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Limited Edition Clear Vinyl

Includes 12' Vinyl and Deluxe CD album, 30 page hard back book

Now that I've been to Nashville,' Kylie Minogue says with audible affection, I understand. It's like some sort of musical ley-line...'

Golden, Kylie's fourteenth studio album, is the result of an intensive working trip to the home of Country music, a city whose influence lingered on long after the pop legend and her team returned to London to finish the record: We definitely brought a bit of Nashville back with us,' she states. The album is a vibrant hybrid, blending Kylie's familiar pop-dance sound with an unmistakeable Tennessee twang. It was Jamie Nelson, Kylie's long-serving A&R man, who first came up with the concept of incorporating a Country element' into Kylie's tried-and-trusted style. That idea sat there for a little while, with Minogue and her team initially unsure about how to bring it to life. Then, when Grammy-winning songwriter Amy Wadge's publisher suggested Kylie should come over to collaborate in Nashville, a city Kylie had previously never visited, something clicked. You know when you're so excited about something,' she recalls, that you repeat it an octave higher and double the decibels I was like that. 'Nashville! Yes! Of course I would!'. I hoped it would help the album to reveal itself. I thought 'If I don't get it in Nashville, I'm not going to get it anywhere.''

Kylie's Nashville trip involved working alongside two key writers, both with homes in the city. One was British-born songwriter Steve McEwan (whose credits include huge Country hits for Keith Urban, Kenny Chesney and Carrie Underwood), and the other was the aforementioned Amy Wadge, another Brit (best known for her mega-selling work with Ed Sheeran). It was then a truly international project: Golden was mainly created with African-German producer Sky Adams and a list of contributors including Jesse Frasure, Eg White, Jon Green, Biff Stannard, Samuel Dixon, Danny Shah and Lindsay Rimes, and there's a duet with English singer Jack Savoretti.

However, the album's agenda-setting lead single Dancing was, significantly, first demoed with Nathan Chapman, the man who guided Taylor Swift's transition from Country starlet to Pop megastar. If anyone knows how to mix those two genres, Chapman does. Nathan was the only actual Nashvillean I worked with. He's got a huge studio in his house, which is probably due to his success with Taylor... there's plenty of platinum discs of her, and others on his walls.' There's something of the spirit of Peggy Lee's Is That All There Is, of Dylan Thomas' Do Not Go Gentle Into That Good Night, even of Liza Minnelli's Cabaret about Dancing, a song which not only opens the album but sets out its stall, providing a microcosm of what is to come. You've got the lyrical edge, that Country feel, mixed with some sampling of the voice and electronic elements, so it does what it says on the label. And I love that it's called 'Dancing', it's immediately accessible and seemingly so obvious, but there's depth within the song.'

The experience of simply being in Nashville was an overwhelming one, before Kylie had even arrived. Once I knew I was going to Nashville, people talked about the place with such enthusiasm. They said without doubt I would love it and, I would come back with songs. They were sending lists of restaurants, coffee shops and bars. It really was a beautiful and genuine response and it felt like I was about to have a life changing experience and in a way, I did.' The reality came as something of a surprise, when she found a far more modern metropolis than the vintage one she'd envisaged. I thought it would be like New Orleans: little houses and bars, with music spilling out onto the street. It reminded me more of Melbourne: apartment blocks going up everywhere! The main strip, Broadway, where the honky tonk bars are, that's where the street was filled with music and it was just amazing.' Mainly, Minogue remembers the heat and humidity. It was 100 degrees. It was like it was raining with no rain.' She also relished the chance to wander around unrecognised, visit a few venerable music bars and soak in the atmosphere. I didn't get to the Grand Ole Opry or the music museums but I managed to go to a couple of the institutions there like The Bluebird Cafe and The Listening Room, and just by being there, through some kind of osmosis, you get this rejuvenated respect for The Song, and the writing of The Song. There's no hoo-hah around it. There's a singer-songwriter there, talking about the song and singing the song, to an audience who are there to listen. Although, I have to confess I was guilty of starting to clap too soon during a long pause at the end of one of the songs. The guy made a bit of a joke out of it and got a laugh from it, but I thought 'Of all people in the audience, no...''

It's probably no coincidence, therefore, that every track on Golden is a Kylie co-write, making it arguably her most personal album to date. The end of 2016 was not a good time for me,' she says, referring to well-documented personal upheavals, so when I started working on the album in 2017, it was, in many ways, a great escape. Making this album was a kind of saviour. I'd been through some turmoil and was quite fragile when I started work on it, but being able to express myself in the studio made quick work of regaining my sense of self. Writing about various aspects of my life, the highs and lows, with a real sense of knowing and of truth. And irony. And joy!'

The songwriting process allowed Kylie to get a few things out of her system. Initially, she admits, it was cathartic, but it also wasn't very good. I think I was writing too literally. But I reached a point where I was writing about the bigger-picture, and that was a breakthrough. It made way for songs like Stop Me From Falling and One Last Kiss. It also meant I had enough distance to write an autobiographical song, like A Lifetime To Repair, with a certain amount of humour. The countdown in that song: 'Six-five-four-three, too many times...'. I don't know if that will be a single, but I can just imagine a girl with framed pictures of past boyfriends, and kind of going 'Oh god, when am I going to get this right'' When she listens back to Golden, Kylie can vividly hear the Nashville in it. It is, she'll agree, probably the first time that a Kylie album has sounded like the place it was made. You wouldn't normally relate my songs to the cities. Can't Get You Out Of My Head sounds more like Outer Space than London. But Shelby '68, for example, was written in London but it was done with Nashville in mind. It's about my Dad's car, and my brother recorded Dad driving it! I don't think I'd have written a number of the songs, including Shelby '68 and Radio On without having had that Nashville experience.'

The latter, she says, is about music being the one to save you.' Throwing herself into the making of the record, she says, crystallised that idea. If there's one love that will always be there for you, it's music. Well, it is for me, anyway.' That song, in particular, carries nostalgic echoes of the golden age of Country, as heard through Medium Wave transistors and tinny home stereos in the distant past. Like any child of the Seventies, Kylie had a basic grounding in Country music, mainly absorbed from older family members. My Step-Grandfather was born in Kentucky and though he lived most of his adult life in Australia, he never stopped listening to his beloved Country artists.' If there's any classic Country singer whose imprint can be heard on Golden, it's Dolly Parton.

Kylie saw Dolly live for the first time at the end of 2016, at the Hollywood Bowl. It was like seeing the light,' she beams. It was incredible. Everyone, whether they know it or not, is a Dolly Parton fan. When I was in Nashville, I did pick up a T-shirt that said 'What Would Dolly Do' Maybe that should be my mantra.' And, whether consciously or otherwise, there's a timbre and trill to Kylie's vocals on Radio On that is distinctly Parton-esque. My delivery is quite different on this album,' she says. A lot of things are 'sung' less. The first time I did that was with Where The Wild Roses Grow. On the day I met Nick Cave, when I recorded my vocals, he said 'Just sing it less. Talk it through, tell the story.' This album wasn't quite to that extreme, but a lot of the songs were done in fewer takes, to just capture the moment and keep imperfections that add to the song. I remember on my last album, a lot of producers were trying to take out literally every vibrato they heard. And that's not natural to my voice. I mean, I can make myself sound like a robot, but it's nice to sound like a human!' Working within the Country genre also gave Kylie permission to write in the Nashville vernacular. Because we were going there, I wasn't afraid to have lines like 'When he's fallen off the wagon we'd still dance to our favourite slow song', 'Ten sheets to the wind, I was all confused', 'I'll take the ride if it's your rodeo'. The challenge of bringing a Country element to the album made the process feel very fresh to me, kind of like starting over. I started to look at writing a different way, singing a different way.'

If ever Kylie lost confidence in the Country-Pop concept, and found herself pondering This is great, but back in the real world - my real world - how will this work', Jamie Nelson was there to badger her into sticking to the path. We found a way to make it a hybrid with what we'll call my 'usual' sound. It had to stay 'pop' enough to stay authentic to me, but country enough to be a new sound for this album. The closer we zoomed in, and the more we honed it, I knew Jamie was right. We sacrificed good songs that weren't right for this album, because we wanted it to be as cohesive as possible. The songs that were hitting the mark were these ones, so we decided to be strong, and that's how we wrapped up the album. What he said, that stuck with me, was that 'I'd hate to get to the end of this and really wish we'd gone for it.'' Having worked with Kylie for so long, Nelson was able to put this latest shift of direction into perspective. He said 'You've traditionally done it throughout your career. You had your PWL time, then you did a complete turn when you went to deConstruction, then another complete turn with Spinning Around, and R&B dance-pop, and then another turn with Can't Get You Out Of My Head, icy synth-pop, and this is another one.' He was right. It felt like the right time to have a change sonically. New label, new stories to tell, and a new decade almost upon me.'

Kylie Minogue will, it's scarcely believable, turn 50 this year. This looming milestone is partly behind the album's title, and title track. I had this line that I wanted to use: 'We're not young, we're not old, we're golden' because I'm asked so often about being my age in this industry. This year, I'll be 50. And I get it, I get the interest, but I don't know how to answer it. And that line, for my personal satisfaction, says it as succinctly as possible. We can't be anyone else, we can't be younger or older than we are, we can only be ourselves. We're golden. And the album title, Golden, reflects all of this. I liked the idea of everyone being golden, shining in their own way. The sun shines in daylight, the moon shines in darkness. Wherever we are in life, we are still golden.' One of the album's shiniest moments is Raining Glitter, an exuberant banger which ventures closest to Kylie's traditional dance-pop comfort zone. Eg White, who is one of the producers and writers and a great character, was talking about disco one day. I said 'I love disco, but you know the brief.' We needed to be going down the Country lane, so to speak. But we managed to bring them both together. When I wrote it, I was thinking about the Jacksons video for Can You Feel It where they're sprinkling glitter over everyone. And I think there's a Donna Summer record that's got that feel to it. I think that's my job: I basically leave a trail of glitter after every show I do anyway.'

Kylie is looking forward to the challenge of incorporating the Golden material into her live shows. Mixing these songs in with my existing catalogue is going to be fun. And it could be fun to do some of those songs with just a guitar. It'll make my acoustic set interesting...'Her incredibly loyal fans - to whom one Golden song, Sincerely Yours, is intended as a love letter' - will, she believes, have no problem with her latest stylistic shift. My audience have been with me on the journey, so I shouldn't be afraid that they won't come with me on this part. I've had fun with it, and I'm sure they will too.'

The time spent making Golden has, Kylie says, been a time of creative and personal renewal. I've met some amazing people, truly inspiring writers and musicians. My passion for music has never gone away, but it's got bigger and stronger.' And if there's an overriding theme to the record, it is one of acceptance. We're all human and it's OK to make mistakes, get it wrong, to want to run, to want to belong, to love, to dream. To be ourselves.'

I was able to both lose and find myself whilst making this album.'

The Pendletons return with their latest EP, Funk Forever, a Jazz flavored boogie affair with soul inspired song-writing that evokes old school vibes while still staying fresh and current. Horn lines, Yamaha dx7 keys and snapping hip hop inspired drum programming topped by sweet singing with heartfelt themes, the group carves out a bold new sound on these 5 solid tracks. Featuring Elive, Potatohead People and Ishtar.

The Pendletons are a long-standing boogie-funk and modern soul project of E da Boss (of Myron and E on Stone's Throw) and Trailer Limon. The group emerged with their very first release in 2010, a 7" inch of "Coming Down/Waiting On You" on the Slept On record label, which set the tone for the group to emerge... it instantly became a cult classic receiving constant play at nights like Sweater Funk and Funkmosphere, and fetching for serious sums among collectors. Most recently, in 2016, they released the EP "Gotta Get Out". The title track caught the ear of renowned DJ Gilles Peterson, who liked it enough to release it on his Brownswood Bubbler compilation.

In 2018 the group is hitting the ground running with a brand new EP out this spring, and a full-length album to follow later later in the year on the renowned Bastard Jazz label. Now armed with a horn section, a vast array of accomplished jazz and funk contributors, and a knack for quality song-writing, the Pendleton's sound has shaped into something fresh and unique, setting it apart from the legions of imitators.

In the vapor trail of How Does It Make You Feel,' the first track on this self-titled full length, one can smell the burnt ozone of a seventies-full-orchestra-nebula-pop-odyssey, the flakes floating down and landing like snow, giving grave-chills ... the ash of a masterpiece pop song. Once And Future Band: this incredibly accomplished cabal of total prog wizards has circled the earth, but then, these are the accomplished gentlemen of many former pursuits (the formidable Drunk Horse among them) and all of them comets themselves.

The very mid-'70s vibe at work here surpasses pastiche, and crests that lovely anachronistic conceptual peak: a fully realized and meticulously arranged psych record, meant to be listened to from top to bottom, with the lights down low and in a comfy chair perhaps, or while gazing out the window of your life pod. The Dark Side of the Moon feel, with shades of early Yes's technicality, a dash of Steely Dan's vocal prowess and effortless sheen, and some seriously outsized hooks that call to mind the mighty ELO, Le Orme and, yes, even the unsinkable Queen powered on Brian May's tape echo jet fuel and sequined power cells.

This is a head record in the classic sense but utter fealty to The Dark One insures both being trapped and infected by the pop-parasite. That it is largely self-produced (with tracking / engineering on three of the songs by Phil Manley at El Studio) makes it all the more jaw dropping. Making prog cool again, again, and then slightly more complicatedly, again.

Techno Album of the month March 2018 in Mixmag UK!

Central to the Israeli club scene, Deep'a & Biri have long been defying expectations even within a community they helped construct. Serving as resident DJs, activists and bookers for Tel Aviv's legendary Barzilay Club, the pair helped build a transcendent club scene. Hugely influential artists such as Robert Hood, Derrick May, Rødhad, Ben Klock and Moritz Von Oswald passed through the club, enjoying legendary crowds and what they could surely sense was a genuine air of anarchy, rebellion and unadulterated rave pleasure.

As the duo held down dozens of parties with dozens of DJs, there was no 'eureka' moment for their emerging sound; just a steady stream of brilliant, inspiring electronic music, much of which left an indelible imprint on the pair. Now based in Berlin, for Deep'a & Biri, things are much the same, even if the landscape and the city is different. Always rooted in the fertile ground between machines and emotion, on their second full-length LP, 'Dominance', the duo demonstrate their unique grasp of the sensitive, unfolding relationship between man and machine. Steadfast in their insistence never to remain in one lane in terms of their sound, 'Dominance' flawlessly segues between forcefulness and weightlessness. From beginning to end, this is not a record afraid to show its teeth with an uncompromising, instantly recognisable techno palette that kicks the foundations of any sound system with menace, anger and determination, particularly on tracks such as the dense 'Voltage' and pulsing throughout the more industrial flourishes of 'Ecole De Nancy' and 'Seeking Solace'.

Beyond these grittier, although never mindless, moments of authority, a sense of escapism and curiosity imbues the album. 'Alpha Cephei' offers the first hint of Deep'a & Biri's more wistful concepts, producing a smoke trail of twinkling electronics out of a smudged but distinctive bassline. That understated sense of emotional catharsis carries throughout, to be found between the complex-yet-familiar bells that drive 'Flow Diverter's' rhythm to a Detroit-indebted landscape that will surely instantly elasticate any keen dancers, while 'False Memories' offers big-room techno fulfillment with none of the character or sincerity removed for cheap thrills. Saving the most remarkable moments for last, the pair sign off 'Dominance' with the poignant and purifying 'Astral Trails', fusing an ethereal, ambient landscape with the more pronounced rhythms of their hardware.

The album's distinctive artwork comes from the studio of Jewish orthodox artist Avraham Guy Barchil, who forged a powerful connection with Deep'a, both was immediately drawn to 'weird atmosphere, amazing technique and emotions involved with his work'. Perhaps one of the most interesting painters from Israel, Avraham is known for his unique perspective, taking his inspiration from the Zohar - the foundational work in the literature of Jewish mystical thought known as Kabbalah. The ambiguous figures represent mystical aspects of the Torah (the five books of Moses), as well as material on mysticism and mythical cosmogony.
Ensuring their natural, conscious touch always remains at the forefront of this unapologetically machine-driven music, Deep'a & Biri have produced an album in the lineage of their heroes and greatest influences. Cerebral yet satisfying, deep yet always engaging, 'Dominance' both reasserts and evolves Deep'a & Biri's forward facing and singular sound.

Mr Bongo brings another Brazilian rarity to the masses with this sublime reissue of Tim Maia's Disco Club. Recorded in 1978, it's a latter-period gem from the larger than life legend, combining the glitz and glamour of disco's heyday with Maia's raw funk and soul roots.
When Maia first heard Little Richard as a teenager, he knew what kind of singer and artist he wanted to be. Five formative years spent in the US, where he ran wild in NYC and joined a
doo-wop group called the Ideals, did little to dampen his enthusiasm for black music.
Stirred by the civil rights movement in the US and driven by a punk spirit, Maia went on to blaze his own trail through the early 70s over the course of four successful albums for Polydor. Moving away from the straight MPB, Tropicalia and international rock dominating the airwaves, his sound represented a new black Brazilian consciousness. When he sang, he could be raspy and defiant one moment ... and then romantic and reflective the next. But always on a groove and with a hook. It was an irresistible combination.
Yet by 1977 he was bankrupt and in limbo having first joined a religious cult called Superior National and then alienated listeners with his first album sung entirely in English. To complicate matters further, Brazil was feeling the Saturday Night Fever. Gloria Gaynor, Chic and Kool & the Gang were dominating the charts and filling hotspots such as New York City Discotheque in Ipanema and Frenetic Dancing Days in the Gávea Mall.
Maia left his usual band and went into the legendary Estudios Level with a mighty ensemble of Rio's finest including Paulinha Braga on drums, Jamil Joanes on bass, Robson Jorge on clarinet, Hyldon De Souza on guitar, Sidinho on percussion, trombonists Edmundo Maciel and Darcy Seixas, and Juarez Assis on tenor sax.
Arranger and keyboardist Lincoln Olivetti was a crucial presence during these sessions. He added that all-important string flourish and brassy joy to the uptempo tracks while giving the
star enough room to express himself. The album kicks off with a trio of floor fillers: the exuberant party starter 'A Fim De Voltar', a sing-a-long anthem in 'Acenda O Farol' and the undeniably funky hit 'Sossego' (file that one next to Fatback).
But then Maia drops it down and gets existential on 'All I Want', questioning the meaning of happiness. He also shows his tender side on slow burners such as 'Murmúrio' (written by the great Cassiano) and 'Pais E Filhos', the latter featuring a supersoft bed of harmonies you can't help but lay down on. But the party ain't over and mid-tempo groover 'Juras' gets the feet moving again before 'Jhony' sends us swaying off into the night.
Maia's appetite for excess would eventually get the better of him. But Disco Club is the sound of an unpredictable genius on top form. Get ready for the time of your life.

Cut from the same cloth as last year's double-cassette, 'Like All Mornings,' Vanessa Amara's new album trails shorthand piano pieces and wilted strings through magnificent, electro-acoustic surrounds, often settling into buzzing, syncopated reveries. 'Manos' takes its name from an abbreviated term of endearment. Spoken in this form, it's an affectionate and inclusive gesture from friend to friend, or indeed from gang member to gang member. Vanessa Amara seemingly take their cues from either usage. Their new album feels hesitant to reveal its parts, and is perhaps a document of the limits of what can be revealed, a memorial to its own process as it winds itself in and around its delicately hued landscape. Though beginning with a morose gait, the album quickly turns over. And revealing its softer self, the clarity of the moving string arrangements hang in the air like fine mist. Everything settles against surfaces as the day breaks, opening up the space, though eventually condensing into the unnerving crescendo of the album's final piece. A recurrent, gentle whirring, much like a gramophone's needle, tracks through much of 'Manos.' It carefully steadies the listener into a mode of measuring duration, a meditative self-awareness that deliver's Vanessa Amara's world. Always intricate, and effortlessly tender, 'Manos' is an album as textural as it is melodic, and it is certainly the most exquisite suite of works to have been presented by Vanessa Amara thus far.

FUN FARE is the experimental pop laboratory of Friedrich Günther, Julia Boehme, Joseph Heinze and Jakob Zander, which hails from Leipzig. In combining and distilling their respective influences they are constantly withdrawing from all possible expectations and presumptions. Krautrock meditations are interrupted by synth-pop intermezzi and bathed in waves of post-punk without laying false or random trails. It's more like an experiment under controlled conditions or an elaborate construction that is spontaneous and playful. In the autumn of 2015, Fun Fare recorded their debut album - Wrong Gong , which was released in February 2016 via Hartnack Records and played shows with Candelilla, Soft Grid, Friends Of Gas and Priests. Recently they released a split tape with Berlin post-punk band Plattenbau via Flennen and at the Trans Century Update Festival in UT Connewitz in Leipzig shared the stage with John Maus, Alex Cameron and Thurston Moore Group among others. Their second album Trifles & Events Are Your Concern' promises to deliver on the promise of their early releases and is a strong addition to the catalogue of Späti Palace.

B. Fleischmann, the longest-tenured solo artist on Morr Music, returns with indie-spirited, electronica-enhanced moments of bliss on his new album Stop Making Fans': Recorded with a little help from friends including vocalist Gloria Amesbauer, Markus Schneider (guitars), and Valentin Duit (drums), it's a two-part reflection on artistic self-reliance vs. fame-seeking conformism, another deeply personal, utterly idiosyncratic album by the Indietronic trailblazer.Stop it and just DO,' Sol LeWitt once wrote to sculptor Eva Hesse - and listening to B. Fleischmann's new album, he indeed does both: He slams on the brakes and stops looking at what anyone else is doing, stops pleasing, stops being restrained, and at the same time he floors the accelerator and delivers the kind of high-paced work that bursts at the seams with polyphonic energy and an urgency unique to his music.Arriving with interlocked bleeps, the hustle and bustle of an invisible grand station's atrium ( Here Comes The A Train'), Fleischmann's trademark vocals serve as a gentle reminder to resist the siren calls, to not trust the latest hype. Energy levels remain high throughout the first part of the LP - whether it's the mumbling, personal stocktaking of what feels like an underwater hymn ( There Is A Head'), the robotic, immodest pop tune It's Not Enough' (feat. Gloria Amesbauer) or the return to light-speed mode on Wakey Wakey' - the first half of this album is indeed all about letting off some steam.After the collected canter of 7-minute instrumental Hand In,' the multi-instrumentalist & his studio mates kick off the slower-paced part II with the title song: a note to self, a reminder to never buckle or water down an original vision... and indeed, it's a sonic tapestry that's impossible to compare or pigeonhole when he changes the rhythm in mid-track and turns yet another corner when you thought you had discovered a fixed pattern. That said, B. Fleischmann certainly knows how to orchestrate an entire funfair full of sonic attractions. Guest singer Gloria Amesbauer returns for soothing tunes The Pros of Your Children and "Hello Hello . B. Fleischmann guides us to his almost jazz-tinged Little Toy , and leaves behind an Endless Stunner — another typically dense and shape-shifting stream of harmonies that keeps winding its way until the very end of this album It's rare that an album is great because it does not live up to its title - but here's one. Stop Making Fans,' his first full-length release in five years, is another totally unique, and thus potentially fan-base enhancing release. But then again, it's always been like that: We're usually at our best when we care the least - look at the delightful ways of toddlers or really old people. That natural ease, those invisible shrugs of shoulders: it's what does the trick. And you can hear a lot of that on Stop Making Fans'.

LP incl CD
Garden of Love' one of the first single tracks feat Peter Hook (New Order) On the cover of their new album Malamore, their first album for Because Music, Lionel and Marie Limiñanas are back in black, and looking ineffably cool, standing next to a classic silver Fifties trailer, shot at a beach festival in the French town of Paulilles by the Spanish border, just 30 minutes drive from the duo's home town of Perpignan. They'd been playing a DJ set, only with 45 rpm vinyl - Sixties punk, Italian pop, movie soundtracks and Seventies rock tracks,' they recall. The picture syncs well to the colour of Malamore, like the artwork of a movie soundtrack. The lettering on the cover is significant too.

The original, the inspirational, the bombastic, the never bettered, the one.
'Don't make me wait' is all of the above and so much more. Classic to the core. Huge earth shattering record right here.
OK, so the scoop, for the uninitiated is this - the Peech Boys were Larry Levan's group, we're talking early 80's NYC here, 1982 to be precise, around the height of the Paradise Garage as Larry was making the transition from superstar DJ to producer. He brought a sparse, dubbed out, narcotic late night feel to the overall sound of this record. This was a short-lived project, but the influence is still felt today, the Peech Boys DNA is inside the veins of modern dance music, as is Larry's. There is no underestimating what an impact this record had. 7+ minutes of electronic bliss, trailblazing stuff, and don't get us started on the dub. Do yourself a favour, BUY this classic if you don't own it already, you'll keep coming back to it time and time again. Guaranteed. This essential 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

This 2XLP album, EUROPA, is dedicated to and inspired by events in 2015 & 2016, which saw the spectre of global crisis come knocking at Europe's doorstep.During this time, more than a million migrants and refugees fled their homes in the Middle East, Northern Africa, sub-Saharan Africa and other conflict ravaged areas in search of a better life. For many, hopes of a future for themselves and their families lay in continental Europe.As already said about the preceding 12' single with the same name - One of the most well- trodden paths on this journey was the Balkan route, a trail leading through Turkey, Greece, and the former Yugoslavia.. This route was not without its dangers, and the dreams of thousands upon thousands were dashed by impassible security fences and discordant EU politics, as one by one they were turned away at borders, or worse, forcibly returned to their countries of origin.Europa was recorded during long jam sessions in Belgrade as the media spotlight started to dim. The city became the purgatorial destination for a large number of migrants, whose journeys had been cut short.
This double LP reflects the atmosphere of disillusionment and uncertainty about the future, which descended on the Serbian capital. Dark and melancholic saxophone playing on top of heavy kicks and Mediterranean percussions dominate the epic 17 minutes title track. The collaboration with Jerusalem in My heart continues the melancholic atmosphere, adding to it JIMH signature delayed baglama sounds, to create a 12 minute emotional journey, tearing away abstract concepts of 'longing' and 'home' with ever growing tension and magnitude. Genre-less, illusive and not easy to categorize, Tapan's debut album on Malka Tuti is an original soundtrack of a fragment in time and space, capturing a moment and transcending it musically for the rest of the world to experience.

Super deluxe lo fi 7" grape-colored vinyl housed in DIY low-budget sleeve, + includes "I love my VCR Sticker"

WRWTFWW Records is thrilled to announce the release of the long anticipated, always delayed, 30-years-in-the-making PSYCHOS IN LOVE Original Soundtrack, available at last and for the first time ever in a super deluxe low fidelity _7" grape-colored vinyl edition, housed in a DIY no-budget sleeve, and loaded with extras, including words from film director Gorman Bechard, lyrics of the theme song, a promotional postcard with a picture of the cast, a poster of a woman attacked in a bathroom, and the infamous as-seen-in-the-movie "I LOVE MY VCR" bumper sticker!

Filled with sleazy funk, macabre synths, homemade electronic kitsch, anti-grape propaganda, and rewind-worthy dialogue excerpts, Psychos In Love is the ultimate lo-fi horror-romcom soundtrack adventure with a theme song so memorable you'll find yourself humming it every morning. In Gorman Bechard's words, "For the Psychos In Love theme I purposefully wrote what I hoped were the worst lyrics of all time, giving them to Carmine Capobianco with one note, 'use them to write the worst song of all time.'"

The movie Psychos In Love (1986) is a trenchant, laugh-out-loud indictment of slasher films, romantic comedies, and grapes (that's right, pal, grapes), a true genre-defying post-modern cult classic that will wind its way into your heart as its characters work _their way through vats of gore. Packed tight with sly homages to - and parodies of the work of such cinema legends as Alfred Hitchcock, Woody Allen, Roger Corman, Groucho Marx, and Gerard Damiano, Psychos In Love foreshadows the grand guignol culinary delights of Silence of the Lambs, served up with a healthy portion of wry wit and all-American t&a.

Bursting through the vapour trails of previous Solar Phenomena pilot Antonio Ruscito, London's Roberto is invited to the take the controls of the forward-thrusting new label's third adventure.

With turbine pads raising hairs at 20 paces, opening track 'Into The Blue' is an alluring statement. Adorned with breathing atmospherics and stately kicks, it builds perfectly on Roberto's previous work both on his own highly respected label Fossil Archives and other eminent imprints such as Emmanuel's Arts and Dehnert's Fachwerk as a fusion of contrasts and shades.

'DX Waves' takes us up a gear as it heads nose-first into a techno vortex. Relentless, driving and hypnotic, there's a pneumatic funk to the drums while the riff ripples and stimulates with a warmth and fluidity that instantly recalls the legacy of Motor City while remaining plotted to a path of its own.

This sense of unbridled drive and energy continues on Roberto's final original of the EP: 'Chord Recall'. Here the drums take more of a central position on the stage as the warped, melting tones and textures wrap themselves around the punctuated kicks and occasional deep-splash cymbals. Laced with a deep sense of space and a bewildering sensation of an unknown destination, it s another innovative voyage for Solar Phenomena that's brought home with an exciting revision conclusion from the one and only Peverelist.

A Bristol beat explorer who needs no introduction, Peverelist's take on 'Chord Recall' takes off where his recent album 'Tessellations' left us at the start of the summer. With his loose broken drum signature, Peverelist provides space for Roberto's original textured elements to take place at the centre of the stage and roam and evolve freely and hypnotically. A fitting end to another exceptional and innovative exploration, both Roberto's originals and Peverelist's remix set us up eagerly for the next Solar Phenomena chapter

To progress towards a civilization which does not unconsciously perpetuate or aggravate inequality and poverty, we need to accept our many differences. For those who prefer uniformity or others who would rather avoid proximity, the celebration of diversity might sound ridiculous.
A certain measure of discomfort is required to reach compassion. But peace through diversity is no prophet's fantasy. It is no harder to imagine than the magical fact that we are alive right now.
The eternal act of dancing is one of the most active form of contemplation. Facing our own selves in the mirror of movement, we realize that we indeed are reflections of one another at all times. What will our own actions and thoughts feed around us
With over 30 years of combined dancefloor experience, Possible Futures have been witnesses to the wildest fauna and flora the great nocturnal jungle has to offer.
Sourcing their inspiration from the many shades of color that co-exist between black and white, it is through the open and eclectic selections of inspired and devoted luminaries that Possible Futures have found their manyfold sound: Frankie Knuckles, Larry Heard, Francois K, Carl Craig, Moritz von Oswald, DJ Harvey, Theo Parrish, Chez Damier, Ron Trent, DJ Deep or Moodymann, amongst so many others, have dedicated their lives to the flourishing of diversity on the dancefloor.
While the minds of Possible Futures float in the air with their bodies rotating behind the turntables, their feet are steadily rooted in reality, enabling their musical knowledge to unfold beyond the night. Through their own record label, Possible Futures share their therapeutic musical blends.
The first two cuts come from the grooves of Argentine old hand Leonel, a family friend of long date. 'Antares' and 'Bunda' drag their dusty trails across different genres, to be enjoyed at 45 rotations per minute. Curative properties guaranteed.

Silencio celebrates the first year of the label with a double-pack vinyl aptly titled Uno.
Comprising of new and established artists, the tracks on Uno collectively summarize the the feel of this label's year, while giving us a hint of what to expect in the year to come.
Click Box & Stefan Dichev kick off the release with 'Memories'. Presenting a collaborative production that will prove over and over again why sound is one of the strongest senses tied to memory. Engineered with emotionally responsive rhythms that roll into a rocksteady baseline, this track evokes feelings with finesse. "Memories" also features funky squiggle sounds and trailing even-tempered tones to punctuate its procession. This is one you'll want to relive every time the opportunity arises.
New comer Wave Particle Singularity has done it again. 'Virtue' is a tremendous track that will quickly establish itself as one of your new favorite things. The drum sequence, accented by beguiling background sounds and curious vocals, gallops throughout this selection with all its feet off the ground together in each smooth stride. Plus, it also comes fully equipped with a pleasingly unpredictable pace in the form of some moody, well-orchestrated changes that result in a perfectly adjusted attitude. Never a dull moment on the dance floor.
Guaranteed.
Kepler.'s latest offering 'Tool A' possess all the qualities one would normally associate with a fine wine because the taste left on the palate after its consumption is both complex and satisfying. During its ascent, effects that compress a thousand echoes into a single sample ride alongside an active baseline that ripples accordingly. Subtle, flavorful snippets bleep and bloop in complete balance, giving this cut a coordinated, contemplative vibe that brings everything into focus.
With his first track on Silencio, Yuuki Hori's 'Scene 5' is truly a unique item. This electromechanicaly exotic sounding export from Japan makes an impression with layers that are neatly stacked and minimal to the max. Its main feature, a sample that seemingly mimics the mating call of a male bullfrog, rhythmically ribbits in harmony with the beat, bellowing over the entirety of this track. All the various elements of this composition come together in a natural way that feels symbiotic and sounds superb.
Another Silencio first, Jorge Ciccioli's 'TD8' has a deliberate intention to create momentum, with a deep, penetrating baseline that rises to the occasion by descending the darkest depths of its own digital horizon. In the midst of the mix the listener is greeted with a clever chorus that effectively sounds like air vibrating, or in layman's terms "blowing", within an empty glass bottle. As it goes through the motions, observe how every note is noticeably nuanced in an effort to reflect the subtle changes that take place.
Closing out the release and year for Silencio, is Laughing Man with 'Reach Out'. Hard, heavyand heavenly are all terms that could be used to express the sentiment of this selection.
Notice how right from the get go this production profoundly pounds out its agenda with a solid, speedy beat that relentlessly rocks throughout the recording. Accompanied by aseries of wavy, spirited vocal layers, ringing bells and an inspired intersection of cymbals,this track is one hell of a ride that will enable you to make contact with the other side.

While frontiers currently seem to be (re)claimed and shutting down, we, at Série Limitée, prefer going against the consensus. We proudly launch the 10th release opening up doors to four new artists, Deep88, Sofotalk, Kisk and The Happy Man. From Italy to Spain, our little musical caravan travels and wanders on paths and tracks made out of raw house beat leaves, fusion jazz trunks and deep groove fields, to bring to you this new VA, our 10th, faithful to our long time recipe: 400 exclusive press. Deep88 is officially in charge of welcoming you inside and of setting the tone. He will take you in with his track Wave House'. Further up our musical trail, we'll start hearing the hints of the next step, our next stop: More Than A Memory', by Sofatalk. On the road again, and we head to the B-side of things. We stay in close connection with Italy with Clean Up & Down' from Kisk. There is no good party without a great closure, and it's all even better with The Happy Man, closing the journey with Pizza Hug'.

(en) While the last Kompakt offering from legendary Russian synthesists SCSI-9 dates back to 2008, when the duo released their album Easy As Down' (KOMPAKT CD 068), co-founder and techno/house virtuoso ANTON KUBIKOV kept himself busy cultivating his own label Pro-Tez Records - and establishing a career as solo artist with a clear penchant for dub-infused soundscapes and ambient music. WHATNESS is Kubikov's first solo full-length under his proper name, weaving airy and iridescent sonic tapestry that takes up where his excellent contributions to our Pop Ambient compilations left off.
ANTON KUBIKOV's special ear for ambience and tonal spaces was always an integral part of SCSI-9's musical DNA that would alternate between tight dance workouts and vast melodic range - but it's as a solo artist that he truly started to explore these spaces, following mysterious sonic trails into foggy, reverb-heavy territory. Kubikov's contributions to the several instalments of our Pop Ambient compilation series announced the arrival of a promising new project in our talent pool - a promise more than satisfied with the immersive sound bath of first solo outing WHATNESS.
Going from the richly layered electronic drones of LIQUID MIRROR or ENTRANCE to the lush ambient dub of OTHER THE SEA and KURT'S FOREST, or the minimalist, evocative piano of OKTOBER and PIA, the album covers lots of stylistic ground, but remains committed to its overall aesthetic of misty mountains and serene valleys. With the endearing APRIL, a true Pop Ambient classic from the 2016 compilation (KOMPAKT 345 CD 128) makes a welcome return, priming the canvas for the subtle bass throb of NORTH and its charming synth bell orchestra. Masterfully refining and extending his sonic pallet on WHATNESS, ANTON KUBIKOV can claim his spot among the very best of today's ambient composers.
(de) Obwohl die letzte Kompakt-Offerte aus dem Studio der legendären russichen Synthesizeristen SCSI-9 schon eine Weile zurückliegt - 2008, um genau zu sein, mit dem Album Easy As Down' (KOMPAKT CD 068) -, hat Co-Gründer und Techno/House-Virtuose ANTON KUBIKOV nicht auf der faulen Haut geaalt, sondern sein eigenes Label Pro-Tez Records gepflegt - und eine Karriere als Solo-Künstler mit klarem Drang zur verdubbten Tonlandschaft und Ambient-Musik in die Wege geleitet. WHATNESS ist seine erste Solo-Album-Veröffentlichung unter eigenem Namen und webt einen luftigen wie schillernden Klangteppich, der genau da weitermacht, wo Kubikovs exzellente Beiträge zu unserer Pop Ambient Compilation-Reihe aufgehört haben.
ANTON KUBIKOVs besonderes Ohr für Ambientes und tonale Räume war schon immer integraler Bestandteil von SCSI-9s musikalischer DNA, die gerne zwischen fokussierter Tanzathletik und ausufernden Melodieräumen changiert - doch erst als Solo-Künstler macht er sich daran, diese Räume wirklich auszuloten und geheimnisvollen Klangspuren in neblige, hallende Gegenden zu folgen. Kubikovs Gastspiele auf mehreren Ausgaben unserer Pop Ambient-Serie deuteten auf ein vielverprechendes neues Projekt im Talentpool hin - ein Versprechen, das mit dem mitreissenden Klangbad von WHATNESS mehr als erfüllt wird.
Von den reichhaltig verschichteten elektronischen Drones von LIQUID MIRROR oder ENTRANCE zum üppigen Ambient-Dub von OTHER THE SEA und KURT'S FOREST, oder dem minimalistischen, andeutungsreichen Klavierspiel auf OKTOBER und PIA erstreckt sich das Album über viel Stilgebiet, bleibt aber der eigenen Ästhetik dunstiger Gebirgszüge und einsamer Täler true. Mit dem überaus reizenden APRIL macht ausserdem ein echter Pop Ambient-Klassiker von der 2016er Ausgabe (KOMPAKT 345 CD 128) seine Aufwartung und bereitet den Boden für den subtil pochenden Bass von NORTH nebst charmantem Synthieglockenorchester. Meisterhaft veredelt und aufgebohrt, ist ANTON KUBIKOVs Klangpalette auf WHATNESS Grund genug ihm einen Platz zwischen den besten Ambientkomponisten unserer Tage zu sichern.

The ninth release on the DSR-C series comes from Rhine. A new name with his roots in atmospheric techno steps up for his first solo EP. 'De Storm' opens the account with a loose collage of textured drums and scuffed-up synths. It makes for a bubbly groove that journeys far off into the night while 'De Bron' is more rooted underground, with cavernous echo chambers run through by supple bass synths and icy hi hat trails. Spooky and haunting, its a track to send shivers down your spine. Last of all, 'Het Meer' is a watery affair, with aqueous drips and drops, radiant pads and then more tightly coiled drums brushing up against one another to make for something atmospheric but also nicely driven. All three tracks are characterised by a rather tender and reflective mood that makes them all the more unique.

The thrid an final installment of archive material, selected by Antinote. A killer suite if you ask us. TIP!
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You can trail away with it. It is easy to enter, but hard to drop out. Tolouse Low Trax just needs an MPC, a small Synthesizer set up and some effects to create subliminal hypnotic music trips, driven by dark synthlines and drunken shuffled patterns. The primitiveness in my music is linked to something simple, and that don't have to be obligatory minimal. For me it is enough to dance rough around the core. Music you don't shape till the end contains of a moment of beauty. A veil of secrecy. I work very simply. I rather reduce my possibilities in ompass. Limitations offer lots of liberties.' He reveals about his work ethic. Even if his music sounds darker then any ever experienced night, he mostly produces it in the morning in his highly inspirational studio home. During the dark times of the day Tolouse Low Trax mostly performs live around the globe. Or hangs out in his second home: the Salon Des Amateurs club bar in Dusseldorf, which he once founded and where he held until today two weekly DJ residencies. The moments and atmospheres he inhales during these lightless moments are mirrored in his shadowy music, about which he also confesses: My art is more a cinematic, literally idea of a large to explore Megacity. This is one of the pictures I would link to my music.' On ' part one he now offers five sounding visions about that Megacity'. They listen to mysterious names like Hidden Flat' or Studies in Drama'. They are nervous. They have ephemeral pieces of dub, Industrial, wave or Italian library music. And at times strangealienated voice samples dance within his highly addictive arrangements. Words can't express their magic. But one thing is fore sure: his hypnotic dance-not-dance tracks do not only illuminate so-called freaks!

* Following the completely sold out Imagine - A - Nation reissue, Anotherday is very excited to announce a series of releases from the enigma that is Spencer Kincy, AKA Gemini - we are very proud to present Gemini's first 5 releases, lovingly re-mastered and pressed back onto vinyl! First up is Le Fusion.

* Originally released on Cajual in 1995, Le Fusion pairs Gemini's signature edgy techno tinged house bump with live instrumentation and frantic vocals over 3 untitled tracks in one of his most interesting releases.

* As one of Chicago's most mysterious and revered characters, the story of Gemini, aka Spencer Kincy has become something of a myth in recent years - blazing a trail throughout the 90's, prolifically releasing over 200 tracks from 1994 to 1999, Spencer's music had shades innovation and soul few of his peers could match. Then, suddenly, at the peak of his career, he disappeared.

* As before, this release has been licensed directly from the man himself, so unlike some other reissues out there, the money made from its exploitation will go directly to him.

* Imagine - A - Nation sold out almost instantly, and this is set to go the same way, so get your orders in early to avoid disappointment.