, greeting cards, wood devil, tiny metals and motors and potato slicer
Marcos Fernandes - percussion & electronics
Robert Montoya - electronics

Limited gold vinyl version + insert. Three years after the release of his magnum opus 'Sciencing', Tim Vanhamel is back with new album 'APPLZ ≠ APPLZ'. Sly & the Family Stone, Marvin Gaye, Curtis Mayfield, Public Enemy, Jimi Hendrix... Consider this a tribute to those kinds of records, with a tongue in cheek nod and celebratory flavour.

Tim Digby-Bell, Peter Kriek and Ariaan Olieroock are Cubicolor. In 2016 they released their debut album ‘Brainsugar’ via acclaimed independent label Anjunadeep. Accumulating over 40 million streams, the album won praise from Mixmag, Resident Advisor, Consequence of Sound and DJ Mag, who described it as “a startlingly accomplished debut” in their 9/10 review.

Originally an electronic duo comprised of Dutch producers Ariaan and Peter, Cubicolor became a three-piece band with the arrival of British singer-songwriter Tim in 2015, after collaborating on breakthrough single ‘Falling’.

A published poet and playwright, Tim’s musical upbringing was rooted in playing guitar and listening to Nick Drake. Combined with Ariaan’s encyclopedic knowledge of electronic music and Peter’s love of late romantic classical, created what Clash described as “a beautiful, haunting fusion of ideas.” In 2018 the band delivered, and then shelved, their second album…

“It had twelve tracks, a different name, all the artwork was done and a date was set for it to be released. We got home and listened to it, then called each other and decided to drop the whole thing. The next week we went back into the studio and started again.

We loved the record we made but for some reason, it didn't feel right, so we didn't keep anything, we shut ourselves on the boat in Amsterdam where we work and didn't stop until we'd written a new album.” A year after going back to the drawing board, the trio now presents ‘Hardly A Day, Hardly A Night’.

Inspired by the cycles of time, and the cyclical movements of the planets, the new 12 track record weaves together themes of loss, hope, and acceptance. “There were a lot of moments when we weren't sure we'd ever find what it was we were looking for. On the way, we lost friends, lost loves, battled health issues, lost an album, lost each other and came back together again.

It feels like a lifetime has passed but the world keeps spinning and I guess we knew we would eventually find our strength and make the album we wanted to make.” Showcasing their remarkable production techniques and textured sound design throughout the album, Cubicolor continues their unconventional rise to the upper ranks of the electronic music world.

The band will celebrate the album release with a listening event in London in February 2020, before taking their live show to festivals around the world in the summer.

Their 2016 debut album ‘Brainsugar’ picked up wide spread support including backing from BBC Radio 1's Annie Mac, Pete Tong and Phil Taggart, BBC 6 Music's Nemone and Tom Ravenscroft, Joris Voorn, and Kölsch and accumulated over 40M streams. 'Brainsugar' - Press pickup included Mixmag, RA, Thump, Consequence of Sound and the album was given a 9/10 review in DJ Mag.

Cubicolor are Amsterdam based producers Ariaan Olieroock and Peter Kriek, and British singer-songwriter Tim Digby-Bell. They made the album on Peter’s studio boat in Amsterdam. Ariaan built the custom modular synths, mixing desks and speakers that the band use in their studio - every Cubicolor sound is created from scratch.
They also DJ and release music as 16BL on Anjunadeep. one of the labels most loved and legendary acts, responsible for some of the biggest releases in the label's back catalogue.

Wewantsounds is delighted to continue its Akiko Yano reissue program with the reissue of her superb double album recorded with YMO at a time when she was part of the group’s touring line up between 1979 and 1980. The album is pure Akiko Yano featuring her superb singing and piano playing, enhanced by touches of YMO’s synth-pop sound (check her cult version of YMO’s classic, “Tong-Poo”). It is the first time the album is released outside of Japan and the deluxe 2-LP set features the original artwork with gatefold sleeve and 4-page insert.
When "Gohan Ga Dekitayo" came out in 1980, Akiko Yano had been touring with Yellow Magic Orchestra for more than a year. She'd play keyboards alongside the three founding members, Haruomi Hosono, Ryuichi Sakamoto and Yukihiro Takahashi, plus guitarist Kenji Omura and Synth wizard programmer Hideki Matsutake (as part of the 1980 North American tour, she'd also feature in the group's cult TV appearance on Soul Train for a memorable rendition of "Tighten Up") and they are all present on "Gohan Ga Dekitayo."
The double LP, whose title could be translated by "Dinner is ready," was co-produced with Ryuichi Sakamoto and recorded at two legendary studios: Tokyo's Alfa Studio "A" and Los Angeles' Sound City. It was Akiko's first shift towards a fuller synth sound following four studio albums mixing Pop and Jazz Funk, including her landmark debut from 1976, "Japanese Girl". A shift that would continue with the release of "Tadaima" in 1981, also featuring the YMO musicians.
?The fourteen tracks featured on "Gohan Ga Dekitayo" find Akiko in top form mixing her singer-songwriter's sensitivity with the electro-pop sound of YMO. It's interesting to note though that it is very much an Akiko Yano album even if the group is present on the album (interestingly they do also play analog instruments on the album). Akiko is clearly the one in charge with a string of beautiful compositions and the rendition of one of the group's classics, "Tong Poo" which she reinvents as a slower, less metronomic-paced song adding her own lyrics.
?Other highlights on the album include "Dogs Awaiting..." an hypnotic composition featuring fascinating electro arrangements or "Coloured Water" sung in English by Akiko accompanying herself on Fender Rhodes with subtle percussion by Tatsuo Hayashi and electronics by Ryuichi Sakamoto.
There are many more great moments on this superb album which announces the further experiments of "Tadaima". "Gohan Ga Dekitayo" is an album that urgently needs to be (re)discovered by her growing international fanbase and Wewantsounds is happy to reissue it worldwide for its 40th anniversary.

Hardcore punk pioneers 'Bad Brains' released their sixth full-length 'God Of Love' in 1995. The original line-up was back together and the album was promoted with a big tour and concerts on the Beastie Boys’ Ill Communication tour.
The album consists of a mix of reggae, hardcore, punk, and hard rock tracks. The band continued to evolve and created such a versatile album that people from different backgrounds felt attracted to it.

'God Of Love' is available as a limited edition of 1000 individually numbered copies on coloured (transparent green & yellow mixed) vinyl and the package includes an insert.

‘Wild Slide’ is the debut album from techno supergroup, Better Lost Than Stupid, aka 3 of the world’s finest producers and DJs - Martin Buttrich, Davide Squillace, and Matthias Tanzmann.

Released on 13 September by Skint/BMG, the 11 track album follows a slew of singles - ‘Back From The Desert’, ‘The Sky Is Too Low’, and ‘Inside’ – which have won praise from the likes of Mixmag, Dancing Astronaut, RA, Radio 1 (Pete Tong and Danny Howard), Marco Carola, Dubfire, Nicole Moudaber, Kolsch, Joris Voorn, Claptone, Eats Everything, Adam Beyer, and many more.

Electronic music underpins ‘Wild Slide’, but Better Lost’ look beyond it with a varied collection of song ‘Wild Slide’ is the debut album from techno supergroup, Better Lost Than Stupid, aka 3 of the world’s finest producers and DJs - Martin Buttrich, Davide Squillace, and Matthias Tanzmann.

Released on 13 September by Skint/BMG, the 11 track album follows a slew of singles - ‘Back From The Desert’, ‘The Sky Is Too Low’, and ‘Inside’ – which have won praise from the likes of Mixmag, Dancing Astronaut, RA, Radio 1 (Pete Tong and Danny Howard), Marco Carola, Dubfire, Nicole Moudaber, Kolsch, Joris Voorn, Claptone, Eats Everything, Adam Beyer, and many more.

Electronic music underpins ‘Wild Slide’, but Better Lost’ look beyond it with a varied collection of songs that combine synth-pop (‘Inside’, ‘Wild Slide’), electronica (‘Boys & Girls’, ‘Harder Than Gold’), indie rock (‘Back From The Desert’), and downtempo (‘Without The Feeling’, ‘Bender’), with the kind of euphoric techno moments they’re individually known for (‘Inside’, ‘Right Now’).

‘Wild Slide’ shows that the comparisons made between Better Lost’ and stadium techno acts like The Chemical Brothers, and Underworld, stand up. The production quality is every bit as good as you’d expect from Buttrich and co, and the songs have been crafted and written by three people who’ve spent their lives making music and then playing it to hundreds of thousands of people.

Europe’s leading reggaeton experimenters DJ Clara! And Maoupa Mazzocchetti. exert a tripped-out spin on modern Latin dance and vintage Galician folk styles for Low Jack’s boundary-stepping club division of Editions Gravats. Following the duo’s 2018 debut EP
and Clara!’s ‘Meiga de Acero’ single in 2019 for Les Disques De La Bretagne, ‘Luna Nueva’ binds the duo’s astrological, spiritual and romantic dancefloor cues in a significant new take on Caribbean futurism.

Designed to make you sweat - and maybe check your head -
the album pairs Clara!’s effortlessly nimble vocals with lean and spacious co-production by Maoupa Mazzocchetti in a way that faithfully and daringly plays with reggaeton convention, and, by extension, offers a critique of global electronic dance music currents.

Based in Brussels, Belgium, but originally from northern Spain, Clara! brings a strong knowledge of reggaeton, perreo and trap absorbed from beach parties and clubs back home to a wickedly offset batch of productions by Maoupa, who’s arguably earned a mean reputation in recent years for his killer mixtapes with the PRR! PRR! gang, as well as a slew of 12”s for everyone from Unknown Precept and Mannequin to Arma since 2014.

Together they throw down eight distinctive vocal cuts on disc 1, while disc 2 is loaded with their singular instrumentals. Clara! dispatches ice cool but barbed bars in diverse flows, bewitching Maoupa’s rhythms with on point style in the dramatic ‘Badman’ - a bullet for the male gaze - while layering herself in choral cadence on a spellbinding cover of Faltiquera’s Galician folk song ’Sum Sum’ over unusual tablas and drones...

But while the finer details of Clara!’s pointed but humorous lyrics may be lost on non-Spanish speakers, her co-productions with Mauopa are bound to resonate regardless of tongue, with strong, dare-to-be-different highlights in the hard and psychedelic drive of ‘Gaviléan’ and the bolshy bashment grind of ‘Virgo’, along with straight up freaky gear such as ‘Baja Y Suda’, plus their cold fusion of reggaeton and Mahraganat influences in ‘Secreto Ritual’, and warped hypermodernism in ‘Clarividencia.’ No matter what angle or
language it’s approached from, ‘Luna Nueva’ cycles fresh and luminous with a steadfast yet experimental call to the ‘floor while the world collapses around them.

Da Lata’s highly anticipated fourth album Birds is a genre busting journey through London Afro-Brazilian soul music.
The most homogeneous Da Lata record to date, Christian Franck has honed his craft and expanded his art to create a glowing testimony from the melting pot of the capital’s musical life.

Gathering his family of collaborators with diverse musical backgrounds in soul, jazz, and gospel as well as African and Brazilian forms, Birds is an album that finally lays waste to that tired idea of World music.

There are tracks that are inspired by Chris’ journeys to the source, there are elegant horn and woodwind arrangements recorded in Belo Horizonte, Brazil, there are lyrics in different tongues, but this is a London record.

Birds is an album of warm organic grooves infused with sophisticated funkiness and splattered with instrumental colour. From the Afro skank swagger of the low slung opener Mentality to the Beatles-esque pathos of the closing title track, it’s a record packed with soulful surprises and beguiling rhythms.

The sound is both intimate and expansive, drawing the listener into Da Lata’s London tropicalia and out into the cosmos.

Birds is an album about keeping doors open and conversation flowing, it’s about survival, hope, family, resistance, awareness, unity and love. 

Reissue of this 1976 LP from Zambia. Deep minimal African music, lovely compositions over scarce drum machines and (fuzzy) guitars.. Beautiful music with a deeper message in the lyrics which is explained better in the long review below. Some words from the label. There is music that falls right into place, a perfectly articulated expression of a few distinct influences. Then, there is another kind of median music, something more mysterious, the result of time, place, technology, and alchemy. Zambian writer and musician Smokey Haangala’s Aunka Ma Kwacha (The Money is Gone) released in 1976 is an example of this more mystical metallurgy, falling somewhere between psychedelic Zamrock, US folk, Kalindula, and Sundown Beat (music played after dark) from Tongaland. The unique mix of languages on the album (Bemba, Tonga, Lozi, and English) also suggest this complex cultural crossroads. Underlying the whole album is the insistent beat of a simple drum machine, which was totally unheard of in Zambia at the time, and parallels pioneering experiments by Francis Bebey, Sly Stone, and Shuggie Otis, utilizing a technology which would later come to define dance music. Then there’s the album’s original artwork by Peter Kependa, done in style similar to the infamous Jamaican dancehall illustrator Wilfred Limonious, interpreting the album’s title and primary theme; the burden of financial inequality.

In this sense the album is political, but the theme is extrapolated and explored through its impact on personal life; love, marriage, social status, and diet. The album is full of cautionary tales, folklore and references to magic, aspects of Zambian culture simultaneously mystifying and alluring to outsiders, part of what attracted Western readers to Nigerian writer Amos Tutuola’s hallucinatory Yoruba folktales. After becoming a household name in Zambia for his music, writing, and television appearances, Smokey Haangala died at the age of 38, the very week his book The Black Eye was published, abruptly ending his brilliant and ascending career. We are lucky to have his inimitable work to remember him by, Aunka Ma Kwacha resting comfortably in the pantheon of re-visionary works by Rodriguez, Kissoon Ramasar, TJ Hustler, and William Onyeabor.

The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when we breathe and it protects the windpipe when we swallow. However, those unfortunate to experience the potentially fatal malignant tumours of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose and Throat Dept of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H. A. E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso-pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one’s esophagus via swallowing, suction or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni and “western electric” are all explored here, along with other aspects of the larynx and its absence. Speech After The Removal Of The Larynx is definitely one of the strangest albums ever given a commercial release!

After a string of succesful singles, “Deixa Musica A Tocar”, “So Vejo Voce”, “E A Felicidade” and the Dj Harvey supported “ Te Faz Bem” and “Serei Seu”, The Danish / Brazilian quartet constellation Copenema (Copenhagen / Ipanema = Copenema) are ready to release their debut album “Deixa Musica a Tocar”.
The album mixes European electronica influences with Brazilian songwriting style. The sound becomes unique and some would say Balearic.The albums leading single “Te Faz Bem” a funky downtempo track with live saxophone, flute and rhythm guitars and a baseline to die for has become somewhat a national Ibiza balearic anthem over the past years and spread worldwide especially due to the massive support from Djs incl from Harvey to Dj Pippi to Pete Tong. “Serei Seu” the second single another Ibiza fave is a funky party track that sounds like a modern Jorge Ben. The single “So Vejo Voce” is Stan Getz meets the beach vibes, “Festa De Relaxamento” an Alfredo fave is jazzy Brazilian funk vibes with heavy live drums and a bass line that wants you to move.
“Lullaby For Impanema” is sunset material. The bands first recording the 12 min beautiful jazzy cosmic downtempo Pat Metheny influenced and Leo Mas supported “Some Di Some Day” is pure bliss and a sunset fave amongst the Balearic community.
The album has three added bonus tracks (Vinyl Only) - Can’t Sleep and Nada Mais both recorded in a Music For Dreams writers camp recently and the 12 minute journey of Serei Seu by Danilo Braca

After being unavailable on vinyl for several decades, the third album of iconic French duo Les Rita Mitsouko is made available for the first time with audio re-mastered from the original tapes by Bernie Grundman Mastering. The original packaging has been strictly reproduced along with the original tracklist featuring the hits ‘Singing In The Shower (Les Rita Mitsouko & The Sparks)’, ‘Le Petit Train’ and ‘Hip Kit (Les Rita Mitsouko & The Sparks)’.

LIMITED GREEN AND RED VINYL WITH DIGITAL DOWNLOAD INCLUDED.

All-conquering Dutch heroes Kraak & Smaak have taken the electronic music scene by storm in recent years with a slew of killer collaborations with the like of Mayer Hawthorne, Romanthony (RIP), Eric Biddines (Golden Rules), Parcels, and many more. Their live show has seen them play every festival and club worth the mention from Glastonbury to Detroit Movement, Coachella to Space Ibiza.

After their debut album 'Boogie Angst' established them in the spotlight with heavy Radio 1 support from Pete Tong and Annie Nightingale, the band followed up with breakthrough albums – 'Plastic People' and 'Electric Hustle'. Launching them to another level, these albums featured the standout singles - 'Squeeze Me (feat. Ben Westbeech)', and 'Let's Go Back (feat. Romanthony)' which have both become ubiquitous through TV ads, funky dancefloors and tens of millions of streams.

Riding high they then released a seminal piece of work in the shape of their fourth studio album - 'Chrome Waves'. An album that is a joyous fusion of disco, funk, indie, electronica and pop all smooshed together with Kraaak & Smaak's unique sonic signature throughout. Teaming up with a crew of ultra-talented vocalists: Sam Duckworth (Get Cape. Wear Cape. Fly), John Turrell (Smoove & Turrell), Stee Downes, Capitol A, Joi Cardwell, Janne Schra and their very own live band singer - Berenice Van Leer , they created an album packed full of dancefloor-ready jams for all occasions…

It was received well by both fans and critics alike, picking up a coveted Mixmag tune of the month award, topping European club charts, becoming a staple on radio playlists everywhere, and of course selling out on the original vinyl pressing runs.

Well after much demand we are now reissuing this masterpiece on a 2xLP limited edition green and red vinyl and once again you can own it on wax. A present for both the fans of old who missed it the first time around, and those who have discovered Kraak & Smaak in more recent times.

It wasn’t really a movement, barely even a moment, but the Daisy Age was an ethos that permeated pop, R&B and hip hop at the turn of the 90s. Playfulness and good humour were central to De La Soul’s 1989 debut album, “3 Feet High And Rising”, which would go on to cast a long, multi-coloured shadow over rap.

In Britain, the timing for “3 Feet High And Rising” couldn’t have been better. The acid house explosion of 1988 would lead to a radical breaking down of musical barriers in 1989, and its associated look – loose clothing, dayglo colours, smiley faces – chimed with the positivity of De La Soul and rising New York rap acts the Jungle Brothers and A Tribe Called Quest, all at the heart of a growing collective called Native Tongues.

The Native Tongues’ charismatic, summery aura quickly spread west to the Bay Area’s similarly-minded Hieroglyphics crew (Del Tha Funky Homosapien’s ‘Mistadobalina’); Canada’s Dream Warriors (‘My Definition Of A Boombastic Jazz Style’) used “3 Feet High”’s colour palette and borrowed Count Basie and Quincy Jones riffs; Naughty By Nature (OPP) were mentored by Native Tongues heroine Queen Latifah, while Londoner Monie Love was also adopted by the collective, resulting in her Grammy-nominated ‘It’s A Shame (My Sister)’.

It wasn’t built to last, but the Daisy Age reintroduced Multiplication Rock, bubble writing and the gently psychedelic into the charts. It was a brief, but extraordinarily warm and optimistic moment. The songs on this collection promised that the 90s would be a lot more easy-going than the 80s.

Available on CD and double LP.

After just 6 months since first seeing Big Yawn perform, we are thrilled to welcome them to the Research family. A compelling prelude to their debut album "No!" due out in late 2019.

Over six years the Melbourne-based group has evolved, with members of the band running various releases through label and collective Fallopian Tunes. As of 2019, Big Yawn had become a four-member music group, motivated by a history of studio production, prolific collaboration and quality hangout time.

The groups freshest effort 'Skin Rat/Thomas' captures the band performing live in the studio, and it's typical Big Yawn: fat and punchy low-end bass; drums and live drum processing; delay fx samples; thick syrupy synths. 'Skin Rat' is a hyperbolically dubbed out, tongue in cheek, magnetic blend of UK garage, footwork and breaks. And 'Thomas' takes cues from a slightly damaged post-punk sound, amplifying a brittle and sinister type of atomic porn-funk.

Limited to 200 copies. Hand numbered and housed in a screen-printed sleeve, artwork by Julian Hocking.

Good For You present a special Paradise Garage inspired 12 Inch sampler from the upcoming ‘Paradise Garage : Inspirations’ compilation, featuring two of Kenny Summit's collaborations with the Director's Cut duo, and Godfathers of House, Frankie Knuckles and Eric Kupper. Neither of these tracks have ever been pressed to vinyl, so this is your chance to own these masterful tracks cut loud and proud on either side of a 12 inch.

The A side houses the last ever Frankie Knuckles production, a project Frankie and Summit worked on with Eric Kupper - remixing 'You'll Never Find Another Love Like Mine' by the legendary Lou Rawls – pure soulful house brilliance from the very first second. On the flip you’ll find a further Kenny collaboration with the dynamic duo entitled ‘Loving You’ – the trio teaming up to deliver a stunning Motown inspired dance floor stomper with an uplifting vocal by the one and only Yasmeen. Two certified anthems that have had heavy rotation with DJs like Cajmere, Grant Nelson, Sonny Fodera, Quentin Harris, Robert Owens, Tony Humphries, Danny Rampling, John Morales, Graeme Park, Pete Tong and still continue to get played the world over.

These tracks form part of a wider compilation, ‘Paradise Garage : Inspirations’ that contains unreleased remixes of iconic club tracks like Loves Last Episode‘s remix of Deee-Lite‘s ‘Power Of Love’, and seminal club classics like the Masters-At-Work remix of Todd Terry‘s anthem ‘Sume Sigh Say’ and Francois K’s “Time & Space.”

Both this sampler and the full compilation feature a masterpiece of cover art designed by Alexander Juhasz, the artist behind the award winning films The Little Prince and The Babadook.

Following up on the release of his first album in eight years, Agoria has collaborated with enigmatic French musician Jacques on new EP ‘Visit’, out 14th June.

The two-track offering pairs electronic elements with organic, real-world sounds to masterful effect. Title track ‘Visit’ is the best example of this, with a wonky beat trudging through a plethora of immersive sounds. Meanwhile ‘Jardin’, with a grooving bassline, has a greater dancefloor focus.

“The first time I met Jacques, we were sitting at the same table but we didn’t exchange any words,” Agoria explains. The second time, a year later, we started speaking. A lot. During hours. About Vipassana, a technique of meditation that you practice in silence. The third time, I thought I should share his words and breaths, delivering the untold. So I offered him to record a Sapiens Talk. The fourth time, we both agreed it was finally time to record music together.”

Jacques is a musician who pushes back the border between music, sound and noise, using music as a medium of expression on his quest of transversality. Invited to several TEDx conferences to talk about his obsession with the idea of infinity, he has also revealed his new theory called “Vortex”, which he created with Alexandre Gain in 2015.

His first album in eight years, Agoria described Drift as “sitting on your sofa between your guilty pleasure and your tasteful opinion”. The deeply melodic 10-track LP came off the back of a much-lauded Essential Mix for Pete Tong’s BBC Radio 1 show, which was later nominated for Essential Mix Of The Year.

The new release comes amidst Agoria’s first ever Ibiza residency, which kicked off on 31st May at the Blue Marlin. Named after the new album and featuring everyone from DJ Harvey and Gerd Janson to Groove Armada and Idris Elba, the unique day-to-night parties will take place every Friday until 27th September. He will also take his all new live show on tour this summer, with dates including Barcelona’s Primavera Sound, Belgium’s Pukkelpop and Lowlands Festival in Amsterdam.

Founded in 1990 in Minneapolis, Minnesota, Cold Front were what you'd call early adaptors, their music at the time of its inception an oddity. This fourpiece, consisting of spouses Ayanna and Cam Muata, Jon Jon Scott and Ron Clark, were far ahead of their time and faded just as rapidly as they entered the stage, only playing a handful of local shows in support of Nine Inch Nails, Meat Beat Manifesto and such, alongside several cameos during early house nights and techno events.

Though short lived, their music nevertheless speaks volumes. It's intriguing stuff, a magical association of sound reminiscent of Ron Hardy and Klein MBO. New Beat-like drum parts, overdubbed by politically engaged raps, basslines that would make The Cure proud, held together by freakout speaking in tongues vocal experiments while also showing an obvious parallel to the rise of triphop at the other side of the ocean.

Beyond the Beat will burst dancefloors soon. In collaboration with Paris' recordshop Dizonord, Knekelhuis will close the summer of 2019 with this amazing gem.

Berlin based trio Keller Crackers collective likes to shape haunting esoteric sounds, in which self-built instruments dance with ritualistic synthesised rhythms, field recordings, psychoacoustic drones and poetical spoken silhouettes.

After a self-released MC and a mesmerising tune called “Anem” out in February 2019 on the custom-made Kashual Plastik 007 double-vinyl compilation, now they give birth to their own debut record “KC”, a four track EP resulting from various improvisational studio sessions, a bag full of spontaneous visionary DIY sound fashion that melts meandering serialism, foggy ‘Chris & Cosey’-ness, exoticism and freely expressed emotions. Some pieces are given time to evolve, being dragged through long arrangements and slow transitions, while others are playful and short. To close up the magic circle, the release includes a tripping Tolouse Low Trax signature remix.

The opening tune “Specialised” swings on a trance-like hypnotic bass line, while a self-made kalimba played through a tape delay and overtones from a DIY circuit bended device inject dynamics and colour to the composition. Out of the sonic depth, the spoken words of Sylvana Wickman emerge enchanting and unreal, naming a series of technical terms, assembling a deep notion on the specialised society we live in.

“Cow Tongue” follows, a fleeting composition of crackling electronic clicks jumping off a micro-modular device. They got overdubbed again by Sylvana’s voice, delightfully reciting phrases from a recipe of regional delicacies.

The A side of KC`s first strike finishes with a spaced-out synth bass and the lo-fi beats of a Yamaha RX15 drum machine. They are the gripping foundation of “Aithouses Anamonis“, which means “Waiting Rooms”. It describes the scene of a man sitting in a waiting room observing the consumerist behaviour by the folks around him.

The B-side opens with a Tolouse Low Trax remix of “Specialised”, elevating the original with the bass line of “Aithouses Anamonis“, while melting the all into a dark nebulous Tolouse Low Trax signature stripped down funk for endless nights in neon lights.

For their final track “Colours”, Keller Crackers invited a steady free member of their live shows to record with them: free jazz musician Robert Würz. He tuned his flute enthralling over a suspenseful bass line formed in a whirlwind of synth-sounds. The whole frenzy gets divine through sliding chords that rise from a self-built guitar.

A musical bouquet for open spirits, that value charming minimal wave zones, undefinable post-industrial psychedelics and hallucinogenic poetry reflections on the current state of our mechanical times.

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…

Crammed Discs present the debut album by innovative, exciting French/ Chilean band Nova Materia. Avaialble as a CD and as a double LP version is housed in a gatefold jacket, plus colour innersleeves and includes a download card. Nova Materia's powerful, hypnotic music incorporates eerie sounds generated by raw and mineral materials (metal, rocks etc.) to create tracks that are in turn hyper-rhythmic and dreamy, poised between postpunk rock and electronic dance music. Nova Materia is a duet consisting of Caroline Chaspoul from France and Eduardo Henriquez from Chile. The band was born three years ago from the ashes of Panico, the Chilean alternative rock group with which Caroline and Eduardo toured around the globe and released several albums. After two Eps produced a.o. in collaboration with French producer Chloé and her Kill The
DJ label, Nova Materia now joins the likes of Acid Arab, Konono N°1, Juana Molina, Yasmine Hamdan and Matias Aguayo on the Crammed Discs roster.

Acid Techno supergroup The Wipeouts (Chris Liberator, Sterling Moss, Aaron Liberator) return with 2 cheeky adrenalin fuelled cuts of twisted 303's, hard-as-nails beats, and tongue-in-cheek vocals. On the flip Geezer and Rats On Acid deliver rolling Acid Techno shenanigans, with Geezer finishing off the EP with his firebrand chunky beats. A 4 track instant Acid party!!

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

Cecil Taylor's solo piano set at the Montreux Jazz Festival in 1974 drew critical acclaim, earning five star reviews from the Rolling Stone Jazz Record Guide and AllMusic's Scott Yanow. The set features Taylor's five-movement work "Silent Tongues', along with two encores. After being out of print for nearly four decades, the classic live album has been remastered at Infrasonic Mastering and pressed on audiophile-grade vinyl at Pallas Group in Germany. Silent Tongues is a must-have for fans of Taylor and collectors of free jazz.