Suche:wait for me

Archival reissue of the ethereal wonder from Italian architect / music installation & soundtrack master Piero Milesi. This lush adventure of mediative synth and melodic scores for lyricon and small chamber ensemble contains tracks from films "The Nuclear Observatory Of Mr. Nanof" (L'Osservatorio Nucleare Del Sig. Nanof, 1985), "The Oversize House" (La Casa Fuori Misura, 1985), theatre play "King's Night" (La Notte Dei Re, 1986), and video "The Presence Of The City" (La Presenza Della Citta, 1984) produced by The University For Architecture of Milan.

- For fans of library music, soundtracks, leftfield, synth, WRWTFWW Records, Vladimir Cosma, Piero Umiliani, sci-fi, experimental movies, and astronautic mineral engineers of the mental system.

'Junction' - a six track EP produced entirely by Samrai & Platt - features vocalists from Jamaica, Ireland & the UK and rounds off an excellent 12 months for the label & crew who've toured across North America, Mexico and Europe in 2017.

The set kicks off with ST favourite Alexx A-Game (originally voiced at his studio in Kingston in 2016) urging listeners to 'free up' their mind and souls and let the 'good times take control'. It sets the tone for upcoming Jamaican talent Blvk H3ro to step up on the soulful party number 'Can't Wait' (recorded at Equiknoxx's studios in Vineyard Town in 2016), which has been a staple in Swing Ting sets over the last 18 months.

Slowing the pace is 'Addiction', a link up with Irish artist and frequent Murlo collaborator Gemma Dunleavy who lays down an impressive vocal over the skittering drums, muted guitar and glistening keys. The listen is interrupted momentarily for an interlude from Gavsborg whose moving voicemail is accompanied by a poignant piano line from JP aka Without Understanding. One for the clubs - 'Turn it Up' features Equiknoxx's Shanique Marie riding a stripped funky-esque riddim with ease.

Fittingly the set closes with 'Contagious' which finds two of Manchester's finest vocalists - Fox & Tyler Daley searching for an escape from the reality of our turbulent times over a refined yet sparkling production. The 12' vinyl will be limited to 200 copies.

Support from: Murlo, Toddla T, Jamz Supernova, HDD & Equiknoxx across NTS Radio & BBC Radio 1 / 1xtra.

Repress

Berlin's Monnom Black is back again with the King of The Sewers EP; four cuts of pulsating techno from two of electronic music's most uncompromising young figures, DAX J & UVB. Already well-known for its more fundamentally rugged take on modern electronics, the label's 19th release is another intense transmission deep from the underworld.

The menacing tone of the EP hides the friendship that's developed between these adopted Berliners, two young men who met in the city and discovered a shared passion for raw analogue audio and electronic sounds that marry starkness with depth. Although they began DJing at the same warehouses since 2014, the duo have waited until the right moment to bring together their mutual love of unique mechanised noisescapes and the high-end production values they ve developed over years of experience and experimentation. The King of The Sewers is that record, a gritty soundtrack inspired by forgotten lives beneath eastern-bloc cities.

For Monnom Black this latest release continues a run of unmistakable techno records that challenge the mainstream with a non-conformist philosophy. The label's ethos is to push boundary-testing music by artists who are unafraid to explore a chaotic, divided world in the belief that distinctive music can still create moments of grace and community. This is music for the deepest, darkest parts of the night, breaking beyond the dancefloor and into the liminal spaces where analogue and digital, body and mind meet. The King of The Sewers EP represents another step forward in the development of a record label pressing at the borders of what contemporary techno can be.

Midnight Sun drew his imagination from trips to Iceland and elsewhere, from experiences. Everything has grown, some dates in New York for the CMJ Festival, Berlin, Barcelona or Warsaw, the Pitchfork Festival, Radio Nova, vinyl, meetings.

"Early Morning" extends this first EP and dreams of traveling at the end of the world.

The group is apart, it wanders while preserving its identity - the spirit of Cracki hovers over the project.
First discovery of the label in 2012, the duo barely existed, it is a quator today who just returned from a world tour (more than 100 dates).

The dream sticks to their skin, in fact. Just as when trying to catch one, it flies away, their music is elusive. The first disc spoke of a sun at midnight, the second is dawn.

The chosen horizon is not defined, the four artists are still searching for each other and continue their path with candor.

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

Moustache Records 039 is made by a Moustache brother from the first hour "El Cubano" Danny Daze. This obscure techno acid electro EP contains 4 dark Club bangers for the floor. A1 Trumpet track ft. Johnny Superglu is the EP action starter. Crazy Loud Kick drums, a distorted trumpet played by the notorious Johnny Superglu on Acid. Retard synths, a dark vocoder shout and topped off with razor sharp snares. A2 track is called "Late night snack" a song about a boy on its way to the nightstore to get a coca cola. There he lost his way on LSD around the corner of his own house, a pure club banger with weird kiddo lunatic samples. B1 "Wandering aimlessly in NY for 4 hours" 4x4 monotonous building up acid tune. Do you remember that waiting before that new space journey? B2 is the EP tittle track "El Cubano" pure raw oldskool bunker strobo acid with robot vocoder voices and rolling drum section. Mentalism is not a crime!

Coming out of London and the South West of England, Hey Colossus are one of Europe's great live bands. Since 2003 the 6-piece has been driving around the continent with their “pirate ship” backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor’s waiting room in Salford, an industrial unit in Liege and a vast field next to a river in Portugal. Wherever they may roam.

Four Bibles is their twelfth studio album and the first to be released by London label ALTER, whose sole proprietor (the electronic producer Helm) encountered the group at their first gig in 2003. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011’s RRR for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialling down the effects and using reverb / delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics and violin (by Daniel O'Sullivan of This is not This Heat / Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this.

From the weight of “Memory Gore”, to the subtlety and swag of “It's a Low”, via the sonic extremes of “Palm Hex/Arndale Chins” this is exactly as the band are live; raging & rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod...bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul - Hey Colossus have never sounded fresher or more on point.

Berlin based trio Keller Crackers collective likes to shape haunting esoteric sounds, in which self-built instruments dance with ritualistic synthesised rhythms, field recordings, psychoacoustic drones and poetical spoken silhouettes.

After a self-released MC and a mesmerising tune called “Anem” out in February 2019 on the custom-made Kashual Plastik 007 double-vinyl compilation, now they give birth to their own debut record “KC”, a four track EP resulting from various improvisational studio sessions, a bag full of spontaneous visionary DIY sound fashion that melts meandering serialism, foggy ‘Chris & Cosey’-ness, exoticism and freely expressed emotions. Some pieces are given time to evolve, being dragged through long arrangements and slow transitions, while others are playful and short. To close up the magic circle, the release includes a tripping Tolouse Low Trax signature remix.

The opening tune “Specialised” swings on a trance-like hypnotic bass line, while a self-made kalimba played through a tape delay and overtones from a DIY circuit bended device inject dynamics and colour to the composition. Out of the sonic depth, the spoken words of Sylvana Wickman emerge enchanting and unreal, naming a series of technical terms, assembling a deep notion on the specialised society we live in.

“Cow Tongue” follows, a fleeting composition of crackling electronic clicks jumping off a micro-modular device. They got overdubbed again by Sylvana’s voice, delightfully reciting phrases from a recipe of regional delicacies.

The A side of KC`s first strike finishes with a spaced-out synth bass and the lo-fi beats of a Yamaha RX15 drum machine. They are the gripping foundation of “Aithouses Anamonis“, which means “Waiting Rooms”. It describes the scene of a man sitting in a waiting room observing the consumerist behaviour by the folks around him.

The B-side opens with a Tolouse Low Trax remix of “Specialised”, elevating the original with the bass line of “Aithouses Anamonis“, while melting the all into a dark nebulous Tolouse Low Trax signature stripped down funk for endless nights in neon lights.

For their final track “Colours”, Keller Crackers invited a steady free member of their live shows to record with them: free jazz musician Robert Würz. He tuned his flute enthralling over a suspenseful bass line formed in a whirlwind of synth-sounds. The whole frenzy gets divine through sliding chords that rise from a self-built guitar.

A musical bouquet for open spirits, that value charming minimal wave zones, undefinable post-industrial psychedelics and hallucinogenic poetry reflections on the current state of our mechanical times.

Emotional Rescue returns to the Caribbean with the music of Glen Ricks and his infectious Jamaica meets Boogie goldmine that is I've Been Waiting For You.

A performer since the age of 7, Glen Ricks (born Ricketts), established a reputation for his singing range and ability to seamlessly shift from tenor to soprano, going on to sell over a million records around the world.

Having immigrated to Canada as a child, after teaming up with his first band The Fabulous Flames Ricks returned to Jamaica to create his first records. Moving effortlessly from reggae to lovers, and dancehall to soul, R&B, disco and boogie, Ricks established a successful career and he continues to perform to this day.

I've Been Waiting For You is indicative of that cross-pollination of style and sound. Released on 7" in 1983 on the short lived Seraff label, the mix of Ricks' soul voice with laid back boogie groove creates a sound full of lazy JA swing.

Now highly sought after, this special 12" reissue includes the stand out vocal and is backed with an instrumental that builds on the interplay between bass, drums, piano, guitar, keys and finally, backing vocals. To seal the deal - and in true label style - LA's rising star DJ Duckcomb presents the perfect Discomix, seamlessly cutting between both versions with some respectful dubbing in the mix.

New Melodymathics

The only woman featured on Worldwide FM's Sydney broadcast, and having recently produced her first old out all-female showcase featuring musicians, visual artists, poets and DJs, 20-year-old Ella Haber has worked toward her debut for 15 years.

Shocked by a hushed crowd reaction at her first public performance, Ella's realisation her voice could halt and occupy an audience's thoughts bleeds into all aspects of her life. With early demos of her debut EP, CLAY, reaching the ears of Brisbane-raised, London-based musician Jordan Rakei, the recent Ninja Tune signee - impressed with her vibrant songwriting and compositions - lent his production chops to the project, arranging and recording live instrumentation at Old Paradise Audio in London, while Ella worked on vocal recordings in Sydney.

'Ella's timeless vocals and mature songwriting sensibility was the reason I wanted to work with her on this project. In a climate where artists often take shortcuts, Ella's determination and strong vision will make her stand out from the rest. It was a pleasure bringing her songwriting to life and I can't wait for the world to hear her music!' - Jordan Rakei

A multi-lingual multi-instrumentalist deftly weaving her songwriting prowess with trumpet, piano, spoken word, fresh lyricism and powerful jazz/soul performance, Ella's ease within music is in stark contrast to her feeling for every other established structure. Set to release her debut single, Old Friends, written when Haber was only 17, she reflects on the impact Amy Winehouse's debut album, Frank, had on her songwriting: 'I had been writing music since I was a kid, but listening to Frank just gave me permission to write about love and all its pains and confusions in this way of transparency and brutal honesty I never had before. Old Friends was actually the first track I wrote from the EP, and, the first song I ever really felt proud of'

In a genre, and society, where identity is increasingly scrutinised, Ella Haber resists, comfortable only in the confines of music composition. Challenging, with full colour love and intelligence, she's not letting anyone off lightly. Her debut EP, CLAY, is out April 26 via Soul Has No Tempo.

Alien Transistor and Tokyo-based label Afterhours release a vinyl-version of tenniscoats' masterpiece "music exists". It consists of 4 LPs, which will be released over the year, full of intimate, wonderful, psychedelic folk-music. With the fourth LP, there will be a strictly limited box available, either for putting in your already purchased other 3 records, or as the whole glorious 4-LP-package.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s ), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the tenniscoats and their opus magnum "music exists".

The Tenniscoats are a duo that have enjoyed a long career in the music scene of their home country of Japan. They have collaborated with unique artists from different backgrounds (Tape, Pastels, Pastacas and Jad Fair), while maintaining their own laid back approach and sound. Their songs are built primarily from guitar and vocals with lyrical themes focusing on everyday life. It could be their expansion on simplicity that has captivated music lovers of all ages throughout their existence.

While the aforementioned collaborations produced bold and sensitive experiences and results, it has taken Tenniscoats five years to release an entire studio album of their own. The wait has not been in vain, as four discs will be released consecutively beginning with 'Music Exists - disc 1'. Music Exists saw a previously limited release on the Tenniscoats' own majikick label.

'We started recording around January of 2013 with just the two of us in our 10 tatami-room in Tokyo we were using as a private studio. Arrangements were produced without computers by overdubbing on an analog console with mixing assistance provided by Saya. As we sent selected songs to be mastered by Yasushi Utsunomia, we were able to see the tracks grown into a full length album.'

What turned into a huge 4 disc project began in earnest three years ago. Tenniscoats wrote and recorded themselves using an analog console, a microphone, and what few instruments they had. As the project developed, they were surprised to find that they had amassed several albums' worth of material.

'We tried throwing up the ideas we had in the beginning and not put too much of our strength into playing in order to develop the ideas of each song. Utsunomia, who did the mastering was the first person to ever hear the material for this album outside of the band. We sent songs to him carefully choosing an order that we felt would not make him bored. Thanks to his distinctive way of mastering, we were inspired to go further and further into the process.'

2016 marks the Tenniscoats' 20th anniversary together. You could consider 'Music Exists' as a sort of compilation of material stemming from these years spent together. With their unique combination of melodies, unexaggerated arrangements, and detailed mastering, Alien Transistor are extremely delighted to make this recording available to the public!

Headz up! Guti's current club cutter 'Red Eye' continues to wriggle and writhe its way hypnotically into our sets and psyches with these two crucial versions from one of house and techno's most respected gentlemen... The one and only Kenny Larkin.

Weighing in at a combined length of 20+ minutes, both remixes capture the Detroit legend at his deepest and most cosmic with his hands glued to the dials. Not just part of the biggest single from Guti's 'Year Of The Conga' album so far, they also tell a unique tale of their own...

These mixes were originally meant for the full release earlier this year, alongside killer mixes from Loco Dice and Priku. But when Larkin received a shiny new Moog One he rang Guti and label bosses the Martinez Brother and told them that they'd have to wait... He was about go back in with a whole new modular perspective.

You can feel it, too; that deep throb on the subs and trippy psychedelic swirls of his 'Black Eye' mix and that wobbling voluptuous bassline in his 'Pink Eye' mix are just two examples of Kenny's attention to sonic detail and pure analogweight on these two immersive, alluring remixes.

Well worth the wait, and another precision chapter to the beautiful back-to-roots adventure that is Guti's third artist album 'Year Of The Conga', don't sleep on these... They're going out strictly as Record Store Day specials. Vinyl crew, this one's for you.

A cat may have nine lives, but Peter Cat Recording Co. has a multitude of dimensions. Formed in New Delhi around 2010 by the crooner Suryakant Sawhney, it's a group that's mutated over time, shedding members and accruing more, always evolving musically with each album: from gypsy jazz to psychedelic cabaret; ballroom waltzes to epic space disco; bossa supernova to uneasy listening. What's more they play jajj, which you've almost certainly never heard of. 
'Gypsy jazz is the description we used around the time of our first album Cinema that we sound nothing like now,' says Sawhney, before adding: 'At the time I was really into Strauss.' 

Portrait of a Time 2010 - 2016 is the first taste many Europeans will have of this highly original, musically capricious and deeply inscrutable New Delhi four-piece. The compilation helps you get to know a band who are essentially unknowable, not that that will stop you from trying. Furthermore, in a capital city known for its mystery, madness and mayhem, Peter Cat Recording Co. is something of ananomaly there too. 

While Suryakant's crooning is spookily reminiscent of a hipster 50's Sinatra, it was more his intention to ape legendary Bollywood playback singers like Kishore Kumar, Mohammed Rafi and especially Hemant Kumar. There are diverse American influences in the mix too, including Sam Cooke, Etta James and even Tom Waits, and time spent in San Francisco studying film may have contributed to the cinematic melange. Thrown together it becomes something unique that equates less to a listening experience and more to an out-of-body experience. 

They were signed to new French record company Panache after label boss Alexandre Rabia was trawling through YouTube one day and happened upon their remarkable promo for 'Love Demons'. It's a mind-blowing eight minute epic featuring the desert, one camel, a movie theatre, swirly organs over coruscating beats, dancing girls, more police and a cavernous pit that then-bassist Rohan Kulshreshtha falls into. 

You can try to compartmentalize them all you want, but just when you think you've got them pegged, they will evolve and transmogrify and the description you have in your hand will slip through your fingers like sand. Who knows if Peter Cat Recording Co. has nine lives, but you can listen to a past life on Portrait of a Time, and a future incarnation - much of it recorded in Paris - will be available in the autumn. Just remember, unlike a cat, you'll never put them in a box. 

Gregorio Gomez aka Gladkazuka is a mythical figure from Medelli´n's underground nightlife, contributing since pre - smartphone ages with energetic live sets to the celebration of life in the convulsive surrounding of the Colombian city. After playing and touring alongside Matias Aguayo with 'The Desdemonas' and contributing with the club smash hits 'Ihr Euer' and 'Futuro Chaos' to the 'Solidarity Forever' series on Co´meme - Gladkazuka is back with a full EP in which highly emotive and sensual electro dance fantasies culminate to 'The Drop'. Gomez' creations are nocturnal and lush, utopian and melancholic - underground dance pop that would be mainstream in a better world.

However these songs were created in a place where an unseen destruction of nature is taking place, and - in mids of times of supposed peace agreements - social leaders are being assassinated under the eyes of a new right wing government. Meanwhile the societies are fragmented towards a growing individualism and competition, exchanging dignity for an ideal of consumerism.
In this chaos, music becomes the celebration of life.

'Naturalia', the first track of the EP reflects this with its lushness and its jungle - like humid warmth, 'Flancing' with its happy flying fishes and 'El Coral' with its jittering electric eels.

'The Drop' is decontextualized Electro and New Wave - echoes of The Cure and The Other People Place dissolving into utopian dreaming, longing for better times, like vampire bats, hanging in their caves, waiting for the night to come.

"I Remember When" is the sixth album from Tokyo based nostalgic ambient soloist Ex Confusion.
The album finds Atsuhito Omori bringing Ex Confusion back to n5MD after a release each with Plancha and Orchid Tapes. 'I Remember When' finds Omori carefully carving music out of hazy memories. Emotive, abstracted, and overcast (as the cover art itself alludes to). Omori excels at his brand of heart to hands clouded ambient by utilizing faded repetition with ghostly percolating guitars printed to old formats. Omori has been doing this type of minimalist modern compositional ambient for nearly a decade but never has it sounded so focused in its conception.
As a bonus to an album of such understated beauty Omori includes a recent collaboration with Thomas Meluch's Benoit Pioulard pseudonym which further adds to the faded photograph characteristics of "I Remember When."

After a long wait, Melbourne's Public Opinion Afro Orchestra (The POAO) is set to release their second album, 'Naming & Blaming', a pulsing, percussive journey into classic afrobeat. Recorded by a 17 piece ensemble, led by fierce vocals and a howling horn section, it's a fitting 21st-century response to the world-shaking music of 1970s Nigeria. The result is true to the afrobeat blueprint of hypnotic, extended songs, improvisation and political comment but adds to the formula a host of pan-African influences and hip-hop elements that reflect the deep ranging roots of the band. As the title suggests, and in true afrobeat tradition, Naming & Blaming pulls no punches. It is an outspokenly political record, a cauldron of strong opinions where indignation and optimism coexist. Led by the vocals of MC One Sixth and singer Lamine Sonko, the critique of colonialism is applied to both the African and Australian experience, the battles of many cultures informing the group's ethos as does the importance of community and staying true to one's convictions. Uplifting visions of a brighter possible future as laid out in 'No Passport,' the album's rambunctious opening song, are balanced with honest reflections on injustice like guest Robbie Thorpe's take on Australia's chequered history in the title track.For the Naming & Blaming cover, the band was honoured to have the opportunity to work with one of the originators of the Afrobeat movement Lemi Ghariokwu, the legendary collage artist and illustrator responsible for all of Fela's most famous album covers of the 1970s. This relationship is what the POAO is all about, paying respects to the culture and keeping it alive and relevant in the 21st century. Over the last decade, The POAO have established themselves as a firm festival favourites with their contemporary approach to Afrobeat.

FLOAT proudly welcomes their second artist into the fold. UK electronic artistand Szun Waves band member Luke Abbott, presents a special 10-track album tocelebrate Piano Day 2019 - an international event series initiated by NilsFrahm which acts as a platform for piano-related projects. 'Music From The Edge Of An Island' sees Abbott divert from his typicallyexperimental electronic style to explore a more compositional approach centredaround VST instruments. Rather than the usual themes of synthesis andimprovisation, the album is lead by piano motifs, structured around emotivemelodies and sparkling arrangements. The record began as a part of asoundtrack commission by producer / actor Jessica Hynes for her film 'TheFight' and ultimately became a fully-realised album. The film script had acoastal setting that created the record's thematic idea: "I had this ideaabout being on the edge of England, almost ready to fall off a cliff into thesea but keeping your balance on the edge." The idea of writing for the piano had been ruminating for some months asAbbott found himself spending an increasing amount of time playing on theinstrument. Without a piano of his own though, he found a strangely enchantingway to fulfil his creative impulse. "I used to have an upright piano, but I'dgiven it away when I last moved house, so I ended up using a piano VST in thecomputer, which I actually really enjoyed. Writing the music became a bit of aweird fantasy process, I was in an odd headspace for a few days." The writing process was remarkably quick, resulting in simple yet inspiredpieces that subtly blur the lines between MIDI computer music and liveperformance. 'Music From The Edge Of An Island' can be seen as a collection ofgentle reveries that sway between the twilight hours, marked by moments ofsoft, contemplative ballads and more active and expansive motions. Openingtrack 'Sea' begins with a mysterious piano waltz before unnerving synth dronestake over. 'Island continues with piano triplet figures plus addedorchestration of cello strokes and airy glass pads, before heading into themelancholic 'Tree', bringing in more strings and added pathos heard in therestless piano motif. Quieter passages are contrasted with the Gamelan-esque'Moments' and the uplifting 'On Rope', whilst more lyrical moments on thealbum can be found in tracks such as 'Adjustment' and closing track 'ADifferent Tree'.

Ever since hearing Pete Tong announce 'Chica Wappa' as his Essential New Tune back in 2004, we've been following the bold Alex Smoke on his musical journey.

Coming from Glasgow, we've shared a lot of common influences - both from within and outside of the city and we have Alex to thank for introducing and strengthening our love for the likes of Villalobos, Rhythm & Sound, Carl Craig and Actress, amongst others. Although he was a familiar face on the 'minimal' scene, he always operated on his own terms and that's a throughline we've admired throughout his career. Not only is he comfortable releasing techno on Soma and R&S, he's produced for ballet, films and even the NHS.

Over the years, Alex has played at a few seminal parties for us; alongside the likes of Oni Ayhun, James Holden, Helena Hauff and Veronica Vasicka. So we were delighted to be approached by him to work on a record together and it's been really exciting to hear it evolve over time. It would be arrogant to compare it to Thom Yorke's - The Eraser, but it certainly occupies a similar world in our mind. To still be producing innovative and inspiring albums 15 years into a career is no mean feat in this age and it's a great honour to welcome such a musical hero on to the label.

As with the last Auntie Flo album, we're also lining up a very special remix package with a swarm of our favourite producers of the moment and we can't wait to share them with you too over the course of the year.

The third studio album from the Ghent-based Club Mayz is set for vinyl release in late February 2019 on Wool-E Discs.
The Gift of Surrender is a synth-wave record that's rooted firmly in the 80s yet glowers with its own moody, melancholic character. A dreamy trace of hope lends the LP the depth of character of a film soundtrack.