Search:volum

We’re thrilled to have another legend of the underground on O.C.D. : Alex Martin.

A very well respected mainstay in the Spanish Techno scene, Alex’s career spans 3 decades under different production aliases and releases on seminal labels like F-Com, Klang Elektronik, PIAS, Cosmos Records, Minifunk, Boozoo, Pagoda Recordings, many of which are now sought-after collectors material.

Alex is a very good friend of the label since long and a while ago he shared with us his DAT archives filled with unreleased material from the early years of his career. It took us a while, but we are now ready to give him the rightly deserved space on our Secret Sun series.

This is the first volume of a collection of never heard before music from Alex Martin under some of his several aliases, retrieved from the vaults to be finally made available to the world.

Previously Unreleased material recorded in 1979 at Allen Toussaint's legendary Sea-Saint Recording Studio in New Orleans, LA.

Freaky With You is a Six-and-a-half minute Psychedelic Disco Funk excursion taking you on a wild mojo trip with a four on the floor backbeat and extended conga breakdown peppered with some New Orleans Voodoo that reaches for the Bondye Celestial Heavens.

On the B-Side, Welcome To My World is a Modern Soul Steppers masterpiece. A version was also recorded by Joe Chopper for the Lanor Records label.

James Dumaine remembers the studio session well. After having oral surgery that morning, a grotesque, theatre of the absurd incident followed causing him to bleed onto the microphone as he was singing. That combined with the miscommunication with the audio engineer to watch the volume levels on his new synthesizer: The Engineer decided not to take heed to the warning… Half way into the recording all the band could see from the other side of the glass were heads frantically rushing to the mixing board. The synthesizer levels had caused the monitors in the control room to blow up. Superior Elevation wasn't invited back to record at Sea-Saint. 40 years later, with all that chaos, hoodoo and gris-gris enveloped into the magnetic tape, it magically survived the catastrophic 2005 floods during Hurricane Katrina and ended up in the hands of Mike Nishita along with many other Reel to Reel Tapes of Allen Toussaints' masters of The Meters albums he produced and recorded. It's available now, preserved with Family Groove Records.

The latest release in the much loved Mr Bongo Record Club Series, Available on CD, 2LP Standard Vinyl & Special Edition 2LP Pink Translucent Vinyl.

Curating the tracks for a Mr Bongo Record Club compilation is always such a pleasure. At a time when the expression "Music is My Sanctuary" has an even greater cathartic impact for many people, we set out to make this volume an extra special one - like an old favourite mixtape or playlist.

For Volume 4 in this series we continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres. We present tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. We felt their inclusion was important and wanted to share these wonderful discoveries with a wider audience. They also complement, enrich, and fit perfectly with the flow and journey of the compilation.

Here at Mr Bongo we hope you will enjoy this selection of seventeen eclectic songs (in tempo and style) as much as we do, whether they make you move your feet, take you on a trip somewhere, or trigger a happy memory.

Released on 20/11/20 on double vinyl and CD with artwork illustration by Nicolas Burrows.

Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.

Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.

Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

The 3rd volume of the infamous NoLo edits is finally here! Bassi is once again taking care of cutting, pasting and reworking it the old way, ripping and remastering the OG vinyl and giving new life to 3 more outstanding bombs from the 80s.

The super extended A side is a killer edit of a hard-to-find UK electro-funk masterpiece, on the B-side we go back to that US sound with a flipped out version of a classic Up Front electro track, while the 3rd track is pure editing madness for dancefloor lovers, taking out the unnecessary content from a Modern Soul hidden gem.

As 2020 draws to a close the Surface Tension Series reaches its apex with part III, containing a like number of compositions which continue the sound refined and alloyed in the preceding volumes.

The latest release in the much loved Mr Bongo Record Club Series, Available on CD, 2LP Standard Vinyl & Special Edition 2LP Pink Translucent Vinyl.

Curating the tracks for a Mr Bongo Record Club compilation is always such a pleasure. At a time when the expression "Music is My Sanctuary" has an even greater cathartic impact for many people, we set out to make this volume an extra special one - like an old favourite mixtape or playlist.

For Volume 4 in this series we continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres. We present tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. We felt their inclusion was important and wanted to share these wonderful discoveries with a wider audience. They also complement, enrich, and fit perfectly with the flow and journey of the compilation.

Here at Mr Bongo we hope you will enjoy this selection of seventeen eclectic songs (in tempo and style) as much as we do, whether they make you move your feet, take you on a trip somewhere, or trigger a happy memory.

Released on 20/11/20 on double vinyl and CD with artwork illustration by Nicolas Burrows.

2020 PRESS

The original orchestral/electronic score from Karel Kachyna’s 1976 Czech film adaptation of Hans C. Anderson’s The Little Mermaid, composed by Zdenek Liska (The Cremator / Fruits of Paradise) featuring Lenka Korinkova. Available for the first time since being originally pressed in 2011 as part of the ongoing Finders Keepers’ 15th anniversary retrospective. Check!

Liska's legacy in the history of European cinema is huge in volume but relatively modest in it’s celebrity. Having already composed nine scores for Kachyna’s films to add to his 1976 filmography of 150 completed soundtracks.

Back in 2005, five years before Finders Keepers Records released Zdenek Liška’s soundtrack to Malá morská víla for the first time, folklore and fairy tale fanatics around the globe celebrated the 200 year anniversary of the birth of one of the world’s most celebrated children’s authors of the published era. This Danish born writer’s stories have been translated into over 150 languages and have continued to enchant and inspire children and adults, arts and crafts, film and theatre, providing a creative binding substance in modern society’s social fibre. With a life story that entwines equal measures of tragedy, mystery, intensity and majesty to that of his own written work, Hans Christian Andersen’s early years balancing contradictory roles as a weaver’s apprentice, a soprano singer, a fledgling poet and an abused grammar school pupil with speculative links to the monarchy, manifested themselves in his written world of fantasy and fiction. His running themes of mutation, metamorphosis, rebirth, prejudice and class distinction are none more prevalent than in what are perhaps his two best known tales The Ugly Duckling, first published 11th November 1843, and the bittersweet surrealist tale of The Little Mermaid, printed in the third booklet of the first volume of Eventyr, Fortalte For Børn (Tales, Told For Children) in 1837.

One of the most idiosyncratic and haunting undiscovered scores in the annals of European cinematic history, Liska’s forward thinking score has all the hallmarks of a Broadcast record, some 20 years before the band first committed sound to vinyl..

Beautifully remastered with updated liner notes including rare photos ith the full cooperation of the seminal Barrandov studios in Prague.

Tramp Records continues their pilgrimage to the soulful fringes of spiritual jazz and progressive rock and funk with their 3rd and 4th volumes of their "Peace Chant, Raw, Deep and Spiritual Jazz" series, and the world could not be more ready.

As we turn together on this tiny blue ball hanging lonely in space, and as we together face existential threats ranging from climate catastrophe, the rise of brutal authoritarian regimes, the breaking of the industrial storm and the imminent collapse of empire, not to mention the raging covid-19 crisis and the continuing racial and social struggles across the globe, we are thrust into a society-wide grand awakening that has been in the making for a very long time. Of course, our musical teachers have trod this path before us, and have worked out solutions to these problems, the songs of the Peace Chant series ring out loud and clear as our ancestors' proof of concept. They say history repeats herself, maybe it's because we weren't listening the first time. Thanks to Tramp Records, we have been granted another opportunity.

Today, the musical and spiritual truths enshrined within the spiritual jazz diaspora seem to be more and more sought-after, and crucial at a time when we as a society seek higher and farther for those bold truths. With each generation, that truth doesn't change, and the artists featured in the series speak those truths along a continuum that ranges from the late-60s up to the present day.

Volume 4, the second LP opens with a gorgeous and lush Wurlitzer-oriented big band piece that among its many treasures also features the 17-year-old visionary-saxophonist-to-be, Steve Coleman in his alleged first recording! The contributions of Brother Yusuf Salim and Bus Brown, figures who should be very familiar to Tramp Records aficionados, are consecrated here with a live recording of Freedom from one of Brother Yu's last public performances. One of the two European contributions to the comp, Attitude, by Organic Pulse 'onesemble', reads like a double entendre, the word "attitude" meaning simultaneously one's disposition or state of mind, and also one's orientation relative to the horizon. The Peace Chant series continues to touch all the sacred meridians: more devotional music with James Scales & All Stars' Ser-Vi-Tude, trance music of non-dominant traditions with Donn Preston Group's Ghana-Cha!, a modal and blue organ trio offering from Tommy Jones, and closing with a rich and righteous ballad, Quernemoen, from the Wayne Powell Octet.

Peace Chant is the center of the mandala, representing the nucleus of the post-bop, modal jazz, avant-garde, transcendental, spiritual, ethnic, and freedom music universe without necessarily suggesting anything immediately identifiable as any of the above. This is the soundtrack to the raising of human consciousness and the salvation of society's very soul.

We give thanks to Tramp Records for leading our thirsty hearts to this rich fountain.

The seventh (!) volume of high class reworks from rising star Young Pulse is here and it's a banger !.
With a mixed bag of jazz-funk, early 80's boogie and high energy disco there is something for everyone here.
But we really wanna give the A side track 'Bobo's Reason'(Willie Bobo) an extra mention...proper full on summer jazz-funk with a slight disco edge. Feel good material.

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

The first of three volumes: stomping, rollicking gospel music, intermingling with raw soul, searing blues, hard-rocking doo-wop and jazz, and storming r&b.

Infused and incandescent with the hurting, surging indignation of the Civil Rights movement, here are twenty-four precious scorchers by giants like the Staple Singers and Jimmy Scott, alongside devastating sides by less celebrated names like the Harmonising Five of Burlington, North Carolina, and teen-group the North Philadelphia Juniors, culminating triumphantly with slamming, sanctified versions of Hit The Road Jack and Wade In The Water.

Gatefold sleeve, with full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.

The second volume brings sublime crossings of gospel with the soul, funk and jazz of the Black Power era. Twenty rapturous cuts dot dazzlingly between Muscle Shoals soul, screwed breakbeat, Mizells-style fusion, disco and proto-house. Triumphant re-workings of Sly Stone, Donny Hathaway and Herbie Hancock’s Head Hunters will have listeners throwing their pew cushions into the air.

Full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

Craig Charles has been a soul & funk fan since his teenage years in Liverpool, going to see local heroes The Real Thing live, and wearing out his shoe leather dancing in the city's many underground clubs. Craig has been sharing that passion for the music via his 6Music and BBC Radio 2 shows and DJ nights for nearly 20 years. His brand new 'Trunk Of Funk' compilation series, blends up-tempo club classics, with fresh music from the cream of the crop from the contemporary soul and funk scene, and will be Craigs very first vinyl release - a beautiful, double vinyl gatefold LP and he's certainly excited about it, stating; "I can't wait to bring you big beats, bass lines and booga-bloomin-loo! Presenting The Craig Charles Trunk Of Funk Volume 1 as my first ever vinyl release has put a proper wiggle in my walk!" This collection of 21st century disco, soul, funk & afro grooves from includes tracks from contemporary heroes of the scene such as Monophonics, Amp Fiddler and The James Taylor Quartet, it's also peppered with some old school classics and rare grooves from legends such as Roy Ayers, PP Arnold, Miriam Makeba and Patrice Rushen. Craig has personally selected and sequenced this collection to take the listener of a musical journey, the closest thing to having Craig visit and personally DJ for you in the comfort of your own home! It also includes two 'Trunk Of Funk Edits' that are 100% exclusive to this compilation and not available anywhere else.

The first instalment of the ultimate collection of tracks from legendary reggae superstar, BOB MARLEY! Marley sold more than 20 million records throughout his career, making him the first international superstar to emerge from the so-called Third World. Also available, Volume 2.

The second instalment of the ultimate collection of tracks from legendary reggae superstar, BOB MARLEY! Marley sold more than 20 million records throughout his career, making him the first international superstar to emerge from the so-called Third World. Also available, Volume 1.

10 Years of Dame-Music Vol. 2. To celebrate the 10th birthday of her label, Bloody Mary has prepared a two-part vinyl series, handpicking seven of favourite artists to join her on the label.

Both parts in this series feature label favourites as well as new additions making their debut on the label.

Volume 2 sees label debuts from Lady Starlight, DeFeKT and Schacke. Lady Starlight, a renowned live artist and respected producer, delivers the A1 'c one three', and is joined on the A-side by Cardopusher, who returns to Dame-Music following his collaboration with label boss Bloody Mary on the Conformity Kills EP earlier this year.

The B-side starts with Irish artist DeFeKT and his track 'Sini Star', before Copenhagen’s Schacke closes it out with the hypnotic 'Lowest Of Highs'.

Four hard-hitting techno and acid cuts made for the floor!

Volume part 2/4 solo album set. (Monstruos Y Duendes). The music of Myrddin goes through marrow and bone and is both complex, passionately rhythmic and profoundly emotional. He fully masters the compás of flamenco, which gives him the freedom to converse with elements of jazz or classical music.

From the fertile electronic, post-folk depths of Colombian music, the tasty "Colombian Singles series" has emerged to cast light on a blooming, rapidly expanding scene. The series is envisioned as a showcase for the country’s growing number of producers who, drawing upon their Indigenous, African and European roots and cultures, are creating new approaches to electronic dance music. Hailing from the countryside near Bogotá, where the huge city reaches down into its more tropical surroundings, Los Bulldozer is the perfect combo to inaugurate this new musical adventure. Led by the unearthly guitarist Fabian Morales and his mind-bending experiments, Los Bulldozer have their own particular way of bringing international influences like Soukous, West-African blues and post-punk to the already exquisite musical diversity of key Colombian styles such as Currulao, Champeta, and Reggaeton. Partly produced by the German godfather of global beats Daniel Haaksman, highlights on this first volume include the heavy indie dance cut ‘Pepa’, emotive Pacific blues guitars and eerie haze of ‘Currulaomali’, and the industrial reggaeton ‘Commin Down’. And there’s (a lot) more... Not your usual sun-kissed summer vibe, but a deeper, moody interpretation of the dualities felt under equatorial latitudes.

'Music For Theatre And Dance – Volume Two' is the second in a small series of EPs that will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.

That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.

Whether it's more ambient or atmospheric works or whether it's in the more rhythmic or percussive pieces, Music From Memory brings together another selection of tracks that aims to highlight this highly innovative direction in music.

Daniel Bortz, a staple among electronic music producers, returns with his new album "Stay". After "Patchwork Memories" on Suol from 2013, it's the second album for Berlin-born and Augsburg-rooted Daniel. From his early days of James Blake editing and riding the slow house wave, Daniel has perfected and diversived his production skills over the seven year course between the albums. His range spans euphoric techno, cinematic breakbeats, heart warming electronica and classic deep house, you can witness on his eps for Innervisions, Pastamusik (the infamous Bella Avgvsta trilogy) or even on the legendary DJ Kicks mix series from grandmaster Moodymann, who selected one of Bortz's tracks on his volume. After his three eps (one with his friend and long time collaborator Sascha Sibler and one under his DJ Hotel alias) on Permanent Vacation, Daniel takes the consequential step and releases his second full-length album with the Munich based label. With the 11 tracks on "Stay", Daniel Bortz evokes his teenage years and dreamwalks through his upbringing during the 90's. Musically he brings together what never should have been separated: House, Acid, Downbeat and Breakbeat all rooted in the sample aesthetic of Hip Hop, thereby capturing the full emotional spectrum of life and love. Music that came to stay.

Jamaica Suk’s 17-track, quadruple-volume ‘Uncertain Landscapes’ series continues with its second part, bringing five tracks of uncompromising cutting-edge techno.

NovaMute artist Nicolas Bougaïeff kicks off with the rasping sounds of ‘Nocturne 1’, a tense juggernaut of a track. Sheet metal textures clash up against eerie FX the most throbbing of kick drums, with a twisted, distorted feel to the breakdown.

Keith Carnal’s ‘Infringement’ injects rhythmic bleep patterns into its chattering percussion, creating an almost dubby feel that’s contrasted with an urgent energy. Well-timed filtering adds to the tension.

The warped wiggle of Helrad’s ‘Groove Addicts’ comes next, with intense machine energy filtering up from the depths. A manic cacophony of detuned bleeping creates a heavy, relentless feel over the succinct beat.

Insolate’s ‘Sanchin’ rocks a pulsating bass chug that underpins washed-out textures and synth delays, with rasping metallic sounds washing over the track in the second half while the shuffling percussion keeps ticking away.

Manuel Di Martino channels some classic Detroit vibes in the chattering clap & snare patterns and rolling groove of ‘Runout’. Resonant tones blip, loop and pitch-shift in hip-shaking fashion to give the feel of a classic Jeff Mills set in action.

Another killer collection of blues and gospel, this is the eighth volume in the super enjoyable 'La Noire' series. The LP comes in a cool gatefold sleeve.

Demon Records presents Distortion: 1989-1995, the first in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume one in this new series covers 1989 to 1995, beginning with Mould’s first post Hüsker Dü album Workbook and continuing through to Sugar’s final studio album File Under: Easy Listening.

Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.

Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; a foreword by writer and actor Fred Armisen; a tribute from Richard Thompson; lyrics and memorabilia.

Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

Featuring an array of bonus tracks including Sugar’s 1995 collection of Bsides and non-album tracks Besides, along with Distortion Plus: 1989-1995 a new and exclusive collection of rarities and collaborations (pressed on clear vinyl).

Vanish is Julia Reidy’s yearning, fat debut for Editions Mego. Since 2019, Julia’s bubbling 12-string guitar work - sighing streams of crystal plucks drawn closer or echoing on - has moored a tactile, ever-lusher sound. On ‘Guitar’, the Australian, Berlin-based musician melts down sharp synths; electric fuzz and flex; uncanny found sounds; and autotuned voice and harmonica in a heady, overpowering potion.

Reidy’s music sweeps you up. It’s restless, always travelling on. Lonesome tones into machine chorales into hesitant hum. The LP’s side-long cuts sway between scenes but are always rooted: Julia’s guitar and vocal lines seem mapped to the natural ebb and flow of breath and thought, they lull you as they push through vast and secret spaces.

Vanish completes a trio of releases begun with last year’s ‘brace, brace’ (Slip) and ‘In Real Life’ (Black Truffle). The delicious unease, the anxious burning of the preceding volumes has settled, becoming more wide-eyed and resolute. For all its poise, the album’s sense of build - electric licks rasping into glistening synths, punctured by distant kicks - feels freshest. When 'Oh Boy'’s smudged whistle comes, it has fought its way out of the thickets, and hits like heartbreak.

West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of The Kid in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She's continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body's relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her most recent full-length, The Mosaic of Transformation, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself. "I guess in one sentence, this album is my expression of love and appreciation for electricity," says Smith. While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, a "visual language" stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as Smith says, "as a reference for how frequencies can be visualized," much like a mosaic. Smith describes her first encounters with this mosaic; "the inspiration came to me in a sudden bubble of joy. It was accompanied by a multitude of shapes that were moving seamlessly from one into the other...My movement practice has been a constant transformation piece by piece. I made this album in the same way. Every day I would transform what I did yesterday...into something else. This album has gone through about 12 different versions of itself." As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Smith's signature textural curiosity that fans have grown to adore pivots naturally into a proprioceptive study of melody and timbre. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles. "The Steady Heart" quivers to life, peppering blasts of wooden organ between winding vocal affirmations. As with a body, moving one portion requires a balance and counterbalance; here, subtle tonal twitchy signals fire in conjunction with coiling arias to create a mesmeric core. When the beat arrives at the midway mark, a swooping and jittery waltz, a sense of stasis in motion, a flow state, is sonically achieved. As soon as it syncs, it disappears back into the swirling ebbs of electric force. Other tracks stray into more ruminative physical realms. "Carrying Gravity" is built around string-like pads that expand and contract like a solar plexus, becoming taught and then loose. If the record could be summarized in a single movement, it is the 10-minute closing suite, a rapturous collage called "Expanding Electricity." Symphonic phrases establish the piece before washes of glittering electric peals and synthesized vibraphone helix into focus. Soon, Smith's voice grounds it all with an intuitive vocal hook, harmonized and augmented by concentric spirals of harp-and-horn-like sounds. Smith's music doesn't capture a specific emotion as much as it captures the joys of possessing a body, and the ability to, with devotion and a steady open heart, maneuver that vessel in space by way of electricity to euphoric degrees.

Taking the baton from MW for the second volume of Casting Shadows we invite The Hague mainstay, Intergalactic Gary, to let us peep into his crate of secret gems.

A true music archaeologist and one of the leading lights of the Netherlands’ West Coast scene for over 30 years, his knowledge spans across genres and decades.

Opening proceedings on the A side, we go back to one of Andrea Benedetti’s acid classics – this time revisited at 33RPM, morphing it into a slow-burning dancefloor grinder.

On the B-side, Italo disco duo GAG get a re-airing of their lost classic Flyin’ Bolero. QUAD, the UK duo formed by Mark Carroll and Pete Diggens, closes the EP with a deep breakbeat excursion originally released on Kinetix.

Following contributions from Carl Craig, Stacey Pullen and Wajeed, Swiss DJ and producer Mirko Loko steps forward to mix the fourth volume of Planet E's mix series, Detroit Love. Active since the late nineties when he first began DJing in the clubs of Lausanne, Switzerland, Mirko Loko has always felt a deep connection to the music of Detroit. Having been personally invited by Carl Craig to play at the Detroit Electronic Music Festival in 2001, that connection has stayed consistent and electric ever since. Mirko Lokois also known as a Cadenza mainstay and a curator of Verbier's Polaris Festival, but the music of the Motor City has been the guiding force of his creative career.

Heavy Psych Sounds is really proud to announce a brand new series of split albums that will be called DOOM SESSIONS. We are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster featuring some of the heaviest bands of the world doom scene. Each volume will host two bands. This record you are holding is VOL. 2 - a split album with our heavy doom bands 1782 and Acid Mammoth. 1782 is premiering three brand new tracks "Bloody Ritual", "Hey Satan" and "Witch Death Cult". Acid Mammoth is releaasing three new tracks too: "Black Wedding", "Sleepless Malice" and "Cosmic Pyres".

Sacha Mambo comes back with a 3rd volume of the Danzas Electricas saga, presenting musician-artists of the modern electronic scene. Expect a floating journey oscillating in between electronica, ambient, digidub, modular music, industrial and more psychedelic influenzas

(RSD 2020 Exclusive) (pressing 1000 copies, white coloured vinyl) This killer album was originally released only on CD format in 1998, and now on vinyl for the first time - over 20 years later + 2 bonus tracks!This album includes the killer ‘Prowling Lion’ known by everyone across the Dub and sound system scene! Played heavily by all top sound systems!

Music Mania and Indica Dubs is proud to present the 18th release: The Sacred Art Of Dub! Featuring two of the UK Dub top legends and pioneers; Alpha & Omega and The Disciples! This killer album was originally released only on CD format in 1998, and now on vinyl for the first time - over 20 years later + 2 bonus tracks!

This album includes the killer ‘Roaring Lion’ known by everyone across the Dub and sound system scene! Played heavily by all top sound systems!

This release will be a one-time limited edition on white colour vinyl for Record Store Day April 2020.

- 2020 black vinyl repress / comes in Flatlife sleeve -

This is the 1st vinyl and many more to come. Fat Acid only! On these compilations Jack Wax is presenting different styles of Acid Techno on 1 vinyl.

The huge colab with Sterling, Austin & Chad is representing the UK acid techno sound as I like on Flatlife Records. The Jack Wax is typical oldschool trancy sound and a sound you not hear very often. "Hypnotizer" is specially licensed from Astraltech. Benji303 brings with his Dysfunctional a real Acid Techno banger on this vinyl & last but not least mr Pzylo from Acid Cirkus (France) makes this compilation complete with this fat acid track that has Tekno / Techno flavour !!

A "not to miss" vinyl!! Get this one before it's sold out!!

After his debut album for Discrepant (Papillon, 2013) and a couple of tapes for Dinzu Artefacts (Aqueducts, 2017) and Sucata tapes (Cercueill Flottant, 2019) Papillon aka Gonçalo F. Cardoso returns to the wax treatment for one last hurrah into the depths of tropical disquiet.

Taking liberties from Henri Charriere’s book sequel of the same name, Banco, the audio reader here dives straight up/down into a world of random dream logic. The same themes of Nightmare vs paradisiac dreams are present here yet with more nuance than the first volume. The adventure here is more subdued, less spiritual as most of it is lived outdoors, free from the states shackles of abuse. A lighter tone then, for what will probably be the last Papillon adventure. As with the first volume the album counts with contributions from fellow label artists, Mike Cooper, Cédric Stevens, David Daan and Yannick Dauby all feature in a way or another, raw or cooked into a boiling pot of irreverence.

All tracks were composed and edited by Gonçalo F Cardoso in the island of La Gomera, Lisbon and London between 2017-2019.

Composed & Performed by Gonçalo F. Cardoso with guest appearances by Mike Cooper, Yannick Dauby, David Naan and Cedric Stevens*

Special vinyl one time pressing to 300 copies
Mastered by Rashad Becker

Volume 2: Another healthy dose of iconic reworked, retouched and edited tracks steamily rising up from the unique and magic poolside of Pikes Hotel (Ibiza). Trusted taste that sees Jazz N Palms warm-up the monthly exclusive Ronnie Scott's (London) jazz concerts held at Pikes.

Jazz music fused sartorially with Latin, funk, rock and international sounds to be enjoyed under the palms and sun of the Mediterranean sea.

*** Ltd. Edition 300 Copies on RED VINYL with insert! ***

These rare recordings were recorded as part of the legendary prescription label album series in the late 1990's that resulted in the album "Astral Disaster". Coil were invited to record at Sun Dial's studios beneath the London Bridge Hop Exchange. This studio was originally know as Samurai studios that was originally built and owned by Iron Maiden.

The premises in Victorian times was an old debtors prison which had three levels underground, and still had the original chains, manacles and wrought iron doors from the old prison. This caught the attention of John Balance and was very keen to record there.

At Gary Ramon's invitation, Coil spent a number of days recording at the studio during Halloween 1998 and they developed a number of tracks some of which resulted in the "Astral Disaster" album. For various reasons, some of the unissued material and mixes released on this album were omitted from the original Astral Disaster album, and so now is the opportunity to listen to the second volume of "The Astral Disaster sessions".

The album includes all previously unissued mixes and alternative versions, and includes "The Mothership" which was the first version that was later remade in the sessions as "The Mothership and the Fatherland".

Taken from the master tapes and remastered by Denis Blackham.