Cerca:west k

A Sagittariun’s third album chronicles the journey back to Telepathic Heights; an expedition that encounters many obstacles along the way. The feuding parties of the two planets make for a journey of determination and self-discovery for our techno lone ranger that will ultimately deliver him to the sacred site on which Telepathic Heights stands. Conceived as a space western soundtrack to the cinematic interpretation of this tale, Return To Telepathic Heights delivers ten chapters that journal the ultimate mission to reach the imposing tower of Telepathic Heights, where dream telepathy has become the primary communicative tool amongst its peaceful and harmonious community who have opted out of the planetary war that continues to rage, seemingly with no armistice anytime soon. The score fittingly winds its way through the trials and tribulations of this journey, blending minimal and harmonic rhythms, industrial funk, dreamy synthwave and transcendental techno into the rich tapestry of music that documents the ‘Return To Telepathic Heights’. The album features original artwork by Johnny Bruck, fully licensed, and taken from the legendary German science fiction novel series, ‘Perry Rhodan’, which ran weekly from the early 1960s, and was the most successful sci-fi book series ever written.

Black Truffle is honoured to announce the first ever vinyl reissue of David Rosenboom’s legendary Brainwave Music, originally released on A.R.C. Records in 1975 and here expanded to a double LP with the addition of over 40 minutes of contemporaneous material. Pioneer of live electronics, innovator in music education, collaborator with artists as diverse as Jon Hassell, Jacqueline Humbert, Terry Riley and Anthony Braxton, Rosenboom is renowned for his ground-breaking experiments with the use of brain biofeedback to control live electronic systems.

Each of the three pieces that make up the original Brainwave Music LP integrates biofeedback with musical technology in different ways. In the side-long opening piece “Portable Gold and Philosophers’ Stones”, four performers have electrodes and monitoring devices attached to their bodies to receive information about brainwaves, temperature, and galvanic skin response. This information is analysed and fed into a complex set of frequency dividers and filters, manned by Rosenboom, but essentially played by each of the performers through their psychophysiological responses to the situation. The result is a slowly unfolding web of filtered electronic tones over a tanpura-esque fundamental, possessing the unhurried, stately grandeur of an electronic raga. In “Chilean Drought”, three different variations of a text about a drought in Chile, each read by a different voice in a different style, are associated with the Beta, Alpha, and Theta brainwave bands. Alongside an insistent piano accompaniment, we hear a constantly shifting combination of the three vocal recordings controlled by the relative preponderance of each of the brainwave bands in the soloist whose brainwaves are being monitored. “Piano Etude I (Alpha)”, the earliest piece included here, is based on research into the link between Alpha brain wave production and the execution of repetitive motor tasks. As Rosenboom plays a very rapid, incessantly repeated pattern in both hands – deliberately designed to be difficult to execute without being in an alert, non-thinking state similar to that associated with strong Alpha brainwave production – two filters controlled by monitoring his brainwaves process the piano sound, moving gradually higher in frequency as the average Alpha amplitude increases, resulting in a hypnotic, constantly shifting blur of repeated notes reflected through the shimmering, watery lights of the filters. For this reissue, the original LP is supplemented with an additional LP containing an unreleased 1977 live recording of Rosenboom’s “On Being Invisible”, in which the composer himself performs on an array of electronics that are fed information from his brainwaves. Stretching out over 40 minutes, the piece begins in similar territory to “Portable Gold and Philosophers’ Stones” but eventually becomes far wilder, building up to pointillistic bleeps and dense layers of electronic fizz that unexpectedly cut to near-silence. As Rosenboom explains, the piece creates a situation in which the ‘performer’s active imaginative listening became one of the ways to play their instrument, as well as an active agent in how self-organizing musical forms might emerge.’ Enriched with archival images and new notes from the composer, this expanded reissue of Brainwave Music is essential listening for anyone interested in the history of live electronic music and alive to the possibilities it might still contain.

Repress

In 1981, Alexei Borisov, a history student at the Moscow State University, formed his first band "Prospekt (Avenue)", drawing inspiration from kitchen table talks and new wave music coming from the West. They broke up in 1984 and a year later Borisov joined forces with Ivan Sokolovsky, an electronic music enthusiast and a connaisseur of rare synthesizers, to introduce the new and "updated" version of the band. By becoming Notchnoi Prospekt (Night Avenue), Borisov and Sokolovsky started moving towards industrial music and viscous, psychedelic synth pop.

In 1986, after a few conceptual, revolutionary albums as Notchnoi Prospekt, various solo projects and collaborations, the duo reunited in the studio to record their only instrumental album "Kurorty Kavkaza" (Resorts of the Caucasus). Built around the hypnotic meshing of afro-caribbean drum machine percussion and vintage Soviet and Italian synthesizers' vivid sonic palette, the resulting record was something that was absolutely different from Borisov and Sokolovsky's dark signature sound and wasn't well received both by the public and underground scene.

Until now, these tracks were never released and Notchnoi Prospekt never performed them live. Shortly after the recording session the duo focused on a return to their industrial roots that resulted in a number of monumental albums including "Kisloty" that became an instant underground classic.

"Kurorty Kavkaza" lay dormant and forgotten decades, and thirty three years after its recording, it gets the deserved official release.

5 Borough Breaks takes another trip to the west coast for another hip hop classic, this time from Oakland's Hieroglyphics crew with the banging "At The Helm". As always, the B side presents the original sample source, the fuzzed up funk of Southside Movement. As always only 400 copies.

Acht Jahre nach dem Klassiker „Thora Vukk“ veröffentlicht Robag Wruhme ein weiteres Meisterwerk – Venq Tolep!

Mit spielerische Leichtigkeit nimmt Wruhme synthetische Klänge und gesampelte Geräusche, schneidet sie zurecht und baut daraus Beats, ohne dass seine Musik je gebastelt klingt: jeder einzelne perkussive Sound eine kleine Einheit, die vor Melodiösität berstet. Oder diese zumindest andeutet. Für "Venq Tolep" seine erste Pampa Albumveröffentlichung seit 8 Jahren, hat Robag Wruhme sich genau da hinein vertieft und den Raum dieser Teile weit aufgezogen. Er findet Beats in den Beats, öffnet diese weiter, entdeckt Hooklines und Harmonien, und spürt, wo er schliesslich gänzlich auf Rhythmen verzichten kann. "Venq Tolep" klingt rund. Ein Bogen spannt sich. Und natürlich ist es das Robag Wruhme Universum. Wärme statt Coolness und Freundlichkeit statt Härte. Aber mit "Venq Tolep" formuliert Robag Wruhme noch etwas anderes: Das Album spricht die Sprache von Clubmusik – Klanggestaltung, Layering, Arrangement sind vertraut. aber "Venq Tolep" wagt auch die größtmögliche Annäherung von Track an Song: Techno Pop? Pop Techno? Pop Ambient? Ambient Pop? – Ach was, ganz einfach: »"Venq Tolep" ist Robag Wruhmes Einschreibung in die Pop Musik.

Formate:

- Limitierte 2LP inkl. 7inch mit zwei exklusiven Bonus Tracks, Postkarte & Download Voucher
- CD erscheint im hochwertigen Digipak

British blues-rock quartet Zior had their roots in the bourgeoning R&B scene that arose during the

late 1960s in the southeast coastal city of Southend; they built a strong reputation in live

performance, opting for ‘happenings’ in the style of Hawkwind and Pink Floyd that went beyond

mere musical events. By the time they recorded their self-titled debut album, issued on Larry Page’s

short-lived Nepentha label in 1971, they were clearly influenced by the emergent hard rock/

heavy metal scene of the West Midlands, drawing from Black Sabbath’s discordant riffs and occult

influences, along with shrill vocal attacks in Led Zeppelin mode; there were shades of Steppenwolf

and the odd Doors-sounding keyboard riff as well (and the Black Sabbath link was heightened

by an album design from Keith McMillan, who was responsible for Black Sabbath’s debut cover

too). The resultant Zior is a varied ride through different kinds of rock terrain, from blues rock to

hard rock and on to whimsical psychedelia and prog-rock, making it hard to classify. Though this

debut LP should have heralded a bright beginning, misfortune seemed to dog the band from the

start; other recordings were released under the name Monument, the band members listed under

aliases, and a second album, Every Inch A Man, was issued in Germany after Zior’s breakup in

1973, without the band’s knowledge or permission.

Explorer Series Vol.4, Original ethnic music of the peoples of the world
Berlin 2019

In welthistorischer Einmaligkeit erscheint auf dem Berliner Label Nonplace die erste ethnologische Edition der musikalischen Traditionen Zentraleuropas, am Beispiel Berlins der Gegenwart, zusammengefasst von Burnt Friedman. Nachdem House und Techno, oder Clubmusik, zum Kulturphänomen geworden war, und seit 30 Jahren bei festlichen Anlässen und fortwährend in allen Kulturstätten erklingt, wurde es Zeit für eine Aufarbeitung, für diese musikethnologische Bestandsaufnahme des kreativen Spektrum Berlins im Licht Zentraleuropas.

Bisher konnte der geneigte Hörer im Fach "Weltmusik" die entsprechenden Tondokumente finden, die einen direkten akustischen Einblick in Kultur und Tradition der seltensten Volksgruppen und entlegensten Landstriche geben konnten. Doch die Traditionen und Bräuche weisser Zentraleuropäer blieben bei diesen Bestandsaufnahmen nicht selten aussen vor. Dieser klaffenden Lücke in den Musikarchiven wird mit dieser Neuerscheinung endlich gerecht. Im Zuge der Musealisierung von bedrohtem Kulturerbe, können der Gemeinschaft aller, die besonderen Beispiele westlicher Prägung im Bereich Musikerzeugung, Techno, Jazz, Dub, usw., nicht mehr vorenthalten werden.

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

Back in 2007 Names You Can Trust was launched with an EP from Greenwood Rhythm Coalition. For NYCT's landmark 50th single release, the group returns, drawing on the same long-simmering stew of African, Caribbean and American funk and dancefloor vibes that flavored that first release, but with a sound more deeply infused and farseeing than anything they've done before. The spacey, arcing cut is woven through with guitar that blurs the lines between western twang and soukous popcorn and anchored by cabinet-rattling low end. Spread over two sides of a seven-inch single or available in unedited form digitally, "Jewels" is hypnotic and quite uncategorizable, except to say that sitting still will not be an option when it spins. Adventurous DJs, headphone journeyers, underground dancers, postmodern tropicalistas, and all those whose musical tastes dwell somewhere in the magical twilight of imaginary cities, take note.

Pumping West Coast electro in a new jacket, with bouncing 808's, driving acid, and old school futuristic vocoders.. Kleptocracy's are taking over the planet and humans are getting entangled in their own web. We need some extraterrestrial help. In the Thee J Johanz remix a bunch of oversexed electro disco aliens are coming to save the planet by love and destruction. Justin Cudmore (Bunker NY) is taking it to a darker space in his more abstract and highly effective remix. Three massive 808 floor fillers!

JJ Cale's 'Live' album gets its very first vinyl edition. FIRST TIME ON VINYL incl.all influencial tracks.

To celebrate the release of the new album 'Stay Around', JJ Cale's 'Live' album gets its very first vinyl edition. Originally released in 1996, this live album features 14 classics including 'After Midnight', 'Cocaine' and 'Old Man'. All tracks were recorded across several different shows : Carnegie Hall (New York, 1996), The Philharmonic (Munich, 1994), Flynn Theater (Burlington, 1993), The Great American Music Hall (San Francisco, 1994), The Hammersmith Apollo (London, 1994), The Sommerville Theater (Sommerville, 1993) and Park West (Chicago, 1990). Double 180gr heavyweight vinyl with CD album included.

'Quasi' is Ariwo's second album, after the release of
their first self-titled album in 2017:
Despite Ariwo's diverse mix of musicians
(Cuba/Iran/Canada/UK) their music doesn't belong to any specific genre. In
''Quasi', Ariwo use the building blocks of deep bass, afro-Cuban polyrhythms,
carnival melody and immersive live electronics as a starting point to engage
with key players on London's jazz scene.

The result is a hypnotic journey for the listener from techno
to avant-garde jazz via West Africa and the Caribbean. 'Quasi' aims to mirror
the evolved direction of Ariwo's live set, which after extensive touring over
the past three years has gradually become more stripped back and club-oriented.
Many of the building blocks for this album started life as improvisations in
live sets and have been developed into full tracks on 'Quasi'.
The album features guest appearances from MOBO winning saxophonist
Binker Golding (Binker & Moses) and acclaimed UK keys player Joe Armon-Jones
(keys). Cuban trumpet players Thommy Lowry Garcia and Yelfris Valdes also
feature on the album, bringing carnival melodies that interweave through the
percussion and electronics.

Ariwo have used songs from 'Quasi' to create the music
for 'Portals' - a tour of Carlos Acosta's new contemporary dance company
'Acosta Danza' in Havana.

Statik Selektah is a renowned DJ and Producer based in NYC, born and raised in Boston.
Statik hosts a weekly radio show on Sirius / XM Shade 45 every Thursday from 7PM to 9PM.
Statik has produced recent tracks for Eminem, Joey Bada$$, Action Bronson, Danny Brown, Royce Da 5'9' and Dej Loaf.
In 2014, Statik Selektah released his album, 'What Goes Around' (DDM CD 2375), and in 2015, Statik Selektah put out his 7th studio album, Lucky 7 (DDM CD 2430). He is now prepping his 8th album, '8,' for a December 8th release date.

Written by Chris Franck and Davide Giovaninni, Oba Lata draws on traditional Yoruban chant blending it with a live afro-beat groove. Edgy, rhythmical analogue synths, vocals, guitars and percussion tied together by the clave and driving afro bassline make this a credible dance floor contender. The vocals honour "Obatala", one of the main Orishas in Yoruban culture. He is seen as the creator of earth and a lover of peace and harmony.



NameBrandSound are IG Culture and Alex Phountzi. The duo were part of the original West London broken beat scene and are known for their involvement with New Sector Movements and Bugz in the Attic. This remix draws on some of the modern African rhythms like Gqom (Durban - South Africa) and Coupé-Décalé (Ivory Coast via Paris) and combines them with their own "bruk" sound. Stripped back vocals and instrumentation make this a remix focused heavily on groove.



This instrumental track 'Dakar' is the result of a recent trip to Senegal during the period of Ramadan. It features an 8 piece woodwind/horn section recorded in Belo Horizonte (Brazil) which has been beautifully arranged by Rafael Martini. A mid tempo groove leaning heavily towards North Africa combining acoustic and electronic elements to create a deep modal feel and mood.

Third EP in a row for the new Conte-Petrella project, which further explores the themes and sounds found on their previous collaborations, "Sun Song/Nigeria" and "African Spirits/New World Shuffle", with it's heavily West African influenced rhythms and cosmic-leaning musicality, once again with the participation of Bridgette Amofah and her incredible voice. A work suspended between joyous straight-up pary jam and spiritual atmospheres, where it's easy to get equally as lost in the driving groove as the intergalactic sound-palette that floats on top of it.

The new album by Juno Award and Polaris Music Prize-nominated Canadian soul star Tanika Charles.

Produced by a stable of some of Canada's finest musical minds including among the others Chin Injeti (DJ Khalil, Eminem, Drake, Aloe Blacc..), Record Kicks proudly presents "The Gumption" the awaited new album by Canadian soul star Tanika Charles that will hit the streets worldwide on May 10.

"What gave you the gumption?" Tanika Charles rhetorically asks during the introductory notes of her sophomore album appropriately titled The Gumption. While the apprehensive lover at the receiving end of that inquisition should feel slighted by the remark, it also alludes to the assuredness Tanika has gained since the release of her Juno Award and Polaris Music Prize-nominated debut Soul Run. The Gumption picks up where Soul Run left off, continuing her tradition of marrying classic soul with modern production styles. Across a dozen songs spanning 38 minutes, Tanika addresses moments of vulnerability, vindication, uncertain love, forbidden fruit and the state of the world today. "It's a little more mature. It's not feeling guilty about being up front, not being afraid to address situations that aren't comfortable for me. I'm comfortable in my skin now in a way I never was before. The overall theme is growth. I feel the music reflects that, and my words reflects that. Even the album cover tries to convey the feeling too. I'm not putting up with unnecessary nonsense anymore."

Predominately guitar-driven mid-tempo soul, with a handful of dance floor friendly tunes and some psychedelic leanings, The Gumption was indirectly influenced by the likes of Alabama Shakes, The Supremes, Khruangbin, D'Angelo, and Moses Sumney. It is sonically moody at times, but with consistent silver-lining arcs. "I've grown up and learned to deal with situations significantly better. We have a tendency to hold back our innermost feelings for fear of hurting others. Even when we're happy we worry about over-sharing, as if joy is a competition you don't want to gloat about."

The success of Soul Run propelled Tanika in front of new audiences far and wide, with extensive touring in North America and Europe. "I've been touring, experiencing new places and meeting new people. And in that time also worked on completing this album". While criss-crossing Canada with festival appearances on both the east and west coasts, Tanika also embarked upon four overseas tours for a combined 45 European shows within a one year period. This included performances at the prestigious Trans Musicales Festival in France, the Lärz, Germany Fusion Festival, Mostly Funk & Soul and Jazz Festival in UK, the Holy Groove Festival in Switzerland, and the Canarias Jazz Festival in Spain.

Presided by Tom Kerridge, Girls of the Internet is one of a few new projects Kerridge dug into having spent over a decade running labels such as RAMP, Fourth Wave and Brainmath. Providing a break from label life, Girls is a new creative outlet - a full band with Kerridge as producer and band leader, spawning music that pays tribute to a lifetime of collecting Disco and Techno records. Their debut 12" came out on West Norwood Cassette Library, and recent follow up 'When U Go' landed on Derrick Carter & Luke Solomon's label Classic Music Company to sweeping acclaim.

Girls of the Internet's latest single 'Love Delicious' features legendary Chicago vocalist Peven Everett. This single is Pev's first venture into the studio since his standout feature on last years Gorillaz album, 'Humanz'.

On remix duties are Sully, who drops a storming, retro UK Garage version that has been tearing up dancefloors across the country for months, and Saine, who delivers a lush analogue House version.

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

Musique Exotique’s Ayden Vice teams up with Czech upcoming star Andreas Rund and The Egyptian Lover to create a hypnotic fusion where West meets East, meets Middle-East. The Egyptian Lover leverages this hypnosis and casts some of his own with his signature 808 sound and enchanting vocals, a serenade if you will, which is guaranteed to seduce the freakiest of listeners.