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Second Lp From French Electronic Talent Thylacine
Regardless Of Whether Or Not The Thylacine, A Species Of Marsupial With A Tiger-striped Back, Still Lives
In Tasmania Or Not, It Is In Argentina That This Young Star Of The French Electro Scene Decided To
Record His Second Album. To Create A Follow Up To Transsiberian, His Brilliant First Album That He
Recorded In 2015 Aboard The Train That Links Moscow To Vladivostok, William Rezé, Aka Thylacine,
Bought A 1972 Trailer, One Of The Famous All-aluminum Airstreams.
After Painstakingly Transforming The Trailer Into A Recording Studio, He Put His Beautiful American On
A Freighter Across The Atlantic And Got It Back A Month Later In Buenos Aires.
He Was Drawn To South America By The Pull Of The Unknown, The Absolute Absence Of Reference. He
Wanted To Immerse Himself In Desert And Lunar Landscapes, Explore Multicolored Canyons, Sand
Dunes, Giant Cacti Forests, Snow-capped Peaks... And Write, Alone, In The Intimacy Of His Nomadic
Studio.
After Making Stops In The Middle Of Nowhere, He Returned With Ten Tracks That Marvelously Combine
Moderat's Aerial Melodies, The Solar Touch Of Nicola Cruz, And The Techno Power Of Paul Kalkbrenner.
His Electronica Is Often Laden With Saxophonehis Instrument Of Choice, Which He Started Playing At
The Age Of 6 At A Conservatoryand Features Vocals From Julia Minkin (of Kid Francescoli), Clara
Trucco (a Member Of The Trio Femina), And Juana Molina, "considered The Argentinian Björk," Says
Thylacine.
Mission Accomplished: The Young Angevin's Vaporous Layers Are Tinged With Charango, A Local
Instrument, And Melodies Inspired By Traditional Argentinian Songs. "i Wanted To Go Back To A Music
With A More Acoustic Sound."
And The Tracks Follow One Another, Telling The Story Of His Extraordinary Odyssey: The Hypnotizing the
Road Expresses The Miles Of Road Traveled; The Captivating Tale Of santa Barbara Evokes The Close
Ties Between Inhabitants Of A Tiny Village In The Andes; And The Rhythm Of 4500 M, Cut By The Flow Of
The American Rapper J. Medeiros, Recalls The High Desert Where Thylacine Once Had To Sleep, Forced To
Stop For The Night By Storms Of A Rare Intensity.
Three Months And Ten Thousand Kilometers Later, This "concept Album" Is Ready; It's Called Roads Vol.
1, And Its The First Installment Of A Collection That The 26-year-old Thylacine Expects To Add To As He
Continues His Travels. His Itinerant Studio, Ingeniously Equipped With Solar Panels, Will Take Him,
Hopefully, Very Far.

'Producer and multi-instrumentalist FRNT BZNZZ returns with the second installment in a six-part series of 45s from the Aloha State.

Just like the rst 45, the A-side 'Separation Anxiety' takes to the same raw electro boogie feel, this time with more layers. The 4-minute ride into the artist's complex, often haunting production is up before you know it.

The B-side opens new doors in the series with vocals - angsty, yearning, a little somber. 'Always Wanted' is a slow burner for those looking to alleviate heavy doses of straight-laced modern funk. Something about Aiea High School prom circa 1990s, and a feeling of being left out.'

Billie Eilish's meteoric rise to global stardom has been nothing short of phenomenal and arguably unparalleled to date. Since her 'ocean eyes' debut, Billie has quietly, yet unapologetically infiltrated the forefront of pop. Thanks to a growing legion of loyal followers across the globe, an EP that has sat in the Billboard Top 200 for more than 18 months now, on the cusp of going Gold in the UK and more than 5 billion combined streams globally, her tours have sold out consecutively around the world, and this week, the teenage marvel has confirmed she will be releasing her highly anticipated debut album 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' on March 29 on Polydor.   'When we made 'bury a friend,' the whole album clicked in my head,' Billie explains. 'I immediately knew what it was going to be about, what the visuals were going to be, and everything in terms of how I wanted it to be perceived. It inspired what the album is about. 'bury a friend' is literally from the perspective of the monster under my bed. If you put yourself in that mindset, what is this creature doing or feeling' She continues. 'I also confess that I'm this monster, because I'm my own worst enemy. I might be the monster under your bed too.' 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' was written, produced and recorded entirely by 17-year-old Billie Eilish and brother Finneas in their childhood home of Highland Park, Los Angeles. Recorded in Finneas' bedroom opposite Billie's, the pair spent most of 2018 writing songs on the road, then spending many days and nights when off the road, at home, recording the album. The first to be revealed since the album announcement is 'bury a friend,' a driving tour-de-force of a song, trailblazing its way into the world and sounding quite unlike anything else that's out right now. Reaffirming Billie Eilish's place, always ahead of the curve, never compromising her sound or vision.  More exciting news to come from Billie Eilish very soon. 

Dolly Dubs welcomes none other than techno royalty Dan Curtin to the label with four forward thinking cuts! In his signature, energetic idea-rich style, Curtin meanders from vibey electro to uptempo Detroit-esque euphoria, and from innovative techno to broken beat lushness. A perfect mini techno-journey!!!

Krewcial Is Back On Wph After Some Seriously Funky Adventures On Marcel Vogel's Fine Lumberjacks In Hell Label. We Wanted To Finish Our 10' Series In Style And It's Safe To Say That Krewcial Provided The Goods. On The A-side 'plaster' Brings Us Raw Vocal Piano House Of The Highest Order And A Sure-fire Hands In The Air Moment On Any Discerning Dance Floor.

On The Flip 'proto' Is What Proto Says: Raw House Business For More Theo Parrish Or Ron Hardy Styled Slam Dancing Damage. Since His House Debut On Wph Krewcial Has Been Going From Strength To Strength And With This E.p. He Shows No Signs Of Slowing Down.

I cannot exactly remember when the idea of this album was born in my mind. What I am sure of is that I always wanted to complete such a project, which was to realize the dream of a vibraphone and marimba tribute to the music of my favorite musician composer, Frank Zappa. I met Marco Pacassoni about six years ago. I called him because we were looking for a vibraphonist for a tour with the artist Bungaro. We immediately developed a real friendship and when I told him about my idea and my fascination with Ruth Underwood, explaining that for me the best Zappa albums were the ones on which she played, he admitted that he knew only a part of that music, but that he would love to learn more. So I began to feed him tunes to listen to, sharing with him an imaginary track list. When Marco decided to really go for it (about two years ago), his first statement was that it was impossible not to include Peaches en Regalia and The Black Page on the album. That made me very happy because those are two of my favorites, and there was no better way to acknowledge the technical challenges behind this adventure. Marco studied Ionisation by Edgard Varese when he was in Conservatorio Rossini of Pesaro, even before he graduated in percussion at Berklee. It was strange for me that he could know more about Varese than about Zappa! I liked his idea of playing The Black Page alone at the marimba, just adding the beat, as if hearing the footsteps of an imaginary listener turning around. Who could it be My very first wish was to include Pink Napkins with Zappa's guitar solo played at the vibraphone.

audiobooks are pleased to share a remix bundle for their latest single, 'Friends in the Bubble Bath', out now via Heavenly Recordings. The release features two remixes by Gabe Gurnsey (Factory Floor) and one each from Welsh songstress Gwenno and audiobooks' own David Wrench. 'I love audiobooks, and 'Friends in the Bubblebath' is brilliant,' Gwenno says. 'I wanted to create a reflective atmosphere around Evangeline and David's lyrics, to try and compliment the story and that feeling of the party still trying to keep going at 3am, as parties tend to do.'

'It was a real pleasure to be asked to remix audiobooks' as I'm a big fan of theirs,' Gurnsey adds. 'I wanted to take all that energy they exude vocally and musically and bring it onto the dance floor. I ended up working on two remixes which work side by side, reflecting that chemistry David and Evangeline have in their live performances.

With a celestial voice that's been streamed over 3 million times thanks to acclaimed features with The Kite String Tangle, Golden Vessel and label mate Sampology, Brisbane-based artist Tiana Khasi (Kah-see) shares her debut EP, 'MEGHALAYA', out 29 March via Soul Has No Tempo.

The Sampology-produced debut is a rich tapestry of styles and influence, with inspiration drawing from themes of self-empowerment, family and heritage, collaborating with contemporary musicians while studying jazz. ''Meghalaya' is both geographic and spiritual. It's a place I creatively resort to seeking affirmation of my identity and for true holistic inspiration. I wanted to create a body of work that honestly showed where I was at musically and personally. I felt the growing pains of being a young woman, mixed race/Australian born and studying jazz. I was neither here nor there.'

'Nuketown', the first single from the forthcoming release, is out now following global premieres with Complex UK & London's Worldwide FM. Upon hearing early mixes, Gilles Peterson handpicked the track to feature on his most recent compilation, Brownswood Bubblers Thirteen, via Brownswood Recordings. Touted by local tastemakers and HypeMachine blog Purple Sneakers as "the debut single we didn't know we needed", 'Nuketown' has found airplay with national stations triple j & Double J, placement in Spotify's Just Chill playlist, rotation with Sydney's FBi Radio, and enthusiastic support from community radio and online media around the country and beyond.

"A flawless example of the kind of music we can expect from Tiana going forward. [Nuketown] creates something completely original, drawing elements from jazz but never chasing a particular sound or vibe. Everything comes naturally, taking you on a journey with the instrumentation matching the ebbs and flows of Tiana Khasi's sweet vocals. It serves as an exemplary debut for the young artist, and can only mean better things are on the horizon." - Complex UK

A keystone artist in her hometown whose live reputation precedes her via her work fronting local jazz/hip-hop collective Astro Travellers, Tiana Khasi's voice has been praised as "elegant" (Life Without Andy), "most dope" (Audiosteez) and "as venomous as it is honey-sweet" (Happy). A trained jazz vocalist, Tiana's unique sound is heavily influenced by her Samoan and Indian heritage, and has seen her support Jamaican-American "TrapHouseJazz" sensation Masego, Swedish soul artist Fatima and acclaimed Australian collective 30/70.

Life is all about rhythms. We don't know what we're dancing to until we're in so deep we can no longer control ourselves. The rhythm controls us.

Right now both Guti and the Martinez Brothers are dancing to the conga rhythm. Guti's third album, they've been dancing to it since the summer, teasing us with a whole slew of percussive new... And they'll continue throughout 2019. Chance are you will, too. Eventually the rhythm will control all of us. It's too infectious not to.

Here's the 411: 'The Year Of The Conga' is Guti's third and most rooted album to date. It came about through a personal request from brothers Chris & Steve Martinez. Both unapologetic Guti fans they wanted the very first album on their Cuttin' Headz label to be his. The result is a total reconnection back to his Argentinian foundations, his club roots and everything that first lured him to the dancefloor...

'I'm back to my roots and found my Latino groove again,' says Guti who wrote the album throughout 2018, starting it whilst bulleting through Japan by train, the majority crafted in the jungle of Dominican Republic, having collected and sampled native percussion instruments, and then finally mixing down on his return to Europe. 'Every song is full of rhythm and created to make you dance...'

He's not messing around; from the writhing snakelike percussion and rousing calls and cries of opener 'Aee' right through to the final mesmerising waves and farewell struts of finale 'Voladora' this an album is born both for and from the dancefloor. No overthinking, no purism, no exclusion; just unabashed physical hypnosis, fuelled for the floor, guided with gut instinct and years of groovecraft. It's the sound of an artist who's disconnected, explored and reconnected. He's older, he's wider and more in tune with his own pace and palette. One of the most diverse and explorative artists to come from Loco Dice's Desolat stable, this is Guti simplifying his passions down to an essence of everything that's magic about his roots and our shared dancefloor culture.

The highlights are in abundance; those hazy-but-persistent New Jersey organs on 'Telling The Truth', that wobbly sub on 'Red Eye', that shimmering sinewy acid line on 'Se Baila', the spicy pianos and wet horns of 'La Orchestra Fantasma', the list goes on. Each cut designed for deep mix pleasure, each cut rolling with a strong organic flavour and alluring percussive dynamics, each cut showing Guti at his most inspired, warmest, playful and ready to wrap you up so deep in a conga you'll soon lose yourself.

Cuttin Headz, cuttin straight to the chase but never cutting it fine... Let us be the first to wish you happy new year with the first ever album on the currently unstoppable label. We'll wish you a happy new conga, too. 2019's going to be a vintage and Guti and the Martinez Brothers are leading the charge.

Recorded in Stockholm and produced by FAMILY_TIME and Maths Time Joy, who produced 'Best Friend', the mixtape follows the release of Ady's critically acclaimed debut album, 'Memories' in March 2018. Having worked on his debut album for some time, Ady wanted to release a collection of songs, ahead of writing and recording his second album.

A deft songwriter and a singer with soulful brilliance, Ady Suleiman has a rich era-spanning appreciation of music, and an innate need to turn life experiences into narrative. His timelessly classic yet fresh sound and lyrical distinctiveness has garnered him a broad range of influential fans from both sides of the Atlantic - from Chance the Rapper, Leon Bridges and Joey Bada$$ through to Labrinth, Michael Kiwanuka, Laura Mvula and Lianne Le Havas. Awarded 'Breakthrough Act of the Year' at Gilles Peterson's Worldwide Awards, Ady has been supported by the likes of The Fader, NME, Complex, The Line of Best Fit and Mahogany to The Independent and GQ (to name but a few).  

A collection of songs which originated as voice memos on his phone, Ady comments, 'I wanted to make a project that is a bit more free, I originally wanted to do an interludes or outtakes project, but over time it changed form. 'Thoughts & Moments Vol 1' is the result."

This is an 18-song project featuring some of the most legendary emcees alongside some of today's newest emcees. Every song has scratches on it and each track has that traditional Boom Bap Hip Hop feel.

Los Angeles based DJ and Producer Tone Spliff drops his full-length LP Ardore Melodico (roughly translating to 'blazing melody'). Grounded in an east coast sound and steeped in tradition with an ever-present emphasis on the DJ, Tone links up with some talented emcees to deliver a solid album. Sounding like a beast on the drum machine and the 1's and 2's, it's apparent Tone Spliff has some skills to flex on his latest project.

The beat-creator, originally from Utica, NY, said he made around 70 beats between February and April of 2017. He then started hitting up emcees he's worked with in the past and new emcees he wanted to work with for the album. Tone details that 'All of these tracks were made in 2018, so some of them have only been stashed for a few months.

I wanted it to be the biggest sounding Foo Fighters record ever. To make a gigantic rock record but with Greg Kurstin's sense of melody and arrangement... Motorhead's version of Sgt. Pepper... or something like that.'

So speaks Dave Grohl of the mission statement made manifest in Foo Fighters' ninth epic, the aptly-titled Concrete and Gold, due out September 15 worldwide on Columbia Records and available for pre-order now.

Concrete and Gold marries some of the most insanely heavy Foo Fighters riffs ever with lush harmonic complexities courtesy of a first time team-up with producer Greg Kurstin (Adele, Sia, Pink). The first taste of which came in the form of anthem of the summer Run' which was described by The Times as 'epic', Music Week as 'Classic' and Shortlist as 'the best thing they've done in years'.

Concrete and Gold was written and performed by Foo Fighters, produced by Greg Kurstin and Foo Fighters, and mixed by Darrell Thorp.

Foo Fighters are Dave Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett, Pat Smear and Rami Jaffee.

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

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

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

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

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

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

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

Die Geschichte von Lambchop ist die der steten Veränderung und Weiterentwicklung. Was vor fast 30 Jahren im Keller von Kurt Wagner begann und von ihm selbst scherzhaft als 'most fucked-up country band in Nashville' bezeichnet wurde, hat sich inzwischen nicht nur als eine der dienstältesten sondern auch innovativsten Bands der US amerikanischen Musikszene etabliert. Seit jeher verbinden Lambchop unterschiedlichste Genres wie Folk & Country, mit Soul und Urban Electronica zu einem ganz eigenen, unnachahmlichen Sound. Kein Lambchop-Album klingt wie das andere, aber jedes klingt immer unverwechselbar nach Lambchop. Nach ihrem wegweisenden Album - Flotus' (2016) hat die Band aus Nashville jetzt ein neues Album für den 22.03.2019 angekündigt. Für 'This (is what i wanted to tell you)' arbeitete Kurt Wagner mit Matthew McCaughan (Bon Iver, Hiss Golden Messenger) zusammen, der ihn auch als Teil des Lambchop Live Ensembles im April auf Tour begleiten wird.

Im Sommer 2017 machte sich Wagner auf, über die Blue Ridge Mountains in Richtung North Carolina, zum Geburtstag seines langjährigen Freundes und Chef des Merge Labels: Mac McCaughan. Dort traf er auf seinen jüngeren Bruder Matt McCaughan, der das letzte Jahrzehnt als Schlagzeuger für Bon Iver und Hiss Golden Messenger verbrachte. Matt und Kurt kannten sich schon viele Jahre, aber erst an diesem Abend beschlossen sie zusammen an Musik zu arbeiten. Wagner schickte Mac neue Songideen und McCaughan schickte Wagner Synthesizer-Stücke zur Inspiration. Schließlich gingen beide gemeinsam in Nashville ins Studio, Pedal Steel und Piano und der Harmonika von Nashvilles Legende Charlie McCoy, die diesen schwarz-weißen Skizzen Leben einhauchte.

- 180g heavy, black Vinyl, extra-großes, gefaltetes Booklet, Cover Sleeve mit Mittelloch auf der Rückseite

Das Ergebnis ist This (is what I wanted to tell you)", ein Album, ergreifend ehrlich, atemberaubend, wunderschön und überraschend. Aber Lambchop sind nicht immer nur für eine Überraschung gut, sondern überraschen immer wieder mit verdammt guten Songs. Wenn Kurt Wagner etwas zu sagen hat, hören wir natürlich hin, das sollten sich alle zu Herzen nehmen. Diese Platte muss man einfach hören!

Heute gibt es die erste Single aus dem Album: 'The December-ish you' eine verblüffende Mischung aus bewährt emotionalen Slide-guitar und Pianoflächen alter Lambchop-Schule und effektiven PVC Pop Beats, Claps und Samples, über die Kurt Wagner die melancholischste 'Friday Night Fever' Ballade der Dekade croont.

- Limited edition, 180g heavy, weisses Vinyl, extra-großes, gefaltetes Booklet, Cover Sleeve mit Mittelloch auf der Rückseite

Die Geschichte Von Lambchop Ist Die Der Steten Veränderung Und Weiterentwicklung. Was Vor Fast 30 Jahren Im Keller Von Kurt Wagner Begann Und Von Ihm Selbst Scherzhaft Als most Fucked-up Country Band In Nashville' Bezeichnet Wurde, Hat Sich Inzwischen Nicht Nur Als Eine Der Dienstältesten Sondern Auch Innovativsten Bands Der Us Amerikanischen Musikszene Etabliert. Seit Jeher Verbinden Lambchop Unterschiedlichste Genres Wie Folk & Country, Mit Soul Und Urban Electronica Zu Einem Ganz Eigenen, Unnachahmlichen Sound. Kein Lambchop-album Klingt Wie Das Andere, Aber Jedes Klingt Immer Unverwechselbar Nach Lambchop. Nach Ihrem Wegweisenden Album - flotus (2016) Hat Die Band Aus Nashville Jetzt Ein Neues Album Für Den 22.03.2019 Angekündigt. Für this (is What I Wanted To Tell You)' Arbeitete Kurt Wagner Mit Matthew Mccaughan (bon Iver, Hiss Golden Messenger) Zusammen, Der Ihn Auch Als Teil Des Lambchop Live Ensembles Im April Auf Tour Begleiten Wird.

Im Sommer 2017 Machte Sich Wagner Auf, Über Die Blue Ridge Mountains In Richtung North Carolina, Zum Geburtstag Seines Langjährigen Freundes Und Chef Des Merge Labels: Mac Mccaughan. Dort Traf Er Auf Seinen Jüngeren Bruder Matt Mccaughan, Der Das Letzte Jahrzehnt Als Schlagzeuger Für Bon Iver Und Hiss Golden Messenger Verbrachte. Matt Und Kurt Kannten Sich Schon Viele Jahre, Aber Erst An Diesem Abend Beschlossen Sie Zusammen An Musik Zu Arbeiten. Wagner Schickte Mac Neue Songideen Und Mccaughan Schickte Wagner Synthesizer-stücke Zur Inspiration. Schließlich Gingen Beide Gemeinsam In Nashville Ins Studio, Pedal Steel Und Piano Und Der Harmonika Von Nashvilles Legende Charlie Mccoy, Die Diesen Schwarz-weißen Skizzen Leben Einhauchte.

Das Ergebnis Ist "this (is What I Wanted To Tell You)", Ein Album, Ergreifend Ehrlich, Atemberaubend, Wunderschön Und Überraschend. Aber Lambchop Sind Nicht Immer Nur Für Eine Überraschung Gut, Sondern Überraschen Immer Wieder Mit Verdammt Guten Songs. Wenn Kurt Wagner Etwas Zu Sagen Hat, Hören Wir Natürlich Hin, Das Sollten Sich Alle Zu Herzen Nehmen. Diese Platte Muss Man Einfach Hören!

Heute Gibt Es Die Erste Single Aus Dem Album: the December-ish You' Eine Verblüffende Mischung Aus Bewährt Emotionalen Slide-guitar Und Pianoflächen Alter Lambchop-schule Und Effektiven Pvc Pop Beats, Claps Und Samples, Über Die Kurt Wagner Die Melancholischste friday Night Fever' Ballade Der Dekade Croont.

Following 1 or 2 small run / mailorder lathe cuts, Polytechnic Youth follow it's hugely successful 'Popcorn Lung' label compilation LP, with it's first full length of the new year, and man... this one is just wonderful! A mighty record to kick off what promises to be another hugely productive, constantly busy year for the Crouch End based synth label.

PY often likes to quote the artist directly in it's press releases, and this one is no exception. Gabe's own words, more than adequately explaining the path leading to this killer set for 2019; 'It feels a little ridiculous to pretend that the person introducing you to Gabe Knox is some kind of bigwig press agent and not just Gabe Knox himself, so let me, Gabe Knox, tell you a little about myself in that hopes that you'll give my music a listen.

In 2014, after years of moderate success as a local musician and club DJ in Toronto, Canada, I looked at my collection of barely functioning analogue synths and drum machines and said to myself 'Instead of trying to unsuccessfully make music you think other people will like, why don't you make something that you'd actually want to listen to for once' I wanted to make music that had the drive shaft of Neu!, the punishing low end of King Tubby, the interleaved melodic lines of Vince Clarke, the melancholic, otherworldly whimsy of Raymond Scott and Delia Derbyshire, the hypnotic drone of Spacemen 3, and the analogue intimacy of Le Car. I wanted to bring the euphoria and hypnosis of dance music to the rock kids, and the energy and excitement of rock music to the dance kids.

This was going to be a tough sell in the clique-y Toronto music scene, so I figured the best way to get the music out there would be by recording when I can and self-releasing a steady stream of EPs online. They would all be a series, a snapshot of the evolution of that initial idea. ABC represents a compilation of the best songs of the first three EPs, subtly remixed and remastered to best suit vinyl. I hope you love listening to it as much as I loved making it.'

This really is a remarkable record. Displaying all the PY traits of icy cool blasts of minimal synth, motorik grooves, melodic pop via passing nods to early mute and sky records. Never before did label head Dom think he'd get the chance to namecheck 2 musical heroes from wildly differing poles -Vince Clarke and Spacemen 3- into one LP PR sheet, so he's understandably excited for this one's release!

250 copies on yellow wax in hand numbered, reverse board sleeves. Sure to go real quick....

There are some elements in electronic music that make them timeless, elements that if melted together they can give an impressive result, to the mind and to the body. Sawlin - Ursprung is the first album of the career of Sawlin, after his debut in 2010 he evolved like a wonderful orchid, an orchid that never followed the flow of the other flowers around him, but found his own way to the music. Ursprung is the result of an interminable evolution in the mind of the artist, 8 elements that complete a circle built on a very mysterious atmosphere, like a film that you never saw, but you always had in your head, something more bigger then a memory, and something more deep then a picture. This 8 elements are the blueprint of the work that comes from the background of the artist, Deep raw imaginary pictures, mixed with oldschool wallpapers of a new wall based on an old concrete. Sawlin Mix the new to the old in a way that no-one can do, and probably no-one risked to do. This is the power of an artist that needs more attention and more time, you can feel at the first listening that there is something really big going on, but you need time to understand what he wanted to create, meticulous details that he wanted to paint, in a way that we cannot see them at first, but we find them quite impressive after. Sawlin present himself in the most modern way he can, no compromises, he don't want to please you, he want to paint the future. in the most Artistic way possible.

This album is the result of some musings on what drives us in life and how we come to terms with our place in the world. I wrote it around the time I was finishing my philosophy degree. I had also come to a point where I wanted to make music that was more personal, emotional and conceptual than before.

We are deficient creatures. Powerless and ignorant of reality as a whole, and unfortunately our characteristic existence makes us painfully aware of that. Reality is fundamentally hostile (or indifferent rather) and we are not well 'fit' to live in it. We try to deal with this through emotional means. We seek comfort for our deficiencies, a sense of purpose and belonging...

Audiophile reissue, lacquered directly from Axelrod's original EQ'ed master tapes at Capitol Records by Ron McMaster, housed in a deluxe gatefold jacket. 'Songs of Experience was supposed to have a different feel than Song of Innocence. You see, music is a great outlet. And regardless of what the titles say, and as close as I wanted it to be to William Blake, what was going on in my life took precedence.' - David Axelrod. Songs of Experience is visionary composer/arranger/producer David Axelrod's second album; it was recorded after the death of his beloved son Scott. Experience is an ominous affair, an album concerned with mortality and spirituality - the solitary, pastoral musings of William Blake set to the urban bombast of a full Los Angeles orchestra, with Wrecking Crew vets grounding the proceedings with dark funk. This is the next Now-Again issue in a series of reissues centered around Axelrod's Capitol Trilogy - Song of Innocence, Songs of Experience and Earth Rot - which will see release through 2018. LP Contains oversized, 28 page booklet that delves into Axelrod's incredible life and music, replete with never before published photos and an interview with Axelrod by Eothen Alapatt and Wax Poetics' Brian Digenti. (CD 32 page booklet) 'There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music - David could do it all.' - T-Ray.

Command Strange delivers his highly anticipated LP on Fokuz Recordings. A 12" to enjoy if you're into the more Jazzy and atmospheric sounds of Drum and Bass. With piano driven melodies and stunning pads this is a deep yet melodic record to enjoy as well in a club as at home. All and all it's a well balanced record and no doubt this will be a highly wanted record.

Command Strange Delivers His Highly Anticipated Lp On Fokuz Recordings. A 12" To Enjoy If You're Into The More Jazzy And Atmospheric Sounds Of Drum And Bass. With Piano Driven Melodies And Stunning Pads This Is A Deep Yet Melodic Record To Enjoy As Well In A Club As At Home. All And All It's A Well Balanced Record And No Doubt This Will Be A Highly Wanted Record.

There are some elements in electronic music that make them timeless, elements that if melted together they can give an impressive result, to the mind and to the body. Sawlin - Ursprung is the first album of the career of Sawlin, after his debut in 2010 he evolved like a wonderful orchid, an orchid that never followed the flow of the other flowers around him, but found his own way to the music. Ursprung is the result of an interminable evolution in the mind of the artist, 8 elements that complete a circle built on a very mysterious atmosphere, like a film that you never saw, but you always had in your head, something more bigger then a memory, and something more deep then a picture. This 8 elements are the blueprint of the work that comes from the background of the artist, Deep raw imaginary pictures, mixed with oldschool wallpapers of a new wall based on an old concrete. Sawlin Mix the new to the old in a way that no-one can do, and probably no-one risked to do. This is the power of an artist that needs more attention and more time, you can feel at the first listening that there is something really big going on, but you need time to understand what he wanted to create, meticulous details that he wanted to paint, in a way that we cannot see them at first, but we find them quite impressive after. Sawlin present himself in the most modern way he can, no compromises, he don't want to please you, he want to paint the future. in the most Artistic way possible.

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

The four tracks on this EP represent a bit of a transitional phase for Louis Jaquet (aka Kid Who), marking a move from a basic setup with an MPC2000XL sampler and a computer to a fully-fledged hardware studio. The initial versions of these tracks were quick jams that he had made early on in this change, but which had lay dormant on his hard drive for some time, before being revisited and reworked for this release with the new equipment.

'Rhythm Code' began life as an exercise in using only freely distributed software synths, and the majority of those sounds are still there, bar some additional acid sequences and tweaks to the rhythm parts.

On 'ZF Cut' his focus switched to samples, in an effort to squeeze the most he could out of his MPC, which at the time had only recently been upgraded. The unassuming beige box gives colour to anything you feed into it (breakbeats in particular), and a host of basic onboard effects add further quirky character, in this case hollow drones and rumbles which are the core of the track.

One of Kid Who's early purchases was a cheap old Yamaha multitrack cassette recorder, which presents many opportunities for sound manipulation. Different tape speeds, tape types and manual manipulation during playback open up a world of noisy, woozy atmospheres, some of which formed the basis of 'Spool Night'.

Of all four, 'Timescape' required the least revising, and the version presented here is very close to the original, 100% computer-based draft. Although the beat was built with Roland 707 drum machine sounds, a staple of early Chicago house records, he wanted to juxtapose these with a more up-to-date techno aesthetic, with a handful of final touches added in the new studio to finish

The four tracks on this EP represent a bit of a transitional phase for Louis Jaquet (aka Kid Who), marking a move from a basic setup with an MPC2000XL sampler and a computer to a fully-fledged hardware studio. The initial versions of these tracks were quick jams that he had made early on in this change, but which had lay dormant on his hard drive for some time, before being revisited and reworked for this release with the new equipment.

'Rhythm Code' began life as an exercise in using only freely distributed software synths, and the majority of those sounds are still there, bar some additional acid sequences and tweaks to the rhythm parts.

On 'ZF Cut' his focus switched to samples, in an effort to squeeze the most he could out of his MPC, which at the time had only recently been upgraded. The unassuming beige box gives colour to anything you feed into it (breakbeats in particular), and a host of basic onboard effects add further quirky character, in this case hollow drones and rumbles which are the core of the track.

One of Kid Who's early purchases was a cheap old Yamaha multitrack cassette recorder, which presents many opportunities for sound manipulation. Different tape speeds, tape types and manual manipulation during playback open up a world of noisy, woozy atmospheres, some of which formed the basis of 'Spool Night'.

Of all four, 'Timescape' required the least revising, and the version presented here is very close to the original, 100% computer-based draft. Although the beat was built with Roland 707 drum machine sounds, a staple of early Chicago house records, he wanted to juxtapose these with a more up-to-date techno aesthetic, with a handful of final touches added in the new studio to finish

The second release on AF Trax, again with all profits being donated to Hope Not Hate, is the debut from Al Jerry who has the following to say -

I was initially picturing Al as an ambivalent character trying to evoke in his music deep issues and emotions related to Middle Eastern cultures, but not without a certain self-depreciating sense of humour and a questionable taste for stereotypical arabesque harmonies.

On a personal level, I'm from a family who is half-French, half-Armenian (from Turkey). I grew up with this sort of historical ambivalence in mind, born and bred in the relatively untroubled French culture but not completely oblivious (how could I) of the troubled past of my modern Armenian ancestry who had experienced the first genocide of the 20th century - which as you may know some people and countries still deny its very existence as we speak now in 2018. So, instead of doing something purely on my personal history and origins, I just wanted to celebrate/acknowledge the modern history of the both fascinating and chaotic Middle Eastern cultures.

When I introduced that vague idea of a project/alias to B with an early version of Sana'a Riots, he got instantly into it. The hybrid feel of the project really allowed us to experiment and mess around with odd tonalities and enthused solos. It was the first time for both of us that we manage to collaborate on an EP with someone else. We had never tried something together before and it actually turned out to be a lot of fun. More to come from Al then :)

AF Trax = Against Fascism Trax and is a new label project instituted by JD Twitch/Optimo Music. Its aim is to make a musical and cultural protest in opposition of rising far right politics and ideology in the world. Encouraging artists to make music intended to interrogate these toxic ideas, and with all label profits donated to Hope Not which campaigns to counter racism and fascism. Against Fascism Trax's intent is to provoke conversation, inform and financially support the opposition to fascist thinking. Its simple idea is that we must do something more than just talking. The moral thing to do is to act

On 8th February 2019, Eric Gales returns with his brand new album 'The Bookends' on Provogue/Mascot Label Group and it features collaborations with B. Slade and Provogue artists Doyle Bramhall II and Beth Hart. The challenge for making 'The Bookends' was for Gales to challenge himself. 'As a guitar player it's been established that I can play a little bit, just a little bit,' he smiles. But for this album he not only wanted to push himself as a musician, but also as a vocalist, to build up his vocal discography. Gales' story is an incredible one, he was a child prodigy and released his debut album The Eric Gales Band in 1991 as a 16 year old on Elektra Records. It was the first of 10 albums on a major label through a blistering career. He has released 15 studio albums in total ahead of 'The Bookends' and a host of other collaborations. He has battled drink and drug issues and spent time in jail in 2009 for possession of drugs and a weapon. Gales proudly tells his story every night before every show, now over two years sober he is creating some of the most breath-taking music he has ever made. If his previous album 'Middle of the Road' was the rebirth of Eric Gales, then 'The Bookends' is him knocking away his boundaries and taking flight on a voyage of self-discovery asking himself what do you think you can do and pushing that into the stratosphere.

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

Les Disques du Crepuscule presents Signals Into Space, a brand new studio album by acclaimed electronic duo Ultramarine. SIS is their seventh album, having debuted on Crepuscule back in 1990.
The new long player was conceived by Ian Cooper and Paul Hammond over a three year period and features four songs co-written with North American musician Anna Domino, a firm favourite of the group since her leftfield pop releases on Crepuscule and Factory in the 1980s. 'For this project we wanted to do something more ambitious and perhaps more accessible than our last album in 2013,' explains Paul. 'We were keen to start collaborating with other musicians again, as well as develop our method of performance-based writing and recording, which is partly improvised.'
 Signals Into Space also features contributions from saxophonist Iain Ballamy (ECM, Food, Loose Tubes) and percussionist & vibraphone player Ric Elsworth. It was recorded and mixed in London with Andy Ramsay (Stereolab) and mastered by Noel Summerville.
 'To some extent Signals Into Space is an escapist record,' reveals Ian. 'Our rehearsal space is a small windowless room on an industrial estate in Essex. Possibly as a result we ended up with a collection of visually suggestive tracks, conjuring mental images of cities, deserts and tropical islands, which gradually came into focus as Anna's lyrical ideas developed. So while the music might have been conceived in a closed space it's imbued with a positive spirit - looking outwards, seeking contact.'
 Cover art by Studio Heretic. Available on CD, digital and vinyl LP (vinyl format includes a free digital copy on MP3).

'I'd always wanted Midlake to experiment more
with the arrangements, or to get more into
psychedelic textures,' says Paul Alexander, the
bassist from Denton prog-folk voyagers Midlake.
Those ambitions are fulfilled on 'Astropsychosis',
Alexander's debut album as Two Medicine,
released via Bella Union.
Richly ambitious in its sonic colour and conceptual
reach, 'Astropsychosis' is an album of luminous
space and mindful grace, its depths and details
coaxed into orbit with the lightness of an artist in
his element.

Part II The title of the project is: "An Intermediary Plane of Existence", an in-between world, a shadow zone, two universes, the place between the entrance and exit of a portal. Most electronic music producers probably know the feeling where they, after producing and recording a track they are extremely content with, are suddenly overcome with a slight fear: "what if my computer crashes, what if the file of the recording gets lost somehow and the music gets lost, it's gone forever...". That feeling and the fact that all music, ever written and even the music that has yet to be written, is "somewhere" when it's not
being played or made. It's either written down in notes, stored in
someone's mind, cut into a piece of vinyl, recorded on tape, converted into 0's and 1's hiding somewhere on a hard drive, a cloud, a CD or a USB stick. It's been taken form the place it was before it was made and stored in another place, in an intermediary plane of existence, waiting to be played, to come back to life and listened to again. We wanted to do this various artists album not with just any talented artist, but with people we've met the past years who became our friends and people we admire for their music and personalities. Friendship is also something that most of the time resides in an intermediary plane of existence. When a friend is not in the same room, city or even country it doesn't mean the friendship is not still there. If you've never even met
someone in person, it doesn't mean you can't be friends. Even if you haven't spoken to your friend for a long period of time, it doesn't mean the friendship doesn't exist anymore. The same goes for love I believe.
Some people you will never stop loving, alive, or dead. Both owners of P-RT-L lost their fathers within a week from each other last year, but I also know people who haven't seen or spoken to their dads or moms in over a year, yet somehow it feels completely different not seeing someone for a long time if you know a person is still alive, even though it's not sure you will ever see him or her again. Their dads went back to the place they were before they were born and they will never come back the way they knew them. Just like all music that went lost before we as humans had the ability to write it down, store it on a medium or pass it on otherwise. That exact music, just like their dads, is lost forever. I know this will probably sound a bit too philosophical for some of you readers, but it's something that keeps me awake at night, sometimes. This albums is a way for us to celebrate the fact that the music on it, will never be lost because we as humans have found a way to store and contain it in a place where we can easily reach it, for ever. We hope you will enjoy the music! P-RT-L Featuring artists: Alex Bau ,AnD,Anouk De Vos, D-Leria, Daniel Kane, Dasha Rush, Frame Six Micol Danieli

Repress from Proto prod 44 ! wanted tune called Hardritmik... A fatal Hardtek kicker

Marco Faraone returns to Drumcode with some of his most inspired work ever, comprising of four tracks crossing the Techno spectrum.Growing up Marco was surrounded by 90s Italo house and techno, which have all had a part in the current sound he produces today. Never one to stick to any individual style, he can often surprise his fans with a set pumping out peak time beats to down tempo house cuts with catchy vocals.
'With this release, I took some inspiration from listening back to some old Vitalic sounds and giving some extra power to the use of synths in each track. It's got a festival vibe to it, which is something I wanted to achieve' - Marco His last Drumcode EP was back in 2016, so this October he makes a welcome return showing his multiskilled productions at their full potential on this mega 4 tracker, opening with the gargantuan 'Never Forget'.Mutating rhythmic synths hark back to the good ol' days of BXR and the limitless talent of the Italian Techno scene in the late 90s. Boiling over in the main break this is crowd-pleasing dance music at its finest.
'Cruiser' is a bumpy upbeat ride with a strong melodic hook that will have the hands raised and the feet stomping.Title track 'Lunar Eclipse' is a dense, at times claustrophobic roller. Menacing to begin with, the addition of the main melodic motifs lifts the mood midway. 'Take This Trip' rounds out an incendiary EP. Lighter and more musical that the previous three, it offers a joyful, softer message. 'This is a special release for me, I wanted this to have explosive power yet the perfect balance of melodies and sounds to create a different and unique atmosphere for each track'
- Marco Faraone

'String Figures Remixes' is a series of remixes released on December 14th 2018 following the previous-ly highly acclaimed LP String Figures by Zoe Mc Pherson. (Watch her Boiler Room live show)

Remixers for this EP include Ben Vince (Hessle Audio co release w/ Joy Orbison & Where To Now solo album where collaborators include Mica Levi & Rupert Clervaux), N1L (Opal Tapes & UIQ), Hester-1, Bartellow (ESP Institute, Public Possession) & Sukitoa o Namau (First Terrace Recordings).

The EP is pressed on transparent vinyl & comes along with transparent sleeve.

When asked why Zoe chose each artist for her remix album she writes:

Ben Vince is my mate since he opened for my release in London last April and he was really excited about making a remix. Which I think is even nicer is that he only remixed and did not play saxophone. He actually properly very much remixed all the elements, all recognisable, which is a delight to listen to when you know all the parts seperately. The only thing he did is making it a UK club banger track !!!! :)


N1L is a friend whom I admire totally for his capacities of producing incredibly wicked tracks in no time. He's got 10 000 collabs going on ( abit like Ben). I don't know how he does it, but damn his remix is also one of these that are a delight to listen to when the samples are re organised in a very cool way which is his own.


Hester -1 is also a friend, violinist and producer from Antwerp. She is a nerd, her style and projects are developing, we jammed together, and I wanted her to be on the original album, so now she is in the remixes and made a very dark piece and now I'm thinking she should meet N1L :)


Bartellow is also a friend, behind SVS, and he was the first one to make a remix in 1 hour on a flight I think actually even before the album came out!!!! He had already made a proper groovy banger, as he always does, with his style.


Sukitoa O Namau I've been chatting with since a while, she's an incredibly inspiring artist, releasing on First Terrace records, she used to be a dancer and is an explorer of sound and of many things. She basically fucked up my track, by changing the rythms into no rythms and purifying it very much which reveals other things. Only keeping rough elements of it and I think it's absolutely brilliant.

[A] A1 | Sabotage Story (Ben Vince's Perculator Mix) 2) The Gate

THIS IS NOT A REISSUE. THIS IS THE FIRST TIME THIS AMAZING MINIMAL SCORE HAS BEEN ISSUED ON VINYL

This is the first time the complete score to The Conversation has been released on vinyl. The film itself was originally released in 1974 and a 7' demo of the theme was sent out as promotional material by Paramount (PAA-0305), but a USA stock edition was never issued. In Japan the same music was also issued on a 7' at about the same time (JET-2273), with a picture sleeve, but until now nothing else has ever been pressed on vinyl.

Jonny Trunk's little obsession with this music began after I'd caught the film, late night, sometime in the mid 1990s. Musically it's an exceptional example of the 'new minimalism' in film music of the period, marking a departure (for some) from big scores to smaller, more economic ensemble sounds.

The film was written, produced and directed by Francis Ford Coppola and is still a thrilling journey into sound, mind and murder. Heavily influenced by Antonioni's Blow-Up (and not, as some thought, by Watergate), Coppola wanted to fuse the concept of Blow-Up with 'the world of audio surveillance'. The story centres around Harry Caul (Gene Hackman), a mac-wearing professional wire-tapper and clandestine bugger who gets unusually consumed by a conversation he's been paid to record. Caul is a loner, an obsessive-compulsive character with numerous neuroses that play out brilliantly throughout the film. And as he slowly pieces together the conversation fragments and forms his own story around it, his world falls apart.

Sonically this movie - all about sound - is groundbreaking in many ways, with actual 'sound Design' Provided By The Legendary Walter Murch - The Man Who Actually Invented The Term In The First Place.

For The Music, Coppola Wisely Chose A Young David Shire, His Brother In Law. Shire's Deceptively Simple Piano Theme (composed Because Of No Budget For Big Orchestra) Is One Of Tragic Beauty, Brilliantly Capturing Caul's Loneliness, His Slightly Disturbed Nature And This Trip Into Darkness. The Melody Has Both Sweet And Sour Tones, Feeling A Little Like A Slow Ragtime, Which Both Develops And Retreats Throughout The Film; There Are Even Trips Into Avant-garde Territory With Electro-acoustic Flourishes And Concrète. The Solo, Agitated Figure Of Caul, Wearing His Distinctive Transparent Mac, Is Made All The More Raw And Poignant By The Score - The Sparse And Curiously Emotional Compositions Are Unlike Any Others I Can Think Of From The Period.

The Soundtrack For The Conversation Proved To Be A Major Break For Shire, His Career Really Taking Off From This Musical Point. His Next Score Was To Be The Underground Classic Taking Of Pelham 123, Followed Up Later Ironically By All The Presidents Men - A Thriller About The Watergate Scandal.

The Conversation Went On To Win Several Awards And Nominations, And Has Become A Classic Of The 'new Hollywood' Movement. Hopefully Now This Music May Become Part Of The Renewed Interest In Old Film Soundtracks.

Emotional Response is delighted to announce Foreign Affairs - a limited edition special remix 7-inch single featuring reworks from Alexis Georgopoulos & Jefre Cantu-Ledesma's "Fragments of A Season" album by Woo and Felicia Atkinson.

Last year's ""Fragments of A Season"" represented a unique chapter in both artist's canon. Georgopoulos, who released the Arp album "Zebra" in June this year and Cantu-Ledesma, who released "On The Echoing Green" in October 2017 - both on Mexican Summer and to critical acclaim - wanted to stretch out and create a discrete work. A peripheral listen to "Fragments" revealed a resonant album of delicate, ambient vignettes, suggesting a Balearic take on Vini Reilly, Young Marble Giants and other poetically-minded, minimalistic post-punk era bands.

The Brothers Ives aka Woo were a major influence on the album's makers and so AG and JCL are thrilled they've submitted a beautiful reworking of the album's "Marine". Whereas the original sounded like Marine Girls and The Gist getting together for a nice beach day jam, Woo's rework transforms it into pulsating track of glistening proportions. Percolating synths, some guitar and clarinet - the true classic, idiosyncratic Woo-ification - creates a woozy, romantic, impossible to categorize slice of Balearic meets dub atmospherics.

If "Marine" is all midday sun, intoxicating and potently optimistic, Atkinson's remake represents the literal and figurative flip, bringing out the overcast dreaminess to "Cleo". Sounding like an outtake from a Rohmer film, or perhaps Cocteau Twins and Broadcast having a picnic in Biarritz, the version veers between abstraction, celluloid ambiguity and suggested narrative. Atkinson's reworking adds poetry of the tune (quite literally!) with her soft vocal under-gliding to perfection. Representing a temporary idyll, a meeting point where cobblestone streets lead to the sea. At nightfall, a discotheque heard in the distance. The morning mist burns off. Only such memories remain.

Known for a broad swath of genre-obliterating club tracks on crucial labels including Critical, Exit, and 50Weapons, Sam Binga approached us earlier this year with a radically different kind of project, a collaboration with Welfare, true junglist and label boss at D&B bastion Rua Sound. The result of their team-up is Conamara Fieldworks. Its unique inspiration and patient process are best described by the duo themselves:

"In early November 2016, we set off through the bleakness of an Irish November into the wilderness that is Conamara, County Galway, Ireland, with about half an idea of what we wanted to do. Our friend Laney had been kind enough to allow us the use of a 300 year old cottage overlooking the sea, itself belonging to her family through generations which she was bit by bit restoring to its former glory. The isolation was perfect - very little in the way of creature comforts, no network coverage, but plenty of turf for the stove and Guinness for the belly.

Our routine for the next few days consisted of trudging the length of the rugged coastline in search of interesting sounds we could potentially process into usable elements for some kind of dub/dub techno-inspired composition...This took us inside tidal caves and abandoned ruins, across sheep fields, up and down mountains and winding country lanes, in and out of the odd pub, under upturned boats and (carefully) across huge washes of seaweed-covered shoreline. Using our handheld recorder (shouts Danny Scrilla for the lend) we assembled a palette of varied noises, constantly battling with the peaking and distortion created by the incessant Atlantic gusts.

Each evening, following some intense huddling around the stove and vital Irish home cuisine and stout, we'd examine and dissect what we had collected that day, sometimes discovering the most interesting material firmly planted in the background of the soundscapes. A certain amount of (but not too much) processing later we had the bones of a few short loops of each sound which made some kind of musical sense when played alongside each other.

Binga suggested staying true to the craft and keeping the rawness to the foreground by attempting to develop the loops into full compositions via live desk mixing, arrangement and effects. We said our goodbyes to Conamara and a month or two later said our hellos to the Dubkasm shedio. Following a crash course from the dynamic duo, we set to work for the day, learning as we went along and enjoying to the full the unpredictability, intuition and sheer vibes a dubbing session can bring, particularly in a studio kitted out with some fine analogue gear which undoubtedly helped us to keep that damp, saturated feeling that Conamara had sown."

The resulting collection of music speaks for itself, and does so in its own language. It is meditative, deeply textural, and richly saturated, with awesome sound design, generous bass weight, and dubwise finesse. Referencing ambient, concrete, and dub techno while never letting any genre dictate its path, Conamara Fieldworks is a deeply rewarding and intensely involving listen. A restrained yet transporting remix from the one Ossia completes the set.

One thing The Vryll Society aren't short of is admirers, Lauded at just about every turn by press and public alike, the release of their debut LP for Deltasonic Records is hotly anticipated thanks to the promise this band have shown through their live sets and recent single releases.

Discovered and nurtured by the late and much missed Deltasonic founder Alan Wills, they fitted the type for him perfectly. He instantly saw in them similar attributes he'd previously found in the early days of The Coral and The Zutons. The confident swagger, the solid union formed by their band-of-brothers gang mentality, their willingness to stand outside the conventional and often stifling jangly Liverpool scene, and the work ethic. Always the work ethic.

Wills instilled in The Vryll Society something which has become over the ensuing years a key element of what they are, what they've become, and of the music they produce. He gave them belief. A belief that hard work and determination will bring them to the place they wanted to reach.

'Alan taught us that all you need to conquer the world is a rehearsal room, your instruments, a good work ethic and a positive attitude and you'll get there. He kind of taught us the rules and the attributes that you need to have to be successful so we've just continued on that path' says frontman Mike Ellis.

Ellis has stated that it was that attitude and that work ethic which got them through the subsequent tragic loss of their friend and manager in 2014, driving them forward through those times, propelling them to harder work, and bonding them even closer together as a unit.

That unit have spent the intervening time creating and honing their own brand new-psych sound, and building up a fanbase with their superlative live shows. Drawing from an eclectic palette of influence from deep funk to Krautrock, electronica and prog, they've created a heady, intoxicating, pin sharp, and tightly wound mellifluous groove, washed over with cyclical motifs, acres of effects laden guitar hooks, and shimmering, textural technicolour soundscapes. It is at once blissful, dizzying and madly infectious. It's that eclecticism, that kaleidoscopic swirl of influences which brings together hip hop flavours, with the prog stylings of names such as Aphrodite's Child and The Verve - pre Urban Hymns - when the drugs were still working. The dynamic leaps and folds through all these influences is where you find The Vryll Society's own brand perfect pop. Its all there in the loops, in the hooks, the drive and the vibe of this unique band. But this isn't frippery, these aren't throwaway cheap thrills for our disposable times. No, this is heavier. This is music too feed your head.

Live too, The Vryll Society are a formidable force. That gang mentality binds them together over the ideas formed by spending long hours together in the rehearsal every day. Hotwiring these ideas into the heads of the crowd through extended psych jams and deep solid grooves gives a different show every time, and with each and every set, the offer gets better. Recent travels have seen them take SXSW 2017 by storm as guests of BBC Introducing as well as major festivals such as Glastonbury and Leeds/Reading.

The songs that fill the delicious grooves of Course Of The Satellite weren't so much written as devised or developed, brought together organically over months in the band's underground lair, or over weeks in Liverpool's Parr Street Studios. Working closely with producers, Wills' right hand man and Deltasonic brother-in-arms Joe Fearon and Tom Longworth, the album took shape organically, biding its time and finding its way. The result is a work of impressive confidence and stature. It's a record that believes in itself, and for all the right reasons. This is an effortlessly cool album, the sort of record that makes friends easily. The world is ready, willing and more than able to take The Vryll Society even deeper to their heart. The path Alan Wills showed them awaits. It's a path that leads to greatness.

a1 | Course Of The Satellite
a2 | A Perfect Rhythm
a3 | Andrei Rublev
a4 | Glows And Spheres
a5 | Tears We Cry
a6 | When The Air Is Hot
b1 | The Light At The Edge Of The World
b2 | Shadow Of A Wave
b3 | Soft Glue
b4 | Inner Life
b5 | Give In To Me

Ever since his widely acclaimed debut LP "Migrations" was released in 2006, tone color has always been an important aspect of Emanuele Errante's music. Drawing from both electronic and acoustic sources, his compositions paint impressionistic vignettes with sonic intensities.

His fourth LP "The Evanescence of a Thousand Colors", his second solo release on the Berlin-based Karaoke Kalk label, deals more explicitly with color than before. The album's title plays with the double meaning of term and was inspired by a TEDx Talk by the US-American scientist Pratyusha Pilla on the subject of colorism, i.e. discrimination based solely on skintone. "I felt like I wanted to say something about the shameful racist regurgitation that we are experiencing in almost all the countries that claim to be the champions of civilization," says the Italian composer about the topic that informed his new album. "Pratyusha lit a light in me." In fact, a passage of her lecture is sampled on the album's centerpiece "Beauty", making Pitta a protagonist of the album on which voice can be heard loud and clearly.

Errante's music feeds on gentle guitar sounds, classical instrumentation, field recordings, and electronic elements that range from rhythmic ambient to granular noise. The eight tracks at times recall the early works of Oval and Fennesz or even Aphex Twin while showcasing the Italian's trademark approach to electroacoustic minimalism. As a follow-up to Errante's recent collaboration album with Dakota Suite and Dag Rosenqvist on Karaoke Kalk, the sonically rich soundscapes of "The Evanescence of a Thousand Colors" again highlight the importance of listening to one another - they are an almost wordless appeal for a more colorful world.

In The Dust Of Idols is an album exploring mortality, existentialism & the dread one can feel in the face of an apparently meaningless world. The journey you embark on when trying to create meaning where there is perhaps none. These initial senses of dread can be brought about by the insignificance you feel in the face of greatness, where others have seemingly found meaning and purpose in the face of your own wavering path. Other then these can be expressed in grandness and can become historically significant human feats, the fact that they have stood the test of time can become in itself overwhelming when reflecting on your own journey. Whilst these moments in time may hold no specific meaning to you - despite their impressive nature - you are driven into senseless awe. In the Dust of Idols ties in this sense of wonderment coupled with the overarching dread you feel as you contemplate your own existence, where you fit into the significance of society and as Ruth Tallman quotes ' the search for answers in an answerless world'. 'I wanted to create something dense & heavy. When you listen through, it makes you feel like it has the weight of time stitched into it' explains Ives. As well as expanding the range of instrumentation used on this,his second album, Ives also enlisted the talents of Cellist Charlote de Burgh-Holder and experimentalist Joe Summers on the tracks 'The Unread Library' and 'Twisted Necks' which further adds to the dynamic depth and range on this record Clarity was not my main objective, like an old piece of furniture covered in dust, you can tell what it is but the details are obscured,

Ganez Banging most wanted tunes out of his digital series

john Yancey' Is The Second Album Illa J Will Release On Jakarta Records, Following The Successful
Release Of Home Last Year. The Project Is The Second Collaboration With Los Angeles
Based Producer Calvin Valentine, Who Once Again Contributed All Of The Production For The Long
Player. While home' Was Largely Inspired By Illa's Native City Of Detroit, john Yancey' Now
Focuses On His Time In California.
(this Album Is) Definitely More Personal Than All Of My Projects, Nothing Specific, But I Basically
Talk About About The Ups And Downs Of All My Relationships Over The Past 10 Years, Still Grieving
About My Bro, Etc. This One Is Trippy Because The First Single Comes Out A Day Before My 32nd
Birthday And The Original Title Was 32 Because This Is A Special Year To Me Because My Brother Died
At That Age So It Had A Lot Of Meaning. But It Makes Sense That It Ended Up Being Called John
Yancey Because For So Long In My Career I Felt Like I Was Tryna Be Me And My Brother, And I'm Finally
At Peace, Like I'm Not J Dilla's Younger Brother Illa J, I'm James Younger Brother John.'
While The Story Of The Album Might Have Changed, There Are Certain Continuities As Well, Built
Around The Strong Foundation Of The Combination Of Illa's Voice And Calvin Valentine's Soulful
Sample Based Production. The Previous Album Already Saw Illa J Incorporate More Singing Into
His Raps And He Goes Down This Path Even Further: i Wanted To Emphasize The Singing But Use
More Of My Natural Singing Voice, As Well As Rap More Than On Home.' In Regards To The Music,
Calvin Wanted To Make The Project Sound a Bit More Polished Where Home Was Purposely
Rough Around The Edges.' Still, The Production Remains Soulful And Rich With Layers To Leave Things
Interesting For The Listener, The More Spins You Give The Record.
The Cover Was Created By Robert Winter, A Cologne Based Photographer Who Was Also Behind The
Visual Appearance Of Home.

Last February, We Had The Delightful Surprise To See Dominique Dalcan On The Victoires De La Musique Stage (main French Musical Award). The Elegant Singer Received The Award For The Best Electronic Album For His Project Temperance, An Album In English Full Of Reliefs, Dense And Splendid. We Are Delighted To See Today That Dominique Publishes A Second Volume Of Temperance. The First Albums Of Dominique Dalcan Came Out In The Early 90's, Especially On The Belgian Label Crammed Discs. He Is Considered One Of The Ambassadors Of The New French Pop, Combining Electronic And Orchestral Arrangements. At The Same Time, Under The Name Of Snooze, He Immerses Himself In Electronic Music And Creates Soundtracks For Cinema And Contemporary Art. In 2013, He Switched To The English Language And Adopted A New Artistic Identity: Temperance.

The Project Moves Away Freely From The Format Of The Song To Dive Into A Vast Electronic Palette. In Temperance 2, We Hear Contemporary R & B Ballads Full Of Artificial Strings, Collisions Of Textures, Even Balinese Sounds But Nothing That Never Steals The Show With Dominique's Voice And Lyrics. The Temperance Repertoire Addresses The Confusion Of The Human World And A Wild Nature. There Is Also A Question Of Fusional Love With Pop And Soul Songs. This Gives An Album That Rushes Against Each Other Joy, Fury, Despair, Desire Or Pleasure, Without Them Ever Contradicting Each Other, And That Moderates With Art And Temperance, In Short.

I Produced The Record That I, As A Music Fan, Wanted To Hear From Me."

Anyone Who Can Say That Has Already Won. "planet Of The Simius", The New Album Of The Berliner By Choice And Eternal World Man Kid Simius, Is The Opus Magnum

'Sounds from the Great House! Outernational Sounds proudly presents a Nimbus West spirit jazz essential: the Creative Arts Ensemble's classic debut One Step Out. Mastered at 45rpm on double vinyl for enhanced sound, this release features all tracks at full length for the first time on wax.

One of the most sought after and highly regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, the Creative Art Ensemble's One Step Out is a timeless work of spiritualised jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group.

A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through PAPA tenorist Michael Session, who took him to the famous 'Great House' at 2412 South Western Ave., LA - a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. 'When I walked in there,' recalled Kaeef, 'it was like this whole rush came over me, just from going in the front door...It was like a very, very warm feeling of love. I went and I came out with 'Flashback of Time', and that was my first arrangement.'

Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook - his piece 'New Horizon' would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But 'Flashback of Time' would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. 'I would like to form a group that would be an extension of the Pan Afrikan Peoples Arkestra,' he told Tapscott. The group was to be known as the Creative Arts Ensemble, and One Step Out, released in 1981 by Nimbus West, was their debut.

Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody 'Sonship' Theus and altoist Gary Bias, with veterans Henry 'The Skipper' Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energised independent jazz music. Community uplift and sacred vision straight from the Great House, back on vinyl for the first time since 1981!

Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

ONLY ONE MUSIC proudly presents one of House music's anthems - The Gathering aka Chez Damier, Chris Carrier & Jef K - In My System! We are very happy to re-issue the most wanted Jef K Remix!

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

For the third chapter of Refined Productions Aleksandra Grünholz aka We Will Fail delivers her third full length album entitled Dancing on her recently launched label with Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressings. Here she tells the story:

'Taking a break from rationality, my first thoughts about the theme of this album were about the night, when our sight is limited and thoughts are corrupted by fatigue. I don't dance anymore, I don't party, I don't let myself go. Some time ago that part of life slipped away from me. This album is like silently entering into a place you shouldn't be in. A lot of rave inspired sounds were used on the album, dreamy pads, arpeggios, simple melodic structures; but this album is not easy and simple.

As head of a graphic design studio in Warsaw, last year was very hard for me, the amount of work started to overwhelm me; I started to feel stupid and possessed by the work, this is how the tracks 'Very Urgent' and 'Economic Maladies' were born. While the track 'Reason' is about losing rationality and how easy it is to do.

'Put Your Hands Up in the Air' encompasses the rave. It's also a kind of question, can music itself tell a story Very often in EDM or trance music there is a story and I like to call it catharsis. A moment, when the beat slows down and melody/pads become solo. I tried to extract this moment, without adding drops and aggressive rhythms.

'So Who's the Man' is about regaining the power, slowly but consequently. This album is a about feeling bold, monstrous and strong. Like looking insolently into someones eyes. You have to be patient with this one, because it builds up slowly. If you listen only for a fragment you miss the whole idea.

'Beasts from the East' was inspired by the thought of being a small peace loving person in a chaotic world that is dominated by stupidity.

The track '2018' epitomises the rave, but more complicated. Each of the layers are a but simplistic and could construct a dance track, but as there are so many sounds simultaneously, it can become disturbing in the perfect way.

'Diving in Plastic' was fit for the last track, I didn't want the album to have a perfect conclusion, I wanted to leave the listener hanging and ready for more.'

I Conceived 'darkly' In 2015 As A Piano Album. I Was Fascinated By This Instrument And Couldn't Think About Electronic Music At All. I Spent A Lot Of Time In Front Of The Instrument Before My Fingers Could Play What Was Needed. And At Some Point, I Got A Few Solo Piano Tracks, But They Sounded Very Raw And Unfinished. Almost At The Same Time, I Was Getting Back Into Experiments With Electronic Music And Focussed More On Recording Piano In An Electronic Context. Paying More Attention To Different Textures And Multilayeredness. I Was Working On Soundtracks For Films By Noir Films And This Helped Me Finish Two Compositions, Which Later Determined One Of The Directions Of The Album And Served As A Bridge Between The Solo Piano Compositions I Recorded At The Beginning, And The New Electronic Tracks. At The Beginning Of 2018, I Got Back To The First Solo Piano Tracks To Give Them A Finished Form, Adding The Missing Elements That I Could Not Hear Three Years Earlier. I Wanted To Make A Piano Album, But I Got The Album Which Was Formed By Itself And Became A Result Of My Experiences, Worries, And Events Of My Life That Occurred During These Few Years. I Dedicate This Work To A Human, Which Shares This Life With Me, Supports Me And Believes In Me Like Nobody Else! I Dedicate It To My Wife.

"darkly" Comes Out On Limited, Double, Grey Vinyl (including Download Code)

Kalita Records are proud and honoured to announce the first
ever and official reissue of Kallaloo's sought-after 1982
disco single 'Star Child', accompanied by interview-based
liner notes. Originally released on Jeffrey Turpin's
Trinidadian record label IDA, 'Star Child' has since become
highly sought-after by both DJs and collectors alike as an
invisible, yet astonishing piece of Caribbean disco. Unable
at the time to gain the traction and success that it deserved,
we hope that this re-release provides an opportunity to bring
such a great record to a much wider audience.
Kallaloo consisted of various Trinidadian musicians including
Keith Alexander and Peter Wayne Barkley. Keith had been
well-respected as a member of the Trinidadian group Impact, and
was later to become an in-demand producer and composer under
the name of Keith Diamond, responsible for various hits by Billy
Ocean, Donna Summer, Starpoint and Melba Moore. In contrast,
Peter was a well-known recording session drummer, but after
'Star Child's' release he moved to North Carolina to pursue other
interests and 'was never heard from again'.
'Star Child' was recorded at Right Track Recording, in mid-town
Manhattan, New York. As Jeffrey recalls, the atmosphere in the
studio was 'great', with 'everyone upbeat, the cream of the crop
just looking for that break... everyone was talented and just
wanted the chance to express their own ideas'. Five hundred
copies of the record were released on IDA with a white label
design, and they were sold both in Brooklyn, New York and Port
of Spain, Trinidad. It was also released on a red label, however
this was not to Jeffrey's knowledge at the time.
Jeffrey explains that the reason why the record didn't fare well at
the time was because of the difficulty in getting the song played
on the radio. As he recalls, radio stations were much more likely
to play 'radio versions' of songs which lasted for a couple of
minutes, rather than five or seven minute 'extended' versions
such as 'Star Child', which were more suitable to a club
environment. In addition, as Jeffrey explains, radio airplay is a
'political business', and also within a short while band members
such as Keith got their own breaks, and the Kallaloo era was over
as quickly as it had started.

Bruce - Aka Larry Mccarthy - Is Set To Release His Debut Album Sonder Somatic This October On Uk Imprint Hessle Audio. The Album Packs 11 Singular Uk Club Tracks That Evoke A Distinctly Emotive And Dense Energy, Channelling Detailed Sound Designs, Tangled Textures And Club Anthems For 2018 And Beyond.

The Record Is Deeply Varied In Styles, Ideas And Tempos, From The Tight Rhythmic Groove Of Album Opener 'elo' To The Weaponised Onslaught Of Ominous Club Cuts 'what' And 'cacao' - Through Drifting, Meditative Techno And The Skeletal Sound Design Of 'ore' And 'baychimo.' Each Track Shifts The Tonal Mood In Subtle And Distinct Ways, Whilst Retaining A Consistent Icy Sound Palette Infused With Colour And Human Warmth.

The Shapeshifting Hessle Audio Imprint Is Run By Pearson Sound, Ben Ufo And Pangaea. For Over Ten Years, Through Their Combined Tastes They Have Continued To Unravel And Explore The Edges Of Sounds And Ideas From The Wider Dance Music Scene, Across The Boundaries Of The Functional And The Experimental, With Consistently Innovative Results. As A Long Time Follower Of The Label, Bruce Wanted To Craft An Album That Continues Their Singular Attitude And Approach, Incorporating Vibes From Uk Soundsystem Music As Well As Music From His Home Town Of Bristol.

"from Being A Fan Of Their Work From The Very Beginning, It's Not Only The Music They Have Released That Has Informed My Taste/work, But Also The Journey They Have Formed Through The Application Of Their Attitude And Approach." - Bruce

Much Of Sonder Somatic Was Shaped By Bruce's Own Understanding Of Club Culture As A Whole, And Predominantly His Personal Relationship With It Both Professionally And Recreationally. The Album Was Partly Written As An Attempt To Capture That Rare Transformative Feeling That Can Cause You To Fully Lose Yourself In A Club Space, Disconnecting From Your Immediate Environment For A Short Time.

Sonder Somatic Follows Eps For Timedance, Livity Sound, Idle Hands And Hemlock, And Comes 4 Years After His Debut Ep 'not Stochastic' For Hessle Audio. The Album Pushes The Boundaries Of What Club Music Can Be Whilst Expertly Refining His Work As Both A Club Producer And An Experimental Sound Designer. With A Unique Sense Of Flair That Sets Him Apart, Sonder Somatic Is Set To Raise Bruce's Profile Across All Corners Of The Dance World.

Very first version of the first single by Cortex, reissued as 7inch for the 1st time.

I remember that I and Alain Gandolfi wanted to put 'Mary & Jeff' on the A side, but the producer decided to set 'L'Enfant Samba' instead because he thought that the voice of Mireille would be more selling than my piano... 6 months after, at the beginning of 1976, 'Mary & Jeff' was a hit in a lot of Disco clubs and radios!' (Alain Mion).

Limited to 500 copies.

'Cohesion' is the third full album from Anchorsong - AKA Tokyo-born, London-based electronic artist Masaaki Yoshida. Taking inspiration from Classical Indian Percussion, and '70s and /80s Bollywood film soundtracks

Anchorsong creates a journey of psychedelic, danceable and free-spirited compositions that blur the boundary between rhythm and melody. It was whilst extensively touring his previous album, 'Ceremonial', that Masaaki

became deeply fascinated with percussion, and shifted his attention away from the African drums present on his last record to the music of the Middle East, South East Asia, and then more specifically to the sounds of India. 'The Indian

percussion was the one I was most fascinated with, so I began to dig into that genre deeper, I started with classics like Ravi Shankar, and the more classical Indian musicians. But then I began to explore the world of Bollywood and movie

soundtracks which is another world and the more I listened to composers like Sapan Jagmohan, Rajesh Roshan and Kalyanji Anandji, the more the concept of the new record began to form.

Choosing to work with traditional Indian instruments like the tabla and dholak, Yoshida wanted to use instruments that possessed melodic qualities, and could be tuned to work in the context of electronic music. He found that when Indian

percussions mixed with other instruments they began to sound like a melody that blurred the border between rhythm and melody. The concept of bringing together contrasting elements and cultures is evident from the album's title,

'Cohesion'. Here Anchorsong has brought together musical traditions and sounds from across borders, forging a truly unique body of work. Having reached new heights with 'Ceremonial' through accolades such as BBC 6Music's #5 Album

Of The Year, 'Cohesion' looks to build on such successes through the coupling of a comprehensive European tour kicking off around the release of the album.

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album 'SortLave' on Venetian Snares' Timesig imprint. Recorded between 2016 and 2017 using Richard's custom built Eurorack modular system and two Nord G2 Modular units, SortLave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as 'Revsic' to 'Astra's dazzling juxtaposition of sounds and onto the radiant ambience of the album's closer 'Takara'.

Talking about the album's genesis Devine explains 'I've been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.' 'I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.' This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. 'I really wanted to break free from timeline-based music creation and do things with my hands on the fly,' he explains. 'So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I'm very excited to share it with the world.'

Making his debut in 1995, Devine's releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world's leading music technology businesses and working with companies such as Google and Nike.

In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.

Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.

'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'

Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.

Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.

Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Amaro Freitas - Piano

Hugo Medeiros - Drums & Percussion

Jean Elton - Double Bass

Henrique Albino - Baritone Sax, Flutes & Clarinet

All compositions by Amaro Freitas

Produced by Amaro Freitas

Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil

Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil

Executive producer and management: Laercio Costa

Portland, Oregon resident Mary Sutton's solo debut materialized in the wake of a performance she gave at a clothing-optional soaking-pool sauna: 'I had never composed for synth before but wanted to make something people sitting motionless and naked in hot bubbly water would want to hear.'
It was while in this headspace that she reconnected with Satie's entrancing cyclical motifs, particularly the way 'he subtly spins melodic fragments, and pivots harmonies and phrases so the repetitions feel new and surprising yet soothingly familiar, as if casting a spell.'
The nine intuitive instrumentals comprising The Deep End accomplish exactly that, threading complementary shades of soft-hued hypnosis, dazed modal introspection, icy amusement park reverie, and lunar lullaby into a prismatic suite of contemplative melody and synthetic communion.
Sutton's songs are active rather than ambient yet their structure is more suggestive than scripted, full of lulls, asymmetries, and daydreams. Each track was written specifically to be played live on an analog synthesizer, with no overdubs or post-production wizardry. The sound of Saloli is one of warm-blooded wiring, turned on and tapped into, emotive and electric, storied machines speaking through all too human hands.

Shortly after releasing his highly acclaimed 'The Benoît Pioulard Listening Matter'(Kranky), Pioulard left on tour to Europe in order to promote the album. This tour took him to several distinctive places ranging from urban Brussels to rural France and the mystic capital city of Iceland, Reykjavik.

Once returned to Seattle, these new impressions and memories formed the inspiration to make 'Slow spark, soft spoke'. Not surprisingly, the album continues in the same vein as his tour cd 'Lignin Poise' - which was repressed on vinyl by Beacon Sound - and is characterized by slowly moving lo-fi ambient textures. The album reveals Pioulards most melancholic side and once again shows his capabilities to bring beautiful sonic narratives with only a few instrumental layers.

At 83 Years Of Age, Lee Scratch Perry Is Proud To Present To The World His Next Full Length Solo Album (with Dub Versions) , Continuing His Inimitable Roots Reggae Legacy.

Lee's Brief For The Album, Was To Blend The Vintage And The Obscure, During The Sessions Lee Referred To The Sound And 'black' And Wanted Space, Light And Darkness In The Songs And Their Respective Dub Versions.

The Result Sees Lee Having Mixed Up An Analogue Concoction Of Ultra-rare Effects, Sonic Wizardry And Deep Heavy Roots Rhythms.

Over 2017 and 2018, Lee Scratch Perry re united with Producer and Mixer Daniel Boyle, to start work on their second Solo album project for Lee.

Picking up where their last efforts ''Back on the Controls'' left off. Lee wanted to continue the raw analogue sound they had cultivated together over multiple past releases, and take it to the next level with new effects devices to create another sonic signature.

They entered the studio in 2017, to begin to put together ideas for the tracks, which were then taken to RAK studios in London with their ever changing Rolling Lion All Stars session band; to lay down the rhythm versions.

Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK's early model vintage API desk to record, the 'sound' for the album was sculpted in these sessions. Vintage, but punchy, which was then blended with Lee's choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, Plate and spring reverbs, and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was aiming for.

With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted Lo Fi vocal sound.

Lee and Daniel then returned to Daniels Rolling Lion Studio, to mix and Dub the album, live, on the mixing console.

'Rolling Lion All Stars' Musicians: Vocals: Lee 'Scratch' Perry Drums: Ed West Bass & Guitar: Hughie Izachaar Keys: Robbie Lynn Additional Keys: Calvin Bennion Percussion: Daniel Boyle Kete Drum: Mathias Liengme Hurdy Gurdy: Brian McCoy Horn Section: Rory Sadler, Robert Landen Melodica: Puraman Backing Vocals :

Confunktion Records own Mr. Confuse returns with his fifth studio album 'Only A Man'.

This album is about the depths of Mr. Confuse and therefore a very personal album in a way. From well-known soul topics of love and hate to social issues of modern life - this album is all about an odyssey through time, rhythm and music.

Times of big studio personals are long gone so a big part of creating this album was the imagination what kind of instruments, musicians and sound design is wanted. With up to 16 international musicians, Mr. Confuse created incredible sounding big arrangements.

The way Mr. Confuse produces his music is inspired by growing up with the 90s hip hop producer technique of creating something new by referring unheard funk and soul. This from of appreciating 60s and 70s music in order to bring it on a new level of musical expression is a clear trademark of Mr. Confuse.

The process of sampling and resampling recorded musicians creates an organic, powerful, authentic and danceable funk sound, which can be heard in each and every second on this record.

Twisting electro funk from the 80s into heavy 60s and 70s funk that could have been the blue print for the original version became a true Mr. Confuse feature already years ago. This time he re-funked the well-known freestyle electro classic 'Let The Music Play' by Shannon.

Also one of the reasons it's entitled 'Only A Man' is because it means composing, producing, arranging, mixing, recording, organising, promoting and going abroad preforming by just one 'man'.

Pyramids. Jagged Teeth Pushing Through Immaculate Skies. The Ever-changing Light. The Expansive Sense Of Freedom. The Wide Open Spaces. The Textured Landscape Seen From Above. Mountains. Watchful And Immobile For Thousands Of Years, Weathering Seasons, Transcending Change.
It's December 2016. I've Left The London Madness To Hit The Reset Button And Compose New Music In A Tiny Village In The Swiss Alps. I'm Over 10,000 Feet High, It's Minus 15 Degrees And The Snow Is Scintillating Under A Rich Blue Sky. I Turn Around And Suddenly This Gigantic Pyramid-shaped Peak Is Towering Over Me, Staring Me In The Face. Mind Blown. Senses Overwhelmed. Perspective. Lightbulb Moment. I Have My Album Concept.
I Wanted To Put Into Sound My Cathartic Experiences Of The Mountains. Every Track Title Was Chosen Before Composing. The Title Would Be A Catalyst For Visual Memories, Narrative And Overall Vibes. I Continued Developing The Tracks On Occasional Trips To Switzerland, But Mainly Back In The Gritty Habitat Of London's Hackney Wick. The Urban-nature Contrast Had An Impact On The Music Too.
I Use A Lot Of Found Sound, Stuff I Have Collected Over The Years, And A Lot Of Resampled Guitar Sounds And Textures. I Love Imperfections In Sound. Detuned Synths. Distortions And Glitches. Rhythmic Flutters And Percussive Frenzy. 'manual' Cut-ups. I Love Moving To House And Disco And Getting Lost In The More Melodic Side Of Techno. I Love Polyrhythms And Melodic Counterpoints. I Love The Energy And Rawness Of A Live Rock Band. I Channel All This To Create My Own Sonic Palette.

Artwork By Jimmy Turrell, Graphic Artist And Video Director Who Combines A Love Of Handmade Collage, Drawing, Screen Printing And Painting Alongside Digital Techniques. He Has Worked For Universal Music, Nike, Lexus, Levis, Mtv, The New Yorker, Intro, Capitol Records, The New York Times, Green Peace, Beck, The Prodigy/xl Recordings, Channel 4, The Guardian, Gq, The Times, La Times, Newsweek, Getty Images, Adidas, Sony Music, New York Magazine, Wired, Glastonbury Festival, And Vanity Fair Amongst Others.

The Debut Album 'pyramids' Comes Out Worldwide On Limited Double, Green Vinyl (including Download Code).

In 1996, Gavin and Scott Hardkiss entered the San Francisco Tenderloin studio frequented by the Grateful Dead and Fleetwood Mac and made Acid Funk and various remixes. It's a funny song that references Frankie Bones' This Is Techno and Maurices' This Is Acid and says a lot about a couple of guys drunk on funk who wanted to flip their own sounds. Raw house featuring 808s, 303s and Space Echo churned easy in a whimsical psychedelic cauldron.

Unavailable for 20 years, these remaining copies of the original pressing feature various versions by bothe Hardkiss brothers and an acapella.

Honey Soundsystem met October (aka Jules) while on a one-night affair in Bristol in which he immediately dragged us from an artist dinner to the saddest Bear bar in the UK. After a few pints, vetting his taste for drag, boys, and girls that make love to boys who make love to boys, Jules confessed he has always wanted to release on HNYTRX. And so the hazing began, a year of torturing yet another sexy-stranger into refreshing, reminding, and refining a flurry of demos into the army of skeleton soldiers you now have in possession. Money drops, midnight withdrawals, 4 crisp singles: this is the Pay Day EP — gonna make that dance-floor 'cha-ching' bitch!

A lot of people hate October so... that is why we are releasing this record in September. But seriously though, upon cracking open this 4 track EP you might wish you had saved the vacuum seal just a couple days longer, keeping these ghosts contained until the month where screaming winds strip trees nude

"The Room", Fenster's fourth album and their first release on Altin Village & Mine marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, "The Room" serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation - within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop.

Fenster is Elias Hock (Germany), Jonathan Jarzyna (Germany), Lucas Ufo (France) and JJ Weihl (USA). Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts.

The songs were tracked live in a house where the band ate, slept, and played together. Often the songs were recorded without implementing a click track. They were intent on finding and locking into a human groove—one open to imperfection—while still maintaining a tightness between them. They wanted to make the songs feel alive—as if the listener were present in the room with them in the moment of creation.

The album's title track "The Room" opens the record like a rollercoaster ride. There is a tension in the first bars that ties us to earth, a minimal riff that guides us to the first chorus where we feel we are slowly lifting into the air—and by the time we reach the second chorus it has exploded into a space far away from the planet's gravitational pull.

The band's use of juxtaposition is not just a way of channeling a vast library of musical genres and concepts, it is a means of expression. Combining tender pop melodies with kraut-beats, disco grooves and psychedelia frees the band from any one sound and creates a genre all its own.

This playfulness is especially vibrant in songs like "Rhythm A" and "HAHA lol" which deconstruct and fuse together disparate moments of explosive rock, tender harmonies, percussion made of splashing water, voices from a radio, and electric piano. Even "Feel Better", a sparkly pop ballad is cracked wide open by a long trippy interlude that appears unexpectedly within an otherwise classic structure.

The cover art, created by the band's own Lucas Ufo, invites us into a room in the shape of a human skull. If one looks "out" the window in the picture, one finds oneself looking in to an infinite portal of rooms within rooms. The record plays a lot with this idea of perception. In "HBW", the relationship between the bass and the drums creates the feeling of an infinity loop. The lyrics lend an enigmatic tint to the landscape of so called objective reality v. perceived reality: "I was a phase — you were going through — said I was the one but there is no one — there's only the sun — that gives shape to the moon"

The record starts with "The Room" and ends with "Two Doors". Maybe one door is an exit, and one leads to another room... who knows The song has something mysterious and expansive, like a digital ocean flooding the room, carrying everything away. The whole process of making a record is about capturing a moment in time. This is the record they made - in this point in time, all together, in a room. The last words of the record roll out with the waves: "What you leave behind for someone else to find — Two doors inside — neither one is right"

Tracklisting

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

Alma Negra are back on Heist! After their much applauded 2017 release with that great Soulphiction remix, they've been rather busy taking over the scene. They started their new label 'Alma Negra records' where they released 3 ep's in quick succession, with new as well as older material that showcases their tropical roots and keen ear for clubby reworks. They launched their live show, doing gigs across Europe with a highlight at one of London's more intimate live venues: the Jazz Café. Their latest outing -making their release count a total of 4 in only 8 months - was on Marcel Vogel's Lumberjacks in Hell and explored the more live / rework side of their project. Now they're back on Heist with 3 new tracks, supported by an Awanto 3 remix. 'Conversation' is a track we wanted to put out on Heist badly, simply because it's a beast of a track. It sits somewhere between a live African drum track, percussive techno and moody Midwest electronics, with pads and strings coming in and out of play while a relentless kick drum keeps the energy on a haunting level. This track is Alma Negra at their filthiest, and it feels like they've taken a next step from last year's dark and heavy Luanda dub, bringing it from an intimate dreamy stage straight into the main room. 'This is the place' shows a different side of the house spectrum with the Alma's love for dreamy deep house. The track flows up and down, with soothing Rhodes chords, arpeggio's and mumbling vocals setting a summery mood that's perfect for your warm up or daytime party. Meanwhile, their third original track 'From the heart' goes even deeper and navigates around a smart vocal loop topped with strings, bleeps, claps and rimshots that just keeps going.

Planet E are proud to present 'AW18 Collection', a 3 track EP from British producer Tom Flynn due September 14th. Drawing upon a broad and learned musical understanding, 'AW18 Collection' fuses disparate strands from the worlds of fashion, club culture and sound design to forge a highly atmospheric, singular release. 'Packard', the title of which is inspired by parties in the historic Detroit power plant of the same name, establishes an unrelenting energy from the get go. A bouncing kick lays the foundations for rolling synths, unnerving vocal samples and delicate piano refrains to wander. 'Anna' is an indulgent nod to the catwalk, marching with intent amidst immersive chords and subtle melodies. The B side hosts a trippy cut full of interplanetary glitches and melancholic harmonies. Drawing upon hints to the extraterrestrial, 'Marx' creates a dizzying swirl with glistening textures. Carl Craig was sold straight away: 'When Tom sent me his demo of 'Packard' I knew I wanted to release it on Planet E. The mix of looped electronics with soul of the piano brought me back to when I first heard the post-Disco classic 'Beyond the Clouds'. I can imagine the kids on The Scene rockin' hard to this.'

Following a greatest hits compilation in the late 90s the Human League signed to the Papillon label. The line-up
of Philip Oakey, Susan Sulley and Joanne Catherall recorded the 'Secrets' album, with keyboard player Neil
Sutton, who co-wrote most of the songs with Oakey, and programmer David Beevers providing the trademark
Human League sound.
The album's release in 2001 was preceded by the single 'All I Ever Wanted', but both the single and album lost
promotion and sales when Papillon ran into financial difficulties and was closed shortly after the album's release.
This 2LP edition features the original album over the first three sides, while the newly-added fourth side
features a non-album B-side, along with one rare remix each of 'All I Ever Wanted', 'You'll Be Sorry' and
'Love Me Madly'.
Housed in a gatefold sleeve, the inner sleeves features all the lyrics.

Les Disques du Crepuscule presents The Wood, a brand new studio album by Scottish singer and songwriter Paul Haig, previously frontman with cult Postcard post punk legends Josef K.

Paul's fourth solo album for Crepuscule since 1983 was written and recorded over a three year period between 2015 and 2018, and explores glitchy, twisty sonic territories in the vein of Four Tet, Floating Points and Love Over Entropy.

'We can think of the wood or forest as a metaphor for the mystery of the human psyche,' says Paul. 'Like the human soul, it can be a place of hidden meanings and unrevealed secrets. I wanted to try and evoke this through the music and worked hard on finding the right balance of electronic and organic sound samples across a broad range of musical genres.'

Cover art by Kendris MacLeod. Design by Emma Quinn Design. Available on CD and vinyl LP (vinyl format includes a free digital copy on MP3).

Tompkins Square present the debut full-length by Welsh multi-instrumentalist, Gwenifer Raymond. Hailing from Cardiff and now residing in Brighton in the South of England, Raymond began playing guitar at the age of eight. Tompkins Square released her debut 7" on Record Store Day.

In Gwenifer's own words :

When I was about eight years old a pretty formative thing happened to me ... my mum bought me a cassette tape of Nirvana's Nevermind. Being so young I'd had no real interest in music prior to that, but I did have a 'My First Sony' cassette player that I used to listen to audiobooks. Anyway, I put the tape in, pressed play, and what I heard blew my little 8 year old mind. I don't know what it was about that wall of sound that so captured me, but I spent many hours hyperactively running around the house with headphones on, volume at full blast, and Nevermind on repeat. It was either for Christmas or my birthday that year, that I asked for a guitar.

I spent all my teenage years playing either guitar or drums in various punk and rock outfits around the Welsh valleys, but around that time I was also getting seriously into older stuff, Dylan, The Velvet Underground and the like. Through those cheap compilation CDs you could get then, I found that a common influence amongst these guys was pre-war delta and country blues, as well as Appalachian music. Eventually I stumbled upon Mississippi John Hurt, Skip James and Roscoe Holcomb, and they became the holy trinity of musicians I so wanted to able to play like. Eventually, I tracked down a blues man in Cardiff who could teach me and it was in studying these guys that I was introduced to John Fahey and the whole American Primitive thing.

I've always loved being in bands and the sonic chemistry it produces, but at the same time it's always a bit of a compromise that those sounds in my head have to pass through and be translated by someone else's. Sometimes it can be for the better, but sometimes not so much. American Primitive was the first time it had occurred to me that you didn't really need anything more than one solo instrument to fully express yourself, especially when those feelings and moods refuse to be articulated in words, sometimes it's a mystery to yourself what it is you're expressing. I still play in hard rock and punk bands and love to wail and hit my guitar with a complete lack of any subtlety or nuance, but in the end I think that all these things are really part of a circle, feeding back into itself. It's all just a lineup of strange mutations.

Planet Mu are excited to announce Ital Tek's 'Bodied', the follow up to his acclaimed 2016 album 'Hollowed'. Stepping in a different direction from that album, It's as if Hollowed's detailed world has been fleshed out and filled with the spectre of human voices.

As on his last album, the sounds on 'Bodied' are highly designed, but this time barely a whisper of dance music remains. Instead it's built around acoustic elements and ghostly choral arrangements, refracted and transformed into atmospheric, alien forms which are given the time to settle and transform. Rhythm is used only as a tool to give his world a sense of dark, mechanical momentum.

Alan explains; "After completing 'Hollowed' I had over a year away from writing any of my own material. I was working, composing music for a video game and a number of different projects. I needed to find a way back in and I rediscovered the joy of music being a release as opposed to a job. I was getting up really early and sketching out lots of ideas very fast, squeezing in quick bursts of writing at the beginning or end of long studio day spent working on other musical projects."

"It was important for me to define the world that the album was going to inhabit before taking it any further, so I put a much greater focus into the sound design and palette than I had before. I wanted to make the music sound very physical, geometric, and monolithic, as if it inhabited a physical space."

"On 'Bodied' the music focuses on the interplay between the minuscule and the vast, beauty and brutalism. With this album I was much more concerned with dynamics and the discipline of holding tension; the use of space and silence to provide a counterpoint to the intensity."

"Most importantly, I was keen for there to be a human acoustic foundation, so I did a lot of live recording of cello, violin, harp and guitar - anything I could get my hands on. I was certain that I wanted there to be a greater vocal presence - nothing lyrical or at the forefront but to give it an underlying organic quality - to impart some humanity into the music."

As Ital Tek moves further from his roots, he's creating new sounds and spaces in which his music can exist. It's up to the listener to decide what kind of world 'Bodied' evokes, but it's certainly one that's beautiful and rewarding to spend time in.

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

Thomas Fehlmann steps away as co-member of The Orb following two acclaimed full lengths on Kompakt (COW - 2016, Moonbuilding 2703 AD - 2015) and embarks back on his solo career with a career defining album 'Los Lagos' - from Detroit to Schaffel techno he conducts a broad spectrum of electronic music into a seamless flow.

Thomas Fehlmann has been active since the late 1970's from Palais Schaumburg, the Tresor defnining trio 3MB (with Moritz von Oswald and Juan Atkins), Ocean Club (together with Gudrun Gut) and of course The Orb.

Artwork direction and design by DESIGNERS REPUBLIC.

'Los Lagos' is Thomas Fehlmann's seventh solo full-length, his 4th for Kompakt following his Berlin inspired 2010 full length 'Gute Luft'. in the musician's own words it's about "checking the juice".

Establishing a picture of his current artistic condition, as suggested by the title - los lagos / die lage / the situation (literally translating to 'the lakes' but taking the meaning of 'wassup' in the context of a relaxed discussion between friends), the album refers to Fehlmann's "musical motivation, dreams and wishes" through the language of music exclusively: a way to "allow myself to techno" he says, "to techno as a means to deconstruct and rebuild again. Set up an area of tension, loose it in the flow of the grooves. Magnifying some detail out of proportion, regroup around that and slowly knit a texture. Expand."

"It was time to take a bend and head where the sun rises or sets, wherever my heart drives me." This is pretty much the kind of decision Thomas Fehlmann has made. 61 and shining, longstanding member of The Orb, multi-talented composer and boundless experimentalist, had to make in the twilight of his collaboration with Alex Paterson, eager to taste the flavours of the unknown on his own again. "It was the moment when felxibility would have become compromise'. Far from being the demise of their joint dream, this was bound to split it in two distinct, parallel fantasies - rich of their own singularity.

As goes with that essential love of his for the free-flowing nature of electronic music, a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, experimenting with an unpredictable outcome", 'Los Lagos' "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk". As he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective ; not afraid to leap from a deep, dubbed-out hypnotism ('Window', 'Morrislouis', 'Freiluft') to the playfulness of '90s-style bleepy schaffel ('Tempelhof' featuring Max Loderbauer), through out-there, muscle-flexing dancefloor cuts ('Triggerism') onto the calmness of ambient ('Geworden').

In need to keep his inner balance in check, Fehlmann committed himself to "switch off the control" and follow his intuition, which isn't so much of an easy process as he also wanted to incorporate the side disturbances experienced: "it's a complex process of search and destroy to bring out a new beauty trying to expand my vocabulary". With 'Los Lagos', Fehlmann looked at finding "the structure that's surprising, disturbing and rewarding". The artwork for the record, courtesy of contemporary artist and friend Albert Oehlen whom he shares lots of artistic ambitions with, echoes the producer's "funky use of shape and space, sludge and clarity" like a second skin. A search for light and harmony that Fehlmann sums up eloquently: "Does your inner musical voice respond", that is the question. Then "doors open up in unexpected corners, rays of light appear; you follow through and you're in - in your oasis."

Southern Lord Is Excited To Bring Forth The Debut Album By Los Angeles-based Rock Trio, The Primals, Founded By Current And Former Members Of Darkest Hour, The Explosion, Dead To Fall, And More.

All Love Is True Love, The Primals' Debut Album, Features Ten Infectious Tracks Produced By John Reis (rocket From The Crypt, Drive Like Jehu, Hot Snakes) And Completed With Cover Art By Laura K. Giron.

Fans Of Wand, Ty Segall, Nirvana, And The Pixies Are Especially Recommended To Tune In.

he band's first full-length, All Love Is True Love, will see release on September 7th, the label this week sharing the first single, 'Fortune & Sons.'  'Fortune & Sons' Now Streaming

About the track the band note, ''Fortune & Sons' is one of the heaviest songs on the record. Though the album offers a plentiful dose of dynamic variety, we wanted to kick you off with a ripper.'

The Primals is comprised of vocalist/guitarist John Henry (vocalist for Darkest Hour), bassist Chad Fjerstad (formerly of Dead To Fall), and drummer Andrew Black (formerly of The Explosion). The band's fuzzy execution is equal slabs ripping guitar heaviness and infectious pop sensibility. Concocted by a seasoned group of thrashers with a historical backbone in D.C. punk community. The disintegrated spirit of grunge rises from the ashes, revitalized in a new light.

Crazy 12 Track Library Music Style Album On This Ace Italian Label. All Based Around Bumping Live Rhythms Triggering An Obscure Japanese Drum Synth Module..recorded In 2017.
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It Was November 2017 When I Received A Call From An Old Friend, "hi Fabrizio, I Found A Rare Japanese Drum Machine, You Should Come And See It Before I Put This On Ebay." I Went To Check It Out And Immediately Realized It Had More Potential Than Just Drum Sounds Generation, It Was Able To Produce Quirky And Creepy Sounds If Triggered By Any Sound Source. So I Bought It And Brought In The Studio, Where Me And Alex Were Laying Down New Beats And Ideas. It Took Just Three Days Of Jams To Get The Skeleton Of This Record Done: I Programmed The Module To Receive Alex's Drum Hits And The Device Started Creating Synth Lines, Almost As It Was Speaking Its Own Language.i've Found A Soul In This Machine, And I Wanted To Bring It To Life In These Tracks, A Mix Of Arranged Compositions And Improvised Jams. No Root Keys, No Grids, No Clicks, Everything Came Out In An Instinctive And Natural Way

As Far As We Know It's The First Time This Synthesizer/drum Machine Is Been Used In This "improper" And New Way.

One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bah Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom immediately said "YES!". They moved in and divided the space in half. On Tom's half he made drawings, paintings, performances, video, sculptures, installations, and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name The Two Who Do Duets. Soon the late-night jam sessions that took place in the back of Poo-Bah moved over to the fourth floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artist's studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Doettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S. Raymond allowed for free expression and explorations of all sorts. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one ("Tom's Studio") in his archive and Ju Suk Reet Meate found the tapes for side two ("50 Of Every American Are Machines") and edited them both for this release. No overdubs or remixing was emplo