Cerca:under the world

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

Robert Steenkamer is known as a purveyor of exquisite house music. Under his Roberto S guise, the Torontonian has released several landmark records. Besides this, he is known as a valued selector in his native Canada. The collaborative releases with Jex Opolis under their "Conga Radio" moniker have received worldwide praise throughout the house community. For his Pulp debut, Steenkamer has created a diverse body of music that touches different moods and genres.

On the A-side, the opening track "Inner Rhythm" is a orchestrated piece of work that uses an uplifting vocal cut and ethereal flute sounds to create a calm and positive dancefloor experience. Also on the A-side "Swizik" is a melody-heavy work where Steenkamer uses fun sequences, euphoric pads and well balanced drum patterns.

The title track is placed on the A3 position and is a genre-transcending cut. The tempo is is low and the beats are dragging along with the well-executed pads and synth riffs. On the B-side, the title track is being remixed by fellow Canadian "Florist". On this remix, Florist turns the slow vibe of the original into a soul touching dancefloor creeper that will definitely gain a lot of support in melodic circles. "Remember When" is a positive work with a snappy bassline and oozing synth sounds. Glass Road EP will be available from all specialized retailers in early 2019.

On March 15th Erased Tapes presents the invigorating and powerful debut solo album Lines of Sight by Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne. Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles - effectively capturing what the birth (or death) of a planet might sound like.

In Daniel's own words, 'Thematically, this music was inspired by birds-eye aerial images and the idea of perspective - how something incredibly complex like a river or the surface of the ocean is reduced to a simple line or shape when viewed from the heavens. The line between natural and man-made becomes increasingly blurred.'

Every strand is fresh, vital and purposeful. The description 'seamless' might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical, a touch of jazz and traces of Wyatt-style contemporary folk come together, each occupying their own space while acquiescing with the whole.

'Several compositions are derived from ratios and processes, and are highly calculated, while others evolved in a much more organic way. I wanted to create music that blurred lines between acoustic and electronic, organic and synthetic, composition and improvisation.
I've long been a fan of studio-based composition, but have always found the infinite possibilities on offer daunting and, often, a stumbling block. To get around this I set myself a challenge of limiting myself to the physical instruments in my possession - a few different saxophones and a bass synth, with no more than four tracks to record them,' he adds.

Lines of Sight follows Thorne's work as artistic director of the acclaimed, collaboration-focussed group Immix Ensemble. Together with experimental electronic artist Vessel, he co-wrote Transition released on Erased Tapes in 2016, described by BBC Radio 6's Mary Anne Hobbs as 'a remarkable new piece of music'. More recently, he worked with acclaimed modular synth wizard Luke Abbott, to create a four-part suite, which was premiered live in June 2017. Immix Ensemble have also performed special live commissions with Kelly Lee Owens, Dialect, Jane Weaver and Bill Ryder-Jones, among others.

Prior to leaving Australia, Daniel was fortunate to work with some of the country's leading new music ensembles as both a composer and performer, receiving commissions from the TURA New Music Festival and the Australia Council, as well as being appointed as Composer in Residence at the Western Australian Academy of Performing Arts. In the UK he was the recipient of the prestigious Dankworth Prize for Jazz Composition, and also undertook a residency at Metal Liverpool, which provided him with the time and space to create Immix.

As the first track under Thorne's own name, 'Iroise' was recorded for the Erased Tapes 10th anniversary release 1+1=X, alongside works by Nils Frahm, Penguin Cafe, A Winged Victory For The Sullen and Rival Consoles. He also recently remixed Manu Delago, known as the live percussionist for Björk and Ólafur Arnalds. After a first solo performance at Sea Change Festival 2018, the new year will see Daniel tour across Europe, promoting the forthcoming release of Lines of Sight.

Daniel Avery broadens the exquisite sonic universe established on last year's critically-acclaimed sophomore LP Song For Alpha, presenting the collected B-sides & Remixes. Showcasing cuts from the album's writing and recording process, as well, Avery also invites a number of his contemporaries and some of the most vital underground producers in the world to rework his original material, with transformative results.

The frosty melancholy of Citizen // Nowhere is reworked by London producer Manni Dee into something altogether monstrous. Introducing itself with a kick drum powerful enough to level a warehouse, and only getting more urgent from there forward, Dee's remix blends a knowing rave glint in the eye with a nonetheless uncompromising stance.

The Copenhagen-via-Moscow producer Anastasia Kristensen immediately justifies her status as a rapidly rising talent on the scene, locking into a delicate yet no less powerful groove for her sparkling remix of Glitter. Seamlessly heightening the almost meditative qualities of Avery's original, she weaves a blissful rhythmic trip, taking in razor-sharp percussions and spectral dub techno.

A longstanding fixture on the Midwest US rave scene, Patrick Russell applies his typical grit to 'Song For Alpha's firmly dancefloor focused centrepiece, Diminuendo. In subtly shifting the focus to the track's passages of overwhelming feedback, he sculpts a black hole of snarling electro and piston-like breaks, sure to prove an inviting wormhole to those willing to surrender further, deeper and darker.

The B-52's The B-52's on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Ranked at #152 on Rolling Stone's List of the 500 Greatest Albums of All Time Delightfully Campy, Intentionally Goofy, Lyrically Kitschy: 1979 Set Is Nothing But a Good Time
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): LP Bursts Forth With the Color and Vibrancy of the Brilliant Pop Within
The B-52's' Wild Planet and Cosmic Thing Also Available on Silver Label LP Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52's mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.
Ranked at #152 on Rolling Stone's list of the 500 Greatest Albums of All Time, The B-52's has its roots in the band's improbable genesis, itself reflective of the record's gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more!
Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Pierson's squealing organ as a starting point, the B-52's draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilson's unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but there's no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single 'Rock Lobster' and splendid cover of the ubiquitous Petula Clark standard 'Downtown.' You've never heard anything like this.

Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered limited edition LP presents the B-52's brilliant debut in a fidelity it's never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, you'll think the band's bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant 'dos.

Rian Treanor will release his anticipated debut album 'ATAXIA' on Planet Mu this March. The striking full-length follows singles for The Death Of Rave and Warp's Arcola imprint as well as live sets at Boilerroom x Genelec, Nyege Nyege festival, tours in India and various high profile EU shows.

The title 'ATAXIA' means 'the loss of full control of bodily movements' and relates to Rian's music which is 'intended to make people's bodies move in unpredictable ways.' He adds 'the angles in the letters, the phonetics seem to mirror the geometry and idiosyncratic patterns in the music.' Rian explains that components of the tracks were made by generating a series of irregular events and re-structuring them, or by destabilising a pattern that is constant.

When asked how the album compares with his previous releases, he says 'My earlier EPs share a similar interest in angular and asymmetrical rhythms that are designed for club sound systems,' adding 'they were more improvised, focusing on sequencing and pattern modulation, using standard drum sounds and synthesiser patches. ATAXIA is more focused and stricter, it's more co-ordinated in terms of the track selection and the rhythmic structures. I spent more time refining the synthesis and sound design, pushing it further than the previous releases.' He expresses an interest in exploring opposites in his music: 'fluidity and syncopation,' 'systematic and unpredictability,' 'reduction and extremity,' 'irregular symmetry,' 'easy listening and brutal'.
There's clear a conceptual backdrop, but the music itself is not overthought. There's an immediate joy to much of the album - check out ATAXIA_D3 with its wonderful cut-ups and modulations of the phrase 'people don't understand people.'

The roots of Rian's playful sound are directly linked to his love of the music he grew up with. Coming from Sheffield, you can hear elements of industrial, synth-pop, bleep, extreme computer music and speed garage at play. From Cabaret Voltaire to Warp and beyond; the sound of his city has been, and is, an integral part of his musical development and is still a direct influence.

Last year, he noted in an interview that "I'm not a computer programmer, I'm not an articulate person in that kind of way. I'm a visual artist." Now he elaborates 'I meant more that I'm a visual thinker.' Drawing and visual art have been a fundamental part of his life 'since I was a child. I got really into graffiti as a teenager and around the same time I got into mixing and these both developed together.' You can sense the mind of a visual artist at work in his music which is also reflected in the artwork he created for this project.

As well as his visual art, installations and multichannel sound works he is involved in numerous collaborations such as with composer Nakul Krishnamurthy exploring the common ground between Indian classical music and electronic music and his work with improv saxophonist Karl D'Silva, plus his time studying with Lupo at Dubplates and Mastering in Berlin (who taught him the 'importance of reduction') have all helped shape and push his sound into other unique and adventurous zones. Treanor is developing on different levels and in different forms all at the same time, re-imagining the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of fractured and interlocking components.

This was Charles Tolliver's first album as a leader. The setting is unique only because his second Freedom-Black Lion album 'The Ringer' and all of his subsequent albums on Strata-East featured his quartet Music Inc. with pianist Stanley Cowell. Here he is surrounded in quartet and quintet formats with a truly stellar cast of the leading players on the New York jazz scene.

Charles plays the role of leader, composer and trumpeter. But it is surely that last role that deserves the most attention. The trumpet is a brass instrument that leans toward a hard sound and staccato phrasing. Yet Tolliver is the quintessence of fluidity. While it may be undeniable that he has learned from his musical heritage and past trumpet masters, a trumpeter of such flow, tone, control, lyricism and creativity is, by definition, a major musician.

Charles Tolliver first came to the professional jazz scene in the mid-sixties, when he first met Jackie McLean. Under McLean's leadership, he played on a number of Blue Note record sessions, some of which have yet to be released. He contributed original tunes to many of those sessions.

Within a couple of years, Tolliver was a well known figure in New York circles, playing and/or recording with Booker Ervin, Archie Shepp, Andrew Hill, Roy Ayers, Art Blakey, Sonny Rollins, Willie Bobo, Gerald Wilson, McCoy Tyner, Hank Mobley, and many others. His compositions were getting recorded by many artists. He gained his greatest recognition during a two year stint with the Max Roach quintet that also included Gary Bartz and Stanley Cowell.

There is also a previously unreleased bonus track of the song, "Repetition", recorded by Charles for this LP which will be included on this new release of the album. This song was originally made famous by Charlie Parker's LP With Strings.

This album is certainly an important and lasting document in light of the musicians involved and in light of its unique context for Charles Tolliver. But basically, it is just a great album to listen to. Michael Cuscuna

We are very excited to present you this new signing and debut EP by Dampé. A studio and live project from South East London. Since moving to the city, Dampé has been intimately involved in its club culture " from running warehouse spaces and booking venues to DJing and performing in groups across the city and Europe, under a slew of different aliases.

The music is made on a boat on the Thames and is a combination of dusty analogue gear, live instrumentation, and samples. For Dampé, influential parties were "Co-Op, FWD>>" and "You're A Melody" and echoes of those dances can almost be felt in the sound. Across five original tracks, the EP explores weirder and worldlier ends of house music, all with a nod to undeniably UK sounds.

"Peach Shuffle" is a made-for-the-floor, broken beat work-out that has this great warped and chopped Persian vocal sample giving the track a unique and world-wide touch, followed by "St James" Road", a crunchy live Rhodes jam and ode to a favourite street south of the river. "Move Me" is all garage-infused vocal loops and singing bowls and acts as an experiment-come-DJ tool. "Carn" is a super-swung hip hop beat featuring "SMBD" aka "Simbad" providing additional keys. Closing out with "Zongo Junction, At Night", a late night roller with material pieced together from saturated CR 78 samples and field recordings made when Dampé was recording sound for a film about witchcraft and the internet across rural Ghana.

To round up this exciting EP we ask a fellow SE London enthusiast "Nebraska" to make a remix of the title track "Peach Shuffle". Cutting up the vocal of the original, adding some mean bass and pouring a smooth "dance floor" sauce over it. The delicious end result is something we are very proud off and we hope you will enjoy as much as we do!

Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world
That's what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.

The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.

This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge's "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.

With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.
Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.
He says himself: 'Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record'

'When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.'

Angel-Ho is known as one of the founders of Non Worldwide, alongside Chino Amobi and Nkisi. Highly regarded as a DJ and electronic music producer, on 'Death Becomes Her' she shifts things up to another level.
Pulling on inspiration from her flamboyant favourites from Lady Gaga, Missy Elliot, and Bjork through to Kanye West, this ambitious, artful and sometimes radical album of neo-pop pushes the pop framework even further, often teetering on the brink of vertiginous chaos and dissonance, whilst slowly revealing its depth and grandeur once you settle into its sound world.

Alongside a cast of collaborators that include French producer Nunu, South African producer Baby Caramel, Asmara Maroof from Nguzunguzu, Bon and Gaika, Angel re-orientates the usual trans-atlantic pop sound to encompass a brace of experimental, diasporic producers to create beats that alternate between angular, propulsive, murky, loose, abrasive and breezy.

On top of these often advanced rhythms, she also raps and sings for the first time with lyrics about love, sex, glamour and struggle, universal fantasies, treated with an ambiguity that restructures the narrative within a trans-identity. Her choice of guest MCs also reflects this energetic queering with K-$ and Qweezy from Cape Town, plus underground Asian American rapper K-Rizz laying down assertive bars.
On 'Death Becomes Her', Angel-Ho carves out a new space with her unique take on contemporary pop. Overflowing with charisma, sometimes reminiscent of Grace Jones, this album is fiercely sassy and celebratory. It feels like the start of something very exciting.

Berlin 2059
Dark forces control the city, underground music is banned everywhere, old skool DJs, crew and collective can comunicate only via pirate radios...

Beside beeing constantly hunted from techouse police, infamous Chemistry Radio continues to transmit 90's underground music.

Not easy to stop it!

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

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

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

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

Limited to 300 copies.

Line Explorations present its first release - a compilation consisting of six tracks by six national artists, producing under the names of T'iwu, HTL, PX, emme, AMSH and Mensaje Sanador, serving as a sampler for what's to come in the future on the label and the sounds the label will evoke such as techno, IDM, ambient, noise, drone and experimental vibrations from the further avant-garde,

The first track focuses on growing an organic and everyday sonic scape with the use of chords and melodies filled with light touch - reminiscent of clear skies and sunshine - which creates an ambient feel similar to that of daily vibrations of life as presented and explored by T'iwu.

HTL enhances the depth of the reflections of today's emotions one can feel by delving deeper into everyday surroundings and exploring the noise/drone side of the ambient musical styles by mixing melodic elements with the out of the ordinary effects which shock and ululate while shaping the musical texture into a darker and deeper atmosphere.

The following track, by PX, elevates the atmosphere into a more jovial soundscape full of '80's inspired electronica and sci-fi soundtracks. The beat rolls off and twists in a funky groove helping develop a danceable pace for the release.

On top of that, emme presents the fourth track - in the shape of techno meets breaks - where more classical elements of industrially influenced electronic music can be traced from yesteryears. The sounds engulf in warmly distorted melodic strings while flowing over and under the rhythmic structure.

In contrast, AMSH's ''Subway'' presents a downpour of heavy sounds, such as noise influenced synths and delayed infected percussion, along with field recording of trains help envision the movement of a manmade machine and its flow through the undergrounds of today's world.

The final piece, of the label's initial release, comes in the shape of a Mensaje Sanador or healing message. The track takes on the elements of the three titles that have preceded it and explores further the dynamics between current and classical sounds of the electronic dance music genres by delving deeper into sound synthesis, melodies and rhythm as to help one submerge further into exploring such sounds, their history and the future to come.

R&S Records present the first key transmission from the Lost Souls Of Saturn's multidisciplinary conceptual project. The title track of the LSOS debut EP is revealed immediately, with the full 'Holes In The Holoverse' EP to follow on the 1st March.

Primarily LSOS are Seth Troxler and Phil Moffa, with opaque additional participants congregating to combine music, imagery, storytelling and communion into an inextricably linked whole, all wrapped-up in a philosophy of their own making.

Check the launch visual for 'Holes In The Holoverse' here:

The EP follows their performance debut as part of the 'GaiaMotherTree' installation with artist Ernesto Neto at Zurich Main Train Station, and a second show at Houghton Festival. Following these site-specific ambient renditions, the full LSOS live experience will be unveiled at the Village Undergound in London on the 18th April 2019, with further live performances to follow (including Field Day) and to be announced.

The classic-R&S-style groover 'Holes In The Holoverse' propels ever starwards, whilst the acid techno of 'World of the Wars' evokes a probe motoring through the cosmos. Further solar system surfing comes from world-renowned, Turner prize winning artist and photographer Wolfgang Tillmans. For his first ever remix, Tillmans tweaks the frequencies, adds extra percussion and his own 'va va voom' vocals.

Attempting something creatively that's above-and-beyond, LSOS explore new ways to open doors of perception and challenge the presumed reality, whilst capturing the spirit of Alejandro Jodorowsky, HG Wells, Sun Ra and the KLF within their music, live experiences and forthcoming films.

These spiritual, psychoactive aural vibrations resonate for a long distance, all the way back to something deeper and more enchanting than the prosaicism of modern life:

'We're searching for signs from another dimension and channelling a higher consciousness. We want to explore the concepts of reality vs simulation/hologram, ancient knowledge and ritualistic experiences. We're inspired by art, film, literature, astrology, mysticism, cults, rituals, paganism, synchronicity, conspiracy, altered reality, virtual states, spiritualism, chaos, cosmology and science. Both sci-fi and real science especially interest us - from Philip K. Dick books, to NASA articles, to the hexagonal storm at Saturn's North Pole.'

Lost Souls Of Saturn are preparing their debut album for release in June 2019.

Following on from last year's releases by Neue Grafik and Selectors Assemble, CoOp Presents step into 2019 with a new 4-track EP courtesy of Oliver Night; a DJ, producer & singer born and raised in North London.

In addition to joining the Selectors Assemble family recently, Oliver is a member and producer of Roots Manuva's Banana Klan. He established himself as a DJ some 15 years ago, and has since played across the capital, from the Tate Modern to Boiler Room. His music has been supported in the past by the likes of Tony Humphries, Kerri Chandler & Seth Troxler,

This four-tracker illustrates Oliver's diverse range of influences, from the initial inspiration of his Jamaican uncle, musician Hughie Izachaar (who worked with Lee Scratch Perry & others), through to his passion for London's broken beat movement. Oliver's sound epitomises tru-skool UK sound-system ethics; grounded in reggae and dub production sensibilities, whilst built solidly for the bruk and house music dances of today.

The set kicks off with title track, 'Make Believe', featuring the powerhouse vocals of BB.JAMES aka Bethany Barnett Bywater, who's had previous releases with EVM128, Spoek Mathambo and Waze & Odyssey. London-based singer BB is a talent to watch in her own right, as proven on this monster of a track, which has all the ingredients to crossover & damage dancefloors underground and over. Sassy soulful vocals ride a woofer-shattering b-line and synth stabs with devastating effect - a sureshot future anthem.

Next up is 'Swing For Life', an instrumental jazz-house affair, which features the talents of Vancouver-born trumpeter, Jay Phelps - a highly-prolific, highly-acclaimed musician in the jazz world, who found his base in the capital over a decade ago and has since worked with a veritable who's who of international jazz artists, including Courtney Pine, Wynton Marsalis, Amy Winehouse, Hugh Masakela & George Benson, to name a few.

Finally, the flipside brings with it two versions of the cut 'U Got To', remixed by Selectors Assemble family, Cengiz, and label founders IG Culture (fresh from receiving a 'Lifetime Achievement Award' at the 2019 Worldwide Awards) and Alex Phountzi (formerly of Bugz In The Attic) aka NameBrandSound, delivering more of their signature bassweight business. Oliver unleashes his own vocal talents on this track, deftly demonstrating a rich, soulful Omar-esque quality to his voice, and completing a truly heavyweight debut for the label.

This record is huge. Essential business, no BS. A truly firing start to the new year for CoOp Presents.

Limited vinyl & digital available on ********

Chemistry between individuals is an amorphous and elusive notion. It is usually seen as something that occurs between two people who are sharing a physical space, with access to each other's body language and energy. However, modern technology has provided many other opportunities for chemistry to blossom and be explored and this record is just one example of that: Vent is proud to present Kina, a double LP of musical collaborations between MAYa and Tolga Baklacioglu.

Tolga Baklacioglu is an associate professor in aeronautical engineering. He is also a musician. For several years, he has been steadily building a body of work that explores the outer boundaries where techno and abstract textures merge and blur. In 2014, Tolga created a label, VENT, as a platform for his explorations and those of likeminded travelers within this sonic realm.

MAYa Hardinge works in film. She is also a musician. She has collaborated with numerous artists. Beginning in 2008, She released 4 EPs under her solo guise MAYa. Considering her background in film, it comes as no surprise that her work has a strong visual element. Pre- dating Beyonce´'s Lemonade by many years, her last two EPs were visual albums made in

collaboration with various directors.

It makes total sense that MAYa and Tolga should have made an album together. Their interests and backgrounds overlap and diverge meaningfully in a way that has all the hallmarks of good musical chemistry. There is however one unusual element to their collaboration: they have never met. Tolga lives in Eskisehir (Turkey) and MAYa lives in New York City.



Always on the look out for inspiration and new collaborators, Tolga stumbled across MAYa's videos online. What he saw and heard inspired him to reach out and contact her. After some correspondence they decided to experiment with the prospect of making music together. Perhaps deprived of the traditional notions of chemistry defined by proximity, they found inspiration across time and space in the name of exploration and discovery. Tolga began by sending MAYa files of beats and ambiance. Upon finding the ones that spoke to her, MAYa went to work disassembling, adding, subtracting and rearranging. MAYa's work would then go back to Tolga, a world away, for further input and then back again. In this way each track was painstakingly constructed and a true chemistry was born. One built on sensitivity, support and honest artistic communication. In a word: LISTENING.

The songs cover a broad spectrum of topics, from the deeply personal feelings and experiences, to world events, and the fundamental aspects of life and death. Kina is a document of two artists from different backgrounds and their shared visions of the interplay

between one's private microcosm and the global macrocosm of our time; a testament to the fact that, for all its vastness and diversity, this world offers inspiration and potential collaboration around every corner. The music contained within has traveled around the world many times before reaching your ears. As MAYa and Tolga have done before, it is now your turn to LISTEN.

Matt Edwards' R-Time Records welcomes back Sir Lord Commix with five silky cuts for the fourth 'Retroactive' release.

Amoon Andrews' outfit Sir Lord Commix returns with the fourth instalment of re-released gems that have been in high demand on the vinyl market. Born out of Rekids, R-Time Records has previously released twelve of Commix's cuts, yet his treasure trove discography keeps on giving, spanning two decades.

Released on Ugly Music in '96, 'World Of Groove' is a smooth house cuts with an abundance of soulful stabs and driving percussion whilst hypnotic melodies and sweeping cosmic strings envelope 'Life Cycle', which first appeared on Cynic in '05. 'Cosmic Jive' - from the highly sought after 'Evidence' vinyl of '97 - pumps a reverberated kick amongst shimming chords and rising bleeps.

Appearing on an extremely rare release on Hard Up, 'Under Seige' has an off-kilter rhythm and erratic yet funky slapping bass melody. Finally, the release concludes with an ethereal cut titled 'Beyond Reach' complete with liquid breaks, floating arps and shining melody (originally from a Talahachi VA in 2014).

Heavy-weather, beyond-good-and-evil soundsystem poetics, channelling raw and rootical techno, Isolationist abstraction, and dub at its most turbulent and raw-nerved and space-time-warping. New worlds ahead... Equal parts tuff, tail-thrashing dancehall pressure - see 'Hell Dub' - and art-of-darkness ambience and introspection, culminating in the slow-burning, third-eye-opening 23-minute dreamweapon, 'Vertigo'. Part of the Young Echo crew, Ossia embodies the best tradition of Bristol underground music in that he doesn't pay much mind to tradition, just does his own thing. Yes, Devil's Dance shares DNA with those sullen masterpieces we will always associate with the city, from blunted 90s street-soul/hip-hop to sub-loaded dubstep - but like his forebears Ossia is ultimately a mongrel breed, drawing from his own, very contemporary and idiosyncratic well of influences: grime, jazz, steppers, dub, post-punk and industrial abrasion, concrète minimalism... Devil's Dance could easily be not just a forbidding, but a suffocating proposition. But even at its most angst-ridden it feels lithe and aerodynamic, its darker impulses both intensified, and offset, by a pure soundboy's delight in detail and colour and higher dancefloor mechanics. The music pulses with energy, a fever to communicate...and Raki Singh (violin), Jasmine (vocals) and Ollie Moore (saxophone) add vivid flesh-tone to the punishing, plasmic electronics. The record was mixed at an infamous, subterranean Bristolian recording studio, using an arsenal of spring and plate reverbs, modded pedals, tape-delays and compressors: systems of black magic crucial to the album's intense presence and physicality and carefully modulated dread. In the end what we are witnessing, and experiencing vicariously, is a purging, an exorcism: find the devil, dance with the devil... and then chase, chase, chase him out of the earth

CAVE are kind of beyond time. You might feel like it's been
awhile since you've seen or heard them but when you see
or hear them again, that moment will feel like 'Allways'.
During the making of the last album, 'Threace', CAVE was
in the process of becoming a quintet. They toured the
world afterwards, playing on four continents and eighteen
countries - as close to everywhere as they could get. Then
they took a minute. They recorded it over time, in Chile
and then Chicago. You can hear all of this, the energy of
liveness, the reps, and consolidating expanded possibilities
within their new alignment, the time away, the distance
and the freshness of returning to recorded sounds,
everywhere on 'Allways'.
In the past, much has been made of CAVE's use of
particular compelling tropes but their inspiration comes
from everywhere - Miles, psych, beats, exotica, library
music, rock, punk, the Germans, the New York guys too,
minimalists, the Dead, music from India, everywhere. This
is a bunch of guys playing rock-based music in a way that
pushes them forward from everything they've experienced.
When you listen to the new CAVE you hear guitars - lots of
them - bubbling under, scratching, fanning, locking in and
taking off, soaring on acid-washed wings, with keys that
pump, burr and whoosh in and out of the rhythms.
Half-speed mastering of 'Allways' at Abbey Road has
allowed the activity at all frequencies to present with a
liquid fullness and ripe detail. 'Allways' is a blueprint for
your ears to read and a map for CAVE to follow through
the world.