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Domesica's collaboration with Dutch label Tope Tape, originally founded in the mid-80s by Menko Konings and recently reborn, allowed them to reissue the mythical S.M Nurse album-cassette.

And now - here is their first vinyl release: Boyz In Parx 'Passion', a selection of lovely never-released tracks by this mysterious Amsterdam act, active from 1983 to 1993, with the line-up of Peter van Garderen, founder of the legendary Nine Circles, and Robby Horsfall (†2013), also known from No Honey From These e.g.

The spiritual and uplifting music of Clifford White is highlighted with two of his most sought after songs, taken from his 1989 album The Lifespring, and presented here in a special extended 12" for the first time. Starting in music production at just 15, White could be described as a protegee, however his take is that they were part of a music journey that continues today. With a centre found in electronic music and spirituality, his progress, from simple home use 4-track stereo to working in professional 16-tracks studios was swift, but matched by a deeper appreciation, greater confidence and wider palette of music styles. Utilising his love of early samplers, his first use of the Akai S612 to accompany and expand his keyboard recordings saw continued development from his debut album at just 17 with Ascension (1985), to the follow up Spring Fantasy (1987) and on to The Lifespring (1989). A small review in the local paper literally led to a knock at the door and offer of a deal from the Start (State Of The Art ) label to record his next album. With a subsequent advance, professional studio equipment was hired and out of these sessions his sound expanded to include ambient, orchestral, synth pop and even ballads. From this both Lifestream and Rain Trek emerged. With a love of Jean Michel Jarre's Oxygene in mind, Lifestream's smooth beginning soon gives way to the pulse of an arpeggio driven groove. Aiming for "relaxation with an edge", the track has become a secret play for the more Balearic minded DJ in the decades since and now sees the LP trade for dizzying sums. However, the original is achingly brief, gracefully fading as part of the album's journey. Here though, with DJs and collectors in mind, White returns to the song to craft a specially extended version that completes the song and will be appreciated at sunsets across the globe. Seeking to take the music and listener to another place, Rain Trek took White's interest in Sci-Fi and the mystic powers of water to a rightful conclusion. The healing nature of his music is apparent, the mystery, yearning and travelling, all emotions evident, but with a kick that will grace the more enlightened dance.

Former member of Dublin punk band The Threat, Stano released his debut LP on Scoff Records in 1983. Recorded in Alto Studios, the Irish artist eschewed live performances in favour of fusing collaborative, improvised, experimental music with spoken word-poetry. The LP featured contributions from fellow Irish musicians and artists such as Michael O'Shea, Roger Doyle, Donald Teskey, Vinnie Murphy, Detroit born Jerome Rimson and is a seminal document of Irish postpunk

RIYL: The Budos Band, El Michels Affair, BadBadNotGood, Will Sessions. San Diego's instrumental funk ensemble is back with the first new material from their forthcoming third LP on Colemine Records. Since their debut LP release in 2014, the group has established itself as a staple in the instrumental world of funk and soul music. And their newest effort does not disappoint. A cover of Roy Ayers' 'Aragon' on the A-side and some moody, clav-heavy funk on the B-side. Sure to satisfy any funky DJ out there. Their song 'Funky River' is currently being used in the background of Fifth Third Bank's recent ad campaign that will continue through January of 2019

The first studio album of the albanese duo I TPAME I TVRAME 'IKIN VIJNE¨' is a catching, surprising and innovative masterpiece work composed of 10 new songs where they shown how noise can be dominated. If you follow and likes projects such as November No¨velet, Portishead, Tropic Of Cancer or Not Waving, more than likely this album will be a highlight of your collection. It will be presented on DOUBLE 12 EP format and produced in a ONE-OFF truly extra limited edition of 200 copies lacquered pressed on 140 gr. high quality solid black vinyl. All tracks have been specially mastered and remastered for LONG CUT vinyl by Eric Van Wonterghem.

Bill Brown and Al Hall jr met around 1971, they were both in south central L.A and shared the same apartment building, also in the same building was Doug Carn and brownstone singer billy Wilson.
These studio sessions were don't at Paramount studios Hollywood where Al Hall jr was working for producer Art Smith a&c music.
The main distributor for A&C was Accent records. So the Soul Injections very first single "Stay off the moon" was released via Accent, as was Bill Browns "Bip Bam" The group wasn't that pleased with how Accent handle the releases so Bill took it upon himself to set up his own label called Brownstone records. Many musicians were called in for studio sessions these included
Doug Carn, organ; Kirk Lightsey, keyboards; Mel Bolton,
guitars; Mel Lee, drums; Al Hall jr (trombones), Willaim 'Bill'Henderson strings.
The label was met with some confrontation from other Hollywood labels and many of the Brownstone releases were told not to hit the shops by Mafia run labels. Later around 1975 Brownstone released a track by Everyday people feat Alexis "world full of people"....A now cult soul 45 ....But wait, we at Super disco edits have unearthed the original tapes with the very first incarnation of that song and music, different lyric content and sung by Bill Brown. Not just this you get the instrumental on the b side!!

Celebrating its 50th birthday this year, Westbound Records is the Detroit institution that discovered Funkadelic and the Ohio Players, with a rich catalogue that is probably amongst the most sampled in the world.

Our 'Super Breaks' series makes a welcome return, throwing the spotlight on the records which have been sampled on both Westbound and its Eastbound subsidiary. These come not only from the more obvious names such as the Detroit Emeralds, Denise LaSalle, Junie Morrison, Funkadelic and Ohio Players, but also the lesser-known Pleasure Web and the Magictones.

The list of artists who have sampled these records reads like a Who's Who of the hip-hop and dance worlds. These tracks will be recognised from well-known records by Kanye West, Dr Dre, Snoop Dogg, A Tribe Called Quest, De La Soul, Fatboy Slim, and many more.

Both the double vinyl and the CD come with extensive sleeve notes and a breakdown of where each track has been sampled.

BAFTA award-winning actor Matt Berry looks to his formative years in this fascinating and unique take on the TV themes that have influenced and inspired him in his life. Recorded in his brand new studio with his regular band The Maypoles, Matt tackles eleven classic themes including well known titles such as 'Are You Being Served', 'Rainbow', 'The Liver Birds' and 'The Good Life' alongside some less obvious choices such as 'Picture Box', 'Wildtrak' and 'World In Action'. Released on CD, vinyl and digital formats, the release coincides with Matt's role as a spokesperson for the first National Album Day. This will see Matt appearing regularly in radio and in the press.

Auch Auf Seinem Zweiten Album "dark All Day" Überzeugt Das Synth-pop-trio Gunship Mit 1980er Retro-sound Aus Analogen Synths, Cineastischen Vocals Und Cyperpunk-attitüde. Und Genau Wie Beim Selbstbetitelten Debütalbum Aus 2015 Übernehmen Diverse Persönlichkeiten Sprech- Und Gesangsparts, Darunter Schauspieler Wil Wheaton (the Big Bang Theory, Star Trek, Stand By Me), Celebrity-model Kat Von D Sowie Der Tina Turner- Und "the Lost Boys"-saxofonist Timmy Capello. Die Doppel-lp Wurde Audiophil Auf Halber Geschwindigkeit Gemastert Und Läuft Auf 45rpm.

Producer, multi-instrumentalist, composer, songwriter and vocalist Devonté Hynes returns with his fourth album as Blood Orange, Negro Swan, released on Domino on August 24, 2018.

Raised in England, Hynes started out as a teenage punk in the UK band Test Icicles before releasing two orchestral acoustic pop records as Lightspeed Champion. In 2011, he released Coastal Grooves, the first of three solo albums under the moniker Blood Orange. His last album, Freetown Sound, was released to critical acclaim in 2016, and saw Hynes defined as one of the foremost musical voices of his time, receiving comparisons to the likes of Kendrick Lamar and D'Angelo for his own searing and soothing personal document of life as a black man in America. He has collaborated with Solange Knowles, Skepta, fka twigs, Carly Rae Jepsen, A$AP Rocky, Charlotte Gainsbourg, Blondie, and many other artists, and was recently one of four artists invited to the Kennedy Center to perform alongside Philip Glass. In addition to his production work, he scored the film Palo Alto, directed by Gia Coppola.

Negro Swan was written and produced by Hynes. Says Hynes:

'My newest album is an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of HOPE, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.'

The Leap is the new project of Dutch producers Tripeo & Doka who are now taking the logical next step in their musical journey and present an EP that touches on genres all across the electronic board. The Leap is about more than just music, which will reflect in the track titles. Current developments in the world take center stage and inspiration is taken out of politics, literature, media, (green) activism and much more.

The opening track 'Shock Doctrine' is a slow building yet powerful piece of gloomy, hypnotic techno, followed by the exceptionally deep and undulating 'Borrowed Time' that combines soft atmospheric textures with distinct fragile melodies and could easily be the soundtrack of a dystopian reality. On the flip side the duo showcases once again seamless production skills and with 'Green Capital' they set a nostalgic mood, a trancey journey filled with crisp hi-hats and snares, resulting in an effective techno tool. The mind bending closing track 'Sustainable Communities' creates dance floor tension with its piercing metallic synthlines & just like the whole EP it provokes the listener to think outside of the techno sphere.

(comes in different coloured sleeve we cannot guarantee which one you will recieve)

Building on his very sexy works for the Borft weirdos, Jon Doppler's Security is a meeting of Sued's minimal funk sound and the post-acid house trip of early Rephlex. The elasticized acid of Ciphertext, the skanky dub of Wonwah, and the mammoth low end of Lag Down all propel from below, while the swollen synthwork on Hot Sauce and showstopping
MK650 inspire from above. These are late, late night jams that growl ominously in the bassbins, enhancing the foggy atmosphere and begging you to stay for one last dance.

By now, the story of how Jlin went from working in a steel factory in Gary, Indiana to being one of the most widely appreciated electronic musicians is well known. 'Black Origami' was one of the most reviewed and lauded albums last year. Seriously prolific and seriously hard-working, she has toured constantly since its May 2017 release and despite being involved in a wide range of projects, still manages to find a balance and 'do some personal healing and growing.'

Here we are over a year later with 'Autobiography,' the score for her collaboration with renowned British choreographer Wayne McGregor arranged by Unsound. This isn't technically her third album (that's due to arrive in 2019 or 2020), but the soundtrack stands up on its own with all the emotional peaks and troughs of a well-sequenced longplayer.

For Jlin, making music for dance is the fulfillment of one of her lifelong dreams - and remarkably, Company Wayne McGregor's performance was the first show she'd ever seen. She describes the process of working with Wayne: 'We first met face to face in October 2016 in a downtown Chicago hotel, talking for about a solid two hours. Immediately, I saw Wayne was very friendly and energetic. He's brilliant, witty, and knows exactly what he wants; an absolute gem to work with. Before I even started composing for Autobiography, Wayne told me so gently that he trusts me completely with my direction of creating the score. That was the best feeling in the world. I would wake up at two in the morning and work until six in the evening until I completed all the pieces. We were both very happy with the outcome. Creating the score for an impeccable piece of work such as Autobiography changed my life as an artist.'

'Autobiography' is a highlight in an evolving and growing career. During the last year, Jlin has also become an in-demand remixer, securing her place among a roster of music heavyweights. Unsurprisingly, given her positive and outgoing nature, she also developed friendships with the artists she has remixed such as Björk, Max Richter and Ben Frost.

Jlin will be touring with Company Wayne McGregor performing 'Autobiography' this year in addition to completing a commission for the Kronos Quartet titled 'Little Black Book.' She still approaches every performance 'with the same attitude of doing my best to execute a good show, no more, no less. Doing my best is what's most important to me.' She also still lives in Gary, Indiana, which keeps her grounded. She notes with her typical humility, 'The local community is a little more knowledgeable of me now. But I don't mind my community taking its time.'

Those of you who have followed Lucky Brown's tireless efforts since joining the Tramp family in 2007 can hear without a doubt the progress he and his various ensembles have made in almost every musical aspect. His songwriting skills amazed us right from the start of our relationship. What deserves much more respect is that during the past years he has proved to be probably one of the most authentic and steady but at the same time most innovative creative minds on the contemporary funk scene. Sure, many of today's funk bands are able to deliver a two-and-a-half minute funk killer, what distinguishes Lucky Brown, however, is his ability to create compositions which also employ the idiom as a means to deliver an artistic message, a hard-to describe feeling, or a conscious concept, just like James Brown and Fela Kuti mastered in the 1970s. Furthermore, Lucky has developed his own trademark production and sound whose depth and honesty form a basis from which his work will ever remain timeless.

But that's nothing new as you can hear on both of his first two albums for Tamp ("Lucky Brown's Space Dream, 2011 and "Mystery Road", 2015) On "Mesquite Suite" he is forging new paths by soaking up musical styles from all over the world to infuse with his own totally unique way of producing. Perfect examples are the Mulatu Astatke-ish tracks "Pauraque" and "Mother Corn Stalk" with its distinctive New Orleans Swamp-Jazz flavor. Fans of the Menahan Street Band or El Michels Affair may see in "Taterbug" and "Estrellas De La Tierra" their favourite tracks. But it's the entirety which makes this album standout.

It has been Lucky Brown's aim to paint for the world a picture of the vernacular jazz that America's neighborhoods once crafted as their own homegrown cultural heritage. Lucky Brown's music is a rejection of the elitism, classism, and status of the music industrial complex and is an antitoxin to it's resultant homogeneity. He wants with his heart and his art to transmit an everyday people's sound, made by everyday people, dedicated to the upliftment of all people.

Tobias Kirmayer, August 2018

key-selling points:
- limited to 500 hand-numbered copies
- incl. full album download code
- double vinyl LP with deluxe gatefold cover

After a barnstorming live reunion which saw them play to ecstatic audiences across Europe throughout 2017, Britain's giants of electronic music Orbital are back, with new music and an upgrade of the legendary live show that transformed festivals across the world.

First single Tiny Foldable Cities opened the account, an intricate piece of electro-hypnotica, takes their signature sound forward into a new and fascinating phase, heralding their first new album in five years, Monsters Exist.

Throughout 2018 they play a string of high-profile festival dates and headline shows across Europe, featuring new material alongside classics like 'Chime', 'Belfast' and 'Impact'.

This surge of creativity shows how reunited brothers Paul and Phil Hartnoll have rebuilt one of electronic music's best-loved partnerships after Orbital's surprisingly bitter break-up in 2012. They'd been onstage with Stephen Hawking at the Paralympics, in front of the whole world. They'd remixed Madonna. They'd played Glastonbury many times and travelled the world yet were driven apart by music's strange and infamous brother-vs-brother dynamic. But now the brothers have a pact: whatever happens, Orbital does not stop. They've learned to talk and accept each other. As Paul says, "If we were both the same, then it wouldn't be Orbital."

Composer Tashi Wada has performed for years with his father Yoshi Wada—artist, composer, and early member of the Fluxus movement. However, they have rarely appeared together in studio settings. Nue, the fourteenth entry in RVNG Intl.'s intergenerational FRKWYS series, finally brings Tashi and Yoshi, along with an eclectic group of close friends and extended family, together on tape.

Nue draws on aspects of Tashi's background for his widest vision to date—among them the minimalist bagpipe music of Yoshi, who co-composed three of the tracks, the psychoacoustic and perceptual explorations of his mentor, composer James Tenney, and reimagined forms of ancient and devotional music. The album, however, is not a tribute to the past or a recapitulation of familiar sounds. Instead, Nue is an intertwining of people and ideas as a means of growing, of looking inward to move outward, and of looking back to move forward.

To achieve this growth, Tashi assembled a core group of fellow travelers, including Yoshi, composer Julia Holter, producer Cole MGN, and percussionist Corey Fogel, to give life to this multifaceted suite. As an experience, Nue subtly navigates the interactions, intimacy and spaciousness of this group.

The album's title itself is a nod to Tashi's abiding interest in duality and the unknown: nue is a mythological Japanese chimera with the face of a monkey, the legs of a tiger, and a snake for a tail, a composite form, at once disturbing and otherworldly. But, as the composer points out, nue is also French for naked—stripped of complexity, bare and exposed, but also raw and essential.

From the doubling of tones—and the world of harmonic nuances such an action produces—to the rich interplay between individual musicians, all baring their own personalities and experiences through shared performance, Tashi's compositions allow space for these elements to join and grow. The multipartite creature that is an ensemble melds in the simplicity and purity of the music itself.

As explained by Tashi, each part was written with an individual in mind, not simply an instrument. And each individual performer makes their mark, from Holter's vocal performances on the cresting, oceanic 'Mutable Signs' and 'Ondine' with guest vocalists Simone Forti, Jessika Kenney and Laura Steenberge, to Fogel's resonant, precise percussion on 'Bottom of the Sky.' Producer Cole MGN, who has worked extensively with artists like Beck and Ariel Pink, helped to create a world of sound with minimal yet multi-dimensional materials. Like many of its influences, Nue uses deceivingly simple means to create complex, coherent worlds and narratives.

Tashi notes the influence of legendary Brazilian writer Clarice Lispector, whose work looked inward, investigating memory and emotion and dream, to understand the often overwhelming world outside the self. Like Lispector's classic novel Near to the Wild Heart, Nue cleaves these archetypal dualities—world/self, old/new, complex/simple—to create a work that allows them to coalesce into something singular.

As Tashi states in his liner notes: 'My desire was to create something both old and new sounding—ancient and futuristic—and ultimately something of its own world and other. Nue is a vision, an endless night of dreams, and a personal history of sorts, full of joys and demons.'

This is a long overdue collaboration and we couldn't be more excited to present a brand new EP from our man, Jena's mad scientist funk freak himself, Metaboman. A stalwart veteran of the legendary Musik Krause camp, which has been a kindred spiritual sister label of sorts of ours since the millennium-turn heydays, being fellow purveyors of bold and raw dance floor music, still brimming with new ideas galore and bucket loads of soul. Here with the Wireless Dancer EP we have Metaboman in top form offering nothing less than his finest work: 'Doppeldenk' starts things off with some classic Krause bump that brings to mind the heights of the Duo at their peak but updated, like an STL banger turned up to 11 with sinewy melodic lines and that special Thuringen twist. 'Hanno' follows up with a guest spot by jazz saxophone master Thomas Prestin, and guarantees to bring down the house with a storm of swinging stabs, rough riffs, and fresh-as-it-gets drum work. On the flip, 'Splitit' does exactly that, whether referring to wigs, legs, or that last drink ticket - where dusty blues vox chops and a rolling percussive smack down will revive any fading floor faces. And finally, 'EchterG' rounds it all out nicely with the illest of atonal trips and subsonic bass tones that the finer sound systems out there will fully indulge. Much love from Jena & Paris to the World!

After a string of acclaimed EPs on Heist, Dirt Crew and Quartet Series, Amsterdam's Nachtbraker presents 'When You Find a Stranger in the Alps', his first longplayer on his own Quartet Series imprint. The good-humoured Dutchman - tongue always firmly in cheek - has always refused to stick to the 'sound du jour' and the industry's conventions, following his own path instead, continually willing to step out of his comfort zone. 'When You Find a Stranger in the Alps', a nod to his favourite Coen Brothers' movie, is testament to Nachtbraker's studio prowess and drive to explore new sonic pastures and styles. The album consists of thirteen tracks, made over the course of 2,5 years in his studio at Volkshotel Amsterdam. Constantly shifting through different settings and moods, the album feels like a deep dream, with vivid details, blurry edges and a warped sense of time. The word 'stranger' in the title references to this dream state in which you sometimes can be a stranger to yourself. Album opener 'The Dream Sequence' sets the mood with a lo-slung hip-house groove that relies heavily on field recordings, like the sound of one of the capital's trams. 'Flambo', a delectable slice of up-tempo French filtered house, is aimed straight at the dance floor. Nachtbraker dims the lights on 'NSFW', cleverly manipulating samples from adult oriented flicks, and turns in a hilarious skit with 'LOL'. Flip over for 'Randy', a quintessential Nac

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End..., it adds consistent rhythmic patterns to the mix with the addition of bongoes and also explores some interesting chord progressions.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes." (progarchives)

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same." (twoheadeddog)

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Magnetic Web was released in 1973. It appeared under the Nik Pascal monicker and showed a clear evolution in sound, favoured by the addition of an Arp 2600 and some rhythm boxes. It also included percussions and cymbals. The Two Headed Dog site thinks "this is his masterpiece in all of its acid-laced glory."

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Nik's last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik's last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco: Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.

Since the late 80s, Mudhoney - the Seattle-based foursome
whose muck-crusted version of rock, shot through with caustic
wit and battened down by a ferocious low end - has been a
high-pH tonic against the ludicrous and the insipid. Thirty years
later, the world is experiencing a particularly high-water
moment for both those ideals. Just in time, vocalist Mark Arm,
guitarist Steve Turner, bassist Guy Maddison and drummer Dan
Peters are back with 'Digital Garbage', a barbed-wire-trimmed
collection of sonic brickbats.
Arm's raw yawp and his bandmates' long-honed chemistry
make 'Digital Garbage' an ideal release valve for the 2018
pressure cooker. 'My sense of humor is dark, and these are
dark times,' says Arm. 'I suppose it's only getting darker.'
'I would've really just loved to write songs about just hanging
out on the beach, and going on a nice vacation,' says Arm.
'But, you know, that probably doesn't make for great rock.'
Mudhoney, however, know what does make great rock - and
the riffs and fury of 'Digital Garbage' will stand the test of time,
even if the particulars fade away. 'I've tried to keep things
somewhat universal, so that this album doesn't just seem like
of this time - hopefully some of this stuff will go away,' Arm
laughs. 'You don't want to say in the future, 'Hey, those lyrics
are still relevant. Great!''
Mudhoney will be touring Europe in 2018.
CD in die-cut gatefold digipak with custom dust sleeve. LP in
die-cut gatefold jacket with custom dust sleeve and digital
download coupon. Cassette in four-panel J-card in clear case.
Digital download album.

An Invitation To Disappear is the debut LP by British electronic musician Inland aka Ed Davenport - and his first release for A-TON. Based on his soundtrack for a video installation by conceptual artist Julian Charrière, Davenport has recast the material and field recordings into eight tracks of rhythmically intricate electronics and spectral, ambient techno, inspired by Charrière's visually striking, 76-minute tracking shot through a palm plantation toward a totemic soundsystem on full blast.
Both the album and original soundtrack were created in response to the 200th anniversary of the eruption of Indonesia's Tambora volcano in 1815, which plunged the world into darkness and caused a series of extreme weather conditions. At the time, the natural climate change crisis resulted in numerous global famines and is known throughout the northern hemisphere as 'The Year Without Summer', with global communities forced to adapt to sudden radical changes in temperature and weather.
An Invitation To Disappear offers a contemporary parallel, leading viewers - and listeners - down a seemingly endless direct path of gridded palms from dawn to dusk; a bio-commercial monoculture where ancient jungle once flourished. Light flickers between rows of fruit-laden trees and a distant fire burns in the undergrowth where the border between natural image and computer simulation breaks down. At the same time, formerly incoherent rumblings of sub-frequencies begin to transform into the contours of rhythm. This is reflected sonically in eight perspectives on the lush, synthetic jungle, made of myriad buzzing fauna, morphing melody and colossal bassweight. All paths lead toward an apocalyptic dancefloor, though speeds vary widely; rhythms dissolve from straight to broken, synth tempos operate by their own internal clocks (and logic). Juxtaposing industrial agriculture with rave culture, the album explores the industrialization and refinement of nature, and the new strange forms emerging from the synthetic grids of both.
As Inland, Davenport has previously contributed soundtracks to other installations by the Swiss-born Charrière, whose artistic practice focuses on bridging environmental science and cultural history, often taking place in remote geophysical locations, including ice fields, volcanos and radioactive sites.
Julian Charrière is a French-Swiss artist based in Berlin. A former student of Olafur Eliasson at the Institut für Raumexperimente, Charrière's art explores post-romantic constructions of nature, staging tensions between deep or geological timescales and those relating to mankind. His work has previously been shown across the globe, including at the main exhibition of the Venice Biennale in 2017, a solo show at Kunsthalle Mainz this past Spring and an upcoming solo show at the Berlinische Galerie opening September 26.
Inland (real name Ed Davenport) is a British producer, DJ and founder of Counterchange Records based in Berlin. Known for his detailed and explorative house and techno releases on his own label, Infrastructure, Naïf and more, Davenport has recently gravitated toward the contemporary art world, finding inspiration in the cross-pollination between Berlin's art and music scenes. Previous sound design collaborations with Charrière have been exhibited in institutions such as the Musée des Beaux-Arts de Lausanne in 2014 and Thyssen- Bornemisza Contemporary in Vienna in 2017.
The gallery version of An Invitation To Disappear premiered this past April at the Kunsthalle Mainz and will be on display at the Berlinische Galerie as part of Charrière's solo exhibition As We Used to Float, opening September 26, 2018. The LP will premier live together with the video installation during a special presentation in Berghain the same day for Berlin Art Week.

a1. Innocent Bystander
a2. Goodnight Old Friend
a3. Drop Back
a4. Silverbird
a5. The Show Must Go On
a6. The Dancer
b1. Tomorrow
b2. Don't Say It's Over
b3. Slow Motion
b4. Oh Wot A Life
b5. Why Is Everybody Going Home
c1. Telepath
c2. Train
c3. The Bells Of St. Mary's
c4. One Man Band
c5. In My Life
d1. When I Came Home This Morning
d2. Long Tall Glasses
d3. Another Time
d4. Solo
d5. Giving It All Away
e1. Bedsitterland
e2. Unlucky In Love
e3. The Last Gig of Johnny B. Goode
e4. On The Old Dirt Road
e5. I Will Not Stop Fighting
f1. Moonlighting
f2. Streets Of Your Town
f3. The Kids Grown Up
f4. Only Dreaming
f5. Another Year

Freshly Re-pressed

Auf Einer Unscheinbaren Kassette, Die Nur Mit 'robert Rental' Beschriftet Ist, Liegen Diese Demos Seit Jahren Ungehört In Den Kostbaren Besitztümern Seiner Familie. Gepflegte Artefakte Eines Viel Zu Früh Geendeten Lebens.
Diese Lieder, Die Robert 1980 In Seiner Wohnung In Battersea Aufgenommen Hat, Geben Einen Verlockenden Einblick In Seine Allzu Seltene Soloarbeit. Meistens Arbeitete Robert Mit Thomas Leer, Daniel Miller Oder Anderen Musikern Zusammen. Es Handelt Sich Um Rohe Aufnahmen Auf Denen Seine Kreativität Durch Die Dunkelheit Scheint Wie Ein Ungeschliffener Diamant.
Mit Diesen Aufnahmen Scheint Sich Robert In Richtung Mehr In Richtung Songstrukturen Zu Bewegen Als Auf Seinen Früheren Arbeiten, Die Wild & Experimentell Waren Und Oft Direkt Aus Dem Fernsehen Aufgenommene Samples Beinhalteten.
Wir Kennen 2 Dieser Tracks Von Ihrer Späteren Neuaufnahme Für Die Mute Records Single'double Heart' Ende 1980. Robert Sprach Mit Freunden Über Seine Frustration, Seinen Sound In Einem Kommerziellen Studio Nicht Reproduzieren Zu Können - Es War Der Sound Dieser Demos, Den Er Nachbilden Wollte. Manchmal Kann Der Zugang Zu Den Rudimentärsten Geräten Das Kreative Talent Zu Etwas Schärferem Und Konzentrierterem Verfeinern.

Black Truffle is honoured to present the first reissue of a true underground masterpiece, Massimo Toniutti's Il Museo Selvatico (The Wild Museum), originally self-released on LP in 1991. Like his better-known brother Giancarlo (whose classic 1985 Broken Flag LP La Mutazione was reissued by Black Truffle in 2015), Massimo Toniutti was active in the vibrant underground industrial/noise scene of the 1980s, contributing to releases on legendary labels such as Broken Flag and RRR and self-releasing a series of cassettes between 1984 and 1988. Existing in a private world apart from the noise and dark industrial tropes of many of his contemporaries, Toniutti's Il Museo Selvatico is an entirely singular work of domestic electro-acoustic exploration. Made up primarily of what Toniutti calls 'small and rare noises' or sonic 'knick-knacks' recorded between 1987 and 1990, the five pieces that make up the original LP usher us into a crepuscular space populated by mysterious traces of everyday life. Toniutti weaves a loose net of distant clanks, dull thuds, metallic resonance and skittering percussive sounds, allowing the sounds to breathe against a backdrop of near-silent atmosphere. Although the haunted ambience recalls the work of contemporaries like Organum, Toniutti generally steers clear of long tones and drones, preferring to arrange brief, sometimes staccato sonic objects into patters of repeating figures and isolated events whose overall compositional shape remains somehow ungraspable. Although glimpses of recognisable location recordings and instrumental sounds can occasionally be made out, for most of the record the sources of the sounds we hear remain teasingly mysterious, an abstracted memory of everyday actions and atmospheres. l Museo Selvatico is accompanied here by an additional LP of material recorded at the same time, composed especially for this reissue into two side-long suites that inhabit the same haunted space as the original LP while occasionally making use of more maximal compositional strategies. Black Truffle is pleased to return this overlooked masterwork to the world. Essential listening for fans of Organum, Nurse With Wound, Christoph Heemann, and the tradition of outsider musique concrète. Lovingly presented as a double LP in a lavish gatefold with printed inner sleeves featuring archival images and notes. Remastered and cut at D&M, Berlin

Previously on All City via The Smoke Clears, West 2 West & Night Christ John Daly a six 6 track edition of his 10 track digital album 'We Will Live Again'.
.
According to John:
"This music was made over a year and a half period, while i was losing my father to cancer. I don't usually work with concepts, and certainly didnt have one in mind making this, but with something this heavy as the backdrop it had to be an influence, especially since my musical gift came from him. This I am only truly realising now.

The drums and vocals were added later. Dan Walsh from Fixity and others in Cork played the drums. The vocals are by an Italian singer based in Galway, Barbara Vulso.

This is the third album under my own name, having worked with aliases for albums since 2012. It was always going to be so, and again I now realise that given the personal nature of the project it could only be that way, though i didn't know or question why at the time"

Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.

From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.

And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.

(glossy laminated) His deviant disco songs talk about love and the happiness it breeds, while letting the rage of a rather different-looking militant crooner go.


Cola Boyy, aka Matthew Urango, is a 28 year old musician, coming from Oxnard, California, discovered on the occasion of a concert in Los Angeles during June 2016.
Cola Boyy is an unusual and self-taught musician & singer. His very typical but natural voice is the consequence of a disability from birth.
His deviant disco songs talk about love and the happiness it breeds, while letting the rage of a rather different-looking militant crooner go.

Penny Girl is the soon-to-be 2018 disco hit telling the story of a crime of passion. Poetic as a McCartney's song, as effective on the dancefloor as a Patrice Rushen's tune, and fun like the Frankie Smith's Double Dutch Bus.

Have You Seen Her is the kraut-disco curiosity from the EP, halfway between the Ghetto Brothers' rage and the funkiness of a Kurtis Blow's instrumental. You will also find there a chorus made of extreme noisey guitar chords and a Michel Berger like piano solo, all swaying to the dancing beat.

Buggy Tip is the track that could have been in the hands of an eclectic DJ like Nicky Siano at Studio 54. Disco strings, catchy choruses to sing along... Cola Boyy turns the melancholic memories of an ex girlfriend into a banger to dance & shout in a hot late night club.

The whole EP, recorded between Los Angeles and Paris, produced by French producer 'nit', is a witness of his raw talent and the foretaste of an album coming in 2019.

Low Flung presents a new four tracker rich with dreamy soundscapes, emerging bass adventures and subtly dub leaning drum machine rhythms. As the head of the impeccably curated Moontown Records, Low Flung aka Danny Wild has been a driving force in uncovering and releasing amazing Australian recordings since 2012. As a producer and artist Wild is extremely accomplished, releasing a stack of EPs and just recently his debut LP 'Blow Waves' on Ken Oath Records. You may also remember his contribution to the first volume of the Domestic Documents compilation 'Quietreakin Outly'

On the A side we are treated to two long form cuts 'Deep Dribble' and 'Shallow Sleep'. The former is a beautiful leftfield digi-dub amalgamation. A heavy hitting bassline emerges from the misty textures before a killer rhythm appears. On 'Shallow Sleep' we indulge in over 12 minutes of brain tingling ambience, rich with field recordings and textures. The B side looks to the quirkier side of Wild's productions. On 'Exotic Dirt (Blend 43 Dub)' and 'Air Dry' off kilter rhythms and zonked out skanking synth chords take full charge while maintaining a sense of warmth

Sit back or stand up, day or night, different moods for all open minds in this stunning EP from one of Australia's unsung heroes!

Skinny Pelembe has corralled together a cast of talented friends for his new EP. It's the second release from the Doncaster-raised, multi-talented producer-cum-bandleader since signing to Gilles Peterson's Brownswood label in February. This one's a group effort, with each of its tracks featuring a different artist, each of them an act he's met through music or through linking with Brownswood's talent development programme Future Bubblers two years ago.

The EP touches on hip-hop, psych-rock and jazz-influenced sounds, continuing in the gloriously magpie-like approach of his earlier releases. Each of its songs started as a rough idea which was then fleshed out and re-imagined with his collaborators. He says that the title of the EP comes from some advice which he left for himself on an old notebook. The singer-guitarist-producer, born in Johannesburg and raised in Doncaster, signed to Brownswood earlier this year and debuted with the 'Spit / Swallow' single in March. It's seen support from Dazed, The Quietus and Huck. He's been invited as a guest onto Jamz Supernova on Radio 1xtra, as well as Tom Ravenscroft and Lauren Laverne on 6 Music. He recently featured as one of the guests chosen for 6 Music's showcase at The Great Escape. The single release will be followed by Skinny's first UK Tour in September.

"Dueños de Nada" announces itself as a strong and tough proposal. It comes with the intention to get away from what we are used to hearing from the Chilean producer. As a first album, and by incorporating broad influences into a range of genres, industrial sounds and punk, the debut by Tomás Urquieta feels huge and accurate.


The "Dueños de Nada" sample, which belongs to Martin Sorrondeguy, is used by Urquieta to assemble a classic techno piece mixed with a new sound proposal, and by uniting these elements, a catharsis and collective osmosis movement is generated on the dance floor that does not need further explanation.


The proficiency that Tomás has developed when creating percussion doesn't go unnoticed either. It is the sensation of a new breath in his music, a replacement, a much more mature sound is demonstrated by the high instrumentation mixed in with a full on Techno base. The rhythms are wild, futuristic and with a completely personal vision. There are tracks that lock you up and there's others that leave the need for a club ajar. It is a heavy album, political, metallic but very organized. There are voices in Spanish of direct protest towards the system, voices where he invites us to be part of a march to despair, a liberation march for the dance floor . If we could summarize "Dueños de Nada" we would say it's a cry for freedom, a cry which asks us to enjoy the feeling of complete freedom across 11 tracks that embrace this anarchy in which Tomás Urquieta invites us to join.

Perhaps CPU's deepest foray into techno, Osaka-based artist Yuri Urano's 'Autline' E.P. draws parallels with the machine-like incremental builds of Sweet Exorcist / Richard H Kirk.

Plenty of variation with minimal down-tempo through to fierce industrial techno.

Urano's industrial sound is gaining a lot of attention in the Japanese techno scene and this E.P. will only galvanise her reputation.

Volume five of the killer Britxotica! series, looking this time at 16 super rare and briliantly bonkers latin and percussive pop cues from the wild British Isles!

HISTORY:
Britxotica! (pronounced 'Britzotica') neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.

For this, Part Five of our planned Britxotica! series we head to lively latin tinged dancefloors where Brits could cha cha cha to the KIrchin band, 'Jump In The Line' with Frank Holder and Mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary loungecore hit 'House Of Bamboo' plus the stunning 'Jonny One Note' by Ted Heath, the track that originally introduced John Craven's Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UKs most wild record collectors. Also, there are men in underpants on the sleeve, What's not to like

»sichten« refers both to »opinions« as well as the »examination of material«. in lose sequence, we will invite friends and colleagues, but especially music lovers to share their opinions on music with us or to look through their collected materials in order to present music that tends to be out of the focus of current media channels. as a label for electronic music our focus is on examining exactly this genre. but in the context of the series, we are rather looking for more hidden, unknown, perhaps forgotten music. we want to present the yet undiscovered, and also offer a platform for other cultural environments with different musical approaches. each issue will be supervised and compiled by a curator. an introductory text shall explain the ar- tistic approach of the respective curator. in this sense, the format of a double lp can only provide a first insight and wants to invite to a more in-depth research. for the first issue of the series, »sichten 1«, we asked frank bretschneider to compile his own, very personal selection of current electronic music. his choice fell on six artists, whose different styles me- ander between accessible music on the one hand and very abstract compositions on the other hand.

"sichten" bezieht sich sowohl auf "Meinungen" als auch auf die "Auseinandersetzung mit dem Material". In loser Folge laden wir Freunde und Kollegen, vor allem aber Musikliebhaber ein, ihre Meinung zur Musik mit uns zu teilen oder ihre gesammelten Materialien durchzusehen, um Musik zu präsentieren, die nicht im Fokus der aktuellen Medienkanäle steht. als label für elektronische musik liegt unser schwerpunkt auf der untersuchung genau dieses genres. im rahmen der serie suchen wir aber eher nach verborgener, unbekannter, vielleicht vergessener musik. wir wollen das noch unentdeckte präsentieren und auch eine plattform für andere kulturelle umgebungen mit unterschiedlichen musikalischen ansätzen bieten. Jede Ausgabe wird von einem Kurator betreut und zusammengestellt. Ein einleitender Text soll den künstlerischen Ansatz des jeweiligen Kurators erläutern. In diesem Sinne kann das Format einer Doppel-LP nur einen ersten Einblick geben und will zu einer vertieften Recherche einladen. für die erste ausgabe der serie "sichten 1" haben wir frank bretschneider gebeten, seine eigene, sehr persönliche auswahl aktueller elektronischer musik zusammenzustellen. seine auswahl fiel auf sechs künstler, deren unterschiedliche stilrichtungen ich zwischen zugänglicher musik einerseits und sehr abstrakten kompositionen andererseits unterscheiden.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

Limited Edition of 500 handnumbered Box Set including 4LPs (180g), 1 CD, Download Coupon and a high quality 120 page booklet. NOTE: BOX IS SHRINK-WRAPPED BUT WILL BE OPENED FOR SHIPPING TO AVOID SEAM-SPLIT.

Black Truffle Together With Bernhard Rietbrock And Zhdk Are Honoured To Reissue This Stunning Boxset Celebrating Alvin Lucier's 85th Birthday Celebrations Which Took Place In Zurich, 2013.

Alvin Lucier Is One Of Most Important Figures In More Than A Half Century Of Avant-garde And Experimental Sound Practice. He Has No Equivalent. He Is Among America's Most Important Composers - A Towering Pillar Of Intellect, Creativity, And Beauty Realized Through Sound. His Singular And Unparalleled Body Of Work, Focused Around Acoustic Phenomena And Auditory Perception, Which Included, Among Many Others, The Groundbreaking Works Bird And Person Dyning, Music On A Long Thin Wire, And I Am Sitting In A Room, Each Quietly Shifting The Understanding Of What Music Could Be - Deceptively Discrete Gestures, Laying Their Mark On History And The Expectations Of Nearly Everything To Come, While Radically Expanding The Field. It Is Such A Life, Defined By Such Striking Accomplishment, Which This Release Celebrates Across The Four Lps, Cd, And Book Which Make Up The Lavish Illuminated By The Moon Release.

Recorded In October Of 2016 At The Alvin Lucier 85th Birthday Festival At The Zurich University Of The Arts, The Box Gathers A Remarkable Range Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known. It Begins With Wonderful Stagings Of I Am In A Sitting Room And Music For Solo Performer Performed By The Composer, Before Presenting The Work Charles Curtis Performed By The Cellist For Whom It Was Composed, And Double Rainbow, A Recent Work, Performed By The Incredible Joan La Barbara. Over The Course Of The Set's Many Discs, We Encounter Works Ranging From Nothing Is Real (strawberry Fields Forever), Braid, Two Circles, Hanover, Step, Slide And Sustain, And One Arm Bandits, Performed By Oren Ambarchi, Stephen O'malley, And Gary Schmalzl, With Further Contributions By Charles Curtis And Many Others Involved In The Celebrations Of Lucier's Life And Work. The Collection, By Offering An Expanse Of Material Otherwise Unavailable In The Composer's Discography, Opens A Rare Window Into The Breadth And Range Of Territory Which He Has Approached, As Well As Into The Unique Humor Which Has Quietly Bubbled Through His Entire Career. It Is A Singular Recording Event, The Likes Of Which Are Unlikely To Be Repeated.

A Worthy Tribute To One Of The Last Century's Most Important Composers, Offering Insight, Recognition, And Critical Investigation, Long Overdue And Lovingly Produced. Including An Extensive, Lavish 120 Page Book, With Numerous Unseen Images. Pressed On 180 Gram Vinyl, This Limited Edition Of 500 Individually Numbered Copies Is Unquestionably One Of The Most Beautiful And Important Releases Of 2018.

Key Selling Points: - Limited Edition Of 500 Handnumbered Units From Legendary Electronic Music Pioneer Alvin Lucier

- Lavish Box Set Including 4lps, 1 Cd, And A High Quality 120 Page Booklet.

- 180g Vinyl

- Incl. Download Coupon To Redeem All Tracks

- Over 190 Minutes Playtime

- Remarkable Collection Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known.

- Mastered & Cut By Helmut Erler At Dubplates & Mastering, Berlin.