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Barcelona to Brooklyn via UK: following two very special releases from Beartrax, for their third release (and second of 2020) hot new NYC label Melodize welcome one of Spain’s most consistent electronic ambassadors, Factor City co-boss Undo, and Cin Cin bossman Fort Romeau for remix duties.

Hot on the heels of his stunning ‘Dark Woods’ EP earlier this summer, Undo comes packing some stunning electronic tackle. Sitting somewhere between Border Community and Underworld, both cuts are lavishly layered as myriad synths bubble and ripple away in their own little co-existing worlds.

Baggy, charming and just nicely off-grid, both sides of the coin can be flipped; those looking for a darker jam will be all over ‘Sixty Days’, a powerful cut where the basses melt into swaggering loose kicks. Need things even darker? Then jump on Fort Romeau’s remix where the kicks are cemented into place with a stark acidic twist.

Meanwhile those of us hungrier for more of a cosmic head trip will find serious pots of gold at the end of the rainbow that is ‘Just One Day’. A twinkling, shimmering odyssey, tracks like these don’t come round all that often. Melodize realise total bliss once again.

Three’s a charm, as they say. After „Waste The Time“ and „Socialo Blanco“ „Money“ completes Daniel Meuzard’s Feater triptych. Again joined by the likes of Eric Owusu and Sam Irl and their musical as well as technical skills, as well as by the lovely voice of Vilja Larjosto, the ageless beauty and intellectual brilliance of „Money“ is impossible to resist. It could have been imagined, written and recorded almost anytime in the last 50 years. Inspired or - better put - troubled by the rise and transformation of capitalist systems, fatalism, extravism, climate change and - surprise - the power, corruption and lies revolving around money, its topic is anything, but bubblegum. The music though, is ranging from powerful songs to clever synth experiments. Incredibly executed with a perfectly wonderful result. And even if Daniel writes that there is „no need to worry, I want you to panic“, we want you to listen to this album, while you do so! Hats off to Feater. „

Lysergic DIY acid house from Estonia, ca. 1995/1996. Cheap machines, romantic literary inspirations (the record is actually inspired by Saint-Exupéry), not a lot of air in the room but enough to keep on dreaming. Loud pressing for serious brain melting. For fans of Irdial, Stroom, rubber hammers and queens that are simply lost in fog or drowned in dust.

Washington collective, The 3 Pieces, privately-pressed Iwishcan William on their own DL Records in 1982. The 12 has Discogs, for one, confused. Is it soul, rap, jazz, go-go, funk, electro, or educational? By nature of its birthplace and date of birth, it`s all of those.

Synths shimmer in harp-like glissando. The bass grumbles, rumbles, machine-made. The beat pops and locks. The whole thing grooving and exuding positivity. One part the cosmic funk of say Cloud One`s Patty Duke. Another, the balearic chug of Will Powers` Adventures In Success. Like Brother D it looks to “agitate, educate, and organize”, and stirs in the sentiments of Razzy`s I Hate Hate. Imagine if the Last Poets jammed with sister Sarah Webster Fabio. Keys parp like car horns, a real trumpet blows a Don Cherry solo, but the track really revolves around its sweet Sesame Street call-and-response chorus:

“I wish love. I can love. I will love. I am love.”

Swiss gentleman DJ and Phantom Island resident, Lexx, produces a killer remix - smoothing out the OG`s jerky edges, upping its sophistication. Making clear the contributions of Lexx` new bubbling electronics. rescuing a clipped guitar, previously lost deep in the mix, and moving the children’s voices to the fore. Ensuring you’ll remember that

““I am” is the glory of a wish come true.”

Idjut Boy Dan Tyler then ties up the package, well he actually kinda sends it out into space - expanding everything in echo. NYC Peech Boys-esque delay. The result is a mind-blowing, psychedelic, almost ambient, Larry Levan-like, Paradise Garage dub. Where fragments of song fly at you from four corners. Trippily pan from left to right. The horn blasts now paying tribute to King Tubby`s Hi-Fi. François Kevorkian going bang!

All carefully mastered with love from the original master tapes by Sam Berdah at The Wall studios.

A new colossal star rises in the twilight of funky soul jazz as Ernie Hawks releases his debut album "Scorpio Man" on Timmion Records. The impressive trombonist/flutist, is known to hold no punches, when performing live in the ranks of The Soul Investigators. Here he delivers a fierce selection of S.O.U.L. and Cymande flavored instrumentals that also bring to mind some of the finest sample-fodder library music.

The album's name, "Scorpio Man" might come from the stinging and slightly intimidating style Hawks handles the trombone slide, known to pierce the hearts and souls of the ladies in the front row during his live performances. On this album, Ernie rides to battle equipped only with the flute, but this does not mean we will be exposed to some smooth jazz snooze fest. Rather Ernie handles his instrument with muscular rawness at times and moody ambiance at others, sliding with ease into any groove that the extended Soul Investigators band lays down.

"Scorpio Man" is no one trick pony, and the listener will be shifted around from the exhilarating psych funk of "Scorpio Walk" all the way to the airy moods of "Street of Tears". Take a chance with the Scorpio Man, his sting will give you a funky high much better than what they sell in the streets.

"A deep oceanic trip from BLNDR supported by an hypnotic killer remix from Voiski.
All of it in a full colour sleeve with a clear dolphin vinyl.
(might work as an underwater ID when you are diving as well)
What else could you want ?
Close your eyes & enjoy the ride..."

Following the release of Milton Nascimento’s Maria Maria, Far Out Recordings proudly presents Nascimento’s 1980 follow up. With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, ‘Ultimo Trem (Last train)’. This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast. “The military government shut down the route and the whole region began to fade away,” explains Milton. “I love train rides” adds the composer, “But today there are almost no trains to Brazil. So when I go to the US and Europe, any time I can, I go by train. The longer the journey the better.”

Featuring much of the same all-star line-up as Maria Maria – including legendary Brazilian musicians Naná Vasconcelos, João Donato, Paulinho Jobim and members of Som Imaginário, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saídas E Bandeiras' and 'Ponte de Areia'.

The title track, ‘Ultimo Trem’ – performed exquisitely by Zezé Mota with a choir and piano – is a mournful lament about the human consequences of the axed line. The ballet brought great media attention to the campaign against closure. “Most of Fernando’s lyrics have some political tone,” says Milton, “This one helped the area a lot because the politicians grew concerned about the subjects.”

Fernando’s and Milton’s shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premièred in 1980. ‘A Viagem (The trip)’, launched with a train’s steam whistle, sees Milton’s guitar moving to a train’s rhythm. In contrast to the usual lyricism, ‘Bicho Homen (Beastly man)’ and ‘Decreto (Degree)’ are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers’ renderings of Bach. ‘E Daí? (And so what?)’, and ‘Olho d’Agua (Water’s Eye)’ were both drawn from ‘Clube Da Esquina’. ‘Olho d’Agua’ is mellow and delicate and Milton’s homage to the great voices of Brazil whilst ‘E Daí? (And so what?)’ is a stunning mosaic of voices. The unusual ‘O Velho (The Old Man)’ conjures up an image of an old shaman singing alone into the wind against the cries of nature. Perhaps the most affecting songs are Nascimento’s ‘Itamarandiba’ and ‘Oração (Prayer)’. The latter is a cry for a change in the situation whilst ‘Itamarandiba’ ends with an upbeat, whirling Hammond organ and guitar timepiece. The closing track ‘Ponta de Areia (Sand Edge)’, was based on one of Fernando’s newspaper stories and became one of Milton’s most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire. It reappeared as a ghostly 45-seconds memory on the ‘Milton e Gil’ album, his millennial collaboration with Gilberto Gil.

After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria. Set for its first ever vinyl release for this year’s Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret.

Lamunai Records presents Curiouser and Curiouser, a treasure trove of millennial music era from a duo pop group called Santamonica from Jakarta, Indonesia.

The concept of this album is making music from a trip to the adventures of Alice In Wonderland, an eclectic mix of pop, bossanova, electronics, waltz and shoegaze. From Astrud Gilberto and Antonio Jobim, Pizzicato Five meets My Bloody Valentine or Stereolab's 60s sensitivity to Broadcast. A collection of multi-layered analog audio sets, the noise of Joseph Iyup's noisy guitar combined with Anindita's fairy voice melodious lines of strange lyrics wrapped in curling beats, very dynamic, very rich. Listening to the album, on several tracks, we can hear French Pop's acrobatic 5/4 beats until the roar of the wall of
sound becomes a combination that is difficult to imagine at the time and is still very relevant to listen to now.

Now, for the first time ever, one of the phenomenal albums of the 2000's Indonesia wave is now available in a limited format in 2xLP-Gatefold-Marble colors vinyl with an additional 1 song that has never been released before.

"Auf dem schwarzen Kanal" ist eine der herausstechendsten und gesuchtesten Veröffentlichungen in Conrad Schnitzlers umfangreichem Katalog. 1980 als einzige von Schnitzlers Platten bei einem Majorlabel veröffentlicht, war diese Maxi und insbesondere das Titelstück ein Flirt mit dem zeitgleich aufkommenden experimentellen New Wave und klang dennoch so eigenwillig wie keine andere Musik zu jener Zeit. Die zusammen mit Wolfgang Seidel entstandenen und in Peter Baumanns Berliner Paragon Studio aufgenommen vier Tracks sind ein bissiger, dissonante Mutant Disco Trip, der bis heute nichts von seiner Faszination eingebüßt hat. Bureau B freut sich dieses lange vergriffene Werk endlich wieder verfügbar zu machen!

Dona Aka Dj Plant Texture’s debut on Mannequin is the result of an effective true love for the early Chicago Acid and Jackbeat, mixed with textures of EBM and Cold Wave.
“Mindscapes”, featuring the haunted vocals of Aloth, represents a trip into states of consciousness and psychiatric diseases. Ispired by some reports describing America’s Mental health System during the latest 70’s, the EP is a blend of analog machines, forced to create the perfect jam session.

Mastered by Q3000
Graphic design by Silent Servant and AA.

Limited edition of 300 copies on 140gr black vinyl.

Buena Onda - Balearic Beats is a lovingly compiled collection of exciting music from the new Balearic generation that captures the essence and eclecticism of their Berlin party oasis, Buena Onda. It takes in 12 tracks of fast and slow, acid and downtempo, lush and dreamy sounds to transport you to a place of beauty, warmth and soul. It has been compiled by Hell Yeah label boss Marco with Buena Onda 's resident DJ and co-owner Gallo, and arrives later this summer as a 12" sampler, limited cassette, download, stream and original t-shirt. This first sampler features four tracks from it with artists Lucas Croon, Sergio Messina & The Four Twenties, Gallo, and Black Spuma all featuring.

First Up, Lucas Croon takes us on an epic 10 minute trip with his head-in-the-clouds sounds, long legged drums and summery pad work. Next, Sergio Messina & The Four Twenties mix vocodered vocals with lush acoustics on the dreamy 'Fly Away' while on the flip, Gallo's Tropical Hinterhof Remix of J-Walk layers up lush chords with new age hand drums and synth gorgeousness that is soothing and cleansing. Last of all, Phillip Lauer and Fabrizio Mammarella aka Black Spuma's mid tempo drums sink you into a groove that is embellished with heavenly chords and plenty of oceanic breezes all carrying you away. This is a fine taster of the full length compilation to come.

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before

Four intergalactic cuts from Natasha Kitty Katt on Ghetto Disco Records.

Kosmic Oscillations

A deeper Kosmic vibe from Natasha, Kosmic Oscillations puts your head in space. Designed to transcend the dancefloor and take your mind on a Kosmic trip.

Larry’s Code

Paying homage to the one and only, Larry Levan, this dancefloor number is guaranteed to set floors alight. With heavy synth use and a funky bassline, this is one to make you move.

Up There?

An upbeat number centered around the idea of UFOs and glitterballs. A feel-good mover that’s out of this world.

Katt Nip

This bizarre, yet wonderful Italo trip has everything from cat sounds to a thumping bassline. Perfect for the dancefloor, this number is sure to turn a few heads and move feet.

Hoshina Anniversary returns to MUSAR Recordings under a new cloak, Shifting Gears.

Toyko's Hoshina Anniversary has risen to particular prominence in recent years with his self-titled brand of 'Watechno'. Stylistically fusing traditional Japanese instrumentation with Chicago and Detroit sensibilities, his works have found homes on ESP Institute, Young Marco's Safe Trip and Amsterdam-based MUSAR Recordings.

Landing on the latter, MUSAR, little over a year ago with 'Zangai' EP, Hoshina returns under a new cloak, Shifting Gears, to present 'Evil' EP.

Named after the 1975 'Gears' LP of jazz and hard bop organist, Johnny Hammond, the Shifting Gears moniker focuses heavily on principles of Jazz and raw musicianship, with a continued exploration of machine-reared club sounds. How the two can take shape as one.

Across 'Evil' EP, Hoshina's native culture remains, as heard on 'Miyatsukomaro', where traditional Japanese strings harmonise with crisp hats and jazz keys. Inspired by the early works of keyboardist and composer, Bob James, all is underpinned by intrinsic Chicago synth work.

A recurrent theme throughout, the Chicago vibe most notably takes hold on title track 'Evil'. An insidious
march, the floor-pummeling kick and shoulder-tickling toms marry seamlessly with dracula-esque chords and dizzying piano arrangements. Nodding to the mischievous bassist Jaco Pastorius of jazz fusion band, Weather Report.

Informed by the pacey creations of a revered duo, The Brecker Brothers and the 70's rock music that soundtracked Hoshina's youth, opener, 'Senor Senorita' wraps swathing reverb around a raucous melody and jiving percussion. Meanwhile, the seedy 'Syndicate' closes out amid eerie synth sneers and quirky, funk-flecked modulations.

New album from the Parisian producer.

Label say:
Because, at La Creme Garcia Club, a private circle of discerning smokers in Barcelona, Blundetto was in heavy rotation in the playlists. So heavy that these people of good taste for legal activity on this side of the Pyrenees yet prohibited from profits, had the idea of becoming the privileged partners of a new album. Without scrutiny, without intervention in the artistic, but with a single watchword: let Blundetto return to his first love of world sound.

The result is a stereo trip illustrated by Mossy Giant's artwork. A trip around the world without leaving your couch.
An offer that cannot be refused.

Ten years had passed since Bad Bad Things; it was the occasion to celebrate this decade by reviving its state of mind. The one who mixes collaborations, atmospheres, and styles. Exiled to the green, in musical autarky from several albums, Blundetto has therefore returned to the rhythm of city life and studios. He has changed his way of operating, opened his repertoire, and invited friends to new titles that he had written for them.

The circle of intimates already present on Bad Bad Things (Hindi Zahra, General Electric, Chico Mann) has widened to include regular accomplices (Biga Ranx) and to extend to artists with whom Blundetto felt an obvious connection (Crime Apple, Leonardo Marques). Guided by this roadmap written by Blundetto, all succeeded in painting with their colors and spreading their musical soul in the project, either taking the rhythmic direction of Brazil, Africa, or Latin America, getting dizzy in Jamaican fumes or chopping at the salient angles of hip hop.

Dive into the new openings of Clément Petit’s arrangements, now more sophisticated than those on which Blundetto evolved, and now capable of bringing an orchestral dimension made of strings and brass, creating a direct opening on the emotions, an automatic generator of images to accompany the soundtrack by the producer Blackjoy.

Whatever the orientation, each guest becomes a unique and essential part while Blundetto remains the common thread, the cement and the final varnish of a musical mosaic called Good Good Things.

A creative partnership between Tom Laroye and Yam Who, Qwestlife is a trans-continental boogie trip between the two producers' respective homelands of Paris and London. Fulfilling the Glitterbox philosophy by crafting great songs the old school way with analogue and weird electronic gadgetry, Qwestlife's 'Give Me A Minute' appeared first on Glitterbox's Disco Revenge compilation and now graces vinyl for disco connoisseurs everywhere. Featuring the vocals of a frequent Yam Who collaborator, soul diva Jacqui George, 'Give Me A Minute' is an instant party anthem. Disco-fuelled synths and strings plus live sax, trumpet, guitars and bass give a glorious saturated dancefloor vibe rolled into one by sticky hooks and a timeless catchy chorus. Accompanied by the Dubbed Out Version, plus an Accapella and Bonus Beats, this sweet vinyl release provides all the good stuff that Qwestlife have to offer.

The Oystercatcher is the first collaborative LP from Cucina Povera (Maria Rossi) and ELS (Edward Simpson)

Recorded in London over two days, hours' worth of improvisations have been edited down to form these six tracks.

A fragile interplay is at work between Maria's drifting vocals and the ominous churn of Edward's modular synth. Each sonic element takes a turn at leading the way.

The opening track 'Mantle' is formed from sparse, monolithic electronics, woven gently with a thread of vocals. In the closing track 'Eon' Maria's voice shepherds spontaneous bursts of sounds, almost Rave-like if order were imposed, through 15 minutes of turmoil and resplendent until the end.

Maria's vocals make their own trails amongst the noise, bringing to mind the the exploratory language from Ursula K. Le Guin's album 'Music and Poetry from the Kesh', recalling the same understated mystery.

The overall effect of this collaboration is a completely unique creation albeit within a recognisable lineage of predecessors.

The artwork reflects the vision of these two artists, collaged together. Both images are from a trip to Helsinki. Edward's photograph of Tulips caught after dark are reviled by a flash. Maria's seemingly abstract drawing is a graphite rubbing taken from a granite slab of a pavement somewhere in Kallio. Together the two images represent two different methods for capturing a city's haptic landscape.

The album moves with a feeling of transience, which is no surprise given that the idea to collaborate was formed in Helsinki, realised in London and edited together in Rotterdam.

The Oystercatcher tells a fragile tale, one that spins out into the unknown. A cold union of voice and machine, still tentative and probing, learning to co-exist. A kind of fundamental shift whereby shared moments have been turned to sound.

The Oystercatcher is a bird that can freely travel between the earth, sea and sky. The motif is taken from a Tove Jansson short story. A dead bird washes ashore, two different versions of events are presented to how the bird came to die. The album feels like two different stories being presented on top of one another but ultimately coming to the same tragic conclusion.

Cucina Povera is Maria Rossi - Vocals
ELS is Edward Simpson - Synthesisers
Recorded in London across two days during the Summer of 2019
Mastered by Russell Haswell

Brussels-based trio schroothoop (Dutch for ‘junk yard’) is formed by Rik Staelens (wind & string instruments), Timo Vantyghem (bass & clarinet) and Margo Maex (percussion). Their tribal oriented debut mini-album features homemade instruments built from lost and found objects like wood, scrap metal or anything that would end up in a landfill. The band’s music is infused with sounds from around the world orchestrated by PVC flute melodies, jerry can beats and washtub bass lines. The trio effortlessly incorporates jazz with North African chaabi, cumbia, reggaeton, Eastern oriental melodies and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip in 7 compositions through the Brussels melting pot. The musical members are part of groups such as La Clinik du Dr Poembak, Raksinaksi, Sea (Peoples), Borokov and Sea Shark Minor.

Originally written and produced as the centrepiece to his 2014 FabricLive compilation, Erol Alkan’s ‘Sub Conscious' arrives on 12” vinyl and to streaming platforms for the first time, accompanied by two charismatic remixes from Manfredas.

Shimmering and undulating, the original cut of ‘Sub Conscious’ was designed with Fabric’s cavernous main room in mind, taking full advantage of any finely tuned soundsystem with a patient, rhythmic trip. Remastered here, the track evolves out of hazy darkness towards halcyon euphoria in a uniquely Alkan style.

Resident at Opium Club in Vilnius, cult DJ and producer Manfredas provides two hugely creative and alternative takes on ‘Sub Conscious’. The first works hallucinatory magic with a supple bassline and much of Alkan’s original stretched and repurposed around vampish oscillations and a westward vocal sample.

On the contrary, the ‘Stream Of Consciousness' mix sees Manfredas pitch down and strum the bones of ‘Sub Conscious’, unexpectedly delivering a lovingly lethargic, bottom-heavy jam that’s pure dub-side pleasure.

Principal is the new solo project by producer and musician Rasmus Allin, who’s first album Treacherous Dub will be released on the Copenhagen-based label StereoRoyal in July 2020.

Best described as an homage to old-school Jamaican dub, Principal’s music features live recorded drums and other instruments. Fused with electronic elements, it celebrates the sound of the original dub pioneers.

Born in 1970, Rasmus Allin has been working as a producer, musician, and songwriter since the mid-nineties, primarily within the realm of electronic music. Inspired by the British trip hop and drum ‘n’ bass scene, he soon gravitated towards Jamaican dub, rocksteady, and reggae. "I found my inspiration in the old Jamaican dub masters like Lee Scratch Perry, King Tubby, Augustus Pablo, and Scientist. I’ve spent endless hours in the studio trying to replicate their sound, using old tape delays, filter boxes, and modulation effects,” he says.

In 2002, Allin formed the band Junkyard Productions, playing major venues and festivals like Elysee Montmartre, Le Triptyque, Télérama Dub Festival, and Roskilde Festival while touring through Denmark, Germany, Switzerland, and France. Alongside this, he continued to hone his skills in producing, co-writing, and remixing music, working with top Danish pop and reggae acts the likes of Natasja, Pharfar, Wafande, Shaka Loveless, and the British girl band All Saints.

Treacherous Dub will be released on vinyl and all major streaming platforms, and will be Allin’s first album of pure instrumental dub tracks —an ambition he’s been wanting to fulfil for years. Marking his debut as a solo artist, the album also marks his premiere as a visual artist, with the album cover lithograph made by Allin himself. For Rasmus Allin, the collaboration with StereoRoyal offered “the perfect opportunity to give the tracks the finishing touches.”

StereoRoyal is a Danish library music label founded in 2010 by and specializes in off-kilter music for film and TV. Originally, the label focused on electronic genres, but over the years has grown to include a broader variety of music produced by some of the most talented composers in Scandinavia.

L’Escalier des Aveugles, or The Stairway of the Blind, was commissioned in November 1990 by Spanish National Radio (Radio Nacional de España). Asked for a piece to premiere as part of the European Day of Music, Luc Ferrari returned with a radiophonic concept that organised his anecdotal music into montage form, sequencing short, elusive narratives in a successive way.

The completed composition is formed of thirteen chapters containing a mixture of environmental and synthesised sound, commentary, chatter, and encounters with people and places. Each focuses on a small event within this playbook, and Ferrari notes that each “in addition to being a realistic photograph, will be the subject of a ‘setting to music’: fragments of voice and atmosphere will be sampled and will produce musical matter or a ‘song’.”

The sonic language of Madrid forms the setting to which Ferrari lays out the persistent theme of the piece, that of the composer being guided throughout the city by a young woman. Using a game-like structure (liners for this edition include Ferrari’s “Regles de Jeu”, or “Rules of the Game” which act as a script or score to the piece) the motivation is posed: imagine that one day you are told “I know a place in Madrid that sounds amazing (or bizarre)”, to which you reply “Let’s go to it together.” The recordings toy with the relationships between guide and tourist, translator, director and actress, and masculine and feminine that emerge as Ferrari and the actresses follow this action, documenting the shared experience and connections they make as they visit these places.

Six actresses guide Ferrari (and the listener) through locations simultaneously ordinary and sonically rich: the metro; the El Corte Inglés department store where we hear the gossip from changing rooms set against music emanating from the PA; vagabonds declaiming their political stance in the Conde de Barajas plaza; interactions buying apples in a market; the reverberant and spacious halls of the Prado Museum where one actress gives a moving description of her favourite painting - Goya’s The 3rd of May 1808.

Ferrari replies in French to their comments in Spanish, and there are several self-referential plots, devices, and word games that flirt with the poetics and rhythm of language and sound. A recital of Lorca’s poem "La Casada Infiel" in “Hommage À Lorca” in amongst the location recordings feels striking, and the call and response of “La Nouvelle de L’Escalier”, where one of the actresses descends the staircase of the blind - a long stone stairway in Madrid proposed to Ferrari as an interesting location to visit during the trip by producer José Iges. She replies to Ferrari’s vocal enunciation of the place (and title) in French - L’Escalier des Aveugles - with the place-name in Spanish: La Escalera de los Ciegos.

Using this repeated title and image of the staircase of the blind as a symbolic place, a line is drawn to a situational landscape experienced and diffused through snapshots and allusion rather than holistically overviewed, sound conjuring pictures within the imagination. In the sensorial qualities of Ferrari’s treatment of emotion and language—fortified with electro-acoustic motifs and musical properties—the piece accelerates towards a render that is truthful, beautiful, yet also surreal; somewhere between theatre and reality, a gonzo cinema of the ear.

According to the feudal system which was introduced into England by William of Normandy, the king was an absolute monarch, so he could do whatever he liked.
(from Origins of the Magna Charta).

In a cardboard media background, where cliche is law, where the digital essence of the personal data is more meaningful than the person itself, the Bait e Borghi project arises. The natural environment beyond anthropization, the technic and technologic strained clutch inside the places that inspired the album. The traveller meant as the one that makes the trip his own life, and that inevitably moves so far away from common archetypes that defeats every possible storytelling but the sound evocation. A sound that becomes the last unreal notebook like the matter which dreams and memories are made of. An unlikely but possible distopia where our last Thule remains the passage between body and machine, cyberpunk myth yet beautifully imagined and illustrated during the eighties. Not by chance Bait e Borghi share the same starting point, the same region that assumes twisted features if observed from the mid Adriatic offshore oil platforms point of view. Squalo, Giovanna, Ombrina are the point at issue, monumental media short-circuits, disclosed and hidden truths at the same time

After seven years, the second release of Max Loderbauer on Non Standard Productions arrives again in his style of post - german - electronic - avant garde. “Donnerwetter” is the perfect blue print of modern reduced electronic adventures. Carefully chosen out of a pool of recordings produced by Max in the last years, slightly edited and arranged into a full length album.

Mr Bongo presents a new and exciting collaborative project with Swedish label Piano Piano Records.

Hearing the Swedish outfit Sven Wunder for the first time is as refreshing as an ice-cold Limoncello after an Italian meal. One of those bands that feel instantly familiar like an old friend, yet simultaneously fresh and new. Straight away we fell in love with their sound and knew we had to work with them.

The Sven Wunder 'Wabi Sabi' 7" is the second collaborative release between Mr Bongo and Piano Piano Records. 'Wabi Sabi' is Sven Wunder’s follow up to the already contemporary cult-classic album 'Doğu Çiçekleri (Eastern Flowers) from 2019. Not one to be complacent and recreate a carbon copy of their previous works, Sven Wunder switched from the psychedelic-Turkish-funk sounds of 'Doğu Çiçekleri' to the Japanese inspired ethereal funk of 'Wabi Sabi'. We have selected the tracks ‘Hanami’ and ‘Shinrinyoko’ for this collector’s edition 7’. Japanese artists such as Hozan Yamamoto, Tadao Sawai, Kazue Sawai, spring to mind, but also David Axelrod and Dorothy Ashby on the beautiful string-led 'Hanami' with it's laid-back funk breaks. 'Shinrinyoku' has a slightly more raw cinematic-funk sound, yet is cushioned with warm strings and tripped-out keys - pure, rare-library music vibes.

We are delighted to be able to release these amazing tracks, cut at the Timmion Records Cutting Lab in Finland.

repress

One of the rare outing's of Dopplereffekt , the beautiful abstract and hypnotizing "Linear Accelerator" album is getting a proper double vinyl treatment on WeMe records after the initial cd only release on Gigolo in 2003. Linear Accelerator is a continuation of Der Zyklus's Biometry album with its abstract hypnotizing soundscapes and its controled sterile atmopshere. Tracks like the slowly unfolding 21 minute long 'Photo Injector' are unique and all the 6 tracks all are stunning beauties with Myon-Neutrino bridging the gap between the old Dopplereffekt works and the further evolved outings on this album that garantuee a long and tranquilizing trip. Inspired by the high energy particle psychics being explored at DESY, Dopplereffekt appear to be similarly pulling the very fabric of their sounds apart and thinking on a subatomic level. 17 years after its initial release this is still avant garde and one of those few releases that captured the true meaning of techno! Groundbreaking, Astounding, Alienating, but always with a soul!

Fusing dexterous hand-percussion, hypnotic guitar riffs & soaring melodies, Waaju rise from London’s rich cultural palette with their latest album ‘Grown’, proving UK Jazz doesn’t have to sound the way we expect it to. Led by drummer and percussionist Ben Brown (Alfa Mist, Dizraeli, Ashley Henry), the band comprises percussionist Ernesto Marichales (Jordan Rakei, Sigala), guitarist Tal Janes (Nubiyan Twist, Bahla), Sam Rapley (Fabled, Maria Chiara Argiro) and Joe Downard (China Moses, Judi Jackson), each with their own strong presence on the UK’s extensive music scene. Waaju’s refined and divergent sound connects the dots between the likes of Ali Farka Touré, Alain Peters, Los Muñequitos de Matanzas, Oscar D’Leon and Beth Carvalho. Waaju formed as a means of exploring music’s hidden connections, from trance-inducing Moroccan Gnawa to Caribbean carnival music, and embracing them to reflect different shades of London’s own musical culture. It was the band’s love for Mali’s folk music – and Ali Farka Touré’s stylistic prowess in particular – that first set the project in motion. London’s Jazz Cafe invited Waaju to reinterpret classic tracks from Farka Touré’s catalogue to sold-out audiences in 2018 and 2019. According to Brown: “Ali’s one of the best. He has such a unique sound. His playing is so gnarly. His spirit and attitude are things I always think of when making music.” Waaju (meaning ‘to urge, inspire or influence to take action’ in Malian language Bambara) blends pulsing Latin polyrhythms, psychedelic Malian blues licks and cinematic textures. Following the group’s 2018 self-titled debut record, Grown presents a group more unified and distinctive-sounding than ever with six fresh, bold compositions. The record begins with Moleman, a potent reminder of the intricacy and energy Waaju’s become known for. Gritty, clattering metal defines the landscape for sizzling builds, hinting at rave culture styles like Bashment and Jungle. Listening Glasses follows and it’s clear why this is the album’s lead single – its Afrobeat-like energy and joyful interplay between guitar and tenor sax lies somewhere between Tony Allen’s grooves, Chimurenga guitar and Headhunters’ funk. On late night jam Rollando, Joe Downard’s skulking bass frequencies rule and wonkiness reaches new heights as heavy dub grooves almost tear themselves apart. Time’s Got a Hold was co-written by Waaju and Jordan Rakei for a show together in November 2018. Kicking off side B, this version features special guest vocalist Will Heard over bouncing triplets evocative of 1970’s Sega from La Reunion. A kind of looseness found only at night, the quiet drive of Wassoulou is sparse yet purposeful. Pulling back the tempo and dimming the lights, cavernous percussion fills each corner of the room, springing back as spectral reverbs. The title and final track shows the many dynamic sides of the outfit’s far-reaching sound, with its expansive harmonies and explosive psychedelia, spanning Yoruba Andabo to Hendrix, signing off an exciting and energetic second LP from Waaju at their most scintillating.

Italian producer Clap! Clap! returns to Bristol's Black Acre with his third album, ‘Liquid Portraits’. Born and bred in Florence, Cristiano
Crisci’s musical career extends back to the mid-90s where he started out as a rapper, before picking up a saxophone and exploring
both jazz and jazz/punk fusion with Trio Cane, and then returning to his electronic roots with A Smile For Timbuctu project - a
collaborative effort that released four albums and performed across Europe. By 2008, Crisci decided to strike it out on his own as Digi
G’Alessio, channeling the same hip-hop meets electronic music energies as those animating the nascent Los Angeles beat scene for a
string of EPs and albums. Soon Crisci hit upon a new formula when he started combining samples from the African continent with
energetic drum programming. The results led to the birth of Clap! Clap! in 2013, which has since been recognised and supported by the
likes of Paul Simon and Gilles Peterson. The stripped-back, high-energy yet inventive sound caught the attention of Black Acre with
whom Crisci has been working with ever since, including his first and second albums ‘Tayi Bebba’ and ‘A Thousand Skies’. Returning
to Black Acre, Clap! Clap!’s third album once again deploys his inimitable technique in fine style, however with new eyes as this new
project signifies a definite shift in his work having spent the last few years learning the art of mixing which has lead to some
breakthroughs: “In recent years I’ve spent a lot of time studying essential mixing techniques. I then built an acoustic-treated room and
set up my new studio. I started to convert digital into analogue and vice versa with good converters and achieved sounds that I’ve
never heard before from my speakers. This had a huge positive impact on my mixes and result on my music.” Entitled ‘Liquid Portraits’, the album - as the name suggests - is a collection of sonic paintings, an attempt at capturing furtive, subconscious memories through sound. The tracks reference trips Crisci took and people he met – from southern Italy to Hokkaido via the Kif Mountains of Morocco – as well as more abstract ideas of loss, calmness, and childhood. Having been approached by Paul Simon to work on his 2016 album ‘Stranger To Stranger’ after Simon discovered ‘Tayi Bebba’ through his son, Clap! Clap! is no stranger to collaborations and this album features a small cast of talents, such as south Italy percussionist Domenico Candellori (‘Southern Dub’), Belgian artist Martha Da’ro (‘Moving On’) and harpist Kety Fusco (‘Rising Fire’)

Friends, it is time for a finish. Here's the seventh and last chapter of the festivities that we put together for our 50th catalogue number. Once again, the mighty graphics wizards Doppeldenk from Leipzig provided us with a delightfull artwork. And once again, you'll get a record that sports a kaleidoscope of sophisticated dance music from Uncanny Valley veterans and newcomers. This time with the emphasis on bright and positive timbres which can be associated with the colour yellow. Cuthead starts things with a bang and his PARTY CHORDS set the tone perfectly (including neck pain after nodding your head to the beat like there's no tomorrow). If chords could be president this would get a lot of votes. Massimiliano Pagliara shifts down a gear with the acoustic road trip SUNSET FUNK, a masterfully arranged track, made up for driving around on your bike, skateboard or whatever vehicle you are using to get from A to B. The slow and sexy IWESU YEWISU from the soul brothers of Duererstuben is a longtime favorite in the Uncanny Valley headquarters. We are super happy that this groover will finally see the light of day. Panthera Krause provides the subtle but euphoric THE NAKED NOW, a House music lesson that's bubbling under the surface. And finally, Uncanny Valley first-timer Daniela Da Luz closes the record with WHEN YOU GO ALL IN AND WAIT, a drum heavy but also embracing excursion into your own neural circuit

With our first vinyl release in 15+ years, RESOURCE RECORDS is excited to welcome back San Francisco’s THE TOURIST for MEASURED SPACE, with serious remix support by DAVE AJU (Circus Company, Mule Musiq, MFF, Planet E), JAY TRIPWIRE (Mr. Barcode, Kwench Records, Superfreq, Motuer Ville Musique) and CHRIS JACKSON (Resource Records, Sonic Groove, Cloned Vinyl). 4 fresh mixes, all tech influenced!

Wieder lieferbar Harald Grosskopf ist seit den 60er-Jahren einer der umtriebigsten deutschen Musiker. Der Schlagzeuger aus Hildesheim spielte seitdem bei so unterschiedlichen Acts wie den Scorpions, Wallenstein, Klaus Schulze, Ashra, Joachim Witt, Lili Berlin und 17 Hippies. Grosskopf war 20, als ihm ein LSD-Trip "die Realität weghaute" und er seine eigene musikalische Sprache entdeckte - und die Elektronik. 1980 erschien auf Sky Records Grosskopfs erstes Soloalbum. "Synthesist" bietet acht instrumentale Kompositionen, die Grosskopf überwiegend allein einspielte. Die von Synthesizern und Schlagzeug getragenen Melodien erinnern an die Arbeiten seiner Berliner Elektronikfreunde wie etwa Klaus Schulze und Tangerine Dream und auch an die "kosmischen" Sessions der frühen 70er-Jahre - haben aber doch eine individuelle Klangfarbe. Auch deshalb gilt "Synthesist" weltweit unter den Liebhabern elektronischer Musik längst als Klassiker, der an eine aufregende musikalische Ära erinnert und auch in diesem Jahrtausend noch aufregend ist.

Following a high-pressure drop on Sneaker Social Club in 2019, bass-toting instigator Low End Activist steps up with his most expansive release yet.

His sound is a perfect amalgam of elements from the hardcore continuum – at times a dark and malevolent brainstorm of grubby drums dragged through crusty samplers, future-weary textural scrapes, moody splashes of pads and of course bucketloads of crushing subs, lows and low mids all designed to rock you from the waist down. You'll hear spectres of culture past lurking in the shadows – a trip hop skit from a gaunt figure here, a riotous brawl of grime MCs there – and feel the decades of soundsystem absorption seeping off the platters. It's like the LEA reached capacity and these productions were what happened when the sponge got squeezed.

One voice cuts a more prominent figure up front though – the peerless Flowdan, lending some powerful bars to Game Theory. What needs to be said about the Pay As You Go / Roll Deep mastermind you don't already know? His flow is mightier than any sword you care to step with.

Speaking of platters, this particular release marks the first vinyl pressing for Seagrave since the BOA 12" Warp Purpose Vol. 1 back in 2015 (slated for a repress – don't sleep!). It's an occasion worth toasting, building on a powerful and varied catalogue of sub-heavy sonics operating well outside the mainstream in service to naught but the sound, all packaged in a full-colour sleeve. As an expansive double pack of seven sure shots, it's also a fitting document of a subversive operative bringing some devastating angles to the hardcore tradition.

- Oli Warwick.

Warning! This record contains traces of acid and spaced out tripping techno!
Classic unpredictable SW. goodness straight outta SUED: Detroit hitek soul & UK broken beat vibes meet subtle swinging & warm sounding lo-fi house. Artist Info: - SW. is one of the heads behind SUED records - his album from 2017 got voted by Rolling Stone Magazine to the top 20 electronic music albums of the year - this year he is releasing also on Kimochi and a famous label from Salzburg - his past remixes were on Kimochi, Acid Test, Klasse Wrecks, Bright Sounds, and Kalahari Oyster Kult

R.A. The Rugged Man and Atmosphere are two of the most important names in underground hip-hop history. Among the original architects of the independent hip-hop revolution, both of these iconic artists have defied the odds to thrive for decades in the ever-changing rap landscape.

Now, R.A. The Rugged Man and Slug of Atmosphere are joining forces for the first time ever to bring some much-needed joy to listeners during these trying times. Featuring a hook by famed singer Eamon, the historic collaboration "Golden Oldies" is a feel-good trip down memory lane taken from R.A. The Rugged Man's new album All My Heroes Are Dead".

This Ltd. Edition 7" Single gives fans the opportunity to experience the nostalgic anthem in all it's old-school glory.

A wicked triple gatefold album... anthologic of the underground hardstyle newslkool crossing the old school road and finally pushing a superb talented

The latest project by belgo-moroccan producer Reda Senhaji, alias Cheb Runner, focuses on breeding a new style of music between electronics and Gnawa. Taking inspiration from New Beat to Techno, Acid House and Gabber, the grooves are relentless, stiff and club oriented, relying heavily on analog synths and drum-machines. The sound is darker, more experimental and mature than his previous Gan Gah project.

Cheb Runner digs into the acoustic sounds of his youth, for an organic feeling of warmth and celebration. The syncopation of the classic Gnawa percussions, the “Tagnawit”, its groove is undeniable. Featuring two traditional Gnawa singers based in Brussels, Mâalem Driss and Mâalem Hicham, the EP is a reunion for the belgian Gnawa scene, keeping the vibe alive.

In a world of dematerialized culture, we tend to forget where we come from : by putting Gnawa music at the center of his production, Cheb Runner creates a bridge with the past. The young producer is a son of Gnawa himself, this is the music he grew up with and played as a kid.
Now he brings it to the club scene; Cheb Runner’s first EP is experimental, brutal, innovative. Getting past definitions and genres, it opens new horizons for North-African producers, showing them how to use their roots to make new beats. It encourages both tradition and modernity in Music. In 2019, Gnawa music, dance and culture was added to the UNESCO Intangible Cultural
Heritage list, demonstrating both the relevance of the genre and the necessity to preserve it.
of the genre and the necessity to preserve it.

Cheb, the Arabic word for “young boy”, is traditionally used to describe the young generation of Raï singers – like Cheb Hasni, Cheb Mami or Cheb Khaled. It means the new generation is here, to create something new with something old. The reference to the Ridley Scott movie Blade Runner is just that: while the Cheb comes from the bled, a moroccan village in the Agadir region, the beats come from the club scene of an industrial city, like Berlin, Detroit or Molenbeek/Brussels.

Cheb Runner takes you on a trip through space and time, as well as to pass on ancient rhythms to inspire the next generations.

Fresh from their release on John Digweed's Bedrock Records under their more covert Techno guise 'Cypherpunx' the Brighton based duo Flip Fantazia unleash their debut album ‘The Trip’.
Touching on influences from Air to Bonobo, The xx to DJ Shadow, ‘The Trip’ guides you down a road less travelled meandering through Downtempo, Electronica & Trip Hop with a few Jazzy twists & turns.
Essentially Flip Fantazia is a meeting of two minds,
four hands, several synths, quite a few guitars, some very clever computer software with a variety of drum machines. The prolific duo spend most of their time writing, recording, producing, mixing & mastering original music down in an old bank vault in Brighton... well, Hove actually! Their real names… Douglas Horner & Tim Belcher.
Born from a project focussed mainly on music for Sync, writing for Ninja Tune PM, Cavendish Music, Delimusic, BMG PM & Deep East + more this is their first artist album to be commercially released.
Their first brief for Ninja Tune’s Production Music company was to create an authentic 60s sounding Samba song and a Boogaloo / Salsa, both of which appear on the Ninja Tune Latin Excursions album.
Along with a contemporary breaks / glitch remix of the classical masterpiece Flight Of The Bumblebee and a piece of funk with a foodie flavour for two other Ninja Tune production music albums. Another brief came in for some Australian influenced Beach House from delimusic to be used on the BBC Commonwealth Games Gold Coast 2018 coverage, so out came the Didgeridoo and five new tracks were born. Writing to brief is a delight & an adventure for Flip Fantazia covering many genres from authentic Samba to electro disco new-wave post modern cosmic soul funk afro-boogie punk alt+indie dance crossover and everything in between! So it was tough to narrow The Trip down to 10 original tracks which best illustrate the authentic Flip Fantazia sound.

yellow marbled vinyl / vinyl only

After a long wait we are happy to finally share the next release on Sleepless Musik and welcome Canarian artist Moises to our family!

A1. Circular
The title track is a dancefloor bomb, bursting with groove. You'll find it aptly placed on the A side, along with a remix from Sakro. The deep, rolling bassline of Circular takes similar form to previous Moises releases, a fast pace dance between low and high notes. Eery breakdowns signalled by spiralling synths accentuate the mysterious melody that dominates the track, before rave like chords creep to the forefront. Then with a cheeky hi-hat flick, the bass is back. The energy emanating from this one is enough to have a crowd going wild at peak-time.

A2. Circular (Sakro Remix)
The remix is a little more subtle, yet equally as suited for late into the night. The percussion overtakes this one with a deeper bassline. It becomes clouded with minimalistic growling and an echoing vocal, injecting the dreary trip we've got quite used to hearing in Sakro's productions.

B1. Homecoming
Flip the record over and the four-tracker becomes complete with two more of Moises' own productions, both of which retain that signature groove. Homecoming pulsates repetitive rhythms laced with chattering patter and choppy voice. A sweet layer to house the jabbing synth that follows for another dance worthy beat.

B2. Inside Out
Inside Out completes the set, representing a different approach. This feel good finale ditches the darkness and is instead full of dreamy high notes and percussive swing, making it the uplifting one of the bunch. It's fun, playful and full of life, perfect for celebrating those moments at the afters when the sun is up and so are the people.

Melvin Bliss’ iconic ‘Synthetic Substitution’ (1973) has been sampled hundreds of times. Gracing records from Naughty by Nature’s ‘O.P.P’ to Public Enemy’s ‘Don’t Believe the Hype’, it’s one of the foundations of hip-hop. However, there’s a school of thought that says the sample could have been retired forever after Ced Gee used it for ‘Ego Tripping’. It was the first song to use those wonderful Bernard Purdie drums, and arguably the best.

Their first release on Next Plateau Records, this instant 1986 classic slams from the first bar, that hard-as-hell beat underpinned by stabs and the breathy ‘ultra-magnetic-magnetic’ chant beneath. Meanwhile, Ced and future legend Kool Keith go to town with pseudo-science and a thinly veiled diss of Run DMC – ‘Say what, Peter Piper, to hell with childish rhymes’. It’s a song shot through with promise they’d more than fulfil on their debut album, 1988’s landmark ‘Critical Beatdown’.

The flip, ‘Funky Potion’, doesn’t coalesce with quite the same genius but is still more than a curio, with the MC’s doubling down on their futuristic nonsense approach to lyricism. Rufus Thomas’ ‘Do the Funky Penguin’ is the base for yet more stabs, discordant scratches and a kitchen-sink approach that shows just innovative the group were prepared to be.

Never before released before on 7”, this undeniable hip-hop classic comes complete with bespoke hype stickers incorporating one of the great rap logos of all time.

Let’s be honest – the first time many of us heard the otherworldly talents of the Ultramagnetic MC’s was on a compilation. A smattering of singles in 1986 had barely registered beyond a small circle in New York, but the inclusion of the 1987 single ‘Travelling at the Speed of Thought’ on Street Sounds’ ‘Hip Hop Electro 16’ set, sandwiched between classics from MC Shy D and Just-Ice, was a watershed moment.

In a way, it’s their most atypical release. The deceptively simple combination of drums ‘borrowed’ from The Rolling Stones and a scratched hook from The Kingsmen’s definitive version of Richard Berry’s ‘Louie Louie’ is one thing. The simple by their standards vocals, however, render it into a loveable pastiche of rock-rap, a more esoteric equivalent of Run DMC’s ‘Walk This Way’.
The flip is more in keeping with their style both on their earlier ‘Ego Tripping’ single and the soon-to-arrive landmark classic album ‘Critical Beatdown’. Over some heavily chopped drums from erstwhile breakbeat classic ‘Apache’ by the Incredible Bongo Band, Ced Gee and Kool Keith showcase flows that were different from anything out there at the time.

‘M.C.’s Ultra (Part II Edit)’ is part brag-rap, part baffling science lecture. Leaning heavily on the thesaurus, it’s a slang heavy manifesto that elevated the boast rap to the next level. While Kool Keith would go on to be the group’s breakout star, this is a showcase for the whole collective, right down to DJ Moe Love’s slithery scratching sliding from one channel to the next.

Only previously released in the UK as a 7” that’s now very hard to source, this is a chance to re-embrace this breakthrough from a legendary group.

‘Reality Tunnels’ is a concept that was originally introduced by Robert Anton Wilson in his 1983 book ‘Prometheus Rising’. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective – the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not.

At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi fi on this boldly distinct sonic statement. It sees him flexing years of production skills – but unconventionally so – knowing well that safe predictability and rounded polish don’t get the most interesting results.
Dark trip hop Bristolia segues into blistering jungle on album opener ‘Entangled Particles’, before planet-hopping onto the spiky insidious grimestep of ‘All Man Got’, featuring the rugged rasp of OG warhorse Trim.
Beginning a triptych of future techno, ‘Accelerated Culture’ offers the album’s most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler ‘Returnity’, before ‘Finding Space’ reaches to the cosmos’ far-flung, glowing outlands.
Back to an urban reality is ‘Party’, where a subtly menacing sense of dread is ignited by Killa P’s incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, ‘Back To Beyond’ is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre’s masters.


Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual ‘Change Is A Must’, and on ‘Non-Terrestrial Forms’ an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fuelled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up.Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack’s ‘Mezzanine’ and Tricky’s ‘Maxinquaye’ – found here in ‘The Last One’s scorched, smoky rocker.

Hit the vinyl double pack for an exclusive and quite unique sounding 120bpm glitchy techno roller featuring man like Trim once again and live cello recordings.

‘Reality Tunnels’ is a concept that was originally introduced by Robert Anton Wilson in his 1983 book ‘Prometheus Rising’. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective – the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not.

At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi fi on this boldly distinct sonic statement. It sees him flexing years of production skills – but unconventionally so – knowing well that safe predictability and rounded polish don’t get the most interesting results.
Dark trip hop Bristolia segues into blistering jungle on album opener ‘Entangled Particles’, before planet-hopping onto the spiky insidious grimestep of ‘All Man Got’, featuring the rugged rasp of OG warhorse Trim.
Beginning a triptych of future techno, ‘Accelerated Culture’ offers the album’s most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler ‘Returnity’, before ‘Finding Space’ reaches to the cosmos’ far-flung, glowing outlands.
Back to an urban reality is ‘Party’, where a subtly menacing sense of dread is ignited by Killa P’s incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, ‘Back To Beyond’ is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre’s masters.


Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual ‘Change Is A Must’, and on ‘Non-Terrestrial Forms’ an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fuelled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up.Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack’s ‘Mezzanine’ and Tricky’s ‘Maxinquaye’ – found here in ‘The Last One’s scorched, smoky rocker.

Hit the vinyl double pack for an exclusive and quite unique sounding 120bpm glitchy techno roller featuring man like Trim once again and live cello recordings.

Producer and multi-instrumentalist J-Felix returns with his
future blend of boogie, p-funk, disco and soul on his
sophomore album ‘Whole Again Hooligan’. Influenced by the
musicianship of Roy Hargrove’s The RH Factor, James
Brown and George Clinton, Joe elaborates on the concept of
the record: "My mum used to call me a hooligan when I was
growing up which was probably quite accurate, but there's
something about finishing a creative project as a musician that
makes you feel whole again”.
‘Whole Again Hooligan’ features a plethora of guest talent
including Brighton producer El Train, vocal flair Jerry Clavier
aka Sol Goodman, soul veteran and stellar DJ – Emeson,
and classically trained musician Afua. The records magic
moments are catalysed through a collaborative ethos, a skill
honed on J-Felix’s debut LP '101 Reasons'.
Constantly soaking up a mind-boggling array of influences –
through touring internationally as Alice Russell and Swindle's
guitarist, being an in-demand DJ (holding residencies at
Patterns, Brighton and Queen of Hoxton, London), hosting
a radio show on 1BTN, supporting the likes of Roy Ayers and
George Clinton, the list is endless... through which J-Felix's
penchant for all things funk has been perfected.


“The spirit of disco is more than alive and well for this” – Mixmag
“This guy’s got it going on!” - Huey Morgan (BBC 6Music)
“A sublime journey through squelchy electro-funk, tripped-out neo-soul and woozy hip-hop beats” - NME
“J-Felix aka Joe Newman crafts a solid tune with smooth gliding funk guitars, an undeniable bassline that magnetizes the eardrums and hard-hitting groove to match.” – EARMILK
“Excellent.. So many reasons to listen to J-Felix’ music” – FIP
“Tru Thoughts’ rising talent” – The Telegraph

After years of searching for the elusive sensation of heart-rending beauty, Avondlicht releases his debut album on 3 April, 2020 on all digital platforms. The LP will be out on 8/4.

Hyperromance is the culmination of an emotional and geographical journey, as Belgian producer Matthias Dziwak sought to find and examine idealised moments of true romance within the less-than-romantic reality of existence.

Having already achieved a great deal with his initial run of EPs for labels like PIAS, Fog Mountain and Unit Delta Plus, Antwerp-based Dziwak became obsessed with the concept of Hyperromance – “a moment or idea so heavily romanticised that it seems impossible to be really experienced.” The melancholic feeling it sparked in his heart set him off on a journey through Argentina, Chile and Uruguay, via a month-long stay in Amsterdam and finally to settling for six months in Portugal. Throughout this time he made field recordings and began writing pieces that would feed into the finished album. Along the way he found a full spectrum of moments that allowed him to view the world in a truly romantic way, from the majesty of the Andean mountains and the snow falling on the Amsterdamse Grachten to encountering love in Lisbon. At other times he found himself lost, adrift and heartbroken, pulled back to Earth, as is the cyclical nature of the human experience.

Musically, Hyperromance’s grapple with day-to-day reality and rose-tinted fantasy is embodied through the contrast between organic instrumentation and high-definition electronics. Dziwak began writing his songs as simple piano pieces, which then transferred to a staple of synths and sound processing as they became more wholly defined. Sonically, the sound sweeps from modern classical and bombastic electronica to evocative ambient, even touching on jungle and techno along the way. Rather than being defined by genre associations though, Hyperromance is shaped by the swooning beauty of its composition, as the music pulls you in and out of richly rendered moments of joy and pain following Dziwak on his personal journey of truth and beauty. With visceral life experiences woven into the fabric of the record, Hyperromance is expressive on the most intimate level. It’s a record that dazzles with searing bright wonderment and casts creeping shadows as the time passes – a journey as nuanced as life itself, elevated by romance and grounded by reality, beautifully told by Avondlicht.

The third vinyl-only release on Form&Terra Records is all about "Get together". Four artists gather on the 12 inch record to undertake a journey into electronic music together. First, Peter F. Spiess saddles his shimmering "Celluloid Pony" with minimal and techno vibes and rides high into the air via rough sound structures and flashing melodies. There Cie built his "Wolkenburg" and floats with it groovy and with great attention to detail into new layers of the atmosphere. On the B side, "Numbers Talk" by Prakash from Gran Canaria enchants with a wonderful groove that is as deep and blue as his home in the Atlantic Ocean. Markus Funke ushers in the final trip back to Cologne with his dubby techno monster "Levissima". Four wonderful tracks for all discoverer who have a thirst for adventure on the dance floor.

Beatmaker / DJ from Rennes (France) J-Zen stood out with his first album entitled Managua, composed during a trip in South America and recorded between Rennes, Paris, Berlin, New York and Los Angeles is a call to travel, his first source of inspiration.

Four years after this first opus and even more passport stamps, he presents Standa Lone.

With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic and groovy sensation.

Receiving critical acclaim for their second album 'Artifacts' (2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled 'Future Flora', released 12th April via Sdban Ultra on vinyl / cd / digital.

Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie) and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create.

Where debut album 'Abyssinia Afterlife' (2014) and 'Artifacts' (2017) bathed in an atmosphere of psychedelics, mythical figures, ancient sounds and modern cultures, new album 'Future Flora' refers to the power of plants and their importance for the future.

"'Future Flora' is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. You can compare it with plants that fight between the paving stones of the city for their future. These "urban warriors" need water to survive and grow. Their future and ours depends entirely on how we look at the plant world", says Daems.

Black Flower's musical cross-pollination of sounds and rhythms remain on 'Future Flora', but there is still room for a more Western touch with Romanian and Maloya (Réunion) influences. Daems developed his own arrangements where Western, Oriental and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations.

The strong underlying groove is omnipresent, but the room for psychedelics, folklore and experimentation grows. Songs like new single 'Hora de Aksum' combine modern western rhythms with doses of Balkan eccentricities while 'Future Flora' takes you on a psyche-delicious 21th century Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.

"The general feeling that dominates is that of strength and perseverance. The feeling that we have to fight for our future and that we have to do it now! The whole album is interspersed with this atmosphere and sounds swirling, haunting and ecstatic. For those who once saw Black Flower live at work, this energy will be extremely recognizable", he adds.

The long awaited third album from much loved vintage synth maestros Billy Bainbridge and Mike Johnston, finally finds its home on Ghost Box Records. This is unironically joyful and melodic electronica; informed by library music, music for children’s TV and a deep passion for the history of music technology.

Plone are very much part of Ghost Box’s DNA. They were a central part of the 90s retro-futuristic scene in Birmingham that included Broadcast and Pram and to which the label has always had strong ties through graphic designer and co-manager, Julian House. They are also cited by the label’s other boss, Jim Jupp, as a major influence on his work as Belbury Poly.

The band was formed as a three-piece in the mid-90s and their debut single, Press a Key, was championed by John Peel. The first album, For Beginner Piano, was released on Warp Records in 1999. Their warm, witty and unfunky music stood out from the crowd, almost in defiance of the moody and masculine post-rave electronica of their contemporaries.

A selection of bootlegged demos from the early 00s was rumoured to be the follow up album, but it never materialised. After that Billy went on to tour with Broadcast and later formed Seeland with another former band member Tim Felton (also of Ghost Box’s Hintermass). Meanwhile Mike formed the ZX Spectrum Orchestra, released solo singles as Mike in Mono and was a member of The Modified Toy Orchestra.

Twenty years on and Plone have reconvened as a duo with a third album, Puzzlewood. It’s compiled from material recorded at various points since the “lost album”, right up to the present day.

Mameen 3 are soFa and Cheb Runner from Brussels. Both versatile players in the rather niche scene of oriental electronic music in the European capital, they only ran into each other at the Nyege Nyege Festival in Uganda two years ago. They clicked and after a first jam session they immediately launched Mameen 3.

Cheb Runner is the young Moroccan producer previously known as Gan Gah, now focussing on giving a modern outfit to various MENA music traditions. soFa is a true digger between all crates (his Pingipung Podcast is a gem!), as well as the curator behind the highly recommended Elsewhere vinyl compilations, released on labels such as Emotional Response or Music For Dreams. Following the Mameen 3 debut singles on Bongo Joe with excellent spaced out reggae- disco hybrids, Pingipung proudly unearths the Collapse EP featuring two collabs with legendary musicians.

A side: "Impostrazione" is a collaboration with Claudia Radulescu and Walter Hus. Radulescu is a Romanian visual artist who has written the lyrics for the song, boldly interpreted by the legendary Walter Hus on the occasion of her exhibition 'Hit' in Kanal - Centre Pompidou Brussels in 2019. Hus gained international reputation as a pianist in the 1980s and works as an avantgarde composer today, among many projects he created an opera for the graphic novel “Lint” by Chris Ware. Walter Hus performs an effusive vocal style accompanied by his modified Decap organ which became his trademark sound in the past decade. This jam delivered the material which Mameen 3 subsequently transformed into a hypnotic oriental slow-mo banger.

B side: "Wireless C" features another music veteran, Rodion GA, who describes himself as „Romania’s first one man band". He produced a remarkable electro-prog output in the 1970s and 80s. “Rodion GA sounds like he learned about music from hearing someone describe it in their second language, drunk. It sounds like nothing else: wrong in all the right ways,“ says The Guardian about his music. His collab with Mameen 3 turns out as a balearic, space reggae trip, with dreamy vocals by Rodion and solid bass, definitely a hymn in this year’s festival season, if only there was one...

If you’re into funky sixties or seventies B-movies soundtracks, Mustang Force is what you need! Composed of 14 tracks recorded live and composed by Sébastien Blanchon (drums, rhodes, organ, clavinet, synthesizers) and Emmanuel Marée (drums, guitar, bass,
percussion), Hollywood Hustlers is an imaginary soundtrack inspired by all these movies. 14 songs recorded live, illustratring scenes of pursuits, deals, investigations. An album which will undoubtedly delight fans of funk and rare groove.

Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings.

Widely regarded as one of Norwegian electronic music's most important artists, Biosphere's Geir Jenssen career spans nearly two decades, several albums, lots of remixes, various sound installations, commissions, soundtracks and even the odd Himalayan summit.

You may recognise his work without knowing it, so frequently does it crop up on TV trailers and idents. In the early 1990s he was a pioneer of so-called 'Ambient Techno', but since then, he has refined his sound into something more magnetic and enduring.

Dropsonde' isn't a soundtrack like the interwoven 'Substrata' nor an episodic journey in the way that 'Autour de la Lune' is. Here Geir Jenssen is pushing new directions towards the jazz colours of Miles Davis and Jon Hassell, whilst re-invigorating the pulse and projection of his signature sound: a hypnotic combination of pleasure and dread.

The spatial aspects some have dubbed "Arctic sound" but it summons strong feelings, or as Exclaim from Canada put it, "in order to climb higher, you must first go deeper". Jon Savage adds: "As with all of the Biosphere albums, the music draws you in and makes you want to listen and feel. Jenssen's work acts on a very emotional level, one that encourages you to drift away into a haze of images and scenes brought to you by the music, where spectacular beauty hides unseen danger. Intense and moving, but comforting and soothing at the same time."

A 'dropsonde' is a weather reconnaissance device designed to be dropped from an airplane or similar craft at altitude to take telemetry as it falls to the ground. It typically relays information to a computer in the dropping airplane by radio. The fall may be slowed by a parachute. Information collected by a typical dropsonde may include wind speed, temperature, humidity, and atmospheric pressure.

The eight damaging new movements on XIBALBA’s Años En Infierno culminate into the band’s most brutalizing material to date, with more death metal energy than ever fueling the album, with their trademarks breakdown savagery fully on display in every track.


The LP was produced by Arthur Rizk (Cro-Mags Power Trip, Inquisition) and completed with artwork by longtime collaborator Dan Seagrave (Dismember, Entombed, Suffocation).

For the past thirteen years, Xibalba has been dedicated to carving a sound which combines unadulterated aggression booming out of the vocals, an ultra-heavy low-end frequency, colossal death metal riffs, brutal hardcore breakdowns, and a trademark groove now synonymous with the group.

Showing no mercy and keeping their cultural message intact with their fourth full-length, Años En Infierno takes these conventions and finds a new way of expression that the band defines as, “more harsh, brutal, and creative in a metaphorical sense.''

THE JUST BROTHERS were Jimmy and Frank Bryant and are best known for their throw-away instrumental 'Sliced Tomatoes' that first graced the scene at Blackpool Mecca. 'Carlena' is a different beast altogether, a powerful slice of gritty up-tempo soul propelled by various members of Motown's Funk Brothers. A collector's item that was first picked up by Wigan Casino DJ Richard Searling on a visit to Soul Bowl circa 1976-7, a trip that also produced the first copy of The Honey Bees' 'Let's Get Back Together', both on the Garrison label, reputedly part-owned by Mike Terry, and both incredibly rare, approaching a combined $5,000 in today's market!
THE HONEY BEES were an in demand, for-hire, backing vocal group working the New York circuit in the mid-Sixties and can be heard, in fine voice, supporting Jack Montgomery (real name Marvin Jones) on his superb Barracuda 45 'Don't Turn Your Back on Me'. Here they deliver their own, much deserved, recording, co-written by Don Mancha and Wigan's adopted son, the late, great Edwin Starr.

2x12"

since long, chilean/swiss producer and dj luciano is a prominent figure in the global electron-ic club music circle. already from a young age on he was exposed to music profoundly, as his father worked as a jukebox repairman and possessed a large record collection.

when he was twelve, his mother gifted him a guitar, that turned luciano shortly into a mem-ber of a school punk rock band. soon after, his passion for electronic music rose. infected by detroit techno and engaged by close friends like producer dandy jack, he started to play rec-ords in local santiago de chile dance clubs and became involved in the minimal techno scene around friends like ricardo villalobos.

when luciano moved back from chile to switzerland in 2000, he established a residency at weetamix club in geneva, started releasing his own productions on labels like mental groove and joining the cocoon team in ibiza to play at the famous monday night at club amnesia.

since then he is a regular on the balearic island, holding residencies at clubs like dc10 or, with his “vagabundos” serial, at ushuaïa. besides playing around the globe with the likes of carl craig, richie hawtin or loco dice, he is releasing groundbreaking minimal techno and house on his label cadenza since 2003, featuring music by artists like nsi, ricardo villalobos, pikaya, reboot, maayan nidam and himself.

his very own music, so far issued on three albums and countless eps, was always ambiguous. there is his club leaning creativity that can dance slightly into pop spheres while never for-getting the power of precise sliced rhythms and subtle bass sensations.

and then there is a calmer luciano, that displays his love for “music to listen at home, done for a spiritual travel, an inner universe and a moment paralyzed in ether”, as he describes it.

on his first ever mule musiq album release “luci neu house”, luciano now delivers meditative journey music full of repetitive patterns that slowly playing tricks on the listeners subcon-sciousness. “i love music that has a dimension more than music designed for the radio or tv format. mu-sic, that is designed to bring you a higher level of energy and creativity.

so, there is no pretentious things in it ... more just sounds and dimension that will lead your head into the fall of jupiter” he reveals about the one-hour long composition “luci neu house”, whose esoteric deepness reminds on the intensely meditative class of his older pro-ductions like “behind my soul” from 2010.

an epic tune cut on vinyl into four 15-minute long pieces, who shift slowly, almost unper-ceived, whilst absorbing the mind of close observers into a micro-sliced world of moving gen-tleness.

maelstrom magnetism against the gravity of time, that also can be found on the additional mule musiq 257 12inch, which functions as a soothing footnote to luciano’s album.

the almost 13 minutes long trip “flags of himalaya” opens with restful percussions that unhur-riedly start to dance with soft string, piano and horn melodies. on the opposite, the nine-minute long “the evasion of the spiritual soldier” grooves laidback with jazzy rhythms and italo leaning melodies.

a perfect tune for slow dance sensations and endless sunset seaside drives. at a total length of almost 90 minutes, all new mule musiq music composed by luciano distributes a mesmer-izing healing spirit, that grounds organically, even if it is totally rooted in the digital, soft-ware driven world of composing music. “check your buddha” tunes, that somehow sound novel during each new listening circle.

When people talk about Italian dance music, they tend to focus on Rome and Napoli rather than Bologna. Yet the city in Northern Italy not only played a key role in the development of “Italo-house” in the late 1980s and early ‘90s, but also boasts a vibrant contemporary scene. To prove the point, Boogie Café has put together “Bologna On The Move”, a four-track selection of sizzling hot cuts from some of the city’s latest wave of deep and soulful dance music talents.

Leading the charge is Sam Ruffillo, a producer who first appeared on Boogie Café last year following an impressive 2018 debut on Irma Dance floor. He kicks off proceedings with the infectious “U Make Me Sing”, a heavyweight slab of rolling breakbeat goodness rich in tight vocal samples, jazzy guitar licks and wonderfully warm and weighty bass.

Later in the EP Ruffilo returns to action alongside Brine, another rising star with links to legendary Italian label Irma. “Request Line” is a fine slab of chunky, U.S garage-influenced deep house that sees the duo pepper swinging drums and toasty bass with heady organ stabs, cut-up vocal samples and trippy electronics.

Fittingly, Brine gets a chance to showcase his skills as a solo producer via “Star Chaser”, a looser and jazzier house excursion that doffs a cap to the glory years of jazz-funk whilst championing rich deep house synth riffs, jaunty bass and more spaced-out vocal snippets.

You’ll hear a similar jazz-funk influence at the heart of the EP’s only contribution from Red Rooster founder and former House of Disco artist D’Arabia. The most experienced of the three artists on show, he offers up “Straight Outta Fire”, a bouncy, deep and percussive affair that wraps drowsy male vocals, sustained chords and harmonica samples around disco-influenced house beats and what may well be the squelchiest bassline ever to emerge from Bologna.


DJ Support:

Bedmo Disco, Lord leopard, Melon Bomb, Dave Harvey, Haze City, Aroop Roy, Lay Far , Danvers, Kassian, Dave Jarvis,
Jimmy The Twin & Cengiz.

Names You Can Trust is proud to continue the tradition of collaborations with the finest musical talents the world has to offer, sin fronteras. The latest release features a pair of cuts from the renowned Ava Rocha, backed by punk cumbiero all-stars & NYCT alumni, Los Toscos. Rocha, the daughter of Latin American film legends from Brazil and Colombia and a multi-disciplinarian triple threat herself (music, film, visual art), calls both countries home and has long held a reputation for no-holds-barred artistic commentary on the political follies of the neighboring, intertwined societies.

What she brings on her latest single easily stands alone on musical merit, but gains greater nuance and significance as the powerful lyrics emerge. With a disarming chanteuse vocal delivery and a stark groove that would be equally at home on an early Tom Waits record or in the psychedelic jam sessions of a '70s Fuentes group, this double sider is ultimately a great introduction to Rocha's Latinx punk social commentary but should also slide right in with DJs looking for a versatile addition to their boxes.

After releasing their critically acclaimed debut LP “NOW” just last September, The people at Malka Tuti felt it was the time to continue pushing the name SHARI VARI to new realms & territories... A Remix Pack was born. For the remix pack, Malka Tuti chose a few close friends of the family to give new life and new interpre- tations to the now “instant classic” songs by the Hamburg duo.... The Ep begins with Fantastic Twins’s mid tempo, Coil inspired, break-beat groove, slowly building up in emotion with warm pads and 90’s vibe acid lines to- wards an epic catharsis. Benedikt Frey takes it from there, remixing a personal favourite - New York City, turning it into a dark trip- hop inspired journey, cleaning those distinct vocals, echoing Beth Gibbons’s smokey high tones.... On the B-side we find Black Merlin’s 11 minute trippy mid tempo dance floor banger. Cuts and slices from the original vocals of the song Dance Alone, laid carefully on top of a repetitive modular bass line, and sprinkled on top - those out-worldly sounds and FX that makes the track simply HUGE. Last but not least, Düsseldorf’s very own Lucas Croon’s Dub Version, released digitally last year, final- ly sees its day on wax. 90’s Break beat beats, gated vocals and everything else that takes to make a dance floor hit the roof.

**LP FORMAT IS VERY LIMITED - PLEASE BE AWARE THAT UNFORTUNATELY THERE MAY BE CUTS TO ORDERS**

For Los Angeles' The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as 'a haunting exploration of the darker side of pop music'). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander (a tech member for Nine Inch Nails, Ke$ha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fansof each other's work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn't quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. 'We've got a pretty weird cross section,' Puciato says of the band's musical chemistry. 'We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell's Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It's all over the place and unusually far reaching,and there's a lot of passion for discovery.'After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato's main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv monikerfor the first time since his former bandmate Charles Cooper died in 2009. Thetrio's storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band's icy R&B instincts more sharply pronounced; they've also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages
that create a wide-screen backdrop for Puciato's eerie, tortured vocals. 'I think this album is actually hookier, but more insidious in that it reveals itself over time,' Puciato says about Infinite Games. His choice of words says something about the album's creeping, pitch-black approach to pop music.With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centricapproach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen's own creative endeavors and collaborations with otherartists. In a way, Federal Prisoner solidifies TBQ's commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, 'It's just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It's as much an act of refusal as it is a statement of intent.'Infinite Games, the second album from experimental Los Angeles synth-pop trio The Black Queen, comes out on September 28th

JK Group are a powerhouse nu-jazz band fronted by Melbourne saxophonist Josh Kelly, best known for his work with future soul-jazz collective, 30/70, and being the 2019 PBS Young Elder of Jazz.

They sit in the crossover of raw, live jazz and electronic/dance production. At times synth-heavy, effected and soundscapey, while at other times hard hitting groove laden with spiritual jazz overtones and no-holds-barred improvising. Their sound nods respectfully to classic
jazz traditions, whilst carving a path that unashamedly looks towards the future, embracing modern influences and production techniques.

The album received a 5* review from Melbourne's own Mike Gurrieri, and has garnered radio play on PBS, RRR, Worldwide FM, NTS and more. The debut LP 'The Young Ones' is due out on La Sape March 27th. (SAPE010).

Double Goodbyes' is the sound of Ivan Ave making the music that moves him, without necessarily putting his usual rap-hat on.
But as the album title suggests, a lot of times we find ourselves bumping into the exact things, people and habits that we thought we had left behind. His hip-hop roots shine through once again, in a weird blend of RnB, AOR and synth sounds. Sasac is the main co-creator on the record, alongside top shelf RNB and hiphop artists such as Kiefer, Mndsgn, Byron The Aquarius, Devin Morrison and more.

Studio Mule drops “Anthologia”, the final chapter of a close look on the work of the Tokyo born DJ and producer Takayuki Shiraishi, a jack of all trades, that sways through Tokyo’s vast music scene since the late 70’s, a time when post punk grooves called the tune. As part of the band BGM he released in 1980 the album “Back Ground Music” on the legendary Osaka based underground label Vanity. Last October Studio Mule reissued BGM’s no wave, free funk mini-mal treasure. A few Month earlier Studio Mule already published “Missing Link”, a thrilling retrospect on Takayuki Shiraishi's unreleased material from the late 1980s, a creative period of which only a little ever saw the light of the day.

And now “Anthologia”, a record that is dedicated to his work during the years 1990 to 1996, a time span, in which Shiraishi moved on to produce house, downbeat and playful electronica. In 1995 he released the ambient/techno 12inch “Spectral Colours” on the R&S sublabel Apollo under the alias Planetoid. Two years later he manifested his techno leaning creativity under his given name on the album “Photon”, a record that helped launching Japan’s techno scene. It was followed by two more long players, that display his wide musical taste with ambient, house, breakbeat and other genre blending styles. Besides producing, Shiraishi was also a prominent figure of Tokyo’s club nightlife, DJing alongside Jeff Mills as well as Krautrock icons like Holger Czukay.

“Anthologia” features three unreleased tunes of this lapse of time, as well as highlights some work Shiraishi produced together with his friend Jun Sonohara as Musica Nova and a hidden gem he tuned in for the “Isolated Audio Players 1” compilation, published by the Tokyo based Pickin' Mushroom Recordings label in 2000.

The three unreleased tracks display his love for diversification. “Distant Thunder” is a drone driven ambient voyage, that slowly melds into a gentle rhythmic sensation driven by loose hi-hat patterns and a soft chord crescendo. On the opposite, “Lapis Lazuli” comes around as a mellow melodic downbeat trip enlarged with twisted rhythms and cosmic infiniteness. “A Voy-age” shows his love for house music with a grooving arrangement that comes close to the kinky house gems of contemporary producers like Lowtec. Also, the already known “Isolated Audio Players 1” compilation tune “Flicker” is located in the house spheres, delivering nervous jacking minimal vibes emerging from a precise produced dance of melodies, grooves and sound effects.

In comparison, the four Musica Nova tracks show again another side of Takayuki Shiraishi’s many musical talents. “Birds in Paradise” is an elegant triphop tranquilizer, while tunes like “Nocturnal Tribes” and “Green on Green” express his passion for electronic arrangements that think out of the box with airy melodies, slow-motion big beat rhythms, jazz particles and an overall cosmic sound complexion. The tune “Shifting Sand” goes the same direction, while adding esoteric reverberations and a touch of Drum and bass.

Together the eight tracks turn “Anthologia” into something more than just an anthology of Takayuki Shiraishi’s work. In association, all compositions work like an album that overwhelms with a reasoned story-arc, who slowly rises to a hypnotizing peak, from where all downswings to a calm finish, that makes you want to start all over again.

»KAMILHAN; il y a péril en la demeure« is the conclusion of a 5-part cycle of works by artist Grischa Lichtenberger which was initiated with the album »LA DEMEURE; il y a péril en la demeure« in 2015 and continued with the triple EP release »Spielraum, Allgegenwart, Strahlung« in 2016. In addition to the concept of „demeure“, ones residence as a symbol for the joy and artistic possibilities one can find in isolation, Lichtenberger places a further emphasis on the expression of the voice, represented by the word „Kamilhan“. „Kamilhan“ is a non-existent word, an expression that Ernst Bloch once mentioned in an anecdote about his childhood. Fascinated by its sound but without knowing its meaning, it remained vivid in his memory in its purely „material“ form. Lichtenberger also refers to this childish perception of language. Words that we do not know, but repeat in our thoughts until they become insignificant. Lyrics in a foreign language that we do not understand and still sing along and imitate. With computer-generated voices, Lichtenberger tries to reproduce these experiences. In his tracks we hear syllables and phrases that are similar to words and that seem familiar to us, but whose meaning remains a secret. As on the previous album, the tracks on »KAMILHAN« are constantly torn apart and reassembled. Borrowings from hip-hop and even pop are unmistakable, desired, and yet delusive. Rhythms that are repeatedly broken in order to re-organize themselves into new temporal patterns. Melodies that are pierced by precisely these intricate rhythms. Voices that lack any empathy due to their artificiality. Lichtenberger himself describes these tracks as „crooked ballads“, which, by deliberately following classic pop song structures, try to sell us the absurd as the normal, and in turn smuggle some hope of recognition into the absurd. »KAMILHAN; il y a péril en la demeure« will be released on May 08, 2020 on CD and as a limited double vinyl edition including a handmade and signed silkscreen print.

The sickest French band, a trio called France, drums, bass and amplified hurdy-gurdy. They only performs live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one ‘song’ for the duration of their hour-long set. And it’s the most transfixing live experience of intense physical and mental focus, and there is something of early rave too, the togetherness, the energy, the euphory. The distorted hurdy gurdy plugs France’s sound into the country’s history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn’t need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who’ve stayed for the whole duration of their performances know they’ve shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you’re not quite the same person who went in, even though you’d be hard-pressed to pinpoint precisely what has changed. Far Out Far West was the band’s first gig outside of their usual comfortable friendly circle and thus was perceived as a somewhat hostile environment. This was where they met the fellows of Les Potagers Nature who will later release France’s debut untitled album. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). Sales Points: - New album from trio France - All previous releases now sold out and sought after - For fans of drone, rural trance, stoner, psychedelic - 131st release on Mental Groove Music, home of WRWTFWW

Columbia Records release the eagerly anticipated new album (first in seven years) from US indie/rockers. This is the band's sixth studio album and was recorded at Shangri-La studios in Malibu (produced by Rick Rubin). A 9 track album, which includes the singles "At The Door", "Bad Decisions" and more. Released on vinyl and CD.

Recent UK promo trip and live date. Ads, features, interviews and reviews across all press. Video plays at MTV/Vevo. Radio support across R1, R2, 6Music, Radio X, Beats 1, Absolute, Virgin, ILR. Radio ad campaign. Online/social media activity. Poster campaign and database mailout.

Columbia Records release the eagerly anticipated new album (first in seven years) from US indie/rockers. This is the band's sixth studio album and was recorded at Shangri-La studios in Malibu (produced by Rick Rubin). A 9 track album, which includes the singles "At The Door", "Bad Decisions" and more. Released on vinyl and CD.

Recent UK promo trip and live date. Ads, features, interviews and reviews across all press. Video plays at MTV/Vevo. Radio support across R1, R2, 6Music, Radio X, Beats 1, Absolute, Virgin, ILR. Radio ad campaign. Online/social media activity. Poster campaign and database mailout.

Telfort’s seductive sound returns with three new cruise missiles from the faultless producer. Deep house done with a dazzling expanse, his imaginative and charismatic influence on the genre have previously piqued the attention of the more creative DJs and diggers who’ve dug the producer’s umami-esque palette: intangibly savoury, hard to define but unequivocally tasty.

On his fourth release via the sporadic yet impactful TLFT imprint, the producer retains his playful touch as he delivers three bright, optimistic dancefloor vistas that shimmer and shine like sunbeams off a dappled ocean. “As Though It Were” immediately injects energy and light into our minds and bodies with its candescent bass riff and catchy three note melodies. Synth-strings are arranged with perfection, hinting at a brave New World full of compassion, love and unity; while its driving and buoyant beats urge us into a hips’ n ’shoulders workout comparable to a high-octane gym session.

“It’s A Phase” is as finely crafted a piece of Telfortian house as one can hope for. With a direct and rugged B-line, peppered with light perx and decorated beautifully by one of Telfort’s trademark, textural synth patches. It’s further garnished by a dreamy, weaving lead solo that should draw heartfelt feelings of desire and nostalgia out of all who experience it.

“MSR Dub” completes the session and deep bass plumes and breathy flute melodies give us Big feelings as we floor the speedboat’s accelerator and splash across the rollers and swells at max speed. Achieving a tranquil and calming terminal velocity, time appears to stand still as gorgeous scenery rushes past our eyes. It’s a picturesque and evocative end to the trip which should etch itself into one’s memory hole, full of jubilant and joyous sentiments and overwhelming positivity throughout.

Evoking ambrosial notes and feels throughout, reminiscent of spending life affirming time with top friends in exotic locations and holiday house music splashing in corals. You only live once; ensure it’s spent enjoying tunes like these loaded with carefree abandon. Telfort’s In A Good Place right now…

One Sided 7", Limited edition of 200 copies on black vinyl, handstamped whitelabel with additional photo inlay.

Tribe'n'Bass? Tech'n'Bass? Drum'n'Tech? Whatever you might call it, the first ever vinyl release of the freshly launched imprint Freebreakz.FWD is a quite trip, a journey into the unknown and unexplored.
For their conjunctional studio effort that is „Alien Swamp“ we see Hamburg's baze.djunkiii and Berlin-based Donna Maya draw influences from spiralling TribeTekno and the freeform approach of the teknival scene, pay homage to their love for advanced, experimental Drum'n'Bass and fuse these elements with a stripped down high tech vibe somewhat reminiscent of early Minimal Techno coming out of Motor City Detroit. Imagine all these bits falling together at breakneck speed and with a well psychedelic notion and you'll be
captivated by one of the most unique dancefloor cuts from a space-exploring future, the electroid soundtrack for illegal raves taking place under the two suns of life-bearing exoplanets in binary star systems far far away.

Amsterdam might be susceptible to grey skies and rain as any other, but cup your ear to the music flowing out of the Dutch capital, and another story emerges. The Mauskovic Dance Band are a prime example of an act who have been dialing up the sunshine over the river Amstel in recent years.On Shadance Hall, their first release of 2020, they concoct a tantalising brew of no-wave, psych rock, cumbia, power dub and numerous other colourful shades of global grooves.

No stranger to Dekmantel as one of half of electro-grouping Bruxas, Nicola Mauskovic leads his percussive troupe through a heavy, trippy, disco fiesta with this, their first debut on Dekmantel Records.
The Mauskovic Dance Band’s epic sonic journey on Shadance Hall began deep in the Welsh valleys. Partnering dusty drum machines alongside phat layers of congas, assorted bric-a-brac of percussive tools, and distortion-soaked guitars, Mauskovic’s ensemble suspend the tempo and turn up the grooves. on this soundsystem-inspired, post-punk odyssey. The resulting soundsystem-inspired concoctions are a mixture of 130bpmbeats (‘Ventura Phase’), Jah Wobble-influenced bass rhythms (‘Squeeze Dogs’) and Carnival-ready soca-jams (‘Theorie Amerikaan’).

Taken back to Amsterdam’s famed Electric Monkey Studio (a favourite for Ghanian great Ebo Taylor and Dutch youngbloods Jungle By Night alike, Mauskovic teamed up with engineer Kasper Frenkel to mix down the record. Here the two acted as Mad Professors, experimenting with the recordings and making multiple versions of each track by creating tape loops, bouncing the audio back and forth and layering the resulting recordings in waves of reverb and echo. In classic dub style, the band ended up with dub edits, rich in space echo, reverb, crush, and dub-goodness, completing the second half of Shadance Hall like a funky palindrome. It rounds off an expressive EP steeped in musical history, bursting with inventiveness, projected at the listener as a maze of influences to get lost within.

Alex Figueira, the man behind Music With Soul, Fumaça Preta & Conjunto Papa Upa, has teamed up with Maxado, Brazil's leading rocksteady vocalist, to create another impossible crossover, connecting the dots of the vast tropical music map that have remained appart for far too long.

What if the now-legendary producer Lee Perry had recorded & produced the nascent Wailers trio of Neville Livingston, Bob Marley and Peter Tosh, not in Kingston, the scorching hot Jamaican capital, but instead in Belém, an even hotter city, at the heart of the Brazilian Amazon.

Whilst Kingston's airwaves and street parties were dominated by the locally produced rocksteady, ska and reggae, Belém was dancing to it's own beat of carimbó and siriá.

Alex Figueira and Maxado, two avid fans of both musical traditions, entered the Barracão Sound Studio, Amsterdam's famed vintage recording studio, determined to find an answer to that hypothetical question. The result is not only tangible and unprecedented, but incredibly emotive & hypnotic too.

The chorus of "Quando Será" is unnervingly apt for our times tool, "Quando será que eu vou te ver?", or "When will I see you?" the song asks. Well until we see each other, Music With Soul offers some musical relief in the form of this collaborative song.

The B side offers a beautiful touching instrumental version, led by the impeccable flute rendition of Brazilian multi-instrumentalist Gabriel Milliet, a prominent member of the Brazilian music scene in Amsterdam and Alex's long time collaborator having shared the stage countless times in the past 3 years. His delicate phrasing will give you goosebumps.

Alex Figueira is well known as the man behind experimental tropical rock-outfit, Fumaça Preta, and more recently the psychedelic tropical dance band, Conjunto Papa Upa. Meanwhile, he has become a staple of the Amsterdam scene, having either played with, recorded or produced everyone from Mauskovic Dance Band to Altin Gün. São Paulo-based musician & singer composer Maxado made his mark fronting Firebug, Brazil's leading, if not only, rocksteady band, also featuring influential musician, producer and mix engineer Victor Rice. The two musicians met during Alex's first trip to Brazil, when he was already a massive Firebug fan, and quickly formed a firm friendship. Finally over the course of Maxado's first visit to Amsterdam, the pair had a crack at writing & recording together, quickly discovering that their chemistry extended to the studio. Now you can hear the first fruits of their blossoming musical relationship.

Music With Soul returns with another genre-defying instant classic, expanding the limits of the Tropical Dance music universe.

Staying true to the label's essence, founder Alex Figueira places a high bet with this new release, introducing a brand new breed of traditional “Hindoestan” (Indian diaspora in Surinam) music and Cumbia. Taking the music of underground Surinam musician and empresario A. Bechan for an explorative excursion into the depths of the Colombian caribbean coast, this explosive combination raises the bar unquestionably. Equally weird, groovy and trippy, this 45 will turn any party upside down, regardless of any factors. The only problem you will encounter is what to play after. The solution is right on the other side. Just flip the record and give them the Instrumental version, featuring electric guitar, an alternative percussion set up and the beloved classic Juno-60 synthesizer in the leading role for another 4 minutes of dancefloor catharsis.

'Banoffee Pies Records' drop their 12th release in the original series with a solo EP from New York based Tristan Arp. With a string of intricate music on the likes of Human Pitch and a recent LP entitled "Suggested Forms", which offers a wider exploration into his work, Tristan's passion for sound design echoes in this record.

All four tracks offer an environment somewhere between a feeling &
a dancefloor with obscure influences in polyrhythmic drum patterns and a clear combination of digital and analogue processing. "Swept Thru" opens proceedings with a spiral of rhythms and heavy percussion leaping in energy throughout, before the spooked out Vox takes control on "Oblique House" with deeper movements in a haunted club tune. The B side opens with the title track "Slip" in a powerful whirlwind arrangement of sub bending sounds before the final colour is added to the palette in "Circling Music'' with emotive jingles in a more retained and patient mood.

You can hear Tristan's other work within the Asa Tone project - a trio group well worth the trip, offering a deep variety of works exploring field recordings taken and formulated in Indonesia beneath a tree canopy deep in the jungle. This same energy and mood spills into this release. Music for feeling. Much love BP x

Mastered: Optimum, Pressed: MPO & Distributed by KUDOS.

Back with his third EP for Dave Harvey’s forward thinking Futureboogie label, Kiwi serves up three pulsating jams on ‘Charlie’s New Vision’, backed with a remix from Johnny Aux.

Drawing upon his many influences across the house/disco/funk spectrum, South London based Kiwi has been illuminating the more discerning dancefloors of late with a strong of releases for Cin Cin, Needwant and his own new label venture, Crossbreed.

A low-slung groove is explored on ‘Charlie’s New Vision’, incorporating tripped out film dialogue, bleeps and dubby tones, and a serpentine bass riff, all forging an off kilter yet infectious & hedonistic chugger. Johnny Aux follows up recent appearances on Man Power’s Me Me Me, Party Central, and Multi Culti with his own take on the lead track. Churning over a bleepy and epically transcendental remix of the highest order, this is the stuff of sunrises and enlightening moments!

The sprightly ‘Ghiaccio’ draws together a kaleidoscopic array of opulent synth melodies with an compelling rhythm, whilst ‘Italian Heat’ doffs its cap heartily to the Italo disco choons of yore that always strikes a potent chord to this day.

Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they’ve been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalogue of the legendary library label KPM.

They replied with Island Visions, an exploration of sound for vision where they construct “audio micro-worlds to explore and inhabit”. A way to transport the listener away from the everyday without the bother of getting on an aeroplane. Mind travel is space travel after all, and much better for the environment.

Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete’s travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion and the Seahawks live team of Dan Hillman and Alik Peters-Deacon.

From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Deryshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe.

The spacious “Hot Sand Shuffle” opens the record with some of Seahawks’ familiar “deck-shoegaze”. The slinky digi-dub of “Sky Blue Sky” follows, gently encouraging us to lay back and relax. “Mystic Beach” is a refreshing ocean spray of a synthetic groove that clears the head, priming a pathway to receive “Crystal Forest”, a new age house groove of birds and flutes.

Dense, deep and dreamlike, “Distant Shore” is ambient rainforest house with a 90s vibe, its dense foliage clearing to let us bask in the shimmer and shine of “River Run”. Hang drum, electric gamelan, flute and loon close side A.

Side B bounces into being with “Catch A Wave”, an upbeat beach groover of synthetic guitar, effervescent synth and snappy drums. Equatorial bubbler “Paradise Bird Bath” soon glides in with marimba, crisp beats and fat synth bass. Fender rhodes, space echo and fretless bass make “Smooth Runnings” a laid-back poolside groove.

“Spirits Have Flown” conjures a hazy vibe with marimba, sax, synth funk bass and chilled beats before “Rolling Deep” serves up a light cocktail of sultry rhythms, refreshing textures, cooling sax and fretless bass. Almost-title track “Island Blues” brings the horizontal poolside feels with melodic chimes, oboe and more fretless bass for maximum vibrations. The marina drone of modular electronics, celestial trumpet and jungle ambience pay the album’s final respects to the cosmos on “Sun Salute”.

Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams.

Pete’s front cover for the LP is part map, part postcard: “the record has five different sections and I wanted to reference those in the worlds they created, musically and physically. From beach campfire, to poolside hanging and nighttime dancing. A kind of portal to those places and the pictures they inspired in my mind. All places we’d like to be in this turbulent year”. The track descriptions on the back help guide the way.

2020 marks 10 years since Ocean Trippin’, the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures and moods that Jon and Pete have been exploring over the last decade. Sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don’t apply here.

This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and we worked with Jon on the vinyl version of Hatchback’s Colors Of The Sun). Of course we were going to put this out on vinyl.

Mastered by balearic engineer of choice (and Be With’s regular audio co-pilot) Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum travelling conditions. Take the trip.

Planetary Notions boss Joe Rolét debuts on Infuse to open April with his ‘Maximum Width’ EP, backed by a remix from Rich NxT.

A rising name within his home city of London, Joe Rolét is a DJ and producer whose passion for subbed out club music with a cosmic twist has seen him become one of the scenes hotly tipped talents – a sound that’s also reflected in full via his bubbling label, Planetary Notions. Releasing music from artists such as Per Hammar, Lopaski, stevn.aint.leavn and Desert Sound Colony whilst welcoming the likes of Vlad Caia and more to join as guests on the imprint’s Rinse FM show, 2020 now sees Rolét follow up releases via Beeyou, Courtesy Of Balance and his own Planetary Notions imprint as he makes a debut label appearance on Infuse with ‘Maximum Width’ EP this April, accompanied by a remix of the title cut provided from FUSE resident Rich NxT.

Lead cut ‘Maximum Width’ sees Rolét introduce his blend of slinking, reduced grooves atop of bumping low-ends whilst working an infectious vocal throughout, whilst ‘Rounding’ sees warped synths, off-kilter melodies and further tripped out vocal snippets come to the fore. On the flip, FUSE favourite Rich NxT puts his stamp on the title track in impressive fashion as he raises the tempo and introduces sizzling bass stabs and rolling hats, before rounding out proceedings with the hypnotic ‘Amber Road’ – a paired back cut that harnesses soaring sci-fi leads and wriggling percussion arrangements to great effect to shape up an impressive debut offering.

Something is stirring in downtown Tucson. That's no great surprise perhaps: Calexico have been sending out missives from the desert for 20 years now, Giant Sand for even longer than that, and the Green on Red revival is surely overdue. Let us remind ourselves that this isn't a big city in the American sense, but that its hinterland is indeed as big as it gets. For an hour south, Mexico starts. And this is where things get interesting.

Born in Nogales, Arizona, raised in Nogales, Sonora, multi-instrumentalist and band-leader Sergio Mendoza grew up listening to the Mexican regional styles jostling for headspace in a young, music-mad mind - cumbia mainly, but mambo, rancheras and mariachi too. The border is always a fierce arena of exchange, both commercial and cultural, and so there was American music too. At one point 'rock and roll, the classics', as Mendoza himself deadpans, seemed to win out and he stopped playing those 'Latin styles' for a good decade and a half.

The return to those sounds was a strong one in 2012's Mambo Mexicano, co-produced by Mendoza and Joey Burns of Calexico - a band for which Mendoza has become an increasingly integral touring and recording member. While that record had a studied air, tentative in parts (as befits the renewal of an old love affair), ¡Vamos A Guarachar! is another beast entirely: by turns raucous ('Cumbia Volcadora', featuring Mexican electronic pioneer Camilo Lara), tender ('Misterio', surely Salvador Duran's finest moment with the band so far) and plain serious fun, as in 'Contra La Marea' and 'Mapache', it also bears a robust electronic edge, a keen pop sensibility and all the hallmarks of Mendoza's love of 60s rock, with the closing track, 'Shadows of the Mind', sure to be included if anyone decides to update the Nuggets collection for the 21st century. This is roundabout way of saying that it appears to have everything, but never too much of anything. Focused, fierce and beautifully executed by a superbly drilled set of musicians, it is a record that fully matches the band's explosive live performances.

You could, of course, take the trip to Tucson yourself, to the home of this essential set of field recordings. The scene hangs out together, so ... if the stars align and their frantic tour schedules permit, you might see any number of folks from Calexico, Giant Sand or up-and-coming cumbia rockers Xixa deep in conversation somewhere in town with a quiet young man in black. That's Sergio. Right now, in this endless game of Tucson tag, Orkesta Mendoza are IT.

Tripeo raises a voice for change on his new album “Green Is the New Red“ (BASLP03). “The great thing about (electronic) music is that it’s the most universal art form there is“, says the Dutch producer. “It transcends lingual and cultural barriers more than any other cultural expression and can be a catalyst for change.“

The sound of the coming revolution is manifold: Starting off with A1 “Hope in the Dark“, a soft melody unfolds. B2 “Shifting the Overtone Window“ stands out as the most bass-heavy track, with techno as its musical blueprint. Further into the album, C3 “Fridays For Future“, the artist openly states his sympathy with the global youth movement. His vision for the protest is lo-fi in sound and courageous in mood.

Never angry, this album creates urgency without uttering a word.

Protoelectronics psychedelic Mexican Holy Grail rediscovered by Glossy Mistakes. Inspired by Vangelis, Tomita or Kraftwerk, this unknown rarity gets a second life sounding fresh and pioneering today.

Tito was born in 1946 in Ciudad de México, the son of two Spaniards. Since he was a youngster, he had felt the passion for music and instruments. In the meantime, he started a career as architect. Since his early years, he joined various teen rock bands, where he played bass and guitar. Slowly but surely, his interest in synthesizers started to grow. And the rest is history. Tito defines himself as an “electronic sounds fanatic”. Quetzalcóatl is a truly authentic cornerstone in those terms: an inspired and eclectic artist gives shape to a unique sound through legendary synthesizers such as the MiniMoog or the Arp Odyssey. His passion was so embedded that he even built his own guitars and equalizers; some of which appear on this LP.

Quetzalcóatl, his debut solo album, was originally recorded in 1977 (now remastered) in his bedroom using a four-channel Sony recorder in a truly DIY way. This álbum could be considered as a rarity. But if we listen hard enough, we find a pioneering treasure. Somehow, Quetzalcoátl anticipated the sounds of future decades with simple but inspired compositions. It is a mythological trip to the Pre-Hispanic México. This album is an allegory of the Aztec world. Quetzalcoátl is the most important God for Mesoamerican cultures: it represents the inherent human dualism between the body (represented by the snake) and soul (the feathers). In the song “Profecía”, Quetzalcoátl emerges, announcing the end of the world at the hand Spanish colonialism. Limited edition, 600 copies, remastered in Amsterdam by Wouter Brandenburg.

In 2017 Brooklyn's Bryce Hackford spent a week at the PRAH Foundation in Margate (UK) recording rhythmic foundations and the environment around him. After his residency, eleven musician friends contributed their performances to what would become Safe (Exits). All of these contributions, however, were made in isolation and the task of mixing them together became the crux of the production.

Bryce's records largely explore improvisation with electronics, using recording as the compositional medium, and feature the occasional contributing musician. Eleven make Safe (Exits) more of a chance ensemble record, with players in unlikely combinations, from disparate backgrounds both personal and musical, pushing a collage aesthetic beyond sampling. The poetics of these sounds is the focus of this album.

Safe (Exits) attempts to create a rare space where rhythms get propulsive enough to make one dance yet become subtle enough to make them nod into the serene vistas of distant, contemplative waves.

Safe (Exits) is Bryce's first album since 2015 and second release with Spring Theory.

Featuring: Gabi AsFOUR, Brian Close, Matt Evans, Adrian Knight, Kiki Kudo, David Lackner, Frank Lyon, Camilla Padgitt-Coles, Bernardo Risquez, Viktor Timofeev and Justin Tripp

It's album release time for this Madrid-based soul/jazz organ trio who have been burning up stages and festivals throughout 2019 and who have already had a successful single out on Rocafort Records. Beat Bronco Organ Trio have not rewritten the Hammond musical handbook, but they do what it says on the tin rather splendidly – a Road Trip that grooves, swings and sashays around the familiar but much loved funky jazz theme.

Although it's impossible to listen to the album without summoning up the ghosts of Jimmies McGriff & Smith and the like, nearly all tracks here are originals and shout out personality, verve and respectful homage to the tradition. Featuring the usual leitmotifs: Shaftish film sountrack, lo-fi lounger, gospel-tinged toe-tapper, the hip shaker and much wah-wah frenesi, there's nothing not to like if the genre is your bag.

The steaming horn section on "Hard Play" thickens the sauce à la JBs and the Meters, aided along by a unique orchestra of handclaps. Vocalist and guitarist Alberto Palacios Anaut storms in with "Hey Hey", an old Dave Bartholomew classic from New Orleans, just to remind us where Fats Domino and Ray Charles got it all from. Chip Wickham makes two welcome appearances on flute, adding an extra jazzy touch to "Squirtly" and "Electro Pi" – the latter a fabulous trippy, spacious head-nodder that demands in our opinion some kind of a wigged out drum'n'bass remix. Every track is clearly dominated by variations on the vintage keyboard, be it Hammond, Clavinet or Minimoog; all roads lead to that sexy, sacred sound.

Spain is already prominent on the modern-day Funk map thanks to groups like The Sweet Vandals, Speak Low and Mighty Vamp – and it comes as no surprise that our hero trio featured at various times in all these bands. Gabri Casanova (keys), Lucas de Mulder (guitar, percussion) and Antonio "Pax" Alvarez (drums, percussion) have been busy reviving the funk gospel for some time now. Road Trip is an elegant culmination of their efforts in keeping alive a revered and timeless tradition that still today serves as a reference to where all the good stuff came from: The Church!

It is a cliché to describe music as a trip or an ocean or whatever, so this album, Tecwaa’s album “Beyond the Altai” released on Höga Nord Rekords, will in part be described as a snowman: the snowman has its characteristic familiar shape. He is cold yet there is something warm and cuddly about him, something that makes you feel happy and safe.

The A side on the album goes from that warm/cold cosy feeling but elements of destruction like melodies in minor keys slowly transforms the album to become only cold and not so cosy - the snow turns grey and the snowman’s smiling mouth becomes a twisted grin. Its contours disappears and the shape dissolves as the snow melts and floats out on the ground beneath its body. As the album develops, the sound gets harder and darker and the York based DJ moves closer to his roots in electro and Roland-machine knob-turning.

In some ways, “Beyond the Altai” is a call from the eighties and nineties dancefloors like in the tracks “Back To The Atomic Ether” and “10 Swords” on the B-side but all melts together in Tecwaa’s music to create his own obstinate and loose sound!