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After the exploration of snowy mountains of Alpestres, released on Hands in the Dark in 2018, French composer Matthias Puech ventures into new territories, sketching a cartography of the invisible where the journey, in chiaroscuro, is announced as a rite of passage. A Geography of Absence, as introspective as unpredictable, immerses the listener into a unique sensory whirlwind where organic matter becomes almost palpable. A researcher in theoretical computer science and an engineer at GRM, Matthias Puech constructs a dialog between synthetic music and field recording, capturing sounds that surround him and creating his own sonic language with the help of synthesizers he designs and develops; notably the Oscillator Ensemble and the Tapographic Delay, made by the American company 4ms.

Composed during a moment marked by ordeal and mourning, A Geography of Absence retraces an inner journey where the physicality of sound leads the listener into an initiatory tunnel filled with apparitions, ghosts, visions. With sound oscillations as a navigational map, we progress, step by step, through the meanders of an unknown world, dazzled by the prospect of a new synthetic horizon, an electronic biotope teeming with life and incarnations. Playing with time, space and matter in an approach similar to that of musique concrète, Matthias Puech combines ambient and noise, floating sounds and electroacoustic experimentations, thus shaking up our listening perspective, which finds itself walking through a parallel universe, strata after strata, sequence after sequence.

The trip begins with “Hollow”, as if on board a night train travelling at full speed through ghost towns. Or is it a spaceship? Removed from their original habitat, sounds – picked up during walks or moduled by synths – are free to be interpreted differently by everyone, according to the memories that shape us. Granular and metallic, this first piece takes us to an elsewhere in orbit. "Work Song" is built around the pulsation of the void, of space, where strange creatures and liquid emanations abound. We become fetus, cocoon coiled in the placenta, heart beating to the rhythm of the gooey choreography of the human body. "Chrysalis" awakens the racket that lies dormant in us, when the skin changes, when the transition takes place. One seems to recognize certain sounds stemming from nature but they could also be mirages, imitating reality to render the barely perceptible engulfing. “Tunnel Vision” brings out a herd of haunted bells, slowly swelling in a pastoral maelstrom, ending in a deafening buzz. Further on, the chirping of an animatronic bird mixes with the hooting of an owl: "A Faint Beacon" invokes a nocturnal vigil that mixes the crackling of a fire and icy gusts of wind blowing everything away. Like an epic, sucking the listener into the breach of a black hole in the center of the Milky Way, it's up to "Homeostasis" to conclude in the high spheres and contemplative vapors, where the balance of dawn announces a rebirth.

A Geography of Absence is a meticulous and sensitive piece that constructs a delicate symphony of extremes, between introspection and desire for the unknown. Accompanied by the ink work of the artist Léa Neuville, whose folds of prints sketch this imaginary atlas, Matthias Puech becomes a narrator of mental adventures. And succeeds once again in transcending reality to dig a path to the unspeakable.

Welcome valued share-holder, great to have you on board! This musical soundtrack by Running Out Of Time is a digital epic consisting of federally approved 99,9% original material carbon-dated to the last previous 12-24 lunar cycles. For 50 minutes, sit back and let our R.O.O.T. executive branch provide an experience like no other - neuro-programmed especially for your individual cerebral make-up. Choose from a selection of premium Terraform Realities, ranging from cyborgs battling human rebels through synthetic jungles and swamplands, to alien organisms escaping through intricate water tank systems. As you can see in diagram 2.1 in our presentation, each territory is mapped out in complete dimensional fidelity. For example, the water tank causeways also lead to a long-forgotten underwater world full of hidden creatures. Embrace your inner subaquatic explorer, as you search for artefacts and alien embryos that could be exploited for the corporation. Just remember - our trademark Quantum Parallel Reality Experience is guaranteed to feel as authentic as the real thing!* As a top tier investor, you will also have early bird access to our Platinum Realities selection - including our award-winning Apocalypse Cityscapes. With fully-rendered city centers that once bustled with 21st century traders, these abandoned heritage sites are now home to the lost souls of a free market economy that collapsed eons ago under its own weight. But beware! Some of the spirits will help you, and some will lead you into deadly traps - so choose wisely. Your investment portfolio depends on it! We are excited to have you join the team and look forward to sharing many more experiences together. *Tax Free corp accepts no liability for cognitive dissociation or neural dysfunction as a result of any Quantum Parallel Reality Experience.

The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros (responsible for some of Brazil’s all-time funkiest low-end licks), a horn section including Valle’s go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you’d expect from the Brazilian titan, and it’s fresher than a fruity caipirinha in the Copacabana sunshine.

Updating Marcos Valle’s seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle’s late-seventies and early-eighties output. ‘Estrelar’ (1983), for example, an ode to the joy of exercise, has become one of the biggest Brazilian disco hits of all time. But lyrically the new album is more closely reminiscent of Valle’s progressive early seventies’ releases. Heralding love, tolerance and living in the present, while satirising political corruption, the new release recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985.
The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit ‘Olha Quem ta Chegando’ and the infinitely classy ‘Vou Amanhã Saber’, to the nine-minute synth heavy instrumental funk stepper ‘Odisséia’, which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss, by London based producer Daniel Maunick (son of Incognito frontman Bluey). More moments of boogie delight come in the form of ‘Minha Roma’ (a musical nod to the famed ‘Estrelar’), and the sunshine anthem title-track ‘Sempre’.

Translating as ‘Ever’, Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle’s astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the sixties, writing the world famous bossa standard ‘Summer Samba (So Nice)’ for his sophomore album ‘Samba 68’. After a brief stint in the States, Valle returned to Brazil, and the early ’70s saw the release of four ground-breaking Valle albums which incorporated progressive rock, psychedelic influences, pop, jazz, soul and cinematic arrangements. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento’s backing band Som Imaginaro, the prog-rock band O Terco and jazz funk legends Azymuth. Returning back to the US in ‘75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, before returning to Brazil once more, where after releasing a handful of hit pop records, he took a hiatus from recording.

Since the mid-nineties, Marcos Valle has been experiencing a renaissance with London based label Far Out Recordings, where his approach to music has remained, as always; decidedly open to new influences, possibilities and technologies. Sempre is Marcos Valle’s fifth album for the label, following 2010’s critically acclaimed Estatica.

Just in time for summer, Sempre is out on Vinyl LP/ CD on 28th June 2019 on Far Out Recordings, and Marcos Valle and band will be touring Europe in May /June (see below for dates).

2026 Repress

Famously sampled in Modjo’s number one smash hit ‘Lady’, Chic ‘Soup For One’ is a tried and tested recipe for greatness. Tantalizing, trademark Nile Rogers funk strumming, sublime synthwork, vocals to die for and hooks for days. Coming up to its 40th anniversary with the original released on Mirage in ’82.

Natalie Chami and Whitney Johnson perform as a duo under the
name Damiana.
Both artists have built their own catalogs as multi-instrumentalist improvisers
and composers in the Chicago experimental scene, exploring the intersections
between ambient, electro-acoustic improv, and more legible songcraft based
around their voices and their work with synths and electronics -- all filtered
through their backgrounds in classical performance and education.
Chami’s solo recordings under the TALsounds moniker have appeared on labels
such as NNA Tapes, and Ba Da Bing!, and her collaborative projects include
the trio Good Willsmith. Johnson has released a series of solo LPs as Matchess
on the label Trouble in Mind, and has contributed to recordings and live performances by Ryley Walker, Circuit Des Yeux, and Tortoise’s 20th anniversary
performances of TNT, among other artists.
After meeting in the early 2010s, Chami and Johnson embarked on multiple US
tours together, and their informal duo collaborations naturally crystallized over
time into the Damiana project The duo’s debut album Vines presents their first
recordings after years of live sets and home recording sessions.
The album strikes a balance between the realms of deliberate compositional
sculpting and free-form improvisation, as Damiana’s evolving sessions of looping synth phrases and harmonized vocal lines emphasize austere beauty and
meditation as much as spectral disorientation and instrumental complexity.
While the tracks on Vines create the illusion at any given moment of a standing
cloud, often colored by Johnson’s lush viola and Chami’s effect-manipulated
electronics, a zoomed out perspective of each session reveals an undulating
story arc with contrasting emotional resonances and constantly shifting timbral
focus.
Treading the line between transportive stasis and upward motion, the duo has
honed their sense of when to push forward with a new texture or melodic
flourish without disrupting the atmospheres that they meticulously build together. Packaging: LP Black vinyl. Artwork by Heather Gabel (from the band
HIDE). Manufactured at 8Merch in Poland.

MAT is proud to announce the forthcoming release of ‘The Side I Never See’, by Hugh Small & Brian Allen Simon. Hugh forms half of Scottish post-punk duo Vazz, whose work was the subject of a recent retrospective by Belgian label Stroom. Brian is known best for his solo project Anenon, under which name he has released four full length albums and multiple remixes for artists including Ryuichi Sakamoto.

An improvised recording of Brian playing over the Vazz piece ‘Kazimierz’ catalysed this long-distance collaboration; 2000 feet up a mountain in Andalucia, Hugh heard the recording on a broadcast of Brian’s dublab LA radio show. Immediately taken in by Brian’s playing, the pair soon established contact and began discussing the possibility of working to create something new together.

The rest, as they say, is history: the results are fully realised in ‘The Side I Never See’, a shimmering suite of ten compositions for piano, soprano saxophone, synthesizer and guitar. In Hughs words… ‘so, what is it? It’s Ambient-Punk, Abstract-Jazz, Disaffected-Classical, it’s whatever the fuck you want it to be!’ :-)

‘The Side I Never See’ will be released on Melody As Truth in early August 2021, as always on vinyl and digital. Mastered by Stephan Mathieu, Artwork by Michael Willis.

WOLF Music welcomes Amsterdam’s Retromigration to the family with a five-track summertime sizzler, ready-made for hazy parkside sunsets and beach jaunts alike.

Hotly tipped and rarely skipped, Retromigration has been lighting up the scene with a string of killer releases over the past 18 months on labels like Healthy Scratch, Ltd, W/Lbl, GLBDOM and Ravanelli Disco Club.

Flexin’ that signature chopped and looped style across the EP, the A side is a double dose of house joints via ‘Bloom Street’ and ‘Brining It’, the former a bumpin’ New York nodding cut, the latter an synth heavy roller.

Flip it to find a more jazz-tinged affair but with its feet still firmly in the house domain. ‘Free Spirit’ channels a groove that could last forever, with a bass and keys combo that riffs away any creeping anxieties, before Arthur Dudley joins for ‘One Night With Colin’ a late night, smoked out, jazz joint trip.

‘Slick Walkin’' closes out the EP – a lesson in how to make samples dance any which way you want them to, as piano melodies flicker over a double nice bassline and tasty synth touches.

Private Space, the group's third album, is a previously untapped vibe at the heart of The Indications. Pushing beyond the boundaries of the funk and soul on their previous releases, Private Space unlocks the door to a wider range of sounds and launches boldly into a world of synthy modern soul and disco beats dotted with strings. It's an organic, timeless record that's as fresh as clean kicks and familiar as your favorite well-worn LP. Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Its 10 tracks are both an escapist fantasy and a much-needed recentering after a tumultuous 2020. Throughout, The Indications highlight a collective resiliency - as well as the power of a good song to be a light in the darkness. Durand Jones and The Indications have long provided the soulful soundtrack for such deep thoughts, both on stage and on your turntable. But as the world slowly resets from the chaos of the past year, Durand Jones and The Indications' Private Space is arriving at just the right time.

8 years after DJ Sotofett’s last visit to our label(FPST1) we received some tracks perfectly timed AND perfectly primed for that elusive number 75 release. This time teaming up with Rex Ronny, we’re stoked to have him back and even more stoked about the music engraved in these grooves. DJ Sotofett and Rex Ronny embodies a solid 7 track EP for Full Pupp with a strong Sci-Fi pallet of Cosmic-Italo racers. “Epidermis” is not another conjectural Nu-Disco record but a strong Disco-Dub infused travel in rhythm and melody. The entirety of the EP is bound together by four Galactic synth tracks and three driving Disco cuts, all with an individual approach. It’s a solid nod to the excellence producers of Italian Disco and UK left-of-center dance music has taught us since the late 70’s. Rex Ronny (aka Ronny Nyheim from PsyPal fame) was challenged by DJ Sotofett to play all synth parts live in the studio, for Sotofett to mix the material in his new studio set up for ultimate Cosmic, Dance & Dub sonics. To perfect the rhythm suction, congas by Stiletti-Ana (from Jesse) was added in the mix, and LNS contributed with a harmony-bridge for maximum pathos. Full Pupp HQ May 2021

The International Feel label is back from an extended meditation. Well-rested and with a cornucopia of new ideas and records, IFeel is happy to announce the debut album from Charlie Charlie as the starting shot. „Little Things“ is the brainchild of Gabriella Borbély alias Bella Boo and Jens Resch better known as Chords. Born on a beach in Southern California instead of their hometown Stockholm, it is exactly what you would hope for such a record to be: pop music that is informed by hippie or counter culture and by a Balearic ethos (hence the International Feel address) that is free of blinkered definitions. In equal parts, the duo’s ten songs take the listener through honey dripping r&b, while respelling that certain Californian recording studio sound aesthetic, revisit vintage yacht rock and pop tropes as well as they are reflecting dance music influences in a broken, yet gold framed mirror. Most of all, it’s like a day dream that you don’t want to end. To quote our Italian friends from Edizioni Mondo: good listening experience!

Band info:
Charlie is Gabriella Borbély – also known as Stockholm's deep house virtuoso Bella Boo. Charlie is Jens Resch – also known as prodigious producer/musician Chords. The two Charlies met on a beach in Southern California and immediately decided to write a song together.
That first track was built on the sampled sounds of a rusty drainpipe. Charlie fired up a dusty ARP Odyssey and played a woozy solo over the drainpipe beats, then the other Charlie did the same, using that same legendary 70's analogue synth. When they realized the two separately recorded solos played together in perfect harmony, they knew they had to keep heading down their newly found, shared musical path.
Charlie & Charlie have since continued making music together, describing their common process as liberating, free-flowing, genre-less. "Little Things", their debut album, is made up of tracks recorded in Los Angeles and Stockholm, using that very same ARP as well as pianos, electric guitars and machines like the Prophet 6, the Juno-106 and the Syncussion SY-1. Vocal contributions come from the Charlies themselves as well as friends like Mapei and Julimar Santos.

Following on from their 'Junction EP' at the tail end of last year, My Nu Leng return to provide a selection of rave-tinged cuts that further cement their status as one of the leaders in the bass music scene. Following a packed-out summer tour diary, the 'Alter EP' consolidates elements from the duo's previous releases and influences into five tracks of low-end damage. Harking back to the pair's underground roots with inspirations from Techno, House and Breakbeat, opener 'Spaced' sets the tone.

Featuring their classic bass growls amongst hardcore pad stabs, an acid-esque synth line and raucous interjections from legendary drum & bass MC GQ, this one's designed to make you move. Takura returns to Maraki on 'Echoes', lending his distinctive vocals over a lethal distorted bassline and uncompromising 2-step beat. 'City Lights' provides momentary respite, a scintillating arpeggio motif over blissful chords and an enchanting vocal hook. My Nu Leng team up with DRS on 'Sinking Sand'. The Mancunian host leads the charge into a warping climax, showcasing his penmanship through relentless triplet flow. 'Signal' closes off the EP in sombre fashion, atmospheric synths and lamenting strings building into an emotive vocal and reflective bassline.

Aural Vision debut release with 4 major impressive tracks to sound analog and oldschool. Replaying each part and adding an extra dimension to the tracks through a sparkling synths
topline, a new vocal hook and dreamy arpeggiations.
This release is an exciting aural journey with slamming house & uplifting tracks...hot!

Para One presents " Sundial ", the third extract from his new album SPECTRE: Machines of Loving Grace. After " Shin Sekai " and its commanding choir and drums, the chilling skies of " Alpes ", the producer points his arrow towards the heart. The track goes only up, from its hopeful arpeggio, a melodic bassline building higher floors, towering with layers of direct yet fine drawn synth chords. " Sundial " is wide and intimate, nostalgic, and confident at the same time.

The " Sundial " EP offers 3 remixes. Hot Chip draw first with a dance floor ready version, adding their own signature riffs and textures to the original canvas. The " Nodandanintheokotantan Mix " by England born / Berlin based Call Super chooses a playful replaying of the whole piece, changed into an array of micro percussions, reshaping the main melody from bits and pieces, until a plain piano enters the frame. Finally, Para One himself reworks " Sundial " and reveals even more the versatility of the original track, remodeling it into a manifest to dance, elastic beats and house music stabs in hand.

Multi-instrumentalist/vocalist Dan Friel is unrivaled in his capacity to inject blistering noise and energy into ferocious pop songs. A champion and mainstay of the NYC underground, Friel the has played alongside the likes of Lightning Bolt and Black Dice as well collaborated with acclaimed string quartet ETHEL. Upper Wilds channels Friel's unbreakably ebullient spirit into mountainous rock music dripping with molten fuzz. The trio's exploration of the interstellar expands in parallel to their increasing levels of bombast and precision. Venus synthesizes the experimentation of debut Guitar Module 2017 and the thunder of 2018's Mars into ten lean chunks of cosmic rock laden with scorching hooks. On Venus, Upper Wilds rocket lovestruck anthems centered around the planet named for the Roman goddess of love at full tilt from the moment "Love Song #1" makes liftoff. The album's incendiary opening trilogy crashes with a relentless vigor and addictive melodies. The rhythm section of bassist Jason Binnick (who also mixed the album) and drummer Jeff Ottenbacher tear through off-kilter riffs that pound with meteoric impact. Friel's guitar sputters and froths beneath his voice before soaring into frenetic leads that pack every moment with powerful melody. Alien croons and glitching spasms spill out of Friel's wild, filtered humming, amplified into oblivion. Venus' few moments of respite lay bare the raw efficiency and beauty of Friel's songwriting, like transmissions home to loved ones thousands of miles away slipping through the crackle and chaos of space. Venus traverses the havoc, mystery, and joy of humanity's countless follies in both space and love. Both cosmic and human, Venus is a deeply affecting celebration of the wonders of what is beyond comprehension internally and externally. Upper Wilds' Venus is an exhilarating odyssey of tremendous exuberance and a testament to human resilience in the face of the unknown.

Die weltbekannte Band aus Island ist mit ihrem elften Studioalbum, dem hoch emotionalen "Mobile Home", zurückgekehrt und veröffentlicht damit ihr erstes Album seit 2018. Das Kollektiv beweist einmal mehr die Meisterhaftigkeit, seine künstlerischen Grenzen zu erweitern, indem sie eines ihrer ambitioniertesten und kraftvollsten Alben seit Jahrzehnten veröffentlichen. Für ihr neuestes Album holten sich GusGus die VÖK-Sängerin Margrét Rán zur Hilfe, um ihren Stil zu erweitern und den Sound des Kollektivs so frisch wie immer zu halten. Das 9-Track-Album bietet eine Mischung aus elektronischem Rock, Ambient, Darkwave, Downtempo und Synthpop. GusGus besser denn je!

World-renowned group GusGus have returned with their 11th studio album, the highly emotive Mobile Home, marking their first album release since 2018. The collective once again prove their commitment to pushing their artistic boundaries as they release one of their most ambitious and powerful albums in decades. For their latest record, GusGus call on VÖK’s lead singer Margrét Rán to help expand their style, keeping the collective’s sound as fresh as ever. The 9-track album features a concoction of electronic rock, ambient, darkwave, downtempo, and synthpop.

After announcing a new album in October 2020, GusGus wowed fans with their first single “Higher,” offering a first taste of how VÖK’s impactful vocals mesh seamlessly with GusGus’ intelligent and powerful electronic production. “Higher” was soon followed up with the darker, downtempo “Stay The Ride” and the bright and energetic synth work on “Our World.” The three captivating singles each received equally remarkable music videos courtesy of founding members Arni & Kinski, the directing team known for working with the likes of Sigur Rós, Kiasmos, Ólafur Arnalds, Of Monsters and Men, and more.

Every track on Mobile Home doubles as a window into a futuristic dystopian world that has been overtaken by machines. A nod to the rise of technology and ever-growing uncertainty surrounding automation, the album explores themes of solitude, rebellion, science fiction, hedonism, pleasure, and anger. Swirling within this world is a disconnected, aching soul who is on the verge of slipping into complete dementia. Forgotten purpose and goals but continues to be driven by the hedonistic default program of material consciousness; sensually self-indulgent and engaged in the pursuit of pleasure alone. In Mobile Home, GusGus challenge themselves like never before, resulting in a wonderfully chaotic reflection of the ongoing war between soul and machine.

With Mobile Home, GusGus show the quality and sonic diversity of the singles pervades throughout the full LP, while preserving the melodramatic themes that tie its 9 tracks together. “Simple Tuesday” showcases the group’s aptitude for blending contemporary electronic production with pop sensibilities while keeping an optimistic tonality at the forefront. Meanwhile, “Love Is Alone” and “Original Heartbreak” offer a slower, more pensive take on synthpop, and evoke feelings of solitude and deep melancholia. “Silence” and “The Rink” boast some of GusGus’s more experimental production, each alternating between radio-ready vocal verses with inventive and exciting synth elements. GusGus closes Mobile Home with “Flush,” an instrumental score that leaves the listener riding high as they finish the LP.

Great follow up album! Led by Derya Yıldırım’s hypnotizing bağlama and vocals, the group draw a meaningful continuity from the Turkish folk repertoire to their original songwriting, with a strong sound identity and a dancefloor - friendly energy.

Grup Şimşek is a fresh and modern pop - group which combines Anatolian Folk and contemporary grooves, often contaminated by Psychedelia and progressive rock flavours.
Turkish singer and saz player Derya Yıldırım has been burning the candle for Turkish folk and psychedelia since her infamous performance at the New Hamburg Festival back in 2015. Soon after, Grup Şimşek was born and there started a ri ch journey of musical feast, exploring and rendering new versions of Anatolian classics as well as building a songbook of original compositions, with references to the music of The Doors, west coast US psych, Turkish musical activist and hero Selda Bagçan and many heroes of musical Anatolia.Grup Şimşek are itinerant by nature. They live apart across various European homes and span Turkish, German, French and English heritage with Derya living in Berlin. Despite this spatial incongruence, the group's harmo ny oozes through their music with a rich stew of funk - noir groove, organ energy, hypnotic saz (Turkish stringed instrument) and synths all layered beneath Derya's warm sometimes heartfelt vocal, singing verse and poetry, borrowed, evolved and new.

Black Truffle is pleased to present Sylva Sylvarum, an epic new work from Ora Clementi, the collaborative project of crys cole and James Rushford. Primarily conceived and recorded over several months together in Melbourne, Sylva Sylvarum is a stunning step forward from the mumbled, creaking sound world of the duo’s debut, Cover You Will Softer Me (Penultimate Press, 2014). From the opening ‘Peach of Immortality’, which takes an unpredictable journey from layers of chiming bells, vocal harmonies and lush synth pads to a desolate landscape of half-animal, half-digital wooshes and cries, it is immediately clear that cole and Rushford are working here with an entirely unique sound palette. Throughout the record’s four sides, we hear a large array of carefully detailed synthesizer sounds (many of them recorded at the remarkable Melbourne Electronic Sound Studio), sparse drum machine hits, wind instruments and field recordings of animals, often with a twistedly late 80s/early 90s flavour that at various points calls up New Age references, Robert Ashley’s later operas or the thinned-out textures of early digital GRM.

Threaded through this distinctive array of sounds are the two musicians’ voices, sometimes singing, sometimes speaking through varying degrees of manipulation. A guiding thread through the pair’s collaboration, beginning with their initial experiments with lip-readings, the presence of these two voices – cole’s crisp and sibilant, Rushford’s rich and low – reinforces the sense that the music is immersed in itself, less performed by two people than occurring between them. On Sylva Sylvarum, these voices first come to the forefront on the third piece, ‘Dialogue Between a Grandmaster of the Knights Hospitaller and a Genoese Sea Captain’, where in unison they intone fragments of a description of an imaginary space taken from a 17th century utopian text. The two voices resurface periodically thereafter, most stunningly in the unexpected turn into cushiony dream pop on ‘Magic Mountain’. At other points, the subtle manipulation of pitch and intonation in the close-miked vocal performances filters the recitations through a fog of abstraction that climaxes with the almost incomprehensible alternating syllables of the side-long closer ‘Forest of Materials’. Like the album’s title, these textual elements are drawn from various literary descriptions of utopias, a theme that also informed the pair’s musical approach. Far from anything dryly illustrative, utopia figures into Sylva Sylvarum as an invitation to inhabit otherworldly spaces that, like the empirical details that proliferate in these literary utopias, are grounded in mundane reality but shot through with the eldritch. Admirably framed by the abstracted digital topographies of Sabrina Ratté’s artwork, the uncanny sweep of the album’s fifteen pieces is expansive enough to take in stretches of crackling austerity, warped microtonal keyboard etudes and moments of stunning beauty, the latter most strikingly when cole and Rushford are joined by Callum G’Froerer on trumpet and Joe O’Connor on trombone for a series of dream-like moments moving from growling overtones to poignant lyricism.

Presented in a deluxe gatefold sleeve with stunning artwork by Sabrina Ratté and pressed on mint green vinyl. Mixed and mastered by Joe Talia at Good Mixture, Berlin.

A rare album of Alice Coltrane's devotional music will be reissued this July. Turiya Sings was originally released as a cassette at Coltrane's Ashram, located at the Vedantic Center in California. Its compositions were first based only on her Sanskrit vocals and a Wurlitzer organ, before being expanded with synthesisers, strings, and sound effects. The album, rediscovered some years ago by Coltrane's son Ravi, was bootlegged in 2015, but is now being officially reissued by Impulse!/UMe, as Kirtan: Turiya Sings. The new release was mixed by Steve Genewick and mastered by Kevin Reeves.
"As her son, growing up and hearing her playing these songs on the very same Wurlitzer you hear on this recording," Ravi Coltrane wrote in a statement, "I recognize this choice maintains the purity and essence of Alice's musical and spiritual vision. In many ways, this new clarity brings these chants to an even higher place."

In January 2019, at the invitation of fiddler Hans Kjorstad, Alasdair
Roberts travelled from his home in Glasgow, Scotland to Oslo,
Norway, where the two men convened with five additional
Scandinavian musicians at Riksscenen, Oslo’s centre for
Norwegian traditional arts and music. Thus newly-formed, the
group worked on arrangements of songs - self-written and
traditional - from Alasdair’s back catalogue, in preparation for
performances at Riksscenen as well as at ALICE in Copenhagen,
Denmark and the bucolic western Danish island of Fanø. The
group was named Völvur (The Seeresses), a reference to the
ancient Icelandic apocalyptic text Völuspa (The Prophecy of the
Seeress).
In January 2020, Völvur visited England and Scotland, to perform
with Alasdair Roberts at Cecil Sharp House, London and at
Platform, Glasgow, the latter as part of Celtic Connections festival.
The group had new material - freshly written songs by Alasdair
and several traditional Norwegian songs sung by Marthe Lea - and
over a couple days at Sam and Rachel’s Studio in Hackney, laid
down the music which now flows forth as ‘The Old Fabled River’.
The musicians who make up Völvur - Marthe Lea, saxophone,
clarinet and voice, Fredrik Rasten, guitars and voice, Andreas
Hoem Røysum, clarinet, Egil Kalman, bass and electronics, Jan
Martin Gismervik, drums, percussion and the aforementioned
initiator of the project, Hans Kjorstad on fiddle - are a busy and
artistically inquisitive group, involved in a diverse range of projects
with a wide variety of musical interests, from folk and jazz to free
music, modular synthesis, microtonality and beyond. They make
an ideal pairing for such voyages in the alchemical world as
Alasdair pursues in his own music.
On ‘The Old Fabled River’, Alasdair Roberts og Völvur meld their
worlds: fiddle and vocal styles formed in the Norwegian valleys
blending now with exploratory clarinet, saxophone and metallic
bowed guitar drones, now fashioned into baroque folk
arrangements. In one case, instrumental accompaniment is laid
aside, as three voices locate a questing fullness harmonizing
together.

Emotional Rescue and HMV Record Shop (Japan) end their DISCO REGGAE LOVERS 7" series with reggae legend Sugar Minott and this utterly unique UK soul-boogie rarity, I Remember Mama.

Reggae star, vocalist, producer and sound system operator, Kingston JA born Minott released over 50 albums and hundreds of singles for the likes of Studio One, Wackies, Suffering Heights and his own Black Roots label.

His distinctive soulful voice pioneered the Dancehall style and following his UK hit "Hard Time Pressure" he moved to London in 1980, adopting the rising Lovers Rock sound. On a visit to Wackies' offices in Soho he met Steve Parr, who had recently opened a studio next door.

Keyboard player for the likes of Desmond Dekker and Geno Washington, Parr moved into composition, mixing, sound engineering and production, before setting up the Sound Design Studio in Dean Street.

Principally a studio, the meeting with Minott hatched the idea to create a label to showcase their capabilities. Produced by Parr, he played all the instruments except the distinctive sax by friend Andy MacDonald.

With Minott's heartfelt lyrics, this marriage created a one-off, a ground-breaking synthesised 4/4 rhythm track with funk groove and soulful vocals. Released on 7" and 12", the versions noticeably differ and is the perfect closing to the DISCO REGGAE LOVERS series.

Clear Vinyl

Freddy Fresh is a legend. Period. From a plethora of 12“es on labels like Nu Groove, Drop Bass Network, Forced Nostalgia, Spaziotempo, Lone Romantic or Toolbox Killers to albums on 90s scene mainstays like Harthouse, Anodyne or Eye Q to countless releases on his own imprints like Howlin Records, Analog Records USA and Electric Music Foundation. From remixes for the likes of GusGus, Heaven 17, Kitachi, Steve Stoll, Frankie Bones and many more to hitting the UK Top 40 with the massive BigBeat smasher „Badder Badder Schwing“
produced alongside Fatboy Slim. The man has done it all. Nearly.
And therefore Intrauterin Recordings is proud to present the first ever Drum'n'Bass release in the more than 30 year spanning career of the one and only Freddy Fresh!
With „333“ Freddy Fresh is going down a twisted, hard stepping and yet positive alley of what the man himself refers to as Modular Drum'n'Bass that is unmistakably cooked up live and direct in his Minneapolis-based studio. Expect a whirlwind of swirls, swooshes, bleeps and FX alongside raw junglistic beats and the most positive Synth bass motif you've heard in a long while.
Yet the singles' main dancefloor smash is to be found on the flip side. „Watch It Go Roun Roun“ is a raw classic, a heavy original JumpUp banger driven by a killer vocal performance by Mike Gates a.k.a. Mikey Dredd. Likely better known to many for his Techno productions on labels like Kanzleramt, Creation Rebel or Howlin Records rather than for his MC skills this is the very first time Mikey Dredd's secret love for taking up the microphone as a proper Jungle / Drum'n'Bass MC is officially recognized and revealed on wax as a late tribute to and
honoration of a large scale talent which passed away way too soon in 2019. Lighter crew!
Initial pressing will be limited to 225 copies on 7“ whitelabel vinyl. Hand-stamped with stickered cover.


b B1: Watch It Go Roun Roun featuring Mikey Dredd

After a very short break Daje Funk are back with a super fresh redesign. The label is also fully embracing the move from their previous 10” format to 12” with the obvious bonus that they are now able to cram just that little bit of extra music onto their releases.

Their latest release, the Slam Dunk EP, is their 9th since the label arrived and it’s been a memorable journey so far. Keeping things decidedly funk with a modern dancefloor twist for their latest instalment they have assembled and all-star cast of producers with Dutch edits wizard, Ronny Hammond, England’s Shit Hot Soundsystem and Uptown Funk and Italian producer Coldbeard all taking turns to vie for dancefloor gold.

Together they have turned in one mighty slab of black wax.

The EP opens with Ronny Hammond’s ‘Keep On Groovin’ and it’s a very serious club track. For those of you with long memories and deep collections the original used here was sampled for Screen II’s Hey Mr DJ, a 90’s house classic on Cleveland City and it feels just as essential right now in 2021 as it did in both the 70’s when the original arrived and in the 90’s. Keep On Groovin’ is a proper funk bomb and Ronny has taken it to town with the addition of a powerhouse bassline, ass shakin’ drums and cheeky ear worm vocal samples. Indeed there is no chance that you will be able to sit still when this one drops. Expect it to cause serious dancefloor mischief over the coming summer months.

Shit Hot Soundsystem is up next with ‘Woah’ with label co-boss De Gama adding some extra scalpel action. Another track with classic subject matter, this often sampled track has rarely sounded as good as on this monstrous funky outing. It still sounds as fresh and exciting as the first time you heard those vibrant and vital synths and beautifully layered vocals. ‘Woah’ is both immediate and essential and will be soundtracking parties for years to come.

Over on the flip Uptown Funk’s ‘South Side Boogie’ also has De Gama on edit duty and here things head off downtown 70’s funk style. Brass stabs, wah guitar, and spicy synth licks all combine for a track which has plenty of joyous zest as it combines disco edges with a funk packed groove combing to deliver serious club heat.

Seeing the EP out is Coldbeard and he takes up deeper still with a bubbling groove which captivates from the first notes of the dynamo synth bass before adding in electric guitar licks and a rhythm line to die for. A Funky Situation is a perfect example of how to build a track piece by piece until it becomes utterly essential. Once you have heard that Rhodes and the vocal stabs working together you just know that this one will need to be played religiously.

Four utterly essential tracks which perfectly bridge the gap from the 70’s to 2021. Nine releases deep Daje Funk delivers yet again on its mission to make funk as utterly essential in clubs again nearly 4 decades after it’s glorious genres beginnings.

Lesley Rankine (Silverfish) and Mark Walk (Skinny Puppy) formed Ruby in 1995. Ruby’s first album, Salt Peter, was released in 1995. The album would produce three singles, all of which would chart in the UK. It was made almost entirely using computers and without a band. Salt Peter’s first single was “Paraffin”, released in November 1995. The compilation New Voices vol. 3 from Rolling Stone featured this song as its second track. It was followed up with what is perhaps Ruby’s best known song, “Tiny Meat”, which was also released in 1995. It would be the only song by the band to chart in the United States, reaching at #22 on the Modern Rock Tracks list. This song was also included in the compilation MTV Fresh 2. Another single, “Hoops” came out in early 1996. Later in that year the promotion-only single for the track “Swallow Baby” was put out for radio play. Additionally, the song “This Is” was used on the soundtrack to the popular 1996 film The Cable Guy.

Salt Peter is a dark, eerie fusion of trip-hop and industrial, with quietly menacing beats and droning synths. Provocative, as well as well- written. Salt Peter remains a promising debut. It is released as a limited edition of 500 individually numbered copies on “Tiny Meat” (transparent red & black mixed) coloured vinyl.

Schmer brought these two together to battle it out for Schmer019: Snazelle vs Loveland : Get this special 6 track maxi EP of pure techno and YOU will be the winner.




Brooklyn based techno producer and Snazzy Fx boss. Much of the hardware Dan uses in his productions and live sets was designed and built by him. His focus as an artist is on electronic music as a vehicle for achieving transcendent states. This comes out in his sets as a respect for both the funky and hypnotic aspects of dance music. As a DJ and live act, Dan has performed throughout Europe and is a regular fixture in NYC.

2018 saw Dan release the "Exposure to a Steady Stream Ep" on Jacktone records. Fact Magazine included the track " Broken Saucers" in their best of September round-up.

In early 2019 Nina Kraviz and Dan released their collaboration "u ludei est pravo"on the trip compilation "Happy New Year! We Wish You Happiness".

In August, Schmer released his newest EP, "Swarm Draze".


Jasen Loveland is a mercurial force about whom little is known with any certainty. Much of Loveland’s life and exploits are shrouded in an opaque and often contradictory mythology that includes many other characters who may or may not be Loveland himself. Born sometime around 1950, Loveland seems to have been operational within the dance music community for decades, allegedly interning for Giorgio Moroder in Munich after finishing a medical degree in the 1970s. It is rumored he was the individual who did the actual synth programming on “I Feel Love”, however this was never confirmed. Documentation of Loveland’s past was further obscured by a “studio fire” while operating out of Chicago in the mid-1990s that destroyed all of Loveland’s memorabilia from the past, except for a handful of lo-resolution, poorly-scanned photographs Loveland (an early user of Hyperreal.org and the #mw.raves listserv) had emailed to a friend. Fortunately, Loveland was able to save his two favorite synthesizers, a battered Roland TB-303 and it’s demented sibbling, the MC-202, but the rest of Loveland’s equipment, and the documentation of his past, was lost in the blaze, leaving Loveland homeless for several months. Regardless of the veracity of his tales, Loveland’s music speaks for itself; the intense, maniacial vibes that pervade the ouvre are undeniably suited for the most far-out, dancefloor head trips, thus making it only a matter of time before he joined the Interdimensional Transmissions family.



Most recently, Loveland has been presenting DJ-style musical performances under the name “Loveland & Friends”, which has become an umbrella term for all projects related to his work, including JL-303, DJ Curtis Chipp, Chip Curtis, MIDI Master, Remote Perception, The Limit, Acid Musik Department, The Gaze, Ace of Fades, East German Chemistry, The Universal Vision, Clonus, Gamma Polaris, R.O.M. and DJ Kline, and Da House Band. Many of these, such as the DJ Kline project (with Prof. Dr. Alice B. Kline, a self-described “unremarkable scientist” and researcher at CERN), seem to be collaborations or ghost productions, although even this is not clear. In fact, the only confirmed Loveland collaborations are LW Productions (with Clay Wilson) and Pervocet (with Patrick Russell), the latter presented as a 12” by Interdimensional Transmissions, Detroit.

This LP finally brings a Clipping fan-favorite, 2016's Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that's exclusive to the vinyl format. The original, digital-only Wriggle EP was six tracks that weren't finished in time to make it onto the group's 2014 Sub Pop debut, CLPPNG. For "Shooter," Clipping recorded themselves firing fifteen different guns, the sounds of which exclusively constituted the beat's drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of "hashtag rap," but instead of using it to boast about the rapper's personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group's music, "Shooter" was an attempt to reframe a familiar style and test the limits of its formal capabilities. "Hot Fuck No Love" contains what might be the most explicit verse to date from Clipping's favorite New Jersey rapper Cakes Da Killa. The EP's title track, "Wriggle," was built around a sample of the influential power-electronics song "Wriggle Like a Fucking Eel" by Whitehouse, transforming William Bennett's torturous imperative into a instructional dance-floor banger. "Wriggle" and "Shooter" have become classic Clipping tracks and staples of their live show. With this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs' thriving acting career - get the vinyl version of Wriggle they've been clamouring for.

Released in 2020, Rheinzand’s self-titled debut LP heralded an authentic vibe of retro-futuristic disco-pop, distinguishing themselves in the current climate of dance music. The album was met with acclaim, picked by Piccadilly Records as their nr. 1 album of the year.
Since, the material on that album have proven fertile ground for practitioners in the art of the remix. On this EP, we release a selection of those efforts.

On the first slot, we have Running Back label owner and longstanding DJ heavyweight Gerd Janson polishing off his house music fluency with a gleaming take on ‘Blind’. The swerving vocals of Charlotte Caluwaerts’ reverberate through space ray arpeggiators and burnished drum gates. Belgian compatriot Blitzzega, the neon-drenched moniker of composer Bjorn Eriksson, features with a dizzyingly switched-on version of ‘Mi Mundo’, sporting gnawing synths and hijacked funk licks.

Next, dub-pop wizards Peaking Lights serve up a heady brew of plugged-up melodies braided around Reinhard and Charlotte’s shuffling vocals. This remix blends the magenta glow of synthwave with the deep grooves of maybe late Theo Parrish.

We round off the EP with a treat form Dennis ‘Citizen’ Kane, the iconic dance music figure who emerged in mid-90s NYC downtown scene. A veteran DJ and disco-head, Kane applies a luminous hand to Rheinzand’s ’14 Again’, deepening the vibe of kittenish mystery through carefully layered work of phasing drones, wandering synths, and mushrooming rhythm section (think T-Connection).

After making a worldwide splash in late 2020 with their De La Soul collab "Baby Got Work" feat Kapok, Potatohead People are back with a brand new must cop release that crosses both sides of the Atlantic as the Magnificent DJ Jazzy Jeff and legendary UK producer and keyboard player Kaidi Tatham team up to remix the forementioned track.

Bringing the energy up and out into a classic Hip-Hop vibe, Jeff & Kaidi infuse a head knockin' drum break complete with classic JJ scratches, synth bass, and Rhodes chords on top of Posdnuos's rhymes about getting your head down, putting your boots on and getting to work - helping to make the world better place for all of us. Vancouver collaborator Kapok sings aboout the shortness of our lives, and the potential in all of us to get the work done that we need to do. It's an allusion to the desperate times we're live in, with a hopeful call to action for all of us to roll up our sleeves and get down to the business of change.

The original "Baby Got Work" is included on the B-Side of the remix due to popular demand!

a 01: Baby Got Work (DJ Jazzy Jeff & Kaidi Tatham Remix) feat. Posdnuos & Kapok

His sixth EP on the Figure label catalogue, Brain Mechanix, finds the Stockholm producer UBX127 once again in top form.
Enhancing the proven formula, UBX127 combines outer-space atmospherics with heavy slabs of techno that will shake up any soundsystem. Revolving around a dusky vocal, opener Freek sets a hazy mood with chugging rhythms and some massive bass. Bastun then builds its eerie character on steady drums and squelching tones, before a hypnotic synth finally takes over.
A perfect example of finely trimmed minimalism, soothing B1 Likstroem carries itself by the presence of its rising and falling dub chords alone. Marking the culmination of the vinyl release, Teleport Into Space combines all of UBX127’ core qualities into a lengthy, albeit deeply rewarding ride throughout the stratosphere.

Thirty years after his disappearance, Miles Davis, both the man and his character, is still a subject for debate and controversy. And haven’t we heard that before with all artists? But when it comes to the importance of his contribution to music in the 20th century there is only unanimity.

Everyone says, sure, he was the greatest trumpeter. Other opinions are that he left the world of jazz behind him in 1965. It’s also said he was the catalyst of every decade from 1949 to 1989; that he revolutionised jazz, and brought it out of the ghetto; that he buried jazz; that he was the most important musician of his century... Each of those statements has its share of truth. Whichever way

you look at him, he remains a major figure in jazz and in 20th century music overall. Miles surpassed (or at least equalled) the importance of both Louis Armstrong and Duke Ellington for the simple reason that he addressed not only the jazz world but all worlds of music, and that he created (among other things) a fusion of the spheres people knew as jazz, blues, rock and pop, and spoke to every audience, either in turn or collectively.

There was a dinner at the White House during which a perfectly respectable lady, married to a politician no doubt, asked Miles what he did for a living. With some annoyance Miles replied, “Well I’ve changed music five or six times, so I guess that’s what I’ve done ... now tell me what have you done of any importance, other than be white? [...] You tell me what your claim to fame is.” The provocative tone in Miles’ words lifted the veil over his refusal to be hassled, his revulsion against America’s treatment of Black people, and Miles’ awareness of his own importance in the world of music. Even when speaking, Miles maintained the art of synthesis.

In the beginning – this was 1944 – there was a concert in St Louis, Missouri where Miles heard Charlie Parker and Dizzy Gillespie for the first time. “Man, that shit was terrible, I mean Dizzy Gillespie, Charlie ‘Yardbird' Parker, Buddy Anderson, Gene Ammons, Lucky Thompson and Art Blakey, all together in one band [...] that shit was all up in my body and that’s what I wanted to hear [...] and me up there playing with them.1” Miles was 18, he’d been playing trumpet for years and now he knew that this was what he wanted to play, and nothing else: to play with Bird! A year later he’d turned 19 and he was in New York, where he learned it all, up there alongside Bird and Dizzy.

Madrid's Roll Dann keeps up the high quality of his first few releases with a new EP on his Opera 2000 label that offers four fine cuts.

Roll Dann has already impressed with outings on Modularz, Soma and PoleGroup. It is the direct nature of his floor facing techno that appeals, and it comes infused with the inspirations he has picked up from a stint living in Berlin, as well as with the legacy of his teenage love of hardtechno-schranz. The start of Roll Dann & _asstnt's Opera 2000 marks a shift Roll Dann's creative direction where he focuses on an aggressive yet beautifully emotive style which is displayed wonderfully in his first solo release on the imprint entitled "Oppression Dance".

Big opener "When The Hate Goes Away" is a frazzled, over driven techno monster with slamming kick drums and fizzing synths that will rewire any dance floor. The brilliant "Break The Dance" then hammers you over the head with its brutal drums and big synth walls, but a more thoughtful pad also smears over the groove to bring some tenderness. "Oppression" is quick and slick, with a kinetic sense of techno funk getting you on your toes. Last of all "The Club" is another winner, this time with its eerie pads, acerbic textures and rusty hits all racing along on powerful drum programming as a distorted voice is trapped in its midst.

Next up on Slow Motion, Rodion and Fabrizio Mammarella are back with another precious collaboration EP since “Appennini” released in 2012 but never forgotten in the fame.

They have been like brothers for many years, and after many collaborations, these two producers are well attuned to each other in their musical soul. Rodion and Fabrizio are both very sophisticated producers and known for their dramatic melodies, mixed with synthesized funk and disco, which turns it into emotional freaky electronic music.

All tracks are recorded in Mexico City, bringing in Mexican artist Mijo as a featuring on the track ‘’Cerro Gordo’’. Moreover, italo-belgian duo Front De Cadeaux join with a remix that grabs elements from both the original tracks, reworked in one timeless piece of music.

We are proud and delighted to present to you: “Sierra Madre”.

Hailing from Rotterdam, DJ Crisps returns to Time Is Now with another hot and heavy four tracker, teasing experimental genre play on the newest addition to his fast-growing discography. This exciting collection of modern garage reinventions is not to be missed.

No Dirty Money EP showcases DJ Crisps' clever production style, a mix of drama and fun; "Don't Need No Dirty Money" kicks the record off with staccato minimalist percs that have a metallic edge, effervescent vocal samples contrasting the momentous sub bass. "Dynamic Reflections" creates an icier soundscape, juxtaposed arpeggios echoing each other across a calm, deep bassline and cavernous pads - gentle, but still alive and kicking.

Lazy sax and ghostly pads open the expansive B side; "Release the Pain" then flips the energy with a Niche style bassline and cheeky garage synths. The jazz samples remain to create a real fusion sound. To end, "Sweet Melodies" pairs dirty garage with funk n soul, chopped up vocals and a classic James Brown sample making this high energy track even more vibrant - a joyous end to the EP

After completing their acclaimed folk-rock trilogy in 1979, Jethro Tull returned a year later with A, an album that introduced a different sound and a new line-up. Originally intended as a solo record by the band’s founder Ian Anderson, the album’s single-letter title refers to the studio tapes, which were marked “A” for Anderson. When the album was finished, the group’s label Chrysalis insisted that it be credited to Jethro Tull, even though only two members from the band’s previous incarnation were featured: Anderson and guitarist Martin Barre. Despite that, the album and subsequent tour were well-received by fans around the world.

Back in April, Rhino released ‘A’ (A La Mode) (The 40th Anniversary Edition), a new 3CD/3DVD set to mark the album’s anniversary. Featuring on this album anniversary set, we will release the 1LP breakout of the original album ‘A’, newly mixed by Steven Wilson.

Produced by Anderson and Robin Black, A was recorded in London during the summer of 1980 at Maison Rouge Mobile and Maison Rouge Studios. Along with Anderson and Barre, the band also featured Dave Pegg (bass, mandolin) and Mark Craney (drums), along with guest performer Eddie Jobson – a Roxy Music alumnus – on keyboard, synthesizer and electric violin.

After completing their acclaimed folk-rock trilogy in 1979, Jethro Tull returned a year later with A, an album that introduced a different sound and a new line-up. Originally intended as a solo record by the band’s founder Ian Anderson, the album’s single-letter title refers to the studio tapes, which were marked “A” for Anderson. When the album was finished, the group’s label Chrysalis insisted that it be credited to Jethro Tull, even though only two members from the band’s previous incarnation were featured: Anderson and guitarist Martin Barre. Despite that, the album and subsequent tour were well-received by fans around the world.

Back in April, Rhino released ‘A’ (A La Mode) (The 40th Anniversary Edition), a new 3CD/3DVD set to mark the album’s anniversary. Featuring on this album anniversary set, we will release the 1LP breakout of the original album ‘A’, newly mixed by Steven Wilson.

Produced by Anderson and Robin Black, A was recorded in London during the summer of 1980 at Maison Rouge Mobile and Maison Rouge Studios. Along with Anderson and Barre, the band also featured Dave Pegg (bass, mandolin) and Mark Craney (drums), along with guest performer Eddie Jobson – a Roxy Music alumnus – on keyboard, synthesizer and electric violin.

Following up on their debut release of Herron’s ‘Lowflow’ EP, New York’s Club Night Club are back. For their second release as a label they have teamed up with mysterious Parisian producer Design Default to present a formidable club-centric four tracker. The ‘P.H.A.N.E.S’ EP represents the producer’s first official foray into club productions and does not disappoint. Consisting of three jagged peak time club joints plus a remix on the flip, the record is characterized by its playful balance of synthetic, futurist sound design alongside fierce percussive rhythms. The fusion results in a frenetic and at times punishing batch of club steamers. Across the three original tracks, the listener is delicately maneuvered through segments of pure textural chaos, masterfully teased out by the music’s creator. To round things off label co-founder Significant Other pulls out a sleazy remix for the B2. An 8pm, breakbeat riddled chugger which closes out the record in true CNC style

This LP finally brings a Clipping fan-favorite, 2016's Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that's exclusive to the vinyl format. The original, digital-only Wriggle EP was six tracks that weren't finished in time to make it onto the group's 2014 Sub Pop debut, CLPPNG. For "Shooter," Clipping recorded themselves firing fifteen different guns, the sounds of which exclusively constituted the beat's drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of "hashtag rap," but instead of using it to boast about the rapper's personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group's music, "Shooter" was an attempt to reframe a familiar style and test the limits of its formal capabilities. "Hot Fuck No Love" contains what might be the most explicit verse to date from Clipping's favorite New Jersey rapper Cakes Da Killa. The EP's title track, "Wriggle," was built around a sample of the influential power-electronics song "Wriggle Like a Fucking Eel" by Whitehouse, transforming William Bennett's torturous imperative into a instructional dance-floor banger. "Wriggle" and "Shooter" have become classic Clipping tracks and staples of their live show. With this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs' thriving acting career - get the vinyl version of Wriggle they've been clamouring for.

Velour’s highly praised debut album on WOLF Music sees four of its standout tracks remixed from WOLF family old and new. Mainstays of the label Frits Wentink and Hulk Hodn join forces with new link ups, Footshooter and 20/10, for this crispy 10 inch.

First up to bat, German beatsmith Hulk Hodn fires up the MPC and chops ‘Tom’s Garage’ into a hazy, head nodder before South London’s Footshooter takes ‘Into The Blue’ through a synth heavy whirlwind of broken beat grooves.

On the flip, and fresh off the back of his Dekmantel release, Frits Wentink stamps his idiosyncratic expertise on ‘Pose’ for a walking bass bubbler. Closing out proceedings, Velour’s very own Vinzent Wirth, under the moniker 20/10, reworks ‘Luminate’ into a Detroit influenced, jazz tinged, sunset house gem.

70s/80s influenced ambient mixed up with a healthy dose of UFO's, abduction, occultism, paranoia, astral flow, new age and long lost Atlantis. 2020 was the year when Albert Kuningas debut vinyl on Escape From Synthesis was released and now the second part of this ambient/
dark ambient masterpiece is available! Finally it's time to get physical vinyl copies of legendary Bandcamp-only release "Music for UFO document programs 2" with a never before heard bonus track called 'Sateenkaarisilta 2'! Don't sleep on this one as it's limited release of 200pcs only.

Layton Giordani takes the next step in the evolution of his sound with ‘Hyper World’.

Despite the challenging year we all shared in 2020, Giordani continued to grow in leaps and bounds as a producer. His second studio album ‘New Generation’ was a critical success and showcased the breadth of his artistry over 11 tracks, with moods fit for both the dancefloor and afterhours alike.

His latest offering, however, flexes its raving muscle and ambles up for the summer. The title track is bad arse, with swirling pads, trippy arpeggios and subtle flourishes of acid and psychedelica that all combine for a stomping finish. Fresh in every sense. ‘Astro’ is heavy on drama, driven by a big synth lead that pierces the air with intensity, before a delicious mid-track key change pushes the energy up to eleven and shortly after drops down into a celestial break, before building back up again.

crystal blue vinyl

South London based producer Lxury is a subtle experimentalist, pairing house rhythms with eclectic genre blending and risk-taking. Returning to Shall Not Fade's Lost Palms series for a second record, Smart Digital Life EP shows the maturity and complexity of his production while keeping the energy light and summery.

"1722" opens things up with dreamlike pitched vocals that provide a vaporwave feel, hypnotizing over stuttering synths and a wonky beat. "Spin" has an experimental sound palette, a euphoric pulse and a sweet melody, dance music doused in honey.

This sweetness spills over onto the B side; "Pad Ma" sounds like a pumping club track meets a trip to the fairground - unstoppably buoyant and headsy. The vocals in "When I Wake Up" spin around your head before a muscular beat kicks in, the most stripped back and raw sounding of the record. This one is certain to get heads down and feet moving. "Up High" is an expansive closing track, built around fuzzy drums as the clever use of vocal samples creates a melody with a loved-up feeling; it's a tour-de-force of Lxury's delicate production skills.