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one less than the infamous ILL_K is making his much anticipated return to Subaltern with a full EP on the imprint, accompanied by fellow producers Chad Dubz and Koobas.
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*A. ILL_K - **WARP 6*
Bringing back the original jungle influence into the realm of dubstep, the title track ‘Warp 6’ sets the pace of the EP right away. In his trademark crisp and weighty production style, ILL_K lays out a true roller, carried by fierce sub lines and cutting edge percussive work. The melody gets repeated and reworked into many different sounds - sticking in your head until you crave for the next time round.
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B1. ILL_K & CHAD DUBZ - NINJA TECHNIQUE
Joining forces with the ever busy Bristolian and Foundation Audio boss Chad Dubz, the second track of the release is a real bass-face inducing beast. Keeping up the dark and gritty feel, ‘Ninja Technique’ unleashes merciless waves of bass and ever-so-punchy drums that will shake raves and ravers around the globe.
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B2. ILL_K & KOOBAS - WALKING HOME
On the third track of the release - and the second collaborative effort - ILL_K and Koobas serve yet another masterpiece that transports authentic Metalheadz jungle vibes into the 140 sphere. Ground-shaking and groundbreaking.
Legend has it that the Fiesta parked in the market has still not moved to this day.

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Artificial Intelligence are back with another installment of their latest project ‘The Series’; Season’s 3 & 4 will come formatted as a full vinyl LP, available across all formats. Packed with eight individually intimate episodes of deeply soulful, futuristic jams, and special appearances from longtime label mates DRS & Steo.

VSK is honoured to start the journey of his new imprint with a selection of great artists. “Equilibrio volume 1” is a presentation of the different visions of techno the label wants to focus on. Modernity, deepness and hypnotism, sound design and complex textures will be the key elements of the label.

The first track is a collaboration between VSK himself and the Polish producer Michal Jablonski. X&Y is a combination of Epic drones, glitchy fx and a metallic fm synth line. Speed and fast modulation are the main ingredients for the development of an obsessive groove.

Malaria by the Spanish artist Kwartz, is an hypnotic dance between extreme ranges of frequency ; white noise and rising screams are wonderfully mixed together with an aggressive broken-subbeat.
The surgical touch of Ansome brings with “Operational Amplifier” a really complex sound design and fierce rhythmic programming, while a distorted roar

beats hauntingly the time.
The last cut, Shori by the italian artist Flaminia, is an obscure and elegant march. Cinematic and ethereal strings come together with an aggressive raw beat , providing an excellent techno experience.

Debut release from Australiain artist Destiny71z, the first part in a trilogy of EPs specializing in wild analog experiments in house, techno, electro and garage.

Created using Buchla Music Easel, Buchla 200e System, Various Eurorack Modular Synths, drum machines and synthesizers. Four mind-blowing tracks of bubbling electronics. The full EP's will be vinyl only with select singles dropping digitally.

Essential music for fans of Legowelt, Mr Ozio, Floating Points, Pepe Bradock etc.

Floating Points' personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series.

Sam Shepherd aka Floating Points' music taste is notoriously tricky to define, ranging from ethereal classical at one end to coruscating techno at the other, united only in a firm belief in the transcendental power of music to move hearts, minds and - yes - feet. Similarly, his production career has ranged from early experiments in dance music with breakout records such as the 'Shadows EP' and collaborating with legendary Gnawa master Mahmoud Guinia to his expansive album 'Elaenia', which met with critical acclaim upon its release in 2015.

This Late Night Tales excursion into the depths of the evening reflects his broad tastes. The globally-travelled producer has collected untold treasures on his travels from dusty stores in Brazil to market stalls near his hometown. There's the gorgeous 'Via Làctea', culled from Carlos Walker's debut album, Abu Talib's (Bobby Wright) plaintive 'Blood Of An American' and Robert Vanderbilt's gospel reworking of Manchild's 'Especially For You'. Raw soul and feeling oozing from each song's pores.

At the other end of the music scale are the modernists, such as Québécoise Kara-Lis Coverdale who weighs in with the indelible 'Moments In Love', Kaitlyn Aurelia Smith whose 'Milk' is an exercise in tranquility, while Sarah Davachi's meditative mix-opener offers respite from a weary world.

We have some exclusive tracks for Late Night Tales; alongside Davachi's offerings there is also Toshimaru Nakamura's 'Nimb #59', as well as the now traditional cover version. hepherd delved into his childhood
memory for this one, a track taken from the first album his parents bought him, Kenny Wheeler's 'Music For Large & Small Ensembles': Sam offers up his interpretation of 'Opening Part 1'. Wheeler also contributes horns to Azimuth
track The Tunnel, written and performed by Norma Winstone and John Taylor who, coincidentally, are the parents of Floating Points' drummer Leo Taylor. Closing the album, Lauren Laverne reads the suitably nocturnal poem 'Ah! Why, Because The Dazzling Sun' by Emily Brontë.

'I tried to find music that reflects the stillness of night. And because my musical interests lie all over the place, it's quite difficult to distil that notion down to just a few songs. I was quite keen to have some electronic music in there but I also really wanted to have some soul music mixed in, so I had to try and find a pathway between all of this different music.' - Sam Shepherd (Floating Points) March 2019

2x12" Repress


January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke’s Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen’s O.U.T. project and Susanne Kuhnke completed the Line-Up.

Malaria! started touring intensively soon after the release of their 12”, commencing with a concert with New Order at Brussel’s Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, Einstuerzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin.

While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin (How Do You Like My New Dog? 7”, Weisses Wasser 12”, New York Passage 12”, Revisited MC, Emotion Album). At the BBC studios in London Maida Vale Malaria recorded an Kit Jensen and a John Peel Session.

Malaria! took a break in 1984 - Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form, with Beate Bartel, Matador, but not before they recorded their Mini-Album, Beat the Distance. 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12”. Elation was followed by Cheerio, Album, which again was recorded in Berlin.

Chicks on Speed did their own version of Malaria’s song, Kaltes Klares Wasser in 2001, and the Remix went into the German Top 10.

Malaria has been an instrumental part of Berlin Music History, as recently presented at the „Zurück zum Beton“ at Düsseldorf’s Kunstakademie, Kunsthalle Wien „Punk!“, „Geniale Dilletanten“ Goethe Institut, and in B-Movie.

BIBA KOPF 2019
The theme song for that great German road movie yet to be made, Malaria!’s 1981 single “How Do You Like My New Dog?” etched the E into the motion music of their soon-come debut album Emotion with its trail-out line “Immer vorwärts, nie zurück...”. Always forward, never back: from West Berlin to London, Paris, New York and Tokyo... from here, there and everywhere to eternity, the Autobahn goes on forever, with Malaria! at the wheel, spinning new moves from timelines crossed in records and songs right on the money evoking Zarah Leander, fighting the power, staring down Death, and a whole lot more. In all, one merry hell of a ride, and on the evidence of Compiled 2.0, it’s not over yet.

MARK REEDER 2019
"Even today, their originality in everything from sound to style, has proven just how relevant Malaria! are. In my opinion, their music has stood the test of time. To me, Emotion sounds as good today as it did when it was first released and it was a pleasure to revisit it. They might not have had any zillion selling albums, and their image might have been copied, while their sound could never be. They remain exclusively unique and their influence and legacy will reach far into the future. This band is both an inspiration and a statement and they prove what five very creative girls can achieve, if given the right support to allow them to evolve, and it is exactly that, which has made Malaria! Germany’s most successful and renowned, all-girl band...“

DIEDRICH DIEDERICHSEN 1991
"...Malaria! put across so many clear, manifest, attractive, certain, muscular, and harsh symbols, just as they refused - defying the customs intrinsic to these symbols and the worlds in which they circulate - to weave all these things into a readable, reproducible and manageable, generic text..."

SNK and Brave Wave Productions are proud to reveal their third collaboration : Generation Series 09 - PULSTAR for CD and vinyl.

Originally released for NEO GEO in 1995, 2D shooter PULSTAR became a cult classic among SNK fans, featuring fast-paced gameplay, graphics and music. The soundtrack is composed by ex-SNK composer Harumi Fujita.

PULSTAR The Definitive Soundtrack features the entirety of the original music remastered and restored to the highest possible quality, in collaboration and consultation with SNK and original composer Harumi Fujita. This re-release features both the Neo Geo AES and Neo Geo CD versions of the PULSTAR soundtrack, giving fans a choice of which arrangements to listen to.

PULSTAR The Definitive Soundtrack on CD and vinyl will feature a booklet containing artwork from the SNK archives, in addition to in-depth track-by-track liner notes written by composer Fujita herself. Fujita recalls her feelings on each song, detailing the methodology in which they were created and what inspired their direction, which includes historical events that occurred in Japan during the mid-1990s.

PULSTAR The Definitive Soundtrack features an exclusive cover drawn during the game’s development but has never been publicly revealed until now. Fans of the original package design will find it reproduced faithfully in the center gatefold.

The vinyl release will come on 2 LPs, with Disc 1 (Sides A and B) dedicated to the Neo Geo AES version and Disc 2 (Sides C and D) dedicated to the Neo Geo CD version.

©SNK CORPORATION. All rights reserved. Licensed for use by BRAVE WAVE PRODUCTIONS.

Two dope Island Boogie tracks by Experience, an Afro Reggae group hailing from Germany. - Very nice steeldrumming in these tunes..

Experience’s “Share It With You” and “Happiness” can both be found on the private LP release “Oh! What A Feeling” from 1982. The group consisted of Anthony Flaverney from Trinidad, Curvin Murchant from Jamaica, Daniel Kofi Jefferson from Ghana and John Innies from Trinidad and was founded in Hamburg.

Anythony Flaverney, the lead singer on both songs, was active as songwriter and musician in Germany since the mid-1970s, most notably appearing on the Peter Herbolzheimer arranged “Caribbean Rock“ album by Malcolm's Locks (be sure to check their funk version of Bob Marley’s “Get Up Stand Up”!). Curvin Merchant, a highly respected drummer from Jamaica, settled in Germany around the same time. Before forming Experience, he was a member in several groups, including highly successful pop acts like Boney M. Later he became known as "Germany’s Grandfather of Roots Rock Reggae", among other things buildung up the "Reggae Center" in Hamburg. Flaverney and Merchant are joined by Daniel Jefferson on bass and John Innies on steel pan. The band existed for about 2 years, touring in Germany and Europe, unfortunately recording only one album which features a unique mix of Reggae and Funk.

The first track “Share It With You”, should give any serious music lover goose bumps. It was written by Flaverney and features a deep groove, steel drum solos and fantastic soulful vocals. It’s that type of tune you will play in a DJ set and people will come up to you and ask what it is. The single version is slightly edited.
Side B continues with Happiness, an equally great track with positive vibe and attitude, written by Flaverney and Jefferson. Again, the steel pan sounds give it that special compelling “Island” vibe from Trinidad.

The single is limited to 300 copies and comes in a beautiful picture sleeve showing part of the original artwork from the “Oh! What A Feeling” album.

This 4 track EP comes out of Ibiza Records archive vault's called Archives Vol 5 produced by Low Block Noise in 1991 & EOAD in 1993. Each of these tracks represents hardcore and merging of jungle breaks starting to come through in the early 90s.

A. Rave in the Bedroom - This track produced by L.N.B made in 1991 has some great piano stabs and had a sample taken from 'The Young Ones' bbc2 sitcom as back then it was all about the big samples being used.
AA. Its Not Big & Its Not Clever - This track from L.B.N made in 1992 and has a classic sample taken from Robin Williams 'Good Morning Vietnam' film. The track has strong jungle breaks that were now a dominating presence at that time in the scene.
AAA. Love The Feeling - This track produced by E.O.A.D made in 1993 is more hardcore with the piano stabs offering a ravey anthem feel representing the warehouse scene. Which was dying out and Jungle was becoming the more dominant force.
AAAA. This track produced by E.O.A.D also made in 1993 and is a remix of the original with the hardcore elements offering a more raving anthem feel representing the warehouse scene back then.

We are happy to welcome Vibronics & Saralene in the Moonshine Recordings family. Their long awaited track "Let Love Be Your Guide" will finally see the daylight in October.

"We Can Do Anything We Want Because They Say We Can't Afford The Police"

Talking Heads lost in Ancoats. Prince in a Berghaus. The Compass Point All-Stars meet the Piccadilly Gardens Spiceheads.
Welcome to the world of SEE THRU HANDS.

Here to bring salvation to a Broken Brexit Britain, See Thru Hands is a fresh band from Manchester with hooks for days and a SERIOUS live vibe. Their debut EP on Manchester legend RUF DUG's label RUF KUTZ - "The Hot City EP" - brings you two new songs backed with remixes tested on the world's best dance floors.

Opener HOT CITY's energetic punk/funk conveys a dark story of British city life outside the London bubble.
Our councils are fucked, our public services neutered and all anyone cares about is when Deliveroo is gonna be available in their neighbourhood. Throw away your post-apocalyptic fantasies because it's already like that - the only option is to dance. It's grim up north.

After dancing ur arse off and simultaneously coming to the realisation that we're all fucked pls don't worry - See Thru Hands are here to pick up your pieces with NOTHING TO LOSE, a whimsical modern pop banger with shades of New British House that will instil in you a sense of freedom and ease all your worries.
Yes we are all going to hell in a handcart but with See Thru Hands as our companions, I think it's all gonna be just fine.

The package comes backed with a pair of deadly remixes - boss man RUF DUG strips back Hot City to the bare bones, rigs up a couple of jazzy neon lights and a DMX drum machine and brings you his 'Metrolink Vibes In The Area' version, while young upstart METRODOME completes the all-Mancunian lineup on this record with a twisted Marmite 2-step interpretation that is either gonna make you buzz or spew. It's not for everyone.

FPO (onesheet currently in development):

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The digitally remastered release of JAK3's Moonlight Radiation is a menagerie of cyberpunk mutations arising out of the Memphis revival rap movement. The album's big, blown-out sound might have seemed an incidental result of an analog recording process in its original cassette release. Now, rendered in digital clarity, listeners can better perceive how JAK3 sculpts varying degrees of panic, aggression and resolve very intentionally through the hard mix of industrial noise, inventive beats, flush synths and recordings from a slew of rappers including Freddie Dredd (Toronto), Apoc Krysis (Memphis), and fellow Waistdeep Clique members Agnarkea and Calsutmoran.

The short format of Moonlight Radiation's 16 tracks allows JAK3 to cover a lot of ground, and even within a single track he keeps one guessing. Track 2, "2FAKE," goes from an atmospheric burn, to a slow drive with the snappy flow of Moistbread, and then abruptly crashes back into an oozing vortex of synths. The penultimate interlude "Return from Hyperspace" sounds like one is being forced through a hellish modem, only to land in a haunted and abandoned transmitter for the closing track, "This Night Will Never End."

Between, those tracks, one gets a tour of the wild possibilities that could come next from this producer and the sounds emerging from the Memphis chopped-and-screwed scene. In a milieu that is retreading the past, the mutants of Moonlight Radiation may seem to be arriving a little prematurely. But you can't stop evolution when the field is so wide, and young producers like JAK3 are moving fast.

Sometimes in soul music history it has seemed that record producers couldn't get enough of a certain backing track, churning out singles after another, chasing for a hit that never came. The latter doesn't really apply to Pratt & Moody's "Lost Lost Lost", which just recently broke 1 million Youtube plays. While stacking up fame in the lowrider soul scene, this beat ballad also caught the ear of the West Coast record collector and dj Mike Noriega, who decided to write fresh lyrics to accompany its instrumental.

"Wondering" that came as a result was brought to life by the singer and industry insider Gerald McCauley, who turned his soul inside out for the performance. In the past McCauley has worked as a musician, A&R man for example in a project involving George Benson and Al Jarreau and even produced a book and documentary on the history of the Fender Rhodes electric piano. Here he slips comfortably into the Cold Diamond & Mink groove, squeezing every drop of heartache on tape.

This version continues the story of "Lost Lost Lost" so gracefully that one can only wonder, if there are more to come. Who will be the next poor soul to sink into this deceivingly blissful bed of roses, filled with piano, drums and slide guitar?

Warehouse Find!

Flight Mode makes a welcome return to Delusions, this time joining forces with Joel Brittain to come up with another killer release in the form of Burn This. Those who caught his last one It’s So Nice last year will know the drill…. epic, rolling, dubbed-out loopy uptempo house based around a classic disco bassline which patiently builds, increasing in intensity Wild Pitch style. Burn This treads similar waters with subtle arpeggios floating around an incessant groove whilst layers of vocal pads build to a crescendo over a beautiful ten minute ride. Completely flipping the script we’ve got the man like Medlar stepping up for remix duties and delivering just the kind of bonkers reworking we were hoping for. Keeping the trippy vibe of the original in place but opting for a more drum machine-programmed groove Medlar’s remix turns the shuffle factor up to ten and adds a rude bassline and intense synths which make it a real ear worm. Finally, Flight Mode gives us his own Tricky Dub of Burn This which adds a straighter 4/4 vibe and goes heavier on the FX creating a perfectly bubbling track which seems to simmer without ever boiling over.

Albert Tales release their two debut singles as a double A-side funk 45". Based in Israel, Albert Tales are a neo-soul, funk and soul band. After developing a cult following in Tel-Aviv they were picked up by UK Label Freshly Squeezed - and shortly after attracting the attention of Craig Charles, Disco Freaks as well as gaining direct support from local DSP platforms such as Spotify Israel and Apple Israel. Although only their first ever release, the quality of the music and the noise building around them hints towards their future potential. Released as a dinked 7 inch and with limited supply - we hope to see this early product transition into a collectors item down the line. Albert Tales will be entering the european festival circuit next year with plans forming for the UK, Italy and surrounding nations.

Halav Av is a Tel Avivian super-group consisting of members of the Israeli alternative music scene. Alonzo and Amitkes of The Crotches, Niv of Red Axes, Yovav of Shame on Us and Adiel of Hila Ruach & Future Shock.

This summer the band will release their first album, the first singles to meet the public’s ears will be To Live, Talk to Me and Mt. Beitar. These singles and the rest of the album were recorded by Uri Mixmonster of The Apples straight onto two-inch tape like the good ol’ days.
In addition to Mixmonster’s recording expertise, the album features Cello virtuoso Noa Ayali of The White Screen and Keyboardist Shay Landa of The RPS Surfers.

Wrapped up in a cover by the praised Israeli artist David Tartakover, the songs in this album are meant to be short and ticklish just like a father’s bristles. Because Father’s Milk is the essence of male gentleness. It is romantic, optimistic, nostalgic and naive. It’s childhood. It’s longing. It’s longing for childhood. Father’s Milk is the feeling of fatherhood, even if without offsprings. Father’s Milk is love, it’s music, it’s nourishing music.

Fjordfunk is Jann Marius Dahle. He started releasing records back in 1998 and is part of the Norwegian disco scene. His earlier productions has gained the support of diverse people like Idjut Boys, Francois Kevorkian, Anu Pilai, Laurent Garnier, Andrew Weatherall, Headman, Michael Mayer, Steve Bug, Bjorn Torske, Prins Thomas and Tim Sweeney. This album is inspired by ambient, Detroit techno, disco, funk, rock, dub, jazz and latin. Already getting early support from the A love from outer space outfit of Sean Johnston and Andrew Weatherall. He's already booked to play at their Convenenza festival in France later tihs year where he will perform live with Amy Douglas(DFA).

Taking inspiration from a vast musical sphere, the Munich-Vienna pair Jorkes are widely recognised for their open-minded and passionate approach to electronic music which is translated through their Freeride Millenium imprint and own unique productions. ‘Cross The Line’ will be the duo’s first outing since 2016 seeing them join up with the Italian pair Hard Ton who are known for releases on Wonder Stories, Luv Shack Records, Toy Tonics and many more. Jorkes invite Live At Robert Johnson artist Massimiliano Pagliara and Philpot founder SoulPhiction aka Jackmate for remix duties which tops off this distinctive release highlighting the openness and sensibility of their musical philosophy.
‘Cross The Line’ begins the EP with alleviating pads balanced harmoniously with alluring, heart-warming vocals and gentle keys drifting throughout before Massimiliano Pagliara delivers an infectious remix focusing on hypnotic bass grooves, effervescent drums and undulating pads fluttering naturally with the stirring modulations.
‘Jackmate’s Dub Mix’ deploys low-riding resonations fused with muffled tones and thrilling, shuffling rhythms within whereas ‘Jackmate’s 90s Mix’ focuses heavily on organic percussion rolling throughout with robust musical elements and looping vocals. SoulPhiction’s ’Dub Mix’ completes the pack with a tranquil take on the original laying focus on funk-infused instrumentals and subdued jazz drums.

Inland is Vanessa Wagner’s continuation of the exploration of the minimalist composers register to complete the solo continuum of the Statea released in 2016 with the Mexican producer Murcof. Inland highlights a set of pieces, mostly rare or unavailable to date (Moondog, Nico Muhly, William Susman, Bryce Dessner, Gavin Bryars...) and some other well known (Philip Glass, Wim Mertens, Michael Nyman) that Vanessa Wagner performs with her classic pianist background and velvet sound.

Lucie Antunes is a French classically trained drummer and percussionist, inspired by the pioneers of minimalism. Her debut album SERGEÏ is a tour de force of eclectic music that leaves the listener amazed, almost hooked up in Lucie’s magnetic spiral of sounds. The eclecticism that pervades SERGEÏ is shown by Lucie ability to create labyrinths of sounds through the use of unconventional instruments such as marimba, vibraphones, celesta, tubular balls, glockenspiel and ondes Martenot.


Sergei is a statement of freedom. The same childish freedom that we run behind and that we desperately seek. Lucie, with SERGEÏ, achieves her freedom and builds on it, the artist that she is with no compromises but only with the determined ambition to break the boundaries, to shake genres and to make the eyes smile.

“Having moved forwards emotionally from the wilds of dystopian stalking and associated hobbies, Madonnatron have instead been found frolicking through the green pastures of gangsta pimps, Hindu God wars, Cyber Men invasion, loveless nightclub hook-ups, modern Italian Nabokov, and revered screen goddess Elizabeth Taylor. Think of them as post-punk lab rats in the Secrets Of Nimh, feasting dubiously on back-dated episodes of Top Of The Pops. With notorious roaring guitars, chanting vocals and rabid drums they audibly glow in the dark, are strong-armed, and will probably bite you.”

Like their debut, which was released to much acclaim in July 2017, Musica Alla Puttanesca was produced by Liam D. May at Trashmouth Studios.

Their atmospheric, raw, and confrontational live shows carry a sonic force that by turns will make you weep, cross yourselves, and weep again. In the last couple of years, Madonnatron delivered a successful UK headline tour; supported The Moonlandingz,

UK duo Wayward continue to turn heads after a big 2018 and return with a fresh new EP that features a remix from cult minimal man, Voigtmann. 

 For their latest offering, they turn once more to Silver Bear Recordings as newly announced co managers of the label and in the process remind us of the depth and talent that remains a hallmark of their output.  Opener 'The Energy' is a driving cut with lush drum layers carrying you along as distant pads flesh out the groove. Soft female whispers add layers of soul and the whole thing will make close-knit floors go off. 'Space Marines' then gets more edgy, with techno-leaning drums and freaky samples that make for a pumping but classy groove, finished in style by some heavenly sounding, uplifting pads. Voigtmann is a long time underground figure, releasing on a range of vital labels and has a superbly reduced sound, showcased here on his druggy, infectious remix. Notable for its swirling pads and zoned out vibes, it rounds off another expert Wayward release.

Having spent the past few years quietly building up a dedicated crowd of followers and dancers as a club night, Scenic Route step out for their first offering as a label with three expertly crafted club cuts from Desert Sound Colony, an artist whose pumping productions have provided some of the parties’ most memorable moments. Since his debut release in 2014 on New York’s Scissor & Thread, Desert Sound Colony (real name Liam Wachs) has been refining a deeply personal club sound with releases for the likes of Futureboogie, Me Me Me, his own Holding Hands imprint and most notably of late, Nick Höppner’s Touch From A Distance. In addition to his productions garnering support from the likes of Midland, Raresh, Andrew Weatherall and Lena Willikens, Wachs himself is also a highly sought after DJ whose skills have seen him land bookings at some of the world’s most well respected clubs and festivals, including two stints at Berlin’s Panorama Bar already this year.

His prowess as a DJ has undoubtedly informed the music featured on the Cartographer EP. All three tracks are primarily designed for club use yet their intricate arrangements and undulating instrumentation ensure they remain captivating, despite the effectiveness of their functionality. The EP’s opener, “The Cartographer”, is a sleazy machine-driven odyssey, continuously building and evolving until snapping back into its original groove with a vengeance. “Gypsy Moth” sees Wachs team up with fellow Holding Hands affiliate Guava (real name Bradley Hutchings) for a dangerously syncopated drum workout doused in warped agogo bells, spliced vocals and a two-note bassline with a distinctly London flavor. Rounding the release off is “Budapest”. The combined power of the track’s interlocking kick and bass provide a solid stage for Desert Sound Colony to unleash an eerie arp and pads combo alongside a flurry of stuttering percussion and twisted samples while intermittently sprinkled with an unintelligible and downright ominous pitched down voice.

In early 2018, Jas Shaw, one half of Simian Mobile Disco was diagnosed with a rare health condition – AL amyloidosis – a disorder of bone marrow cells. Having just completed SMD’s 7th studio album Murmurations and with a special show at the Barbican scheduled for April, things were thrown into confusion. At the time, no one, including Shaw, knew how the prognosis would pan out. Jas had to start chemotherapy almost immediately, which meant cancelling the tour. The duo decided to go ahead with the Barbican show in spite of Shaw’s illness, which was especially poignant as all involved knew it could potentially be SMD’s last ever live performance – in the end it turned out to be a tour-de-force. If this was SMD’s swansong, so be it.

In the year that followed, Jas spent months receiving weekly chemotherapy, learning to live with his condition, and when he felt well enough, spending hours in his studio making music.

The result of this was twofold, firstly a collaborative album with Derwin Dicker (Gold Panda), released as Selling – On Reflection, on City Slang Records Secondly, a growing archive of solo work, which is now ready for release. Entitled “The Exquisite Cops”, this 20+ track growing body of work will see the light of day via SMD’s Delicacies label – with a 2-track single released every fortnight /month and a limited
edition double LP scheduled for 27th September.

At the end of 2018 a difficult year was capped with hopeful news. With his condition in remission, able to stop chemotherapy Jas is able to start DJing and playing live again.

Jas: “The Exquisite Cops tracks seem to have made their own system for creation. Normally I record electronic music like a band would, as a take. So, it’s kind of surprising to me that that this batch of tracks wasn’t made this way. Instead of a single take that gets edited and developed these tracks were all made in bits, usually months apart. Some days I’d make a drum track, often editing it down so that it’s some sort of semblance of a structure; on other days I’d end up just making a synth sound or texture. This wasn’t something that I gave into reluctantly, it’s nice to be able to give a feedback based pad your whole attention rather than just set it up and only attend to it if it gets really out of hand.

The process of matching these misfits together was originally born out of laziness, rather than break open the synths to make something to develop an idea, what if I could just use something that I already had; slack. The interesting thing was that in pulling two takes together that were done months apart, they cast each other in a different light and though sometimes making them fit together was a hatchet job, sometimes they locked up together in an improbable way, making the rough structures that I’d improvised make a different sort of sense; often a more interesting sort of sense.

The more I did this the more it felt like this was not just a slacker’s way to use up offcuts, this resulted in combinations that I’d probably not have chosen if I’d done the tracks in one go. Also, and I know this isn’t something that’s important to everyone, there was a level of fastidious detail that I’d never have got if I’d had the textural and rhythmic elements playing together. It’s a longwinded process but it’s changed how I record and how I think about recordings I’ve made; plus I enjoy all parts of it so why cut it short?”

Extremely hard-to-find Ghanaian LP from legendary musician Gyedu-Blay Ambolley, originally released in 1980.

Tough Highlife, funk and boogie moods with added synthesizer!

Ambolley is still actively touring today, keeping these vibes alive – he will be touring Europe throughout 2019.

This is the third Gyedu Blay Ambolley LP that we have reissued on Mr Bongo, following on from his seminal ‘Ambolley’ and ‘Simigwa’ recordings.

Official Mr Bongo reissue. Licensed from Gyedu Blay Ambolley

Stiletti-Ana aka Ilari Larjosto is known for his wide output in the world of cosmic, techno, leftfield, disco and ambient music.

Producer, drummer and sound engineer in all forms Stiletti-Ana will always keep making music and keep the main focus rather on timeless quality releases than searching for the hype. His projects include bands like JESSE and Tähtiportti, Austrian Finnish trio Skymax and collaborations with the likes of Dj Fettburger as 358 Men and Skatebård. His new solo album Ab Ovo is the first full length Stiletti-Ana LP and represents his discoveries in the world of heavenly cinematic arpeggios, conga driven ambient and physical 3D drone compositions

Vinyl Only

Jack On Black consists of Jib Rafill and Joe Le Groove, the pair met 6 years ago when Joe was djing in Malta. Their love electronic music, machines and old school sampling techniques sparked a desire to collaborate and organically work towards writing various genres of music, including Dub, House, Techno, Downtempo and even Film Scores.

Their music is made from passion, a love of technology and Roland outboard gear. Both have been on the scene for many years and separately have their own unique journeys and projects. Joe Le Groove started producing in the mid-nineties and was taught the basics by Darren White aka D-Bridge. He currently has projects on labels such as Desolat, Defected, Moon Habour,Snatch, Defected, Heidi's Jackathon

The pair also have released music on Cesare vs Disorders Serialism and written scores for forthcoming independant films.Their sets are performed live using outboard gear, mics, turntables and EFX. Expect the unexpected from this unlikely duo...

Plutonian Funk is an EP that has been crafted for lovers of House & Techno. It has been destroying dance floors across the world by a handful of the scenes elite, such as Seth Troxler, Quenum Richy Ahmed, tINI, Cesare vs Disorder, Carlo Lio, Victor Calderone, Marco Carola, Audiofly, Dubfire and more.

The EP is split across vinyl and digital, all the tracks on vinyl will never be released on digital format.

The boys have been working hard over the past few years to develop their sound and forthcoming live performances with visuals

Enter Jack On Black…

Patrick Conway keeps a low profile and wobbles through the alleyways. This is his first offering for the ESP Institute. Side A’s Know The Future is properly moody, a UK rave track skirting the fringe of everything we hold dear from the days of our youth—big grey melancholy chords, mild shuffling breaks and anonymous diva cries peppered sparsely throughout—yet the artist manages to skillfully tick our nostalgia boxes whilst avoiding the road into full-blown pastiche. It's a versatile track, easily suitable for both the early hours in the warehouse or the tender drive home where your terrible Tuesday awaits. On the flip side, Patrick continues his plunge into emotional depths, summoning layers of ghostly sighs, chopping up the beats in half time and introducing a more prominent use of bass, but midway through Digital Warfare he jettisons the angelic pleasantries in favor a more deranged headspace. He’s had us swallow the wrong pills, sending us through a labyrinth of mirrors and echoes for the second half of the track, only to partially find our footing in the last minute. These two songs will send you to another time and place.

PLR is proud to host a variety of talented producers from around the hemisphere, from Berlin to Montréal to San Francisco. The label is a brainchild of independent artist Experimental Housewife and was kicked off by prolific producer Roche (100% Silk, Jacktone, Hobocamp) and his breath-taker A Genuine Effort To Make You Comfortable. Soon after, the spring saw italo-sprinkled dance floor beats followed by slamming techno and weirdo-tronica, a non-genre made of intriguing sounds that play tricks on DJs. In closing, the roster will be opening ears up with a wonderful miniseries of ambient releases before the final EP: arpeggiated pop from conceptual two-man band Star Service .

Premiere producers like Lily Ackerman (As You Like It, Mioli Music), CMD (Jacktone, basic_sounds), Golden Diskó Ship (Monika Enterprise, Spezialmaterial, Klangbad), BLEIE (B.O.D.I.E.S., 3am Devices), Mo Kudeki (Noctuary, Public Works), and Tape Ghost (Asterisk, Night Sea) have all signed up to the roster, releasing fierce and excitable works that they have had for a while but hitherto were not able to release to the public.

Reverenced names like Ryan Merry (now Elexos Park but formerly Ghosts On Tape), Roy England (Make Mistakes, Communikey), Caltrop (In The Dark Again), Loren Steele (Wolf + Lamb, Jacktone), and Philadelphia warriors Sean Thomas (Drumsong, Sound Between Movement) as well as bpmf (Schmer, Serotonin, Prototype 909) have all offered exclusive productions.

Mysterious and up-and-coming producers like Emmett Perlman (Wage Slave, Make Mistakes), Bad Person , gayphextwin (Jacktone), BIlagáana (VODER), and Atlas Of Nothing can be explored in the catalog alongside new names like Memeshift, The Hug , and Jaclyn Kendall .

Our spotlight mastering engineers for digital releases include David Last, Abe Duque, Dark Star Audio, David Tatasciore, and Helen Heß. Our resident and extremely generous/talented engineer for the year has been the one and only Roy England.

Matasuna Records is thrilled to reissue another musical jewel from Peru on vinyl for the first time. The songs were recorded by the band Bossa 70 and released on a 7inch EP and the self-titled album in 1970. Both are much sought-after collector's items and impossible to find. The songs were transferred from the original master tapes and got a new mastering.

Nilo Espinoza Vascones or better known under his artist name Nilo Espinosa is without doubt a Peruvian saxophone and flute legend. After a classical musical education he entered the music scene in the early 1960s. In 1966 he founded the band Los Hilton's with some of the best Peruvian musicians including the gifted piano player Otto de Rojas. In 1967 they recorded the first and only LP of the group, which was released in a small edition in Peru.

Their concerts were more and more influenced by Jazz and Bossa Nova, so in 1968 they changed the band's name to Bossa 70. In the record label's office Nilo met the Afro-Peruvian Carmen Rosa Basurco, who also loved Bossa Nova and could sing in Portuguese and English. From then on she was the main singer of the band.

Bossa 70 recorded four songs for a 7-inch EP in an edition of only 100 copies, which was given away for promotional purposes at concerts and to friends & family. In 1970 they recorded their self-titled LP which reflected a mixture of Bossa Nova, Latin Jazz and Funk. The label pressed only 300 copies, which were sold out very quickly. This LP was the band's only album and is a rare piece of Peruvian music history.

Si Voce Pensa on the A-side is a great cover version of the same named song by famous Brazilian musician Roberto Carlos from 1968. Bossa 70 adapted the song for the dancefloor, which is driven by an uplifting rhythm and the expressive voice of the singer. Of course, the great interplay of the other musicians must not go unmentioned. A fantastic track that will heat up everywhere!

Birimbao on the flipside is another fantastic Brazilian cover version. The song was written in the 1960s by Baden Powell, one of the most important Brazilian guitarists and one of the pioneers of Bossa Nova. Bossa 70 set their own stamp with a new instrumentation with brass, wah wah guitars, piano, flute parts and trumpet solos. The percussion section is also a brilliant backup for this one. Another winner!

Are you ready for fresh blood! Some time ago, Tomorrow Is Now Kid! head honcho Alex Salvador and Jelle Meeuwsen aka "Pokopoko" met while spinning records and talking music at a party in Tilburg, The Netherlands. A big stack of demos got sent over to the TINK! headquarters and eventually a debut EP named "Petrichor" was created. A powerful four-tracker with a dusty and melancholic take on today's House music. It's raw and funky but changes vibes throughout, keeping it fresh. That said, "Petrichor EP" is an emotional rollercoaster and a tribute to the ever-changing and unpredictable Dutch weather.

DJ Feedback

Harry Avers:
"A solid EP."


Colin Dale:
"Great sound and a solid EP."


Jeff Barker:
"Iglozbub and Stipperflip are cool. Will support, cheers!"


Simon Huxtable:
"There's a distinct 90s UK house vibe to this EP. Good stuff."


Michael Serafini:
"Excellent! Petrichor and Hurdy Gurdy solid."


Jacques Renault:
"Always dig a new release from Tomorrow is Now Kid!"


Tim Haze:
"Very nice EP, will definitely play out. Soulful, funky, deep and energetic all at the same time. "


Mirco Violi:
"Very nice tracks."


Robert Monk:
"Quality proper Deep House cuts - love em all."


Eric Downer:
"Love the slowly unfurling start to the ep, 'Hurdy Gurdy', introducing things with floaty keys and jaunty percussion. this leads into the smart, sunny and upbeat 'Iglozub' which is snappy, bringing the mood up a little and spilling into the deep, meandering but no less uplifting 'Stipperflip' and a driven hi-hat dripping over a thick bass pump. Pokopoko saves the best for last, however, with all tracks leading to the majestic 'Petrichor', deep, dynamic and evolving with sweet, aching chords laced up with a crispy shaker and syrup-smooth bassline. Perfection."


Agus Arbol:
"House music at its best."


Severino Panzetta:
"Cool vibe."


Tunde Adams (DJ Caspa):
"Really nice ep here, will be supporting. "


Ben Gomori:
"Iglozub is stunning."


Al Bradley:
"Cool EP right here, saving the best to last with Petrichor doing the business!"


Timos:
"Nice work, I like it thanks!"


Paul Hazendonk:
"Lovely lovely vibe in Iglozub."


Times are Ruff:
"Nice work! Cool tracks."


Nathan Goode:
"Another fine release by TINK! Can't wait to play this one on air! "


MEAT:
"Great tunes!"


Robert Colon:
"This Is Some Beautiful Sexy, Dirty & Filthy House & I Am Loving It! I Will Be Smashing This Out."

Having built up his self titled label alongside his sterling work as part of Oscillat, Lazare Hoche and Will & Ink, the one and only Malin Genie delivers his debut solo album. Moving beyond the pure club focus of his singles and EPs, the Genie has seized this opportunity to present a widescreen panorama of his sound, leading in with the subliminal ambience of "You" as a springboard to explore breaks, electro, techno, and especially IDM. There are so many ideas swirling round Anthropomorphic Sympathy, it's hard to know where to begin describing it. A true headphone commute for the deep listener to burrow into.

The 6th Bodytrax release is the first in a new series and marks the first appearance of artists other than Bodyjack on the label. He has invited some of his favourite kindred spirits along for some duelling action over the machines with the simple premise for each EP; both deliver a track apiece, which is then remixed by the other. It is with great pleasure to say that the first to step-up to the plate is Fiedel (MMM, Ostgut Ton, Berghain etc). The Berliner whose work has featured in Chris's DJ sets for aeons, has been behind some of the music that has without question influenced the Bodytrax label since the outset. His idiosyncratic production style meshes perfectly with Bodyjack, and it's safe to say fans of both will not be disappointed to have this duel kick off the series.

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.

Swedish composer and multimedia artist Marcus Fjellström's debut Miasmah release follows two critically acclaimed full length albums on Lampse (2006's 'Gebrauchsmusik' and 2005's 'Exercises In Estrangement'). In addition Marcus has had several commissioned works requested, leading to him working with, among others, the Swedish Royal Ballet, the Scottish Chamber Orchestra, numerous ensembles, soloists and filmmakers including 'Salad Fingers' creator David Firth. Currently based in Berlin, Fjellström's compositions often combine aspects of modern classical composition and arrangement and more avant forms of music, be that acoustic or electronic.

'Schattenspieler' (which translates as 'Shadowplayer') takes the form of eleven compositions which explore ambience and melody, texture and silence. Haunting synth and orchestral instrument-based audio constructions, flowing from one moment to the next - the fleeting ghosts of Fjellström's melodies rise, only to be buried under a claustrophobic clutter of percussion and creaking background noise. These pieces do indeed feel like you're listening to something more implied than obviously stated, as if Fjellström wants only to expose us to the shadow of the music - the implication being perhaps a more terrifying experience than to be confronted outright…listen to 'Schattenspieler' and you may find your mind starts to play tricks on you…

The undeniably Angelo Badalamenti-esque descending synth strings of opening track 'The Disjointed', lay the foundations for Fjellström's 'Schattenspieler' album; music resting somewhere between the unsettling horror soundtracks of Jerry Goldsmith, the elevating melodies of Cliff Martinez, and the subtle audio constructions of Miasmah label mates Kreng and Jacaszek. Marcus' wide ranging abilities in composition and his willingness to let go of accepted form and function makes 'Schattenspieler' a perfect choice of release for the Miasmah label. The suspense laden 'Antichrist Architechture Management', with its harrowing and tense undertones, weaving synth lines and a wash of static hiss and flicker, is a particular standout track. Despite it's a strangely oppressive sound, shafts of light grace 'Schattenspieler'; pieces such as 'Untitled 090616' find gorgeous melodies are boxed in by unsettling arrangements and sparse background ambience. There is a coldness to many of these compositions - not without emotion, but somehow remorseless. 'Schattenspieler' is, for the main part, a defiantly bleak journey.

Vinyl edition ltd. to 300 copies, purple vinyl, incl. 8-page 12" booklet with drawings by Marcus Fjellström.

Clear Vinyl

BNJMN returns to Bright Sounds with Sensei; following on from the foundations laid by his "Final Network" EP released in the spring of 2018 he again showcases the melodic, yet hypnotic and pulsating side of his sound that he has become renowned for.

Starting with the almost house-like "Soared Above" synths fly over syncopated rhythms which build and then descend into something harsher and earthier.

"Intercellular" goes somewhat harder, yet still retaining the hypnotism and lightness of touch which will suit most hours in the club.

The title track is an exercise in restraint, one for the early hours when everything blurrs and only the space in between the sounds carry you along.

"Walking Into Yourself" showcases the dreamiest side of BNJMN, in slowing down the BPM the producer shows the intricate details of his sound, letting the listener in on a dense forestlike journey.

We've reached a pivotal moment for Local Talk.
What better way to celebrate a centenary of forward thinking releases than to present one of the best kept secrets out there, MLiR aka Modern Life Is Rubbish this time joined by Arnau Obios.

After making a serious impact with their remarkable 'Swedish Lo-Life' and 'Trans-World Junktion' releases on fellow Swedish label Studio Barnhus, we're thrilled to have them onboard for our 100th release on Local Talk.

Yes, that is correct, we’re celebrating the big 100. Since the very beginning we've covered everything from the deeper shades of house to the jackin' and the gritty club jams, released some slower BPMs and also the uplifting, vocal and organic house.
As you probably noticed - we love it all.

The 100th release main track 'Lajbans' is one of those sublime tunes that is bridging the gap between all styles of dance music and got the MLiR trademark, it's epic and manages to offer plenty of subtle details to keep you locked for the full 9 minute experience.
Accompanied with the original is a masterclass in dub 'Lajbans (Bellaterra dub)'.
You got the versatility of the original carefully stripped back but also absorbing layers upon layers of seductive sonic moods, it's a trip for sure and you don't want it to end.
Once again MLiR proves why they will be a force to be reckoned with for years to come...

Artwork by Leolyxxx
Mastered by Sasse at Blackhead Studios

Future Times is very pleased to announce that our next release will be a 7" single from Oakland's Motoko & Myers! This duo is made up of Wonja & DJML, both of whom have blessed electronic music in numerous ways recently together and individually, via releases on Jacktone, DJing together for their Herzog Hideout radio transmissions, and their amazing album from 2018, Basis Key, released via Bass Clef's digital imprint Open Hand Real Flames.
M+M make music from a really special place, wild tones, drum-machine-breaths and weird, pitched synth space combine with a sense of rhythm that folds in on itself. B-Side "Whimbrel" represents this perhaps best of the two songs, with a loping, wandering-on-the-beach sense of synth space and not-quite-dancehall drums. "Plover", however, is a perfect set-starter for the techno freaks, with the lightest drums coming in halfway over a thick, shifting loop of perfect glass techno for the DJs. Tip!

There's a distinctly UK thread throughout Off Grid; from the broken drum machine workout on Isit and the acid bass line on New Levels to the jungle- influenced breaks on High And Mighty and Turnin', Romaal Kultan has produced a compelling EP that will provoke plenty of gun fingers as well as nodding heads.