Suche:was a be

* The Timespan was a regular artist on the famous Kniteforce subsidiary label, Remix Records. One of Luna-C's many aliases, The Timespan has always been on a mission to make simple, effective hardcore. This EP takes that formula and applies the years of knowledge gained since 1994 to make something that sounds...almost the same as it would in 1994. Only better. Full on pianos, running break beats, happy vocals, hip hop snippets and hectic stab patterns, this EP was made almost entirely on hardware rather than software. The result is that it contains not only the ideas of the old skool, but the warm analogue soundscapes from that era. It also features a 'revisit' by label mate Cru-l-t of the Timespan's classic track 'Music' - an updated and rebuilt from the ground up version of that tune.

Club / DJ Support
Billy Bunter, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker and many others

Mannik has already blown peoples minds with his debut track on Death To Digital (KF70). And his first full EP delivers on that promise. Pure, original hardcore, as it was meant to be. Unusual in concept, sonically devastating, and showing a rare confidence and power for a relatively new artist. This EP sounds like it is 1992 again. It fits somewhere between Sublove, Automation, Hyper On Experience and all NRG without sounding like any of them. Along side Idealz's 'Run The Tune' EP (KF72) they are showing how this renaissance of old skool hardcore can grow and develop without being a simple copy of what came before. This is forward thinking yet rooted in the ethics of the past. This is what Kniteforce is about.

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Sacred Summits returns after a two-year hiatus with an album of interpretations of the music of Eric Satie by acclaimed composer Morgan Fisher.

Active for over 50 years Morgan's career has moved from 60's number one hit wonders Love Affair, to 70's rock'n'roll keyboardist in Mott The Hoople, before finally on to 80's ambient, improvisation and soundtracks, working with the likes of Yoko Ono, Haroumi Hosono and Dip In The Pool.

Based in Japan since the mid-80s, Fisher's long-standing admiration for Erik Satie (1866-1925) led to these Inside Satie recordings. Satie's unique work as a precursor to artistic movements such as minimalism, surrealism and repetitive music are acknowledged but for long periods he not given the accolades his music warranted.

A strange, eccentric, surreal man, he was never as acclaimed as the established masters, but influenced not only the likes of Debussy but also many of the Dada artists. On this album Morgan played his music freely after just a brief look at the scores. Recorded in just three days, it features piano, melodica, synthesisers, and Morgan's favoured tape delay system.

'INSIDE SATIE is one of the first albums I recorded in Japan shortly after moving here in 1985. In three days I improvised on several of my favourite Satie themes. Mostly I played piano as well as the rich, analog-sounding Yamaha GS-1 (precursor of the DX-7), and sometimes used long tape delays to build layers of sound. All the pieces were recorded in single takes - no overdubs (no time!)'.

Limited Edition Clear Vinyl

Includes 12' Vinyl and Deluxe CD album, 30 page hard back book

Now that I've been to Nashville,' Kylie Minogue says with audible affection, I understand. It's like some sort of musical ley-line...'

Golden, Kylie's fourteenth studio album, is the result of an intensive working trip to the home of Country music, a city whose influence lingered on long after the pop legend and her team returned to London to finish the record: We definitely brought a bit of Nashville back with us,' she states. The album is a vibrant hybrid, blending Kylie's familiar pop-dance sound with an unmistakeable Tennessee twang. It was Jamie Nelson, Kylie's long-serving A&R man, who first came up with the concept of incorporating a Country element' into Kylie's tried-and-trusted style. That idea sat there for a little while, with Minogue and her team initially unsure about how to bring it to life. Then, when Grammy-winning songwriter Amy Wadge's publisher suggested Kylie should come over to collaborate in Nashville, a city Kylie had previously never visited, something clicked. You know when you're so excited about something,' she recalls, that you repeat it an octave higher and double the decibels I was like that. 'Nashville! Yes! Of course I would!'. I hoped it would help the album to reveal itself. I thought 'If I don't get it in Nashville, I'm not going to get it anywhere.''

Kylie's Nashville trip involved working alongside two key writers, both with homes in the city. One was British-born songwriter Steve McEwan (whose credits include huge Country hits for Keith Urban, Kenny Chesney and Carrie Underwood), and the other was the aforementioned Amy Wadge, another Brit (best known for her mega-selling work with Ed Sheeran). It was then a truly international project: Golden was mainly created with African-German producer Sky Adams and a list of contributors including Jesse Frasure, Eg White, Jon Green, Biff Stannard, Samuel Dixon, Danny Shah and Lindsay Rimes, and there's a duet with English singer Jack Savoretti.

However, the album's agenda-setting lead single Dancing was, significantly, first demoed with Nathan Chapman, the man who guided Taylor Swift's transition from Country starlet to Pop megastar. If anyone knows how to mix those two genres, Chapman does. Nathan was the only actual Nashvillean I worked with. He's got a huge studio in his house, which is probably due to his success with Taylor... there's plenty of platinum discs of her, and others on his walls.' There's something of the spirit of Peggy Lee's Is That All There Is, of Dylan Thomas' Do Not Go Gentle Into That Good Night, even of Liza Minnelli's Cabaret about Dancing, a song which not only opens the album but sets out its stall, providing a microcosm of what is to come. You've got the lyrical edge, that Country feel, mixed with some sampling of the voice and electronic elements, so it does what it says on the label. And I love that it's called 'Dancing', it's immediately accessible and seemingly so obvious, but there's depth within the song.'

The experience of simply being in Nashville was an overwhelming one, before Kylie had even arrived. Once I knew I was going to Nashville, people talked about the place with such enthusiasm. They said without doubt I would love it and, I would come back with songs. They were sending lists of restaurants, coffee shops and bars. It really was a beautiful and genuine response and it felt like I was about to have a life changing experience and in a way, I did.' The reality came as something of a surprise, when she found a far more modern metropolis than the vintage one she'd envisaged. I thought it would be like New Orleans: little houses and bars, with music spilling out onto the street. It reminded me more of Melbourne: apartment blocks going up everywhere! The main strip, Broadway, where the honky tonk bars are, that's where the street was filled with music and it was just amazing.' Mainly, Minogue remembers the heat and humidity. It was 100 degrees. It was like it was raining with no rain.' She also relished the chance to wander around unrecognised, visit a few venerable music bars and soak in the atmosphere. I didn't get to the Grand Ole Opry or the music museums but I managed to go to a couple of the institutions there like The Bluebird Cafe and The Listening Room, and just by being there, through some kind of osmosis, you get this rejuvenated respect for The Song, and the writing of The Song. There's no hoo-hah around it. There's a singer-songwriter there, talking about the song and singing the song, to an audience who are there to listen. Although, I have to confess I was guilty of starting to clap too soon during a long pause at the end of one of the songs. The guy made a bit of a joke out of it and got a laugh from it, but I thought 'Of all people in the audience, no...''

It's probably no coincidence, therefore, that every track on Golden is a Kylie co-write, making it arguably her most personal album to date. The end of 2016 was not a good time for me,' she says, referring to well-documented personal upheavals, so when I started working on the album in 2017, it was, in many ways, a great escape. Making this album was a kind of saviour. I'd been through some turmoil and was quite fragile when I started work on it, but being able to express myself in the studio made quick work of regaining my sense of self. Writing about various aspects of my life, the highs and lows, with a real sense of knowing and of truth. And irony. And joy!'

The songwriting process allowed Kylie to get a few things out of her system. Initially, she admits, it was cathartic, but it also wasn't very good. I think I was writing too literally. But I reached a point where I was writing about the bigger-picture, and that was a breakthrough. It made way for songs like Stop Me From Falling and One Last Kiss. It also meant I had enough distance to write an autobiographical song, like A Lifetime To Repair, with a certain amount of humour. The countdown in that song: 'Six-five-four-three, too many times...'. I don't know if that will be a single, but I can just imagine a girl with framed pictures of past boyfriends, and kind of going 'Oh god, when am I going to get this right'' When she listens back to Golden, Kylie can vividly hear the Nashville in it. It is, she'll agree, probably the first time that a Kylie album has sounded like the place it was made. You wouldn't normally relate my songs to the cities. Can't Get You Out Of My Head sounds more like Outer Space than London. But Shelby '68, for example, was written in London but it was done with Nashville in mind. It's about my Dad's car, and my brother recorded Dad driving it! I don't think I'd have written a number of the songs, including Shelby '68 and Radio On without having had that Nashville experience.'

The latter, she says, is about music being the one to save you.' Throwing herself into the making of the record, she says, crystallised that idea. If there's one love that will always be there for you, it's music. Well, it is for me, anyway.' That song, in particular, carries nostalgic echoes of the golden age of Country, as heard through Medium Wave transistors and tinny home stereos in the distant past. Like any child of the Seventies, Kylie had a basic grounding in Country music, mainly absorbed from older family members. My Step-Grandfather was born in Kentucky and though he lived most of his adult life in Australia, he never stopped listening to his beloved Country artists.' If there's any classic Country singer whose imprint can be heard on Golden, it's Dolly Parton.

Kylie saw Dolly live for the first time at the end of 2016, at the Hollywood Bowl. It was like seeing the light,' she beams. It was incredible. Everyone, whether they know it or not, is a Dolly Parton fan. When I was in Nashville, I did pick up a T-shirt that said 'What Would Dolly Do' Maybe that should be my mantra.' And, whether consciously or otherwise, there's a timbre and trill to Kylie's vocals on Radio On that is distinctly Parton-esque. My delivery is quite different on this album,' she says. A lot of things are 'sung' less. The first time I did that was with Where The Wild Roses Grow. On the day I met Nick Cave, when I recorded my vocals, he said 'Just sing it less. Talk it through, tell the story.' This album wasn't quite to that extreme, but a lot of the songs were done in fewer takes, to just capture the moment and keep imperfections that add to the song. I remember on my last album, a lot of producers were trying to take out literally every vibrato they heard. And that's not natural to my voice. I mean, I can make myself sound like a robot, but it's nice to sound like a human!' Working within the Country genre also gave Kylie permission to write in the Nashville vernacular. Because we were going there, I wasn't afraid to have lines like 'When he's fallen off the wagon we'd still dance to our favourite slow song', 'Ten sheets to the wind, I was all confused', 'I'll take the ride if it's your rodeo'. The challenge of bringing a Country element to the album made the process feel very fresh to me, kind of like starting over. I started to look at writing a different way, singing a different way.'

If ever Kylie lost confidence in the Country-Pop concept, and found herself pondering This is great, but back in the real world - my real world - how will this work', Jamie Nelson was there to badger her into sticking to the path. We found a way to make it a hybrid with what we'll call my 'usual' sound. It had to stay 'pop' enough to stay authentic to me, but country enough to be a new sound for this album. The closer we zoomed in, and the more we honed it, I knew Jamie was right. We sacrificed good songs that weren't right for this album, because we wanted it to be as cohesive as possible. The songs that were hitting the mark were these ones, so we decided to be strong, and that's how we wrapped up the album. What he said, that stuck with me, was that 'I'd hate to get to the end of this and really wish we'd gone for it.'' Having worked with Kylie for so long, Nelson was able to put this latest shift of direction into perspective. He said 'You've traditionally done it throughout your career. You had your PWL time, then you did a complete turn when you went to deConstruction, then another complete turn with Spinning Around, and R&B dance-pop, and then another turn with Can't Get You Out Of My Head, icy synth-pop, and this is another one.' He was right. It felt like the right time to have a change sonically. New label, new stories to tell, and a new decade almost upon me.'

Kylie Minogue will, it's scarcely believable, turn 50 this year. This looming milestone is partly behind the album's title, and title track. I had this line that I wanted to use: 'We're not young, we're not old, we're golden' because I'm asked so often about being my age in this industry. This year, I'll be 50. And I get it, I get the interest, but I don't know how to answer it. And that line, for my personal satisfaction, says it as succinctly as possible. We can't be anyone else, we can't be younger or older than we are, we can only be ourselves. We're golden. And the album title, Golden, reflects all of this. I liked the idea of everyone being golden, shining in their own way. The sun shines in daylight, the moon shines in darkness. Wherever we are in life, we are still golden.' One of the album's shiniest moments is Raining Glitter, an exuberant banger which ventures closest to Kylie's traditional dance-pop comfort zone. Eg White, who is one of the producers and writers and a great character, was talking about disco one day. I said 'I love disco, but you know the brief.' We needed to be going down the Country lane, so to speak. But we managed to bring them both together. When I wrote it, I was thinking about the Jacksons video for Can You Feel It where they're sprinkling glitter over everyone. And I think there's a Donna Summer record that's got that feel to it. I think that's my job: I basically leave a trail of glitter after every show I do anyway.'

Kylie is looking forward to the challenge of incorporating the Golden material into her live shows. Mixing these songs in with my existing catalogue is going to be fun. And it could be fun to do some of those songs with just a guitar. It'll make my acoustic set interesting...'Her incredibly loyal fans - to whom one Golden song, Sincerely Yours, is intended as a love letter' - will, she believes, have no problem with her latest stylistic shift. My audience have been with me on the journey, so I shouldn't be afraid that they won't come with me on this part. I've had fun with it, and I'm sure they will too.'

The time spent making Golden has, Kylie says, been a time of creative and personal renewal. I've met some amazing people, truly inspiring writers and musicians. My passion for music has never gone away, but it's got bigger and stronger.' And if there's an overriding theme to the record, it is one of acceptance. We're all human and it's OK to make mistakes, get it wrong, to want to run, to want to belong, to love, to dream. To be ourselves.'

I was able to both lose and find myself whilst making this album.'

Running Back welcomes Andreas Grosser for the start of it's non-dancefloor series 'Running Back Incantations'. Think Tornado Wallace's 'Lonely Planet' or Suzanne Kraft's 'Missum' who both would have been good and early contenders for a series like that, and you are half way there. Andres Grosser though, was 'there' and that way before. Probably best-known for his 1987 collaboration 'Babel' with Klaus Schulze, Grosser is a bit of a dark horse in the universe whose big bang was krautrock and that went on to be called cosmic, space music or simply new age.

A native East-Berliner, Grosser crossed the Wall in 1981 and next to studying piano, his day job was to advise, sell, maintain and invent electronic music instruments. Naturally, Grosser had a good connection to and support from local Berlin musicians and groups, while working at night in his own studio and in those of others. Fast forward 37 years and Andreas is now one the worlds leading microphone technicians specialising in German and Austrian vintage types.

'Venite Visum' is an anthology of recordings made between 1976 and1980. Released in 1981 on UK's York House Recordings as a cassette tape only, it features some of the most out there, hypnotic and still state-of-the art space music ever to be known to man. For the first time transferred onto vinyl, compact disc and available as a digital download, it was perhaps best described by one reviewer at the time as; "powerfully relentless, repetitive themes which are constantly embellished and subjected to variations in tone colour and instrumentations. The music surges, coming in waves that approach and recede, but with each surge the waves seem to be higher up the shore.'

Now carefully transferred from an archived tape, remastered and compiled on a double album for the first time, it features the previously unreleased and not less mesmerizing 'The Quantum Leap'. Come and visit the hidden and almost forgotten

DELUXE VINYL EDITION!!!
By the time of their performance at the Bizarre Festival on 17th August 1996, Nick Cave and The Bad Seeds were enjoying their most successful era to date. Their latest album Murder Ballads, released in February that year, was their best-selling record yet, having topped the charts in three countries and reached the Top 10 in a further five. This was aided in no small part by Nick Cave's duet with Kylie Minogue on 'Where the Wild Roses Grow', which was a worldwide hit and earned the band two ARIA awards. The video received repeated airplay on MTV, who would later nominate Nick Cave for Best Male Artist at the MTV Awards. Nick and the Seeds toured Europe, Asia and South America in support of the album, and it is their entire performance at the Bizarre Festival that is included here. Recorded and broadcast on FM radio throughout the United States, who had curiously been left off the tour's itinerary, the group captured the dark, brooding nature of Murder Ballads perfectly in their set, which included too classics from their back catalogue such as 'The Weeping Song' and 'The Mercy Seat'. As a grand finale, the band were joined by PJ Harvey - with whom Cave was romantically linked at the time - for a rendition of 'Henry Lee'.

Gabber Eleganza was born as a curated blog archive in 2011, an open research about rave subcultures mainly focused on the gabber and post-rave aestethic. The central ambition of the web archive was to become a source of research material on different topics: contemporary folklore, suburban euphoria and post-rave phenomena, revaluing a denigrated subculture through a new cultural lens.Over the years, the magnitude of the project has reached individuals far beyond the hardcore scene. Alberto Guerrini, the Italy and Berlin based founder, has since taken his project offline by producing zines, radio podcasts and garments. He currently tours as a DJ act or with a live performance dubbed The Hakke Show - an old-skool rave/hardcore DJ set with gabber dancers performing onstage: fast, air cutting moves, powerful thanks to their primitive intensity.In the past year Guerrini has brought the Hakke show to festivals: Club to Club (Turin), Resonate (Belgrade), performed as a DJ alongside Lorenzo Senni (Warp Records) and toured cities including Oval Space in London, Niebo in Warsaw, Janus/Berghain in Berlin, Ex Dogana in Rome, Empty Gallery in Hong Kong, etc. Guerrini has hosted radio shows on three London stations: RinseFM, NTS and Radar Radio.

Three clean-cut anthems for the studio debut of Gabber Eleganza, the anticipated new form for the archival and performative project created by Alberto Guerrini in 2011. Now updating the contemporary folklore with his analog grit. Try not to get your attention diverted once again. And keep calm under pressure.First volume of the Never Sleep series. Limited edition vinyl. Includes DL card.

In October of 1992 Madonna released her 5th studio album, the provocative Erotica. Released by her own multimedia entertainment company in conjunction with her book, Sex, this was the most bold and audacious move yet in Madonna's storied career. Following the release of the album and book in 1993 The Girlie Show World Tour commenced, culminating in 8 sold out shows in Japan, one of which was recorded live and broadcast the world over. Recorded at the Fukuoka Dome on December 8, 1993, The Girlie Show documents this historic tour with the complete show of that night! An epic 3LP box set featuring tracks from Erotica as well as a bunch of vintage classics, available on black vinyl or limited edition WHITE, RED, and GREEN vinyl.

- guest appearance by US hip hop legend Masta Ace
- limited to 300 copies
- both cuts taken from the forthcoming album "Golden Hits", to be released July 6th, 2018

Masta Ace goes Munich underground! The legendary US rapper teams up with the heads of Primatune to deliver a monster King Kong rap epic, fresh and full of energy - Hip Hop at it's best. This is what happens when Munich musicians celebrating the golden age of the 90s collaborate with one of their heroes!

On the B-side, Blockboy, another outstanding Munich underground producer, pulls out of his hat a funk groove instrumental, which is truly a dancefloor killer!

Both tracks are a foretaste of the upcoming compilation "Golden Hits - ten years of Munich underground Hip Hop from 2005 to 2015", which will be released on Tramp records July 6th, 2018. If you like these two tracks - be warned! Two LPs loaded with the most entertaining, fresh, real, and deep Hip Hop you haven't heard for a long time are waiting for your turntable. Hard to believe this music was flying totally under the radar, until pearl diver Tobias Kirmayer, Tramp head honcho, brought these treasures to light, out of the shallows of today's polluted musical ocean. Stay tuned!

First new LP in over 15 years. Builds on 3 successful ATFA reissues of Mergia's music. Legendary artist still active after decades of historic work. Modern Ethiopian jazz built on ancient scales and standards. Capping several successful years traveling the world performing to audiences big and small, Hailu Mergia's Lala Belu has been a long time coming. It builds on Mergia's remarkable career resurgence over the past few years. Beginning in 2013 with the reissue of his dreamy Hailu Mergia and His Classical Instrument followed by the enormous success of his seminal Ethio-jazz masterpiece Tche Belew and continuing with last year's widely acclaimed Wede Harer Guzo, Mergia has received considerable accolades from listeners and press globally, including The New York Times, Pitchfork and The Wire. His old recordings are cherished revelations for Ethiopian music fans; however, Mergia's return to the stage has been just as inspiring and electrifying. Mergia's vintage recordings are known for an inherently mysterious and worn-in quality, while his new recordings echo his band's 21st century live show with modern instrumental interpretations of crucial Ethiopian standards and Mergia's own original compositions. Tony Buck (drums) and Mike Majkowski (bass), who have backed Mergia on tour throughout Europe and Australia, form the bass-drums trio on the recording. Having played venues from Radio City Music Hall and the Kennedy Center to jazz festivals, rock clubs and DIY spaces all over North America, Europe and Australia, Mergia and Awesome Tapes From Africa want to document this moment in his landmark career with a snapshot of Mergia's current sound. Since he emigrated from Ethiopia and built a life in Washington, D.C. around 1981—where he remains working as an airport taxi driver when he is not on tour—Mergia's career has followed a humble trajectory. He made a few recordings in America but they didn't easily reach fans back home. He kept making music on his own and with friends but after the early 80's his gigs in the U.S. mostly dried up. It wasn't until he began working with Awesome Tapes From Africa and putting together bands with the help of booking agents and musicians in Europe and the U.S., that he was able to chart a new path. With a broad audience of young listeners in diverse venues and distant locales, at age 71, Mergia is enjoying his comeback and is not slowing down.

Having recently signed to Brownswood Recordings, announced via new track 'I'll Be On Your Mind', Skinny Pelembe lines up his first single proper for the London imprint. 'Spit / Swallow' spans pastoral pop, psychedelic textures and hip-hop-tipped, chopped and spliced guitar, interlacings samples with rolling drum breaks and echoed falsettos. B-side 'Toy Shooter' follows in similar fashion, bridging psych-rock exaltation with beat-head, synth-jamming production.

Born in Johannesburg and raised in Doncaster, Skinny Pelembe is based in London. 'I'll Be On Your Mind' has been receiving radio support from Lauren Laverne on 6 Music, Huw Stevens on Radio 1, Jamz Supernova on 1xtra and Tom Ravenscroft on 6 Music, with previous single 'Seven Year Curse' picking up airplay on Benji B on Radio 1 and Gilles Peterson on 6 Music.

Peterson has shepherded his rise, first through his Future Bubblers programme for new artists, followed by his inclusion on legendary compilation series Brownswood Bubblers. He's been profiled by Pigeons & Planes and Clash, and 'Seven Year Curse' was supported in record shops like Rough Trade, Sounds of the Universe, Phonica and Sister Ray.

A cool film needs a cool soundtrack, right And none come cooler than ATOMIC BLONDE. A double LP filled to the brim with needledrops of some of the '80s best known cuts, as well as some under the radar gems, and a smattering of brand new tracks recorded especially for the movie.

David Bowie, George Michael, The Clash, Nena, Siouxsie and the Banshees, and A Flock Of Seagulls of course need no introduction, and they all contribute absolutely killer songs here. Rubbing shoulders with these A-listers are lesser known acts such as Re-Flex, whose track 'The Politics of Dancing' was a minor hit in the UK and is a pure '80s synth-pop banger from start to finish. After The Fire went from playing uninspired prog rock to recording the should-have-been classic 'Der Kommissar,' full of funky guitar licks and a chorus so hook-laden it should be illegal. 'Voices Carry' by American new wave band 'Til Tuesday features Aimee Mann on vocals and is an all-timer everyone needs on vinyl.

Ichisan's 2017 Aperitiv was so good that we've decided to return for a second helping from his sumptuous album. Four choice cuts have been selected and reworked with a specific instrument focus. The harpsicord version of 'Hotel' keeps the intoxicating melody of the original but allows beats to relax as notes shine with an incandescent brilliance. Drums put their feet up for the Rhodes version of 'Modri Tunel.' Deep stings and lounging lines mingle in this work of smoke swirling seduction. 'Kozmetika (Trumpet Version)' dances to a different tune. Rich bass is again central but this time brash and bold brass intertwine with funk filled bars. The last waltz arrives with the piano version of 'Terminal E.' Alluring notes ascend, rising and falling against heartwrenching guitar strings for a finale to end this ballroom inspired beauty.

DELUXE VINYL EDITION !!! By the start of the 1980s, following a string of multi-Platinum albums and electric live performances - due in no small part to the onstage chemistry between guitarist Eddie Van Halen and singer David Lee Roth - Van Halen were an unstoppable force. Their 1982 album Diver Down followed peaking at No. 3 on the Billboard chart and went four times Platinum in the U.S. alone. In support of the album, the group toured worldwide through 1982 and 1983. 1983 would also be the first and only time the group would travel to South America, and it is from this leg of the tour that the show featured on this release originates. Recorded at the first of three dates at Venezuela's 20,000-capacity Poliedro de Caracas, the performance was broadcast simultaneously over FM radio. On top form and playing a rich selection from their current and back catalogue - including '(Oh) Pretty Woman', 'Eruption' and 'Ain't Talkin' 'Bout Love' among numerous other Halen classics - this extraordinary show is now finally available for fans of this enduring collective to add to their collections.

DJ Katapila's Aroo EP is the latest addition to the iconoclastic producer's catalog of fast-paced, pan-West African-influenced dance music. From a young age, Ishmael Abbey was a beloved local DJ in Accra, Ghana's competitive and rapidly-evolving music galaxy. DJ Katapila's debut release with Awesome Tapes From Africa, 2016's reissue of Trotro, ignited international acclaim for the Ghanaian DJ and producer: The New York Times, Pitchfork, Resident Advisor and FACT heaped praise on his work. Katapila launched a touring career beyond his grueling schedule of all-night parties around Ghana's southern coast and neighboring countries, heading to Europe and the UK, where he performed at festivals and clubs the pasty two years. Katapila brought Ghana's street party culture to audiences overseas, a wave of joy and happy dancers were left in his wake. The song Aroo' uses his earlier song Cocoawra' as a jumping off point and expands upon its endearing quick-rhythmed interplay of vocal hiccups and percussive clinks. Katapila thinks of Aroo' as a simple math equation: Francophone rhythms plus techno equals so hot and danceable.' While traveling this past summer in Europe, he continued to work on the minimalist electronic music steeped in his hometown rhythms that has made him a growing and singular voice in West African music. Having never travelled outside his region before, the contemporary sounds of London impacted his sonic palette, triggering new song African Techno.' He explains, In Europe and the UK they like these techno songs and house music. They have songs that sound like African music, and we have songs that sound like house music and techno music.' Ghana Baby DJ' references his ongoing development of Ga dance music style gbe ohe. It also conjures his daughter's voice and inimitable vibe and blends it with the characteristic clave rhythm of this. The EP's final cut is a track released with a an eye-catching music video this summer called "Monkey." Following radio play in Ghana and demand from fans online, this track makes its debut on vinyl. Awesome Tapes From Africa is proud to present new music from this unmistakably original artist with an honesty and unpretentiousness that feels good at this current point in history.

Yemenite-Jazz legend Tsvia Abarbanel, celebrated on this much anticipated 12" by Fortuna Records. Including two previously unreleased tracks! Throbbing spiritual jazz touched by ancient Yemenite tradition, these 1970 recordings are amongst the rarest of the rare. Until now! Privately pressed by Tsvia in 1970, this was the first ever attempt at combining traditional Yemenite compositions with Funk and Jazz. Two tracks were previously reissued on a long out-of-stock 7" by Fortuna, now gloriously re-released with two other never-before-heard tracks! Essential.

With its latest reissue, Majik's Back Into Your Heart - Melodies International dug deep into the back catalogue of Hi Records, legendary soul label from Memphis found ed in the 1950s.

Originally signed as a recording artist, Willie Mitchell took the reigns of the label and guided it through its most successful period in the 1970s, notably producing a string of studio recordings for Al Green, Syl Johnson and O.V. right among other eminent soul musicians of the time. Whilst the Hi Records catalogue shifted hands multiple times since the late 1970s, it was mainly exploited as a means to reissue recordings from Al Green and other high profile Hi Records artists (notably by Motown) while the label's more obscure back catalogue remained largely untouched. Years later, a few lesser known one offs from the label's vaults holding the distinctive raw Hi Records production sound and a circling hypnotic quality that makes them potential successful records for modern day dance floors have been getting a second life with record collectors, DJs and on dance floors worldwide. As such, recordings such as Africano's Open Your Hearts have become You're A Melody classics for some years now and Melodies International are glad to bring you one more reissue which in our hearts hold at least the same level of quality and potential as the former. With Back Into Your Heart, Majik pull through with a strong up-tempo disco tune that embodies Mitchell's sound as well as a level of modernity that might explain why it has remained largely unnoticed up until now.

Licensed and re-mastered, MEL010 comes forth in its original 7' format with a folded 14'x14' poster designed by Mafalda.

Toby Tobias has a lengthy history of disturbing the peace. This is his second offering for the ESP Institute. On side A, Second Stimulus stirs shimmering staccato chords, roaming pipes and detuned robotic sighs into quite the disorienting stew—the loose arrangement remaining fragmented over 9 minutes of touch-and-go 808 programming, picking up a pseudo bassline assembled from sub toms, introducing a gritty break loop and eventually blissing out into oblivion. With side B's Synchro Surfer, Toby plays with the notion of suspense by gently teasing a muted kick and percussion rhythm under washes of white noise, bleeps and sirens that are tape-dubbed and which, over time, begin a dialogue with each other, as if the machines have declared mutiny on the garage. Toby continues to stretch his limits with his output for the ESP Institute, possibly headed toward a full-fledged devolution of conventional dance music. These two songs may have you arrested for public nuisance.

Fresh for 2018 the ever pioneering Octave One are bringing us some brand new music for the new year. Using their much loved Random Noise Generation alias the upcoming release entitled 'N2 The Enfinate, contains a new single as well as a remake of 'Rock my Soul' in the form of the 'Reborn Vocal Remix'.

The first Random Noise Generation release was 'Falling in Dub' in 1991 and sounding just as fresh 27 years later, 'Enfinite Soul EP' is due for release this April.

For this single a retro energy has been explored in the title track 'The EnFinate', running parallel to a more contemporary groove and rolling, marauding baseline. The second track on the package, 'Rock my Soul' (Reborn Vocal Remix) starts with a strong intent and a weighty bassline paving the way for precise and bright chord stabs.

The single is taken from the new album 'Endustry', a full body of work encompassing 7 full length cuts, set for release in spring.

After touring and making music for decades the spirit and essential energy of the craft is what keeps them eternally inspired to keep creating and touring the globe... 'Once it takes hold of you you can't stop even if you wanted to.' say the brothers.

On 30thMarch, Wah Wah 45s will release ORANGE WHIP, the new album by their latest signing, Honeyfeet. The outfit, who have received praise from the likes of The Guardian, have also set festivals alight up and down the country with their unique melange of sounds.

For the last couple of years the Honeyfeet (who name from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music. Someone once called it Folk-Hop and Barrelhouse-pop, and that's just vague enough to make sense.

The band are fronted by Ríoghnach Connolly - also known for her work with Real World artists Afro Celt Sound System and The Breath - "a remarkable singer and flautist who...can ease from Irish traditional influences to soul" (The Guardian). The line up is completed by Rik Warren (vocals/harmonica), Gus Fairbairn (tenor sax), Biff Roxby (trombone/vocals), Ellis Davies (guitar), Lorien Edwards (bass guitar), John Ellis (keyboards) and David Schlechtriemen (drums).

ORANGE WHIP finds the band at their most incredibly diverse. Opening with recent single Sinner (received radio play from the likes of 6 Music and BBC Manchester), which showcases Ríoghnach's extraordinary agile and emotive voice, the album moves with dizzying swagger on songs covering a wide range of subjects. Quickball tells the story of being so infatuated with someone you want to eat them, while Whatever You Do addresses the fear-mongering of the press over folk-hop and oom-pah, and Demons deals with love and redemption on a blast of harmonica-driven country, sung by Rik Warren.

Rik also takes lead vocal on a re-working of Robert Johnson's Love in Vain, a song showing Honeyfeet's more reflective side, his Skip James-esque drawl bringing an eerie quality to the lyrics about a doomed relationship. The band reshape the progression too, swinging the tune slowly and creating a little underground blues club in the midst of the recording.

Elsewhere the band go all New Orleanian on Colonel Hathi's Trunk Juice, a sinister tale inspired by trombonist Biff Roxby's horn riff recalling one of the elephants of The Jungle Book. Further showcasing their virtuosity, on one of the album's best moments - especially the nuanced vocal performance by Ríoghnach, who was raised on Irish folk - on Hunt and Gather the band do their own take on prog-folk, with a flute and cello melody running alongside a brass counterpoint.

Ríoghnach turns in another incredible vocal on the album's final track - future single Meet Me On The Corner. With a pounding beat, it is one of the album's main highlights. Guitar and brass propels Ríoghnach to sing lyrics that could be straight out of the playground, but suggest something deeper, possibly mystical even, in it's demands for a dalliance on the street. It closes the album on a high note, for a band who have that rare ability to distil all their disparate influences, while always sounding like their unique selves.

ORANGE WHIP heralds the sound of a remarkable band going overground.

Gitkin sold guitars. To be precise, he re-branded, sold and traded knock-off Gibsons. A lone, travelling salesman, he toted his counterfeit wares to guitar stores and music emporiums. His trade took him to most corners of the USA, passing through big, smoggy cities and nowheresville small towns. His nights were spent at not-so-salubrious motels. It was at those nocturnal stop-offs that he'd often cross paths with newcomers to the States. His fellow travellers were mostly immigrants, newly-arrived, from places like Ethiopia, Mexico, Indonesia.

Or at least, that's the story as Brian J Gitkin has been able to piece it together. This album, '5 Star Motel', is by a different Gitkin, an ode to the one described above. Or to put it another way, this is the younger Gitkin's homage to his elder relative: the elusive, guitar salesman uncle he never met. A steady drip of anecdotes have construed an image of his relation's itinerant, huckster lifestyle. Finding a cassette of his recordings, it spoke of the effect of those encounters: lo-fi and scratchy, the music leaped seamlessly, in difficult to discern ways, between different far-flung styles.

On '5 Star Motel', that younger Gitkin (henceforth referred to simply as Gitkin) has sought to expand the philosophy he encountered on that tape. The guitar is common thread, the raft to navigate a sun-dappled stream of ideas. It's an embrace of cultures where folkloric stringed instruments still rule, or where they've led to a more recent embrace of the electric guitar. He traces the loose, meandering paths which join them together.

It's about America, the world outside its borders, and the inscrutable, inevitable dialogue that exists between them. Take 'Cancion Del Rey', where the sound of Peruvian chicha - steady-moving, alluring, and lyrical - winds its way through Gitkin's fuzz-filtered licks, and the rhythm underpinning it. Or 'Yama', where Middle Eastern influences echo out of grooving, cyclical riffs. Touching on the distinctive tones of Tuareg music and the Sahara, too, 'Grand Street Feast' charts a sand-dusted, melodic misadventure.

* Brazilian producer L-Side releases his highly anticipated new album 'Carnal Mind' on the 6th April.

* Featuring American rapper Jeru The Damaja, British rapper DRS, dancehall/grime artist Lady Chann, and drum and bass vocalists MC Fats, MC Darrison and MC Conrad, the release is via the legendary drum and bass record label, V Recordings.

* Taking his influence from Hip Hop artists such as Jazz Liberatorz, The Pharcyde and Tribe Called Quest, L-Side is making his mark in the world of raw dancefloor focused drum and bass. Originally producing hip-hop beats before branching into Drum and Bass, he is known for his meticulous mix of upfront and aggressive sounds merged with funk and soul styles, forging a flawlessly fresh take on drum and bass.

* Leonardo de Jesus Silva, aka L-Side, began his career as a DJ and Producer in 2008 and the Sao Paulo born producer has gone on to cement himself as one of the most formidable producers to hail from the flourishing and highly respected Brazilian drum and bass scene, which is home to some of the most inventive and funkiest contributors to drum & bass this century.

* As a nation bursting at the seams with prolific and highly talented producers, L-Side has managed to emerge as one of the most exceptional and 'Carnal Mind' proves the point.

* 'Holding On' ft. Lady Chann, is a dark, brooding, half time number, full of menacing atmosphere - infusing elements of dancehall and grime, complemented perfectly by Lady Chann's ferocious, trademark vocal delivery while tracks like 'High Times' unleash unrelenting breakbeat right from the gate. Pulsating synths add momentum, channelling subterranean depths as MC Fats patois-tinged vocals ride overhead. The dark storm clouds clear briefly, allowing celestial pads to momentarily reset the atmosphere before hurling the listener straight back into the thick of it.

* Having released music on such labels as Philly Blunt, Chronic, Celsius and Soul Deep, his music has been supported by DJs from around the world, including DJ Marky, Bryan Gee, LTJ Bukem, Bailey and Doc Scott, while new single 'Holding On' received it's first official play from Mista Jam on BBC Radio 1Xtra.

* In addition to his solo recordings, L-Side has collaborated with fellow V producers, Subsid, Andrezz and Critycal Dub among others.

* The legendary drum and bass record label, V Recordings, was set up in 1993 by Jumpin' Jack Frost and Bryan Gee. Few record labels can claim to have changed the face of their respective scene. Celebrating their 25th anniversary in 2018, since its birth, the label has released over 100 cuts from the likes of Marky & XRS, Krust and Die, Adam F, Lemon D, Scorpio, Dillinja and Roni Size

Ltd. edition of 500 numbered copies on clear vinylGnashing, thrashing and teeming with enchanting microtones - Machine Guitars is the definitive recorded work of Remko Scha, although the late Dutch artist didn't play a single note himself. Rather, Scha arranged a motorized, rotating wire brush and saber saw in front of suspended electric guitars and let these metallic torrents flow.Scha was a linguist and generative artist, enamored of computers' capacity for algorithmic creativity. A leading researcher at the University of Amsterdam, he also cofounded the famed arts-space Het Apollohuis in a former cigar-factory in 1980. This haven for intellectuals and underground autodidacts served as the recording studio for most of Machine Guitars (as well as Ellen Fullman's brilliant The Long String Instrument), which originally appeared in 1982 on the small Dutch label Kremlin. Machine Guitars, as the critic Byron Coley has noted, ranks among the best of the era's minimalist-inspired, avant-garde guitar statements by Glenn Branca and Rhys Chatham. The semiautonomous sound-making sculptures also evoke contemporaneous work by Christian Marclay. Scha's work falls somewhere between conceptual art and avant-garde music - a total revelation for minimalists and No Wave fans alike.First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.

It was chance that brought about the release of One/Three, Dabrye's debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late '90s producing jungle, techno, house, hip-hop and more using the All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the contours of di-erent musical personalities. Dabrye was his hip-hop wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Umma-era Jay Dee, and the calculated subtlety of Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye's arrival with an unavoidable contribution to Detroit hip-hop. Ghostly International is reissuing the album in 2017 for the first time, including a long overdue vinyl edition.

On its release One/Three was the rare album that appealed to both fans of Slum Village's smooth yet rugged hip-hop and enthusiasts of the distinct American IDM released by labels like Schematic. Over the following decade, the inadvertent demo submission turned into a body of work that placed Dabrye alongside innovators such as Prefuse 73 amid the cannon of a new generation of producers. Today, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between J Dilla and Flying Lotus.

One/Three is a record that says much with little. There are no obvious hip-hop tropes. Instead Mullinix captures the ingenious minimalism of '90s hip-hop instrumentals to build tracks both supple and hard, joyous and melancholy, full of sharply angled rhythms and warm rubbery basslines: 'The Lish' throws a sickly sweet saxophone against digitally fragmented melodies, 'How Many Times (with this)' draws you in with an irresistible, clipped guitar groove, the rhythmic stutter of 'Smoking The Edge' makes your head spin with pleasure. Playing with his inspirations, Mullinix injects omitted downbeats for imagined rhymes and repurposes the intricacy of ragga jungle for breakdowns.

But what really defines One/Three is the rhythmic sensibility and metric modulation of Detroit's school of hip-hop production, which Mullinix was a fervent student of. The beats feel like they're constantly escaping a rigid tempo grid even though they are, in fact, pretty tight. A lot of it is nuance,' Mullinix explains. I've been known to say that I'm not impressed by spectacle. I think that nuance is what really captivates people.'

If you like your beats with a dash of class, do not miss this. An essential purchase of the highest order.' -BBC

- First time all tracks from the original 2001 release appear on vinyl.
- Remastered by Daddy Kev
- Standard weight black vinyl is inserted in to 3.5mm matte finish vinyl jacket.
- Download card includes free download of the Payback EP

Mit ‚Outermost Edge' ist Alex Stolze eine eigenwillige Mischung aus Electronica, Indie-Pop und Neo-Klassik gelungen, ein hingehauchtes Album voller farbiger Details, das er ausgehend von seiner fünfsaitigen Violine produziert hat. Der Gesang erinnert dabei manchmal an die empathische Stimme von Erlend Oye.

Als Teil des Berliner Trios Bodi Bill hat er bis 2012 ganze Festivals zum Tanzen gebracht. Und vieles von dem, was Hörer schon früher begeistert und neugierig gemacht hat, zeigt sich hier in einer eigenwilligen Form von Schönheit. Einer Schönheit, die nicht eitel ist, die ihre Geschichten leise und eindringlich erzählt. Die Violine wird dabei oft nur gezupft, was dem Klang etwas Orientalisches verleiht. Was "Outermost Edge" neben einer großen Komplexität und Virtuosität auszeichnet ist die Haltung hinter der Musik. Das l'art pour l'art, das man auf vielen Produktionen zwischen Neo-Klassik und ambitionierter Electronica findet, ist Stolze nicht genug: Wenn es überall brennt, möchte ich das nicht ausklammern und einfach Wohlfühlmusik machen"

The early 2000s were a time of upheaval for hip-hop. The underground and mainstream divide that had dened so much of the previous decade was showing the rst signs of irrelevance. Timbaland and The Neptunes made radio rappers sound futuristic while independent artists struggled in a quagmire of backpacks and misguided claims to keep it real. Away from this, in a misunderstood middle ground between hip-hop and electronic music, a new generation of artists were busy imagining a new sound for hip-hop.

One such artist was Scott Prefuse 73' Herren, whose perpendicular MPC chops on his 2001 debut for Warp Records set curious minds racing with possibilities. That same year Tadd Mullinix released his debut as Dabrye on Ghostly International, a sonic wildstyle that appealed to both hip-hop heads and IDM nerds. Sometime that same year Herren and Mullinix met after sharing a bill in Detroit. CD-Rs were exchanged and a year later Eastern Development, Herren's newly launched label, released Dabrye's Instrmntl, a short album with a big impact. On its fteenth anniversary Ghostly International is reissuing Instrmtl on vinyl and making it available digitally for the rst time.

Instrmntl is a continuation of the beat experiments Dabrye began with One/Three and a bridge to the diverse textures that would dene Two/Three four years later. About half of its nine tracks (ten if you lived in Japan) were created at the same time as One/Three while the rest were newer or made specically for the album. Once again Mullinix looked outside of hip-hop to techno, house, and drum & bass for stylistic and technical ideas while embracing the blissful minimalism of a good hip-hop instrumental and the rhythmic nuance of Detroit.

Despite the similarities between Dabrye's debut and this follow up, Mullinix didn't simply replicate what had made One/Three so arresting. He pushed and pulled further between the two cornerstones of his approach to reveal more potentials. Instrmntl takes you deeper into electronic depths — the rugged synth stutter of 'Won', the tumbling, wobbling bass in 'No Child Of God', the electro get down of 'Prospects (Marshall Law)' — while also treading more organic grounds by letting samples breathe and moods unfurl at a gentler pace ('Take Me Home', 'Evelyn', and 'You Know The Formula Right'). And then there are the moments where this push and pull nds balance and the result becomes more, as it does on the mournful march of 'D-Town Tabernacle Choir' and the twinkling daydream of 'This Is Where I Came In'.

At just over 30 minutes, Instrmntl offers a snapshot of a time when potentials seemed innite, when lines could be drawn between jazz, ragga jungle, techno, and hip-hop and the resulting shape divined an exciting future.

- Reissue of the out of print 2002 album, available for the rst time on Ghostly.
- Includes previously Japanese-only bonus track, Gimme Lowlands'
- Standard weight blue vinyl is housed in a matte jacket.
- Dabrye's beats are like Jay Dee getting crunked up with Autechre.' — Prefuse 73

- 180 GRAM AUDIOPHILE VINYL
- 33 MM SLEEVE
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE VINYL

Hot Shots Of Reggae is an recording on which a bunch of popular reggae songs are brought together. The album was originally released in the autumn of 1970 and compiled by the legendary Chinese-Jamaican producer Leslie Kong. He had enjoyed many hits in in Europe and selected some of the true pearls from the reggae music to shine on the album. The album includes the Maytals' hit Monkey Man, the sparkling So Much Love by Joe White and the fine rythms of Ken Boothe's Freedom Street.

The influential producer Leslie Kong once discovered Jimmy Cliff and recorded him on his own record label Beverley's. In 1962 he recorded Bob Marley's first single and through the 60's het became known as the producer of many big artists, like Desmond Dekker and Joe Higgs. He died of a heart attack, at the age of 38, in august 1971.

The album is now available as a Limited Edition of 750 individually numbered copies and comes on orange vinyl.

Emotional Rescue delves deep in to the past with the release of the first ever recordings by UK post-industrial, ambient pioneers O Yuki Conjugate (OYC). Recorded in Nottingham in 1983, the EP's four tracks showcase OYC's early sound: a beat-driven, lo-fi that places them alongside the early British electronic pioneers.
OYC, celebrating their 35th anniversary this year, are known for their "dirty ambient" sound - but it wasn't always thus. In their earliest incarnation OYC explored a more industrial approach characterised by tortured analogue drum machines, one-finger synth lines, played bass, tape loops and even flute. This naive sound template lasted until their debut album 'Scene in Mirage' (1984) before being jettisoned in favour of more ambient explorations.The story behind these recordings is one of brotherly love between bands. OYC swapped time in their rehearsal space for a day's use of a four-track cassette portastudio owned by their associates, Metamorphosis. Three of the tracks included were recorded on May 1st 1983 at The End Room (literally a studio at the back of one of OYC's parents houses) with the remaining track (live favourite "The Clattering Song") being produced a couple of months later.
To date OYC have remained largely unknown in the UK due to their wilfully obscure approach. They have released a series of very well regarded studio albums and innumerable spin-off and side projects that has recently seen a revival of interest in their early years, including appearances on Cherry Red's compilation of formative UK electronic scene 'Close to the Noise Floor' and Optimo's compilation of Fourth World-style music 'Miracle Steps'.
Accepting their fate as musical outsiders, OYC continue to make music with little reference to the wider world. This EP makes a fine addition to that body of work.

DsorDNE (pronounced Disordine) is a project from Torino, Italy that evolved as group out of the electronic experimental post punk project Novostj in 1987. At the core of DsorDNE is Marco Milanesio, musical engineer and co-founder of the HAX record label, joined by a revolving cast of musicians. Their spectrum ranged from experimental to structured electro-poetry and Soundtrack like instrumental electronic music. In 1987 they released their first track on a split-single with The Legendary Pink Dots. Between 1987 and 1994 they released 6 full length albums, 3 split-EPs and appeared on various cassette compilations. à Un Sole (Itâs a Sun) was the groupâs only vinyl full length originally released in 1990 on HAX. Itâs 8 tracks of electro-beat poetry and experimentation recorded between July 1989 and January 1990 by Marco Milanesio (music) and Roberta Ongaro (vocals) with guests Claudio Burdese (guitar), Danilo Beltrame (guitar) and Cristiana Bauducco (vocals). The album is broken up into two distinct halves. Side A contains four chunks of hard hitting, percussive patterns and rushing bass sequences. Dark, moody female vocals force their monologues through the machinery in their native Italian tongue. The traditional song structure is carefully avoided by giving lyrics equal opportunities be they recited, half-sung, whispered or spoken. Side B displays moodier moments, less savage attacks and subtler sensuality, veering towards the more melodic and existential. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a black and white drawing with silver metallic spot color housed in a clear PVC plastic cover with a three color screen-printed design. Each copy includes a 11x11❠double-sided lyrics sheet with English translations as well an 8x11❠sheet with original press notes from 1990 by Marco Pustianaz.

Created at the footstep of Mount Victoria, Groeni wanted to challenge themselves compositionally and sonically with Nihx. Nihx explores the characteristics of points of conflict between opposing forces. As in the past, and as with many electronic outfits, the music had been written 'in the box', so to speak. To counter this technique the three members of Groeni (Al, Mike, and James) each wrote numerous compositional sketches that were more or less complete as frameworks before entering them into the digital realm. With similar inspiration the band wanted to create unique and personalised sounds away from the computer to sample and use with most of the sonic treatment happening also away from the computer. The vast majority of the drum sounds are made from samples of Mike's ever expanding synth collection, numerous sounds are manipulated feedback from guitars or vocals among other things. The entire record was written and recorded across three home studios in Wellington, NZ and has been almost 2 years in the making.

'Nihx' comes out worldwide on limited black, white marbled vinyl (including download code) & digital.

Gqom Oh! records presents "The Originators", a five track EP respresenting the past, the present and the future of Gqom - the thunderous club sound from Durban, South Africa. The Gqom Oh! label was set up by Rome-based DJ and musician Nan Kolè to highlight the music and artists of Durban, the often overlooked cradle of the new South African sound. The label's 2016 compilation - 'Gqom Oh! The Sound of Durban Vol.1' - broke the sound out of South Africa, Pitchfork calling it The largest and most thoughtful survey of the genre available to western audiences to date'. Recently joining Kolè is Sboniso Brandon Luthuli aka Citizen Boy on the ground as local A&R. The EP's A-Side is dedicated to two of the genre's most prominent producers. DJ Lag is a frontrunner in pushing Gqom worldwide. Making music from a young age and building up a solid reputation in South Africa, he's known as the "King of Gqom". Griffit Vigo, a real innovator in the Gqom genre, grew up in the same area as DJ Lag and has attained a legendary status amongst his peers. "When I was in Durban the first time I noticed that Griffit Vigo was a kind of legendary figure, he'd been inspiring all the Gqom Durban artists for a long time. Nobody knew where he was but everybody was playing him and sometimes using his beats to make new songs. The main track 'Ree's Vibe' was the peak moment of DJ Lag's sets all over the world. If Lag is the Gqom King then Griffit Vigo is the Gqom Legend."- Nan Kolè. Sbucardo is one of the most respected DJs around the streets and the townships of Durban. Featuring Abnormal on 'Iphoyisa', whose lyrics in Zulu translate to We at the club, Mr police man don't disturb us", the track represents the South African scene and Gqom culture in Durban very well. Naked Boyz (officially the first in Durban to explore new territories in broken beat in 2011) 'Story Teller' is characteristic of the Sgubhu style, a blend of Gqom with more conventional house sounds, the new genre taking over Durban and finding its way onto mainstream radio. Scene kingpins Rude Boyz round off the release's line up of Gqom originators with 'Umshunto'.

Montreal electronic duo Essaie Pas are back with their fifth album (their second on DFA Records).

Essaie pas always seek out fresh challenges. After all, there's a whole universe of sounds, sights, and new ideas to explore. Emerging from Montreal's sprawling electronic scene, the duo - Marie Davidson and Pierre Guerineau- feel completely free to express themselves, to sketch out hitherto unmapped musical regions.
Forthcoming album New Path takes this one step further. The duo's fifth album to date - and second on powerhouse label DFA Records -is loosely based on Philip K. Dick's A Scanner Darkly', a classic of dystopian science fiction.
I read the book a long time ago, maybe 15 years ago, and it had a strong impression on me,' explains Pierre. In our previous work we always looked to music as inspiration in our lives, but this time we felt the desire to try something different, that's not based on ourselves but on someone else's universe. It was going to be more conceptual, more political.'
New Path touches on personal ground, on addiction, loss, and the lingering strength of identity within late capitalism's mass media paranoia. It pins down the central character's destructive addiction, using this as a metaphor to explore the dichotomous rupture between our inner lives and our social environment, one that is often fed and soothed by drug abuse, social media, or any kind of dependence.
I think it touches us on many levels,' Pierre continues. We can talk about drug addiction issues, we can talk about the mass surveillance world we live in, but there's also the experience of loss, of grief. I was surprised by how the book felt so modern and accurate to the time we live in right now. Dick's visions of surveillance are the reality of social control today.'
It's a record that continually ties itself in knots, a puzzle that is outwardly beguiling while the solutions remain inherently allusive. As Pierre points out, it's even present in the title. I like the fact that it sounds optimistic, but in the book it's actually an illusion,' he explains.
But it's a challenge met with humour, picking up on the wry elements of Philip K. Dick's own writing - witness the subtle wit of songs such as 'Complet Brouillé', 'Les Agents Des Stups' or as in 'Futur Parlé's tripped-out lyrics, offsetting intense themes with something a little more playful.
The conceptual nature of New Path belies the subtle personal shifts within the band. A husband and wife duo, Essaie pas thrive on freedom, on parting to focus on outside projects in Montreal and Berlin before returning renewed, flushed with fresh inspiration.
Both personally and for Essaie pas it's good that both of us have separate projects,' he explains. Marie has been constantly touring solo for the last year. On my side I've been producing other people's music (Bernardino Femminielli, Pelada or Sleazy to name a few). Collaborating in the studio with talented people with unique aesthetics and different creative processes is really refreshing as an artist.'
The complexity of the project mirrors the complexities within Essaie pas' career to date - forever unpredictable, their wiry, individual sound offers a tangled vision of tomorrow's aesthetics. I think this was the main challenge,' muses Pierre. To adapt what we've been doing live, which before was always changing, and corner it, make it cohesive'.
Ultimately, what the duo want is a challenge, to be forced to raise their expectations again and again, to look continually to the future. This is cold music for cold times, yet beneath this lies a continual search for the humane.

A bit of an emotional moment for us - this much needed repress of one of our very favourite slabs of vinyl that have passed through these doors over the years. Exploring the very outer limits of dancehall and techy D&B, both sides writhe and snarl at 90bpm, beating you over the head with pressure cooked kick drums, drop forged snares and, those ugly, ugly mentasms. Upon it's original release, it was a challenging and very rewarding record - one that had DJs scratching their heads, dancers demanding wheelups and, more recently - more than a few emails from people asking if there were any copies left stashed away. Both side's disregard for genres and conventions mean this plate sounds just as fresh now as it did upon it's original release date - arguably it's better stationed for tactical deployment now than it was back in 2013 - The current crop of stripped back dancehall (and halftime D&B that has been undoubtedly informed by it) are in rude health and prime for disruption with this record. That said, regardless of which styles you play - this is one of those wildcard riddims that can be used at peak time to wreak havoc on any dancefloor. Blacklabel, sticker sealed pressure, with a yellow paper insert of the original artwork. One of those records you'll pull off the shelf in years to come, no doubt about it. Edition of 300, with insert and stickered centre labels.

Leroy Tucker- known simply as L.T. on the scene-and his band the Soulful Dynamics super rare funk 45. The band was a rotating combination of McClyde Sheely, Melissa Riley, Melvin Ausbie, Eric Williams, Collier Carruthers, Lee Berry, Virgil French, Walter Atchinson, and Charles Wakefield. Despite infectious horns and L.T.'s impassioned delivery, neither "Crazy About You Baby" nor "Everybody Needs Somebody" made a dent locally or otherwise. Like all of the Solo platters, the Soulful Dynamics record was manufactured at Monarch in Los Angelas. Dick Smart fondly recalls picking up the record at the Wichita Greyhound station with an excited L.T. in tow.

2025 Repress

On 7th August the godfather Mike Dunn presents an EP fuelled by a pumping heart of pure house, entitled 'DJ Beat That Shhh' / 'Move It Work It'. Taken from his forthcoming album due for release in October 2017.
Both tracks capture Mike's essence, placing his trademark hip house booty style vocals and stripped-back, jacking drums centre stage.
'DJ Beat That Shit' is classic, bumping 90s Chi goodness updated with modern technology, whilst 'Move It, Work It' is a no-nonsence smoke and strobe throbber, that recalls the best of Trax and DJ International.
For anyone who knows their shit, Mike should need no introduction, but for those that don't, he was highly influential in birthing the modern day dance music phenomenon, especially with tracks like 'Face The Nation', 'God Made Me Phunky', 'Let It Be House' and 'Personal Problem'.
Mike created hip house, DJ'd with fellow legends Ron Hardy, Larry Heard and Armando Gallop, produced for house heroes Armando, Fast Eddie and K-Alexi Shelby, and worked with the iconic voices of Byron Stingley and Kym English.
After a long absence from DJing in Europe, Mike returned in 2015 to rock crowds at Panorama Bar, Fabric, Concrete, Sub Club and Glastonbury, demonstrating why the Chicago OG is still very much in demand.

Techno Album of the month March 2018 in Mixmag UK!

Central to the Israeli club scene, Deep'a & Biri have long been defying expectations even within a community they helped construct. Serving as resident DJs, activists and bookers for Tel Aviv's legendary Barzilay Club, the pair helped build a transcendent club scene. Hugely influential artists such as Robert Hood, Derrick May, Rødhad, Ben Klock and Moritz Von Oswald passed through the club, enjoying legendary crowds and what they could surely sense was a genuine air of anarchy, rebellion and unadulterated rave pleasure.

As the duo held down dozens of parties with dozens of DJs, there was no 'eureka' moment for their emerging sound; just a steady stream of brilliant, inspiring electronic music, much of which left an indelible imprint on the pair. Now based in Berlin, for Deep'a & Biri, things are much the same, even if the landscape and the city is different. Always rooted in the fertile ground between machines and emotion, on their second full-length LP, 'Dominance', the duo demonstrate their unique grasp of the sensitive, unfolding relationship between man and machine. Steadfast in their insistence never to remain in one lane in terms of their sound, 'Dominance' flawlessly segues between forcefulness and weightlessness. From beginning to end, this is not a record afraid to show its teeth with an uncompromising, instantly recognisable techno palette that kicks the foundations of any sound system with menace, anger and determination, particularly on tracks such as the dense 'Voltage' and pulsing throughout the more industrial flourishes of 'Ecole De Nancy' and 'Seeking Solace'.

Beyond these grittier, although never mindless, moments of authority, a sense of escapism and curiosity imbues the album. 'Alpha Cephei' offers the first hint of Deep'a & Biri's more wistful concepts, producing a smoke trail of twinkling electronics out of a smudged but distinctive bassline. That understated sense of emotional catharsis carries throughout, to be found between the complex-yet-familiar bells that drive 'Flow Diverter's' rhythm to a Detroit-indebted landscape that will surely instantly elasticate any keen dancers, while 'False Memories' offers big-room techno fulfillment with none of the character or sincerity removed for cheap thrills. Saving the most remarkable moments for last, the pair sign off 'Dominance' with the poignant and purifying 'Astral Trails', fusing an ethereal, ambient landscape with the more pronounced rhythms of their hardware.

The album's distinctive artwork comes from the studio of Jewish orthodox artist Avraham Guy Barchil, who forged a powerful connection with Deep'a, both was immediately drawn to 'weird atmosphere, amazing technique and emotions involved with his work'. Perhaps one of the most interesting painters from Israel, Avraham is known for his unique perspective, taking his inspiration from the Zohar - the foundational work in the literature of Jewish mystical thought known as Kabbalah. The ambiguous figures represent mystical aspects of the Torah (the five books of Moses), as well as material on mysticism and mythical cosmogony.
Ensuring their natural, conscious touch always remains at the forefront of this unapologetically machine-driven music, Deep'a & Biri have produced an album in the lineage of their heroes and greatest influences. Cerebral yet satisfying, deep yet always engaging, 'Dominance' both reasserts and evolves Deep'a & Biri's forward facing and singular sound.

In an interview with Jazz Magazine in the early 1970s, Dharma, as a collective voice, outlined their method: 'we try to reach, within free jazz, the same sort of rhythmic cohesion as in Bop, a cohesion based not exactly on tempo, but something which feels like tempo. A kind of underlying pulse'. Evidence of these ideas can be heard immediately on listening to Mr Robinson, the first album by the Dharma Quintet, for whom community living seemed obvious, in order to add to the aforementioned cohesion. Through this, the group members played together on a daily basis, trying out things which were worked on day in, day out. They were also listening to a lot of records, with of course a preference for free jazz, but not forgetting Miles Davis in his electric period, notably for the keyboards of Keith Jarrett and Chick Corea. To which should be added esthetical-political concerns based on a refusal of hierarchy, and a desire to escape from a restrictive academic approach... It was within this framework that Jef Sicard and Gérard Coppéré (saxophones, flute, bass clarinet), Patricio Villarroel (electric and acoustic piano), Michel Gladieux (bass) and Jacques Mahieux (drums) formed the first version of a collective united by structured intentions. Because, within Dharma, individual improvisation cannot be envisaged outside of a clearly designated framework, even non-tempo. The result is a beneficial cohesion, and moments of great beauty born of a collective excitement and giving rise to ambiances which seemed almost possessed. The use of modes could seem to link Mr Robinson to the spiritual jazz of the past but that is without taking into account the fact that the benevolent spirit of Eric Dolphy seems to watch over this album. In France, a similar desire for cohesion could be found in the Cohelmec Ensemble, who had parallel preoccupations, to the point where their bassist, François Méchali, ended up by joining Dharma: there is unfortunately no recorded trace of this, just the memories. As a quintet, with however some personnel changes, Dharma recorded three albums (there is also one as a trio, under the name of Dharma Trio), which are all of fundamental importance (Dharma would also accompany, and to great effect, the songs of Jean-Marie Vivier and Colette Magny). Individually, the members would record with musicians passing through (notably Anthony Ortega, Dave Burrell) and participated in other key groups including Machi Oul and Full Moon Ensemble.

With his new album 'Trail Of Intuition' Danish singer and songwriter Jacob Bellens once again is shimmering somewhere in-between electronically influenced songwriting and synthpop music, using his characteristic voice to reflect on his life's journey. Since the age of five, making music means creating a parallel universe to Jacob Bellens. It's his very own space, where he can be himself and always retreat to, no matter what happens. Out of this universe the Copenhagen based musician has released numerous songs and albums with his previous bands I Got You On Tape and Murder, with side projects and features as well as a solo artist. 'Trail Of Intuition' is his fourth solo album and the second one that's internationally signed with hfn music. Unlike the songs for his previous release 'Polyester Skin", which he wrote mostly on piano and guitar before sending them to producer Kasper Bjørke for final production, Bellens wrote all the songs for 'Trail Of Intuition' on his computer. You could see him sitting in front of his laptop in coffee shops across Copenhagen, with his headphones on, letting the basic programming and pre-production of the songs become an essential part of the writing process. The final production was made mostly by Rune Borup, who he knows back from the I Got You On Tape days and his friend Lars Iversen (The Asteroids Galaxy Tour), with whom Bellens also had the band project Goblins. The new album is a collection of snapshots of the whole range of feelings for which Bellens digs into the pool of his own experiences.

Dara Smith from Lakker in brilliant form: six vividly evocative, dramatically uneven soundscapes, ranging tonally from beseeching tenderness to thumping, bad-minded bass, guaranteed to rock the house.

Tadd Mullinix first made a name for himself as Dabrye in the early 2000s with a pair of instrumental albums combining the rhythmic finesse of Detroit hip-hop with the ingenuity of electronic music. But instrumental beats were only a temporary goal, a way for Mullinix to catch the ears of MCs. On Two/Three, his second Dabrye album for Ghostly International, Mullinix brought together a formidable crew of local and national talent to make the statement he'd always intended. Released in 2006, Two/Three o-ered a fevered vision of rap's future that remains just as intoxicating a decade on. Ahead of the long-await-ed conclusion of Dabrye's hip-hop trilogy in 2018, Ghostly is reissuing Two/Three.

Dabrye's move towards rap began in 2004 with the album's first single, 'Game Over' featuring Jay Dee and Phat Kat. An early inspiration of Dabrye's, Jay Dee invited Mullinix to his crib in 2002 for a listening session during which he picked the 'Game Over' beat to rap on. Crucially everyone involved was in accord that despite perceptions of their respective work this would be a hardcore rap song. Together with Kat, Jay delivered a one-two lyrical punch on 'Game Over' that no one saw coming. Detroit made the world go round and everyone's head spun. 'Game Over' set the tone for the album and, over the next few years, became a Detroit anthem — shortly after Jay's passing in 2006 the audience at Movement Festival sung his verse.

Moody, propulsive, and above all ambitious, Two/Three emerges from a sonic stew of Detroit and UK dance music, Jamaican sound clashes, and hip-hop sampledelia. The guests, a who's who of the mid-'00s underground rap scene, engage in a raucous rhyming session that pays as much attention to the realities of the streets as it does world events. MF Doom, Wildchild, Vast Aire, Beans, and AG represent for the various coasts while local talents — Waajeed, Ta-Raach, Invincible, Finale, Kadence, Guilty Simpson, Big Tone, Phat Kat, and Jay Dee — bring Two/Three alive with an infectious energy. In between bursts of raw rap and hard beats, Dabrye showcases detailed instrumentals that evoke bleak industrial futures, underwater meditations, and smoky late night sessions. With Two/Three Dabrye placed himself at the forefront of hip-hop's new wave, throwing a Molotov cocktail into the rap world as uncompromising as the head-twisting cover art from WK Interact. The independent press praised Mullinix's audacity. Over the following years the impact of Two/Threewas felt in slow increments as Dabrye's music became central to the sonic makeup of a new generation of producers. As this beat scene grew and moved away from rap, it showed Mullinix the influence of his work and the value of his vision for Dabrye as his own brand of Detroit hip-hop.

Mr Bongo brings another Brazilian rarity to the masses with this sublime reissue of Tim Maia's Disco Club. Recorded in 1978, it's a latter-period gem from the larger than life legend, combining the glitz and glamour of disco's heyday with Maia's raw funk and soul roots.
When Maia first heard Little Richard as a teenager, he knew what kind of singer and artist he wanted to be. Five formative years spent in the US, where he ran wild in NYC and joined a
doo-wop group called the Ideals, did little to dampen his enthusiasm for black music.
Stirred by the civil rights movement in the US and driven by a punk spirit, Maia went on to blaze his own trail through the early 70s over the course of four successful albums for Polydor. Moving away from the straight MPB, Tropicalia and international rock dominating the airwaves, his sound represented a new black Brazilian consciousness. When he sang, he could be raspy and defiant one moment ... and then romantic and reflective the next. But always on a groove and with a hook. It was an irresistible combination.
Yet by 1977 he was bankrupt and in limbo having first joined a religious cult called Superior National and then alienated listeners with his first album sung entirely in English. To complicate matters further, Brazil was feeling the Saturday Night Fever. Gloria Gaynor, Chic and Kool & the Gang were dominating the charts and filling hotspots such as New York City Discotheque in Ipanema and Frenetic Dancing Days in the Gávea Mall.
Maia left his usual band and went into the legendary Estudios Level with a mighty ensemble of Rio's finest including Paulinha Braga on drums, Jamil Joanes on bass, Robson Jorge on clarinet, Hyldon De Souza on guitar, Sidinho on percussion, trombonists Edmundo Maciel and Darcy Seixas, and Juarez Assis on tenor sax.
Arranger and keyboardist Lincoln Olivetti was a crucial presence during these sessions. He added that all-important string flourish and brassy joy to the uptempo tracks while giving the
star enough room to express himself. The album kicks off with a trio of floor fillers: the exuberant party starter 'A Fim De Voltar', a sing-a-long anthem in 'Acenda O Farol' and the undeniably funky hit 'Sossego' (file that one next to Fatback).
But then Maia drops it down and gets existential on 'All I Want', questioning the meaning of happiness. He also shows his tender side on slow burners such as 'Murmúrio' (written by the great Cassiano) and 'Pais E Filhos', the latter featuring a supersoft bed of harmonies you can't help but lay down on. But the party ain't over and mid-tempo groover 'Juras' gets the feet moving again before 'Jhony' sends us swaying off into the night.
Maia's appetite for excess would eventually get the better of him. But Disco Club is the sound of an unpredictable genius on top form. Get ready for the time of your life.

Alien Ensemble's trombone man Mathias Goetz caused quite a splash when he released his eponymous debut LP under his Le Millipede moniker back in 2015: The multi-instrumentalist's initial offering was clearly something else, impossible to grasp, a musical vessel beyond genre, beyond style or era, seemingly beyond space and time even, a vessel that carried an almost cosmic kind of song-craft - music with no fixed stamp of origin, though it did somehow feel like an Alien Transistor release. Followed by remix album Mirror Mirror, which comprised reworks by 1115, Protein, LeRoy, Olaf Opal, and Saroos, to name a few, it's now time for album #2: The Sun Has No Money.Let's face it: There's nothing as majestic as the sun. At least not in our world. If it runs out of juice one day, it's game over: The End. Light's out. For everyone. At that point, it wouldn't even matter if you're rich or poor. We're all equal under the sun. Same level. And yeah, this might not be major news, but then again... we're talking about the sun. The sun! Guess it's about time to acknowledge its power and superiority, right In fact, you can feel it on your bicycle: pedaling at night, when it's on duty in other hemispheres, and you're working hard at the dynamo, sweating, you can actually feel how powerful it is. In the end you get off the bike all recharged, a tune on your lips - and somehow feeling like a miniature version of the sun yourself. And whenever you feel like that, that's exactly the right moment to grab a melodica and get to work.Following an initial warm-up round sans electricity, this new album soon begins to glow: Mathias Goetz aka Le Millipede doesn't need pedals, he boosts circulation by single-handedly* playing tons and tons of different instruments - it actually feels like thousands, easily. And thus begins a show that has countless levels to it: There are various sonic illusions... and yet Le Millipede doesn't hide anything: He's also willing to show the inner workings, the actual recording process and everything else. In short: he goes meta. Makes songs about making songs. That's right: why not use all these beautiful means to address the issue of money It's not the sun that casts shadows, all it does is recharge, fuel: growth & thriving, that's the sun's area of responsibility. And yet there came a man whose plan was simple: steal the fruit from your garden, only to sell it right back to you, for money. We can hear the sea gulls crying in the distance, as somebody is throwing breadcrumbs up into the wind that carries their voices...It's not the sun that casts shadows - all it does is radiate light. And yet there came a time when someone blocked those rays of light. Now if you're some kind of Diogenes, you'll simply say, Move at least a little out of the sun.' But if you're a teacher, you'll maybe light up your pipe and use that to lighten up. What matters is that the percussion parts, in this case, resemble some serious musique concréte. The sun doesn't know shadows - all it knows, is itself. And yet somebody entered the picture and built an entire city. A city full of streets, so that houses can cast shadows into these avenues. Plus, there's music in the streets, music originally written inside the walls of said houses.One of those streets is known as the Tin Pan Alley: a place that got its name from a music writer who compared the sound of so many pianos to the banging of tin pans. That sound: that's one side of the road that is this album. Some of these melodies appear to be shadows of earlier tunes, dating back to, say, 1898 or even before that, melodies that were first registered in the Tin Pan Alley publishers' offices back in 1912 or 1917. We actually get to see this Alley at that point in time. We see the ropes, the workings. How things come together, the actual act of creation. Suddenly, we can hear the shadows!
Okay, so one side of this street is America. The US of A. The opposite side: Russia. And smack dab in the middle: Europe. A pothole in the center. All the back-and-forth that occurs between these two poles ultimately depends on the movement of the sun. Night and day, taking turns, commuting in and out of sight. We get to meet Prokofiew's and Scriabin's ghost, among other spirits, reframed and published by Le Millipede's own imaginary label imprint on the historic Tin Pan Alley. Indeed there are moments on this album when Le Millipede seems to be playing Scriabin's clavier a` lumie`res (tastiera per luce), when his performance seems to be based on synesthesia, a wild cross-pollination of colors and sounds. In case you didn't know this: In the States, Prokofiew goes by the name Brian Wilson, and Scriabin's also known as Sun Ra - yet another guy who's usually broke, but gets to spend a lot of time out in the sun. Together, these assorted protagonists ask the people of the Antilles for Mutabor dance-tokens and send postcards to Moondog in Germany, right back into the darkness. On the postcards you can see people dancing the Biguine...Firing foreign fossil fuels from all pipes (Brennelementsteuer!), Le Millipede controls the very center of this hustle and bustle: going as far as to employ some southern Chopped & Screwed styles, he's 100% current and zeitgeisty! Houston, we've got a problem: there's some kind of myriapod, centi- or millipede on the loose! Well, give me another sip of lean, sizzurp, dirty Sprite, and on goes the journey in the Pullman coach. Let's follow the sun! Keep on moving, keep things motorik! Here comes the Trans-Eureka-Express. Cherish the backpacking days! A piercing rhapsody of sound (bohrende Rhapsodie), we'll remember them fondly! And thus things move on, the sun, the days, the earth: rise, set, action, round and round... onwards eternally. The sun: the biggest loop known to mankind. As if it was some kind of sonic Rube Goldberg contraption, time seems to be stretching out while listening to that hmmm. After all: time is a lot (a lot!) more than just money. And yeah, the sun is the real big shot on (or rather: above) Planet Earth. Le Millipede's live line-up also includes Markus & Micha Acher (The Notwist etc.), Nico Sierig (Joasihno), and Manuela Rzytki (G. Rag & die Landlergschwister, Kamerakino etc.).
*sole exception: Evi Keglmaier (Zwirbeldirn, Hochzeitskapelle) plays the viola. Words/sun worship: Pico Be

* From the pumping heart of The Magnetic System comes the 'dirtiest' Da-Da-dancefloor anti-jams with this lost 1979 blueprint of Italian conceptual cosmic disco played by the cream of the Goblin studio band. Ultra-rare and unscrubbed,Finders Keepers finally snip the trip from the cash machine to the trash machine.
* Carving its own grubby niche as an early prototype of cosmic disco cum Italo space funk whilst simultaneously harbouring Dada hat stand satire with a junkshop glam aesthetic, this ecological illogical poplitical crab cabaret clearly broke the mould before way before the jelly had set.
* Fans of 'other' obtuse outernational agit-camp might find a fantasy fusion between France's JP Massiera and Sweden's enviroMENTAL marvel Kaptain Zoom while trying to unravel the Madfilth tangle - but rest assured there were method men behind this madness and a portal to Italian funk royalty still festers
at the bottom of the psych rap scrapheap.
* Originally drip-fed out of Cesare Andrea Bixio's Cinevox stable as one of a tight grip of non-soundtrack LPs, made to test the label's commercial potential, Madfilth would follow the band Goblin (and their non-cinematic Roller) as well as the hens' teeth eponymous long player by the group The Motowns in what was perhaps the last-ditch attempt at custom built popsploitation - combining the skills of overqualified composers with undercooked conceptual mind belches. Naturally, after almost 40 years in the barrel, this micro-brewed oddity finally quenches the acquired taste of a new breed of shambolic psychotropic guzzlers proving that 1979 was obviously good year for fool's gold. The Madfilth medicine has finally come to cure your psychic ills so open wide and don't bite the spoon.
* It is beneath the flamboyant rhythm rants and vari-speed osric slop of alt-comedic sarcy-satirist Alberto Macaro (a genetic beneficiary of a vaudevillian comic bloodline) that we find The Magnetic System maestros Franco Bixio and Vince Tempera as the sonic driving force behind this unmarked treasure trove of
B-musical diamanté discoids. It will also come as little surprise that
Cinevox/Dario Argento favourites Goblin were not too distant from the whiff of this curate's egg with the men who many consider to be the group's greatest assets - bass player Fabio Pignatelli alongside sports rock drummer Agostino Marangolo. It was this unison that remained consistent throughout Goblin's career, weathering the temporary departure of Claudio Simonetti and
maintaining the stylistic heartbeat of the group. Madfilth's inclusion of Goblin synth Maverick Maurizio Guarini and the band's mid-period guitarist Carlo Penessi (founder of the band Etna) pinpoints the jobbing Goblin session group during the time they recorded the soundtracks for the films 'Buio Amiga' and 'Squadra Antigagsters'. This lesser-celebrated late 70s era also witnessed the mutating Goblin rhythm section providing discoid backbeats for records such as Giorgio Farina's 'Discocross' album, Simonetti's own Capricorn alter-ego and the homoerotic nightclub spin-off Easy Going - all of which, alongside Madfilth,
provide a strong mutual stylistic support system for their claim to cosmic disco's deep red bloodline.

About this release *First 10 tracks only come with the limited edition Nijmegen's ESHU welcomes co-founder Ivano Tetelepta for his first solo release on the label. It is also the imprint's first full length, but Tetelepta's second album after the hypnotic drum workout that was True Colours, his debut on Fear of Flying in 2012. It comes as a double vinyl release with the first disc being limited, and finds the producer casting himself free from the dance floor and serving up a beautifully atmospheric soundtrack that would be a perfect companion for a nature documentary. When making EPs and 12"s, Tetelepta's smooth and infectious drums are always front and centre in his work, whether solo or as producing with label mates under the ESHU alias. He's also worked with labels like Siena and KERING, but here he shows another side that focusses on short pieces, melody and blissful sound design. To give this album its perfectly warm analogue sound, the whole thing was recorded via cassette and revox tape. The first ten tracks are short, immersive musical worlds with poignant chords and glistening melodies. Some twinkle and shimmer, some sound like an underwater eco system coming to life, and others seem to come from deepest space where solar winds and sonar pulses pass you by. It's cinematic and evocative stuff that takes you away from the here and now and into a different realm. The four tracks on disc two then start with Senang, a suspensory and multi-layered piece of music that has keys, modulations and samples wrapping all around you before Whistle Of Patience has a supple minimal drum line that slowly gets under your skin. Ede 2 Nijmegen is then a turbulent dub track which builds a darker mood before closer De Test sinks back into supple, rubbery and warm drums laced up with hypnotic pads that circle all around. This is an ambitious album of meditative music that offers a beautiful place to lose your mind.

New York City has had a long history of dance music fused with confrontational performance. Whether it came from within the late 70's No Wave canon projected through venues like the Mudd Club or the downtown avant-garde galleries such as The Kitchen, the feeling that influences and infects Brooklyn-based duo Wetware's overall being as a cohesive and confrontational unit is as much enigmatic as it is familiar. Formed in 2015, Wetware eased into its performative role with their live shows around their home base of Brooklyn, NY.

Vocalist Roxy Farman, who's familiar voice was last seen on Drew McDowall's 'Unnatural Channel' album, stole audience's attention from the moment they started, using her body in tandem with her voice as a weaponised vehicle for the band's anxiety filled performance. Matthew Morandi cut his teeth in the electronic music world through his solo tech-industrial project Jahiliyya Fields and partner to Inhalants, the techno collaboration of Morandi and Max Ravitz (Patricia). The synergy that developed between Farman and Morandi has been explosive. Wetware's live antics and behaviour has caused alarm and envy amongst their local audiences, causing Wetware the group to 'not be missed' on any particular bill that they are allowed to take part in.


Wetware stepped out from their live persona and self-recorded a selection of songs that viewers had grown accustomed to and were debuted on the flawlessly curated Primitive Languages imprint. Shortly following their recorded premier was an EP collection of demo recordings on the much praised Bank NYC label. Once the band reconciled with documenting their work, they set out, with the help of engineer Kris Lapke (Alberich / Hospital Productions) to formalise their most recent output in the context of their first full length album entitled 'Automatic Drawing'.

Given Wetware's penchant for endurance, as displayed by their 3 hour long production at Koenig & Clinton Gallery in the Summer of 2017, one would expect the usual restlessness on Wetware's debut full length. All of the apprehension and unease in Wetware seems to have been channeled into a string of cohesive electronic statements found on songs 'Frequent Dreamlands' and 'Ode to Joe'. Industrial dance rhythms bounce around Farman's poetic stance on 'Where Ever You Were', causing flashbacks of an early 80's dystopia that jumps around a confusing, uncomfortable backdrop. Inter-spliced with modular electronic instrumentals like the album's opener 'Pantomime', Wetware's devastating portrait is that of a society in peril.

Repress

Super talent "Ancient Methods" lays down an incredible remix collection of the excellent "Luster & Beta Evers" track "Eternal"which was originally released on 7" through label "Zerohour Doom & Glamour" back in 2011.

more talking all that jazz, more high aiming music by fumio itabashi: mule musiq is ready to release another record by the legendary japanese jazz pianist, born in ashikaga, tochigi in the year 1949.
this time his first solo record ever: the heavy jazzing 'nature', which has never been reissued on vinyl since its birth in 1979. it has been recorded at nippon columbia 1st studio, tokyo from march 13 to 15 in the year of its release.
it features itabashi making feverish love with the piano and sharing the studio with the great bass players hideaki mochizuki and koichi yamazaki, drummers kenichi kameyama and ryojiro furusawa, soprano saxophonist yoshio otomo and vibraphone wizard hiroshi hatsuyama.
they all joined him to perform his very own songs, composed by itabashi himself and produced by ryonosuke honmura, who also produced japanese jazz heroes like saxophonist keizo inoue during his career.
but enough background information. what counts is sound. it is fresh, propulsive, twitchy and melodi-ous from the first to the last tone. sometimes the instrumentalists play a classic solo in an overall deep modal jazz atmosphere that seems to be made for cats that love the good old stars and inventors - from john coltrane to mile davis, from thelonious monk to art blakey.
'nature' also shows how deep itabashi studied the history of the genre, while keeping his very own vision of jazz alive. the man that made his professional debut as a member of the sadao watanabe quintet in 1971 and that also was a member of the elvin jones jazz machine world tour from 1985 to 1987, plays the piano in all tempos: nervous high-flying quick, deeply blue blues style slow.
besides the traditional jazz flavours, you get a feeling of mind-expanding spiritual jazz, that grand mas-ters like pharaoh sanders or gary bartz turned into a sacred music genre. a master-class record in ravishing big city jazz music, adventurous, sometimes meditative, sometimes faster than the speed of light, always grooving with a bright, pure-toned sensibility and deeply soulful melodic imaginations.
it extends the jazz history with a fine balance between tradition and innovation. and it stays infectious all the time while sounding surprisingly fresh due to a lot of thrilling musical spontaneity that touches profoundly even though all notes have been written down by fumio itabashi before he and his combat-ants entered the studio.
and maybe that's the mystery of these timeless five at times epic recordings: all notes been written on paper but each musician had the freedom to dance with them in his very own unique way. so, turn the volume loud and get ready to be steamrolled by fumio itabashi's 'nature', an inebriant album that is talking all that jazz deeply!

Since composer Sean McBride unveiled his first utterance as Martial Canterel almost 2 decades ago, he has produced a body of work both substantial and alluring within the field of live analogue electronic music. Effortlessly fusing a variety of styles and influences, Martial Canterel is one of the premiere outfits utilizing analogue electronics and modular synthesizers. In particular FM synthesis is employed to produce clustered polyphonies and organic atmospheres - a staple of his signature style.Three years have passed since Martial Canterel's last full length album Gyors, Lassù was released on Dais Records. During this down time, McBride found himself in a state of flux, ebbing back and forth between material displacement and musical aestheticism. His expert pedigree in electronic sound and arrangement bridges the gap created by an undecidability between life at home and abroad - his new album, Lost At Sea, is an attempt for the artist to locate common ground, mutating fable with reality, exteriority and interiority.

The album's introductory track, Giving Up, has all of the hallmarks that Martial Canterel has utilized in the past...melodic chorus, upbeat rhythm and classic sequential dynamism. Where the song diverges is in its core theme of nature: nature's return to a period of restoration after the failures and recklessness of humankind. Although this first glance refamiliarizes one with the tight, upbeat appeal typically found within the genre, Lost at Sea quickly takes a more serious and sobering tone.The slower pace of songs like Scampia and Puszta yearn for McBride's complex love affair with far flung destinations. Re-evaluating the political strife and social unrest in these historical locations, McBride delves deeper into political and geological reference points creating symbolic representations using mechanized percussion, white noise and various sine waves.The conceptual nature of Lost at Sea reaches even deeper depths within the waveforms of Astralize, a track based upon academic Donna Haraway's pre-civilized theories of human neglect after the 'azstralization'.

7"

Xen & Yovav return to Malka Tuti in 2018 with full thrust and eyes to the future. After being responsible for the first 2 releases on the label, this time the enigmatic singer and the influential producer collaborate and deliver 2 original songs. Hayom Etmol is a 100% good vibe diy post-punkish poppy song with a flowing synthetic bass line, balearic guitar riffs and dreamy vocals. The B-Side, Shavit, is a vocal led song, with a repetitive guitar bassline and, trip guitar riffs and a minimalistic drum machine. low fi in its production Shavit feels as if it has been dug out of an abandoned 80s record store in the outskirts of Glasgow or Amsterdam, with a strong cold wave feel to it.
This 7' will be the first in a series of more diy approach to electronic music, song writing and production. Some exciting names on the bill so hold on to your chairs...
Hayom Etmol's artwork design was made as always by Morey Talmor, with a printed inner sleeve designed by the Israeli artist Kobi Swissa and a special silkscreened outer PVC sleeve.

Intimate November tour also announced After their 2012 Mercury Prize nominated debut and 2015's Top 20 follow-up 'Born Under Saturn', musical adventurers Django Django are back for 2017, exploring new sounds with their brand new album 'Marble Skies' which will be released on January 26th on Because Music. Today the album launches with first single 'Tic Tac Toe', a rousing, trippy upbeat rock track with an enormous echoing hookline which will excite fans of the band's rockabilly-influenced elements. The accompanying video for 'Tic Tac Toe' was directed by John Maclean, brother of Django Django drummer/producer David Maclean and director of the critically acclaimed modernist western 'Slow West'. It depicts vocalist/guitarist Vincent Neff enjoying a rapid-fire day-trip to Hastings which takes a turn into the surreal and sinister when a ghost train puts him on a collision course with a grim reaper inspired by Ingmar Bergman's The Seventh Seal. As John Maclean explains: The film could be about the fading era of the beach arcades, time moving too fast, love and games, horror and happiness but it is actually about a man who needs to go buy a pint of milk to make a cup of tea.' After the brilliant, rave-shaped grooves and expansive arrangements of its predecessor, 'Marble Skies' is a more concise and focused offering which recalls the dynamic, genre-blurring music of their debut. It's a return to form, an album which finds them returning to the handmade, cut-and-paste approach of the past. Upon finishing the 'Born To Saturn' tour, Dave ventured to LA to work on a production project, whilst the other band members went to India with the British Council. When they returned, the new album process began with a back-to-basics approach which recalled the DIY ethos of the band's early days, Django Django - minus an absent Maclean - assembled at Urchin Studios in Tottenham, London with Metronomy drummer Anna Prior to experiment with the idea of coming up with new tracks through loose jamming sessions. After ten days of recording, there was plenty of raw material to send up to Dave (then back in his hometown of Dundee) for him to edit, refine and evolve. As ever, all four band members (completed by Tommy Grace on synths and bassist Jimmy Dixon) contributed to the band's music, melodies and lyrics as the final album took shape. Parts of 'Marble Skies' find Django Django sailing into uncharted territories, not least the driving title track (propelled by Prior's drumming), with its echoes of Krautrock and Suicide. Meanwhile, the hazy Zombies-like summer pop of 'Champagne', which explores the joys and ills of alcohol, was inspired by the band's over-indulgence during a boat trip on the Seine that was hosted by their label. Those drawn to the more dance-orientated side of Django Django will find much to love in the twisted '80s electro pop of 'In Your Beat' and the dancehall-influenced 'Surface To Air', a dreamy-headed pop song fronted by Rebecca Taylor of Slow Club. The collaboration came as a result of the two bands meeting up at SXSW some years ago, where Rebecca and Dave in particular bonded over shared interests in R&B, hip-hop and dancehall. Another more surprising collaborator is Jan Hammer, the Czech-born, American-based jazz-fusion and electronic artist who shares writing credits with the band on the gorgeously floaty 'Sundials'. If there's a mood running through 'Marble Skies', it's one of reflection on things past and present, and finding some kind of peace with your place in the grand scheme of things.

Following the acclaimed first album of Al Sunny released in 2017, Favorite Recordings proudly presents this single remix package of Open Up Your Eyes'.

Al Sunny is a young composer emerging from the French soul music scene. Soon after learning the guitar, he started composing and became involved in numerous projects and collaborations. He quickly discovered deep inside himself the music that he truly loves, inspired by artists such as Tim Maia, America, Al Green, and Al Jarreau. During his studies he met musicians including Florian Pellissier, and it's then thanks to Florian that he met Pascal Rioux, founder and A&R of Favorite Recordings. Together they produced Time To Decide, a first album acclaimed by many tastemakers and gaining a solid success in Japan.

One of the highlights of the LP was the track Open Up Your Eyes', which disclosed the premise of Al Sunny music style, infused with Blue-Eyed-Soul, Pop and Folk. Also tainted with a Disco dancefloor flavor, Open Up Your Eyes' was a perfect match to build a nice remixes package for DJs. On the A side, Bruno Patchworks' Hovart delivers again a hot Soulful/Disco version of the song with his famous touch. As for the B side, Favorite Recordings asked the Canadian producer Jex Opolis (Good Timin' Records), with a Disco style slightly more oriented in Electronic and House vibes.

Original year of release: 1989. Features the tracks 'Zobi La Mouche', 'C'est Pas La Mer A Boire', 'Voilà l'Eté', etc. Les Négresses Vertes was the biggest French act touring the world in the beginning of the 90's. The band has just reunited and will tour Europe this year to celebrate the 30th anniversary of 'Mlah". The album has been unavailable on vinyl since their first original pressing.

Camarão - The Imaginary Soundtrack to a Brazilian Western Movie 1964 - 1974
In 1960 we received an invitation to play in Recife, a wonderful, exciting and dangerous place, often described as a social jungle'.

The Forró party took place at Caxangá´s neighbourhood theatre, on the first floor, with its high ceilings, wooden floors and balconies, the place was perfect for these kinds of events. When all the windows were wide open, there would be a wonderful breeze during the hot tropical evenings.

Since everyone was looking for amusement, the place was packed on weekends. People from all corners of society would arrive nicely dressed, animated and chatting loudly over the sound of clinking glasses.

Pernambuco´s Cachaça, considered by many, especially by the locals, to be the best in the country, had started flowing generously and the popular sugar cane based alcohol lives up to its reputation.

We always had a few shots to warm up before performing and by the time the place was packed we were already in a very good mood.

Our local cachaça had loosened the bodies and minds of everyone in the room, people started to pair off and twirl around to the sound of forró music, smiling and sliding their feet off the floor - a reflex picked up from dancing in rural villages to avoid kicking up the dust'.

Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

The Hilvarenbeek Recordings are based on field recordings from the Dutch farm Biologische boerderij 't Schop in Hilvarenbeek. The work was commissioned by Incubate Festival in Tilburg.

Our latest examination of Esoteric, Modal & Progressive Jazz of the 20th Century has taken us to Japan. The liberating force of jazz has been created and felt all around the world, but few nations on earth embraced the jazz message with the passion and intensity of Japan. From the dawn of the jazz age to the present day, Japanese audiences have been renowned tastemakers, enthusiasts and champions of the music - in the 1980s, Japan was the biggest per capita market in the world for jazz records, and it has even been said that Japanese jazz fans kept the jazz record industry alive through the lean years of the 1970s, when the music fell from commercial favour in the land of its birth.

But while the jazz aficionados of Japan are celebrated as sophisticated fans and consumers of the music, comparatively little is known outside Japan of the remarkable and abundant music produced by generations of Japanese jazz musicians. Numerous Japanese jazzers have found enormous success on the international stage - Toshiko Akiyoshi, Sadao Watanabe, Teramasu Hino, and many others are household names among jazz listeners all over the world, and with good reason. But if such global figures are put aside, the stunning heritage of Japanese jazz remains poorly understood outside Japan. As a result, the work of many celebrated Japanese jazumen has remained largely unknown to international audiences, and the extraordinary scope and depth of Japanese jazz has not been widely recognised.

Compiled for the Spiritual Jazz series in collaboration with the celebrated collector and DJ Yusuke Ogawa (Deep Jazz Reality, Tokyo), this 2CD/twin set of double LPs aims to correct that omission by uncovering the uniquely deep sound of esoteric, modal and progressive jazz from Japan - music of the heart, soul and Japanese spirit!

Each 2LP set comes complete with OBI strip and thick, textured sleeve. Our extensive liner notes extend onto printed inners, and are in both Japanese and English.

Yellow Sunshine' by the band of the same name is an essential proto-Disco jam from back in 1973. A big one with the underground Disco heads and B-boy DJ's in the Bronx alike this record is a sure-shot! Often early Hip-hop DJ's would buy 2 copies of this 45 or the LP and cut it up long enough for the crowd to get loose and into the groove. A party-rocker of the highest order. Produced in Philadelphia, originally released on Kenny Gamble's 'Gamble' label and featuring some heavyweight players including Dexter Wansel, Roland chambers and more, 'Yellow Sunshine is the perfect blend of funk, Rock & Disco - old school style. Backed with 'Don't Tell Me later Girl' a la the original '73 Gamble Records promo this one's an essential for anyone who digs that Funk! There's always been poor imitations, but this 2017 repress is from the MASTER TAPES (Yes, we can prove it) and is fully, 100% LEGIT in every way. 'Yellow Sunshine' - now available again, released in conjunction with Gamble / PIR. Back on the streets. Same as it ever was! Buy on sight!

Nights of jam sessions in the city of Seville led to the encounter of a Senegalese Birane Amar Wane aka One Pac and Andalusian José Goméz. The couple brings out the best of each other and share their knowledge.

Side B "Ngeum Ngeum" is from their first album called "African Groove" and it has sounds of funk, hip hop and soul with spices from African music.

The record was made with the collaboration of musicians from different backgrounds and origins.

It was May 2017 when Earthboogie's debut release dropped on Leng. The soundsystem-loving East London duo rightly won praise for a fne EP that brilliantly joined the dots between all things intergalactic, terrestrial and tribal.
Having spent the last ten months recording their adventures, Izaak Gray and Nicola Robinson return with Silken Moon', the frst single from their forthcoming debut album, Human Call.
In typical fashion, Silken Moon' cannily combines musical elements from a myriad of styles - most notably Afro-disco, samba and mid-tempo Chicago house - to create a humid hybrid that defes easy categorization. There are bouncy organ riffs, undulating acid lines, clipped Afro-funk guitars, tons of tropical percussion and the chanted, carnival-friendly vocalizations of guest singer Nina Miranda.
The release comes backed with remixes from two members of the extended
Leng family: long-serving producer Felix Dickinson and Turkish rising star Ali Kuru. Dickinson sticks close to the original of Silken Moon' with a mix built around gently jacking machine drums and Earthboogie's sweaty guitar licks while Kuru takes Human Call' in an altogether more cosmic direction. Pushing the track's psychedelic TB-303 lines and tropical textures to the fore whilst
adding his own mind-altering electronics - most notably a fat new synth bassline - Kuru cleverly re-casts the track as a pulsating, late night throb-job.

Marcos Valle's incredible 1963 debut, Samba ''Demais'', established him as one of the premier performers and composers in the emerging Brazilian popular music landscape. Barely out of his Rio high school, where classmates included fellow Brazilian musical legends Edu Lobo and Dori Caymmi, Valle caught the eye of label executives and had a debut record out before his 20th birthday. Though he would later go on to be a massive superstar across his native country and a cult figure throughout the rest of the world, these humble beginning show Valle already had a complete mastery of the samba songwriting form and was already a brilliant performer. An essential Brazilian title on 180 gram vinyl with 1 bonus track from Cornbread.

As the lead singer of George Darko's legendary Burger-Highlife hit-band, Lee Dodou became the number one voice of 80's Highlife. Born in Kumasi, the epicenter of Ghanaian Highlife, he came to Berlin in the late 70's - by then the uprising epicenter of Burger-Highlife - to work as a back-up-singer for Pat Thomas. After joining and leaving Georg Darko and running his own band "Kantata", he stopped releasing music in the early 90's. Now, Philophon is proud to present new recordings of his soulful genius to the world of 2018.

Basa Basa is a song in the classic "concert party" style, as it was played in the glorious 60's. After a firey horn introduction Lee takes over in that funny and entertaining manner typical for "concert party" music. Buzz Duncker joins Lee's phrases with some gentle clarinet. Highlife at its best!

Sahara Akwantuo is anything but a classic: it's the start of a kind of philophonic Highlife, labeled as Kraut-Life. Ghanaian love of life meets German romantic melancholy. Happy rhythms meet mysterious synth landscapes. Eternal summertime and mangos are meeting a wet winter world and roast apples. Kraut-Life at its best!

SHE'S GONE' is the very awaited debut of London trio S.A.D. As bandcamp inmediately noticed and announced as one of the top 5 'new and notable' worldwide release of the week, their music is 'dark post-punk with irresistible melodies, big synths washes, and punchy rhythms, designed for the modern goth club dancefloor'. It arrives on 12 Maxi-Single EP format and produced in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid black vinyl. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghemand remastered for LONG CUT vinyl by Eric Van Wonterghem

After 2 long years, Michal Wolski is back with his second release for International Day Off. From what we can hear, we're definitely sure that at least half of this time he wasn't leaving his studio. The music just sounds big, 4 fat tracks, including remix from Gathaspar, is a heavy based techno stream, making every cardiovascular system pumping more blood. Thanks to the fact that Michal apart from production was responsible for mastering, we guarantee that this Ep will generate the appropriate sound pressure from every speaker so be careful with the volume knob!

Support: Âme, Aurora Halal, Carl Craig, Drumcell, Electric Indigo, Ilario Alicante, Richie Hawtin, Slam, Subjected...

'Rothschild 12' operated between 2009 and 2017 in the heart of Tel-Aviv, near the bustling intersection of Herzl street and Rothschild boulevard. Located on the ground floor of an elegant eclectic-style building which was built by Mr. Abraham Fogel exactly 100 years before it opened, 'Rothschild 12 began as an art gallery and quickly became a popular relaxed café and bar. While its front terrace faced the hustle and bustle of the city's main boulevard, in its back room 'Rothschild 12' hosted nightly live shows by a variety of established as well as up and coming independent musicians. What started off as improvised jam sessions soon developed into a full program ranging from jazz and rock to world music, hip hop and electronica. Now that 'Rothschild 12 is relocating to a new venue on Herzl street, it is time for a summary - a snapshot of the musical diversity which filled its walls - in the form of the compilation you are now holding. This musical summary of 'Rothschild 12' brings together a modern remix to a pioneering Israeli-Yemenite disco number from the seventies, a bundle of colourful and psychedelic beats,

Part of the current crop of artists spearheading the UK acid revival, Posthuman's output has evolved over the years, encompassing many genres & styles from their early electronica releases, to their later acid & slow-mo techno.

Their debut release in 2000 was a series of hand made CDs simply called "Posthuman" (though better known by the colour of the card inserts - grey, black, blue and brown). The duo then went on to host a number of parties in an abandoned underground train station in London between 2001 and 2004, and founded their own label Seed Records (2) with which they released 3 albums and several other releases of their own and other artists material. They also were the first act on Manchester based imprint Skam's SMAK sublabel.

Doherty left Seed Records to help relaunch UK techno imprint B12 Records in 2006, and started a new label Balkan Vinyl in 2010.

In 2007, Doherty founded London-based acid house retrospective clubnight "I Love Acid", where Posthuman are monthly resident DJs. In 2014 the clubnight launched a vinyl-only label of the same name. He also performs as AGT Rave Cru and as one half of Altern 8 live shows since 2015.

One of the most unique, ambitious and experimental game soundtracks ever made. Now on vinyl for the very first time.

Similar to the task of condensing Yuzo Koshiro and Motohiro Kawashima's abundance of ideas into a Mega Drive cartridge in 1994, it feels impossible to convey the influences, technical achievements and sheer ambition of their masterpiece into a single paragraph today. By combining automatic composition methods, custom programming languages and a complete sense of artistic freedom, Koshiro and Kawashima transcended their medium and created something so incomparable that it's hard to believe it came from any games console, let alone a 16bit one. Streets of Rage 3 is urgent, demanding and a complete rejection of the notion that video game music is either pedestrian or predictable. We are honoured to be releasing it.

Streets of Rage 3 is presented as a double LP in a heavyweight single pocket sleeve, with accompanying lithographic print featuring artwork from the SEGA archives in Japan. The audio was sourced from original hardware and carefully remastered in collaboration with Yuzo Koshiro, who also supplied exclusive liner notes for this release. On 180g translucent orange vinyl.

Original year of release: 1991. Features the tracks 'Le Soleil de Bodega', 'Face A La Mer', 'Famille Heureuse', etc. Les Négresses Vertes was the biggest French act touring the world in the beginning of the 90's. The band has just reunited and will tour Europe this year to celebrate the 30th anniversary of 'Mlah'. The album 'Famille Heureuse' has been unavailable on vinyl since their first original pressing.

Original year of release: 1994. Features the tracks 'Mambo Show', 'Après La Pluie', 'A Quoi Bon', 'Bourré d'Allégresse', etc. Les Négresses Vertes was the biggest French act touring the world in the beginning of the 90's. The band has just reunited and will tour Europe this year to celebrate the 30th anniversary of 'Mlah". 'Zig Zague", the 3rd studio album, is available for the first time on vinyl.

Lullabies For Insomniacs presents 'For Leena', a collection of unreleased pieces composed between 1991 & 1998 by Dino J.A. Deane for the choreography of Colleen Mulvihill. Gatefold Sleeve
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Dino J. A. Deane began his professional career, at the age of nineteen, as a musical arranger and multi-instrumentalist (trombone, flutes, keyboards, percussion). He worked in funk bands around Los Angeles before moving to San Francisco in the mid 1970's, where as an improvising artist he became involved in the diverse communities of dramatic theatre, modern dance, free jazz and punk rock.

In the early 1980's Mr. Deane pioneered the use of live-electronics, live-looping and live-sampling in three distinct genres that heavily informed his later compositions: As a member of art-punk band 'Indoor Life', touring and recording with fourth world pioneer Jon Hassell and as an electro-acoustic percussionist in the Conduction orchestras of Butch Morris.

During this period Mr. Deane also worked as a sound designer for the theatre, with directors Sam Shepard, Julie Hebert and Christoph Marthaler. He also maintained a presence in the world ofmodern dance, creating and performing compositions for former Olympic gymnast Colleen Mulvihill.

The couple met in San Francisco in 1979 through his good friend Bruce Ackley, whom was commissioned to compose a score for one of her solo pieces. Colleen, was than a member of the Margaret Jenkins Dance Company and was planning to move to New York City to set out on her own as a dancer and choreographer. Their paths crossed again in 1980 when Dino moved to NYC with Indoor Life, during this time they began a long term relationship both on and off the stage, which continues to this day.

When we started The Bunker New York label in 2014 there was a short list of artists whose music we knew that we wanted to get out into the world. Lori Napoleon, aka Antenes, was high up on that list, although at the time the Brooklyn-based Chicago native had yet to release her recorded music at all. Five years on, after acclaimed records on L.I.E.S. and Silent Season, residencies at Issue Project Room and Bell Labs plus a busy global touring schedule as both a DJ and live performer, we are proud and excited to present Lori's Ante Meridiem EP under her Antemeridian production moniker. She tells us that the Antemeridian project is a special outlet for her more melodic synthesizer compositions and the name Antemeridian refers to morning light and the meridian lines of the planet, the view you would have from above if you were already in the sky/space/seeing the atmosphere also from a great distance.'
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With this EP, Antemeridian has created nothing less than a masterwork of synthesis comprising unique soundscapes unbelievably detailed and crisp. We asked Lori to tell us a bit about her production techniques, which include home-built machines from unorthodox source materials including vintage switchboards and telecommunications equipment. She actually built her first synthesizer out of an antique telephone switchboard we donated to her from The Bunker HQ! I use a combination of synths and controllers/sequencers that I've made along with commercially available/ bought or modded analog synths and field recordings that have gone through a number of effects chains. There may be a crackling sound that emerged from the modular which made me think about a flame sparking and burning out, recalling a very organic process in nature - but in a composition it's a drum element. Perhaps the sense of detail comes from how I work on finding sounds before arranging them in a track so when I find one with little nuances and textures, then I'll be inspired to compose with it. Visceral sounds are very important to me, and sounds that you may not instantly identify with this or that synth model - which is why I like the idea of designing my own palette for portions of tracks.'

Wicked 4 tracker of
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Old Shady Grady & The Neighbourhood Character (OSGATNC for short) is the result of a chance meeting in Berlin the fall of 2013 between Eric Douglas Porter a.k.a. Afrikan Sciences, one of the most expansive and intensive musical torch bearers of modern experimental electronics and jazz, and Ari Robey-Lawrence, producer, vocalist, and DJ a.k.a. The Neighborhood Character, who began as a jazz guitarist and drummer. They quickly found a mutual bond and a musical partnership emerged soon thereafter, and debuted on Uzuri's The Wilderness Sessions with their EP, Tales from Caturday'.

Via their collaboration, Porter and Robey-Lawrence explore the intersections of diverse musical and emotional territories through improvisational, long format jam sessions-- experimenting both with a wide range of sampled sounds and expressive original vocals, sustained by pronounced, yet fluid rhythmic backbones.

Jordan GCZ says: I walked into their sound check at freerotation festival last year and was blown away. I feel privileged to be a part of putting this music out there'

It is Melodies International's greatest pleasure to bring forth its latest reissue comprising two stripped-back, reflective pieces of US folk soul.

Largely forgotten for the past forty-odd years, Bobby Wright (now Abu Talib)'s "Blood Of An American" and "Everyone Should Have His Day" resurface as politically-infused works that shine bright and still hold meaning to this day.

The 60s and 70s constituted an exceptional era for its unique blend of popular culture and political radicalism. Household names such as Sly Stone, Marvin Gaye and Gil Scott-Heron used art to express their discontent with the current state of affairs, namely the US government's involvement in warfare and their inability to deal with critical social issues of the time. Though not a musician, Muhammad Ali (born Cassius Clay Jr) was advocating a similar anti-government stance in the boxing ring, and his objection to serving in the Vietnam War sealed his status as an icon for the wider counterculture generation.

Meanwhile in Queens, New York City, Abu used to work several jobs as a construction worker and cab driver - but still found time to play with his band in clubs for $100 a night to support his family. Against the backdrop of international conflict and violence, most of his surroundings failed to listen to how he felt. However, he considered music to be the greatest form of communication with the world and it was his belief that a positive message should be spread to future generations.

After one band member was killed in Vietnam and another went into the service, Abu resolved to pick up his guitar and record these songs as a duet in 1974 with his bassist - the only other remaining band member. Combining guitar, bass and a voice that quavers with emotion he self-released the record in 1974, one which holds its own alongside the all-time greats.

These songs of introspection remind us of the beauty there is in simplicity and how moving art can be when the feelings expressed come from the heart. MEL009 will be released in its original 7" format alongside a 16-page Melozine, featuring words from Abu Talib, social studies professor Paul Rekret and much more.

The Project " It's Over There " by Alexander Robotnick was born in Rachdingue Club...The 8 August 2014... With its Famous Release House Party...

Celebrate in this Hot Summer The Original Track & Many Remixes by Best Artists of Club like... Kira Neris ... Fabrice Torricella ... Seq9 ... Vax1 ... Le TreiziEme Projet ... Lo ... & More...

So In June 2015 with Success of Volume 1...We Release the... Volume 2 of Remixes with Dj IM ... Degios ... Manuel Perez ... & Balza ...

With the Best Welcome by Electronic Sphere... We Distribute Now !!!
With Shite Music for Loupblanc Recordings This 12''...
With 2 of Best tracks of " It's Over There "

Pablo R. Ruiz was born in Chile and moved to southwest Detroit in 1999. He played drums in various hardcore punk bands throughout high school. DEMF and raves cultivated an interest in dance music that Pablo brought with him when he moved back to Chile in 2006. He began producing and DJing in underground clubs around Santiago. In 2016 Pablo returned to Detroit, purchased more gear and began producing a new body of work, all recorded straight to tape. The "Bad Hombre" EP is our selection of the fruits of his labor.

Culross Close follow up their 2016 debut album HOME with a potent offering entitled MOMENTS. The
quartet (a moniker of K15) meld fusion and future grooves to create a captivating ride through some of their recordings. From the opening MANIFESTO, the listener is thrust into a world of purpose and understanding. SLOW YOUR STROLL is where the record begins to unfold, as floating synths and
percussion carry the groove. What follows next is the hypnotic INNA TRICE, the rawest of all the
recordings where snares and sincerity collide. The record closes with UNISON (a future groove if there
ever was one), a number that showcases the quartet's ability to truly explore their moments.

Maya Deren (1917-1961) was a Russian-American filmmaker and one of the most important voices in avant-garde cinema of the mid-20th century. When she decided, between the end of the 40s and the beginning of the 50s, to make an ethnographic film in Haiti, she was criticized for abandoning the avant-garde film world where she had made her place, but she was ready to expand to a new level as an artist. Deren not only filmed, recorded and photographed many hours of voodoo ritual, but also participated in the ceremonies. It was in working on this film that Deren recorded the Haitian musicians found on these sides originally released in the very early days of Elektra records. 'Voices Of Haiti' (here repressed as a 12" with new mastering) -a beautiful artifact of percussion and chant heavy ritual music- is one of the earliest and best Western ethnographic documents of voodoo culture in Haiti. It is unmissable both for its historical value and for the beauty and spiritual power of the music it contains.

It's the big 5! Berlin - Frankfurt based label House Is OK is celebrating its five-year long presence and has decided to mark that period with something special Label's story started with a sticker Homeboy printed in his former hometown, Zagreb, saying House Is OK'. Catchy, right It became an underground slogan of the local scene. It didn't take long for people to embrace the idea stating that it's OK to be into melodic, fresh, groovy yet, at times, a bit awkward dance music.
Just around the same time Homeboy's Frankfurt based bro's Oliver Achatz and Janis played with the idea of starting a record label. Guess what the logical choice for the name was
Ten records, dozens of original songs and remixes later House is OK continues to grow.
Literally. What was once a platform for the original three founders is now an international family affair supporting the talented artists from Frankfurt, Stockholm, Alexandria and Orlando. Nurturing the friendly approach this musical family continues to grow.
Looking back at the first five years, not only at the music that connected them all but at the bonds that deepened through the production process, House is OK crew wanted to take
create a proper reminder and thank the ones supporting them throughout the years. A double 12' pack titled Gemišt' seemed like a proper way to do that.
- Gemišt will be released as two separate EPs featuring the original music from Kornél Kovacs, Roman Flügel, Gavri & McQueen, TCB, House Of Life and the label makers themselves. Oliver and Janis deliver tracks under their known names, while Homeboy
introduces his new project with fellow Wilde Renate resident The Swift, called Longhair.
Croatian artist Ugruv Smek marks his yearlong collaboration with the label delivering yet another smashing artwork.
Mark the upcoming February when Gemišt part I' is to be released and while you're at it, move on to March just so you don't miss the Gemišt part II' release. And yeah, in case you're wondering - of course it's both 12' EP release and in digital format. House is OK's got you covered.

This is the first album of Borusiade, in which she takes her music to a new level, finding her very own expression, that is making us first shiver then sweat, then chill and finally melt.

Cómeme starts 2018 by proving again to be a safe haven and a sanctuary for sensitive plants and unique characters devoted to music - just like Miruna Boruzescu aka Borusiade - from Bucharest - who conquered the radio stations of our parallel worlds and utopian desire. 'Dream catcher' was the name of the show, and 'Jeopardy', a nocturnal EP, her first release on vinyl.

Now, after adventurous travels through night clubs, theatres, windy cities, snowy fields and merciless deserts her desires and imagination have manifested themselves in her very first album, carrying the intriguing title: 'A Body'

The record sleeve features the back of her head, making us wonder what she sees, on the other side. Her visions unfold through 8 pieces of music that follow a dreamlike narrative of associations and transformations. Somber synthetic atmospheres, sparse and spatial rhythmical arrangements, strangely seductive melodies and lysergic ally pulsating bass lines lead us away from a dystopian present towards a sensorial experience we long to repeat as soon as it's over.

'A Body' is a deeply poetic work in which again and again you will hear Borusiade's voice, sometimes dissolving and recreating meanings in mantra-like repetitions, sometimes layering itself to pagan choirs of smooth ecstasy. Then again you will also hear that voice close to you, singing, sharing an experience or a thought. It is always soft, effortless and unpretentious, but always strong, clear and precise, like the voice that speaks to you in an altered state of consciousness. It seems to come from the same person that is holding your hand, when everything else seems to fade into uncertainty while wandering through strange times and places...

Starting with the song CLUSTER the effect is kicking in, we sink into the universe of the album through this throbbing ambience that seems populated by a reverberated ant colony that broke into a synthesizer. The introduction of this album is a complex emotional soundscape that is followed by a song: BREATHE, which sounds like a classic you never heard. With its catchy melancholia, it creates a déjà vu like strange familiarity of the unknown - a memory from the future. And though our minds were just twisting and turning in an overflow of information, we suddenly leave our bodies and observe ourselves breathe.

Other tracks, like DORMANT are more focused on the narration of the body and its state. Words, describing it in many ways, softly and incessantly repeated, are mixed deeply into the soundscapes of a track that features a bass drum so soft it could be a heartbeat. Foggy moments like these dissolve in a track like AN ACUARIAN FEELING, which is queer synthesizer love, shifting in shape and momentum, a ray of light that pushes itself through the nightly atmosphere that was preceding these moments, a similar landscape in different times - a choir enters, cheerful drums, climbing and descending melodies and rhythms of hope. Just like the utopian vision in the title track A BODY, that stands at the end of this journey, which in itself just opens another new horizon.

Strata-Gemma's eponymous debut album is set to provide a soundtrack to 2018.

The trio hail from Modena, the Northern Italian motor city. As with the Ferrari and Maserati cars that are designed and manufactured in Modena, Strata-Gemma produce a music of beautiful symmetry.

Strata-Gemma create jazz for the head, the heart and the body. Their sound is shaped by the ambient adventures Miles Davis and Ron Carter engaged in alongside the electronic pulse Mo' Wax and Ninja Tune carved out of clubland. Add to this a touch of Nino Rota's Fellini film scores, employ a pinch of Balkan and klezmer brass arrangements, and you have an instrumental trio who create music so fresh it stimulates the senses.

Strata-Gemma are a collaboration between Billy Bogus, Luca Cacciatore and Andrea Moretti. The trio first took shape as a club jam between DJs and musicians. Their ability to create atmospheric music, pulsing with rhythm but never solely reliant on beats, music that breaks free and explores sonic possibilities, quickly won notice and lead to the trio playing their freeform music in clubs, music venues and festivals across Italy.

Strata-Gemma consist of producer Niccolò Bruni (aka Billy Bogus), horns player Luca Cacciatore, double bassist Andrea Moretti. Bruni is a DJ, producer and founder of Pizzico Records. Over the past two decades he has striven to mix jazz, beats, soundtracks and funk. Coming together with Luca and Andrea allowed Bruni to explore a vision of post-club jazz that is as rich as Modena's food and as elegant as Modena's cars. Strata-Gemma create a sensual sonic storm, music to be savoured and explored, the opposite of much of today's fast-food music.

Lorenzo Bandiera, the London-based Italian founder of Fly By Night Music, heard a Strata-Gemma demo via friends and was immediately impressed. "I thought 'this is great!", he says. "Music as strong as this can't be ignored. I'm excited about releasing Strata-Gemma."

Red Vinyl
In 9 records and 22 years Schmer has given you the same four dudes: Prototype 909, DJ RX-5 and bpmf. Now is the time to unleash a new generation of Schmers on an unprepared world and they are prepared to set the world on fire.

Coming out strong to whip us all into shape we've unleashed Isabella and she'll leave you "Spun Out". Isabella has done tracks for Jacktone, Embalming Lately, Borft, S1, Peder Mannerfelt Produktions. She uses hardware, live, to produce unhinged techno. Now she has done one for Schmer, which had already lost its hinges decades before.

Since 2015, Ciel's monthly radio show "Work In Progress" in Montreal has been highlighting the best and weirdest in underground electronic music produced by women. She has released tracks on Junted (Marshall Applewhite's new imprint), the benefit compilation Power Puerto Rico, and a three- track EP on Peach Discs which landed on numerous year-end lists from Fact Magazine, Mixmag, and Resident Advisor. She provides Schmer with the pristine sounds of "Bad Luck Comes in 3s".

Hiroko Yamamura is the Classic Chicago ride or die style DJ/producer influenced by The Warehouse, technology, and straight up techno, its no wonder she has been named one of Chicago's top 10 DJs by XLR8R magazine. Finally Schmer stops messing around with the Chicago sound and puts the real thing out with Hiroko's "Babyayez" track.

Experimental Housewife is Evelyn Malinowski, a longstanding DJ and maker of music.(Run The Length Of Your Wildness / Jacktone Records / Perfect Location / Juxtatextureall) Now based in San Francisco, she partakes in multiple open collaborations, like the one with the highly skilled DJ and producer Andrew Bowen aka Bilaga´ana. "Free Ends" was created, a track with grit yet full of innocent meandering. Its the cherry on top of our Schmerlicious cake.

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip's, Mogwai's Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

Every Country's Sun named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.

Boxset includes: White vinyl double LP, 12" black vinyl (containing 6 tracks of album demos), CD, plus a set of Tarbox Road photographic prints - Includes download card redeemable from the label.

TenGrams are brothers Alessandro and Davide, who collectively have a deep and long understanding of dance music. Davide is a co-founder of N.O.I.A, one of Italy's first electronic live acts to perform and record with drum machines and synthesizers as early as 1978. He was also behind seminal Italo outfit Klein + M.B.O and proto house hit 'Dirty Talk.' Since then they have released under an array of aliases, have clocked up numerous club hits and this new project brings them back to their electronic roots, with influences like sci-fi movies and old school electro and italo looming large.Devious' is a very breezy and energetic track with a rolling arpeggio and rich keyboards section over a simply but groovy Tr-808 pattern. Classical Italo Space Disco sound updated to nowadays. 'Translucent' sounds like a dreamy electro-ballad heavily influenced by Kraftwerk. 'Pop Song' keeps the same 80's electro vibes with simple, wistful melodies and a great funk bass line. 'Disco Dub' is a pretty damn cool early eighties electronica, with a great pumping 'robo-funk' Linndrum!