Cerca:witt

Often when music is constructed with synths and other electronically generated sound makers, their level of exactitude and control is such that the vocalist will either wittingly or otherwise seek to emulate the relative artifice of the soundscape. This is often done to great effect, think Kraftwerk. But what if there was a unit whose music was synth-generated but the vocals were coming from a hot-blooded, singing-for-the-cheap-seats approach? If done well, it’s a case of two great tastes that taste great together, which brings me to System Exclusive.

Their multi genre / time period collision is like a car accident where all parties walk away not only unscathed but sure they had a great time, like two different recording sessions sharing the same space and making it work. Vocalist Ari Blaisdell (previously of Lower Self, The Beat Offs) co-exists excellently amidst the driving beats and synth waves and her guitar further helps to jailbreak the tunes from the often sterile entrapments that synths provide. Matt Jones (previously of Male Gaze, Blasted Canyons, and continuing Castle Face behind-the-scenesman)’s smart use of live drums bring great juxtaposition against the machines. Ari’s irony-free sincere delivery is the perfect closer on this very cool record, recorded ably by Enrique Tena Padilla (Osees, Wand, Beach House) in their backyard studio mid-pandemic and adorned with original artwork by Miles Wintner (L.A. Takedown, Mr. Elevator, Devon Williams). If you don’t get this slab of goodness, well, that act of non-compliance will confirm you as the pain-in-the-ass that many have described you to be in great detail during Zoom chats. How dare they! Prove them wrong! Reduce their snark to mere pseudo-intellectual piffle! Your lifeline arrives in March. Grab it. — Henry Rollins

Shed Seven 'See Youse At The Barras' is now available on 140 gram red vinyl

Includes: Going For Gold, Disco Down, She Left Me On Friday, On Standby, GettingBetter and Exclusive Interview Recorded & Filmed at Barrowland, Glasgow, 3rdDecember 2002.

Personnel:
Rick Witter – Vocals
Tom Gladwin – Bass
Joe Johnson – Guitar
Alan Leach – Drums
Fraser Smith - Keyboards

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Reissue of George Duke's classic 1976 jazz-funk-fusion album 'Liberate Fantasies'

This 1976 album, the last one of the MPS fusion series, continues George Duke's tendency to couple his fusion world with accessible R&B songs. Once again, he shows a discernible vocal development. In "Tryin' And Cryin" the Californian together with rock singer Napoleon Brock overlays multiple vocal tracks.
On "Seeing You" Duke lays on a glaze of soulful tenderness, whereas "What The…" is 30 seconds of frivolous funning around. "Back to Where We Never Left" is a witty gem in which Duke bundles his pool of synthesizers into a united groove, whereas "I C'n Hear That" shows off synth and marimba tonal colors in dialogue, with the bass riffing on the bottom.

The album flows into the final bend carrying along the sonorous richness of Brazil. "After the Love" plays with the languorous erotic colours of the tropics, whereas all the band members are allowed to shine on the epic circa ten minute title track with its hot samba flair: the rhythm section with "Ndugu", Al Johnson, and Airto Moreira's percussion arsenal, Daryl Stuermer with his rock interludes on guitar, and Duke himself with inspired virtuosity on all sorts of synths and
keyboards.

BING BONG! Nems returns with Congo, his third full-length album and first solo album since releasing Gorilla Monsoon in 2019. The one and only “Mayor of Coney Island” does not disappoint on Congo, spitting his battle tested and witty bars throughout the album. As usual, Nems likes to do the heavy lifting himself, keeping the guest appearances and producers to a minimum on Congo. But fans of Nems will be happy to see that Congo features frequent Nems collaborators UFO Fev and Ill Bill, along with production from Vinny Idol on “Bing Bong”, which has taken the internet by storm and is now the informal theme song of New York City and the Knicks. Initially released on all digital platforms on August 20, 2021, the wait for Congo in vinyl format is over. F*ck Your Life!

“BLEU” is a deep, witty, and contemplative scroll through frustration and love. As journalist Jasmyne Keimig explains in her liner notes, the album is an optimistic look at “the money woes, the creeping loneliness, and the isolation of modern living.” This ten-song vinyl debut from choir kid-turned-rapper Dave B is introspective, intimate, and intensely personal, framed against lush production from a collaborative team of producers, including Papi, Sango, Wax Roof, Vitamin D, Daoud, Esta, and U. Moore. The single “CPU LUV” arrived with a music video that parodies a classic Microsoft commercial, and explores our smartphone obsessions, describing a romantic liaison where the couple choses scrolling on their phones over intimacy. Described as “one of Seattle’s brightest hip-hop talents” by local and national media, Dave B has received praise from Pigeons & Planes, Complex, HotNewHipHop, Okayplayer, Pitchfork, XXL, Essence, and NPR. He’s appeared on The Tonight Show and performed in arenas across America, Europe, and Australia.

200 Copies Limited - No Repress - Printed sleeve.

Psykotropp is back with a new project and a new name !
All tunes were composed in the subway... A special project:)

The record opens with a speedcore flashcore frontier continuum.A superb tune defenitly strobbing the brain...
Then comes the Breakcore tune, industrial and broken to death, offering some psychedelic high freqs...
The flip opens with an oldschool hardcore tune, dancefloor and kicking.
Records finishes with a Techno track, nu EBM kind of... A new wave beat witth a jo-mox deaf kick sounds.

"‘Arise, Dan Sartain, Arise’, the latest studio album by America’s infamous rock ‘n’ roll troubadour Dan Sartain, will be released by One Little Independent Records. Made up of thirteen wickedly wisecracking, vintage surf-rock bangers, this concise and classic record incorporates everything that’s made Dan Sartain the genres favourite underdog over the last two decades.
Seeped in obsidian black humour with tracks like ‘Glasses Houses’, ‘Rooster In The Henhouse’ and ‘I Heard Laughing’ ruthlessly calling out those who would slight him while also riding the hard line of self-awareness, the biting witticism of these tracks pair wonderfully with the playful tone of Sartain’s slick-back dark doo-wop. Elsewhere on the likes of ‘True Love’ and ‘Fires and Floods’ the crooner gets a chance to flex his punk muscles, pushing the guitars further into distorted territory taking the late 50s garage-rock influence via the late 70s in much the same way The Ramones and The Damned did. But we’re transported right back again when Sartain slows down for ballad standouts such as ‘Kisses In The Morning’ and ‘Personal Injury Law’. Throughout ‘Arise, Dan Sartain, Arise’ searing surf guitars intertwine with beautifully haunted organ jabs, with rhythms pulled straight from saloon bars way out west, and cheeky wink-to-the-camera lyrical whimsy."

To write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the “Watch Devil Go” which interests us here. He told us a story which, according to him, sums up the personality of Thollot. A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio, Thollot had disappeared. He wasn’t seen again for the three days. When he reappeared, he had already forgotten why he had left, The music of Jacques Thollot is in the image of its’ author: it takes you somewhere, suddenly escapes and disappears, returning in an unexpected place as if nothing had happened.

Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes and a few seconds, the French composer and drummer, who had been on the scene since he was thirteen, established himself as a link between Arnold Schoenberg and Don Cherry. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesisers, tight writing, teetering on the classical, and in the middle of all that, a hit; the title-track - that Madlib would one day end up hearing and sampling.

“Watch Devil Go” was in the right place in the Palm catalogue, which welcomed the cream of the French avant-garde in the 70s. But it is also the story of a long friendship between two men. Jacques Thollot and Jef Gilson had known and respected one another for a long time. Though barely sixteen years old, Thollot was already on drums on the first albums by Gilson starting in 1963 and would play in his big band (alongside François Jeanneau once again), ‘Europamerica’, until the end of the 70s.

In a career lasting half a century and centred on freedom Jacques Thollot played with the most important experimental musicians (Don Cherry, Sonny Sharrock, Michel Roques, Barney Wilen, Steve Lacy, François Tusques, Michel Portal, Jac Berrocal, Noël Akchoté...) and they all heard in him a pulsation coming from another world. (Jérôme "Kalcha" Simonneau)

Have we ever needed great storytellers so badly? Voices to snap us out of our collective grey funk, to pull us out of our narrow, hemmed-in worlds and to lighten our days and enlighten us with their perspectives, Immersing us in their worldview and history. People who can make us laugh, cry, gasp or nod sagely, to see our world anew and not feel so alone. We need stories, vignettes, new windows to look out of, and narrators to help those new visions make sense.

In short, we need Scott Lavene. Born and raised in Essex, but a man of the world who has wandered far and wide, Lavene’s a storyteller who can capture all the madness, joy and frustration of life while singing about worms writhing in the ground. Lavene’s been in bands since his teens, but only really located the voice that makes his new album Milk City Sweethearts so remarkable – that combination of wry observation, humble wisdom, unguarded vulnerability and unpredictable humour – in a music workshop for alcoholics and addicts, long after he’d bid farewell to childhood dreams of pop stardom, and the ghosts and demons that accompany those dreams.

He released an album as Big Top Heartbreak, 2016’s Deadbeat Ballads, and followed it with his first album under his own name, 2019’s droll and marvellous Broke. “I was signed to a little label in Bristol, but then they went skint,” he remembers. This time, however, the disappointment didn’t shake his confidence or his resolve. “I started writing prose, like ‘flash fiction’, and I’ve begun a novel,” he says. “And I’ve started some creative writing workshops for people who’ve come out of my situation.”

Amid all this activity, the songs that became Milk City Sweethearts began to take shape. Lavene noticed the border between his prose and his songwriting beginning to become porous, and the album feels like a clutch of excellent short stories set to music. Without a label, he recorded the album at home, and assembled it in a week in his mum’s garage during lockdown’s heavy manners. It’s a warm, witty, charismatic record with a dark heart at the centre, Lavene sounding dislocated and therefore able to write his everyday stories with a left-handed brilliance and blunt honesty that keeps them so fresh, like classic Kinks, or David Bowie if he’d never had to go to space to feel otherworldly. His songs are talking blues, set to loose and minimal and excellent art-rock with a pop sensibility, the honk of Roxy sax and the guttural weird-funk of Ian Dury’s Blockheads haunting their grooves.

Have we ever needed great storytellers so badly? Voices to snap us out of our collective grey funk, to pull us out of our narrow, hemmed-in worlds and to lighten our days and enlighten us with their perspectives, Immersing us in their worldview and history. People who can make us laugh, cry, gasp or nod sagely, to see our world anew and not feel so alone. We need stories, vignettes, new windows to look out of, and narrators to help those new visions make sense.

In short, we need Scott Lavene. Born and raised in Essex, but a man of the world who has wandered far and wide, Lavene’s a storyteller who can capture all the madness, joy and frustration of life while singing about worms writhing in the ground. Lavene’s been in bands since his teens, but only really located the voice that makes his new album Milk City Sweethearts so remarkable – that combination of wry observation, humble wisdom, unguarded vulnerability and unpredictable humour – in a music workshop for alcoholics and addicts, long after he’d bid farewell to childhood dreams of pop stardom, and the ghosts and demons that accompany those dreams.

He released an album as Big Top Heartbreak, 2016’s Deadbeat Ballads, and followed it with his first album under his own name, 2019’s droll and marvellous Broke. “I was signed to a little label in Bristol, but then they went skint,” he remembers. This time, however, the disappointment didn’t shake his confidence or his resolve. “I started writing prose, like ‘flash fiction’, and I’ve begun a novel,” he says. “And I’ve started some creative writing workshops for people who’ve come out of my situation.”

Amid all this activity, the songs that became Milk City Sweethearts began to take shape. Lavene noticed the border between his prose and his songwriting beginning to become porous, and the album feels like a clutch of excellent short stories set to music. Without a label, he recorded the album at home, and assembled it in a week in his mum’s garage during lockdown’s heavy manners. It’s a warm, witty, charismatic record with a dark heart at the centre, Lavene sounding dislocated and therefore able to write his everyday stories with a left-handed brilliance and blunt honesty that keeps them so fresh, like classic Kinks, or David Bowie if he’d never had to go to space to feel otherworldly. His songs are talking blues, set to loose and minimal and excellent art-rock with a pop sensibility, the honk of Roxy sax and the guttural weird-funk of Ian Dury’s Blockheads haunting their grooves.

In 1981, The Ex started squatting Villa Zuid, an estate overlooking abandoned Van Gelder paper factory in the village of Wormer, Netherlands. Formerly the home of the factory's manager, the Villa briefly served as the band's base of operations and would inspire one of The Ex's most impactful, enduring albums in their 40+ year history.

Originally released in 1983, Dignity Of Labour is "our idea of improvised industrial punk noise," states Ex-frontman G.W. Sok, which not only offers a perfect summation of these idiosyncratic sounds, but also of the group's music in the decades to come.

During its heyday, Van Gelder employed over 1,000 workers. By 1981, it had gone bankrupt, following the takeover and divestment of a multinational corporation. Having saved the Villa from demolition through squatting, The Ex pored over newspaper articles, interviews and business records to tell the story of the factory and the people whose labor brought it to life – an unparalleled example of DIY archival action.

With new drummer Sabien Witteman bringing polyrhythmic accents and a supporting crew of agitators (credits include piledriver, bus engine, printing press, etc.), The Ex recorded eight tracks in-studio and then played them back in the ruins of the factory while recording the playback – giving Dignity Of Labour a haunting sense of space that is at once cavernous and decaying.

This first-time vinyl reissue (configured as single LP) comes with 24" x 18" poster and 24-page booklet.

Stix Records, a sub-label of Favorite Recordings, proudly presents Push Push, the new album by acclaimed producer
Taggy Matcher aka Bruno "Patchworks" Hovart (Voilaaa, Mr President, The Dynamics, Uptown Funk Empire,
Metropolitan Jazz Affair, Da Break, …). After the success of his previous LP Singasong, Taggy Matcher returns with 8
tracks exploring his wide range of Reggae & Dub influences, each time magnified by a fine crew of vocal guests as LMK,
Birdy Nixon, Alexandra Charry, Hawa, John Milk & Elodie Rama. With a great sense of authenticity, they all bring their own
touch to Taggy Matcher's compositions and covers. Always faithful to its inspirations, brilliantly produced, Push Push is
your new invitation to follow the Lion to Zion.
The album starts with "Push Push", a title already released last year as a vinyl single 7", in collaboration with rising
singer LMK, who you may know from her successful previous reworks on Taggy's last album ("No Love Allowed", "My
Man"). Sharing the same love for the early 80's Digital Rub A Rub productions, lyrics are about street harassment of
women… with a pinch of humor!
On "Little Things", Taggy invites old mate Birdy Nixon for a cover of an early rocksteady classic by Hemsley Morris.
With the vintage bounce we love combined with modern sounds and productions, the song is all about tenderness and
simplicity.
"Volvere Mañana", the song has this very cumbia hip move with the participation of gifted singer Alexandra Charry
from Cali in Colombia, where they both composed the song. Then, Taggy invited Boris Pokora to play the "gaita" local flute
to give the song its proper Colombian Caribbean coast flavor.
The album continues with "Two Dimes" featuring longtime collaborator Hawa (from Mr President to Mr Day and other
numerous projects). This shaky disco reggae rockers is all about getting ready for the party… but with two dimes only!
"Q Fashion" is a song full of wittiness and self-mockery wrote during the first Covid-19 lockdown. Parisian Soul singer
John Milk was stuck in Paris while Bruno was in Lyon. On this minimalistic digital reggae tune, they give the ingredients to
perfect your next quarantine outfit.
Discoish reggae tune "Get Enough" featuring Birdy Nixon has a simple and successful recipe: just mix a big dose of
Lovers with the same amount of Rockers and you've got this 100% soulful song.
On "Suit and Tie", Taggy and John Milk go Pop with this version of Justin Timberlake, that fits perfectly with John's
tender and mellow style.
Finally, Elodie Rama with Taggy Matcher pay tribute to Erykah Badu and her legacy to the Soul music scene at the end
of the nineties. The mood is jazzy, mellow and warm, with a tiny Lee Scratch Perry early 70's vaporous vibes.

Bad Bad Hats are an indie rock trio from Minneapolis, Minnesota.
Known for bringing a joyful, exuberant presence to their live shows, touring
with The Beths, Margaret Glaspy, The Front Bottoms, Hippo Campus, and
Third Eye Blind, the group took specific care to bring their fun-loving spirit
to their third LP, Walkman.
Kerry (guitar/vocals), Chris (bass), and Con (drums) let their collective hair
down on Walkman, bringing raucous and explosive riffs alongside witty lyrics.
Though you might not notice from their indie rock exterior, Bad Bad Hats draws
a heavy influence from classic pop songwriting that shines through in their
hooky choruses and strong melodic sensibilities.
For this release the band set out to push their capabilities as a trio. Subtle
changes in process helped the band achieve this goal, such as shifting Chris
from a wider multi-instrumental role to allow him to prioritize his bass playing, having Kerry record the bulk of the guitars instead. ‘You can hear all of our
musical voices a lot better on this record.’
A carefully crafted studio sound brings the record to life, injecting it with an
energetic voice that is unique to Bad Bad Hats. Walkman is the group’s fourth
time working with producer Brett Bullion, including their previous two LPs, Psychic Reader and Lightning Round, and the Wide Right EP.
Bullion and the band use the studio as an instrument, resulting in their most
polished work to date.

FOUR STROKE BARON return with their third full length studio album ‘Classics’, mixed by Devin Townsend and brimming with catchy riffs and unforgettable choruses. Having streamlined into a duo, Kirk Witt and Matt Vallarino cast a sardonic eye over the human condition - as seen through their own uniquely distorted lens, and told via tales involving a murderous rampage at a kegger while dressed as a knight, to being trapped in a casino during a robbery whilst on acid, and other such adventures. They are our guides as we traverse the filthiest folds in the dark underbelly of Reno, Nevada; illuminating the darkest corners of their twisted psyches with their upbeat and insanely catchy pop hooks.

Having scraped off the detritus of their city, rubbed the crust from their eyes and molded it into the heavy pop songs you hear before you today, they enlisted the only person they knew who could add the extra layer of embellishment that the album required. Enter Devin Townsend. They gave him only one instruction for producing Classics: go as hard and insane as possible. The added textures brought in by Townsend during mixing elevate these 10 tracks to another level.

If you’re unsure of what constitutes a classic, a good place to start is with FOUR STROKE BARON’s 2020 release, Monoqueen, which features covers of the likes of Chvrches, The Beatles and Death Grips. Sometimes it’s necessary to allow time to pass to reveal the true nature of a classic track; FOUR STROKE BARON have shaved the waiting time all the way down to zero. Hit play - the classics are all there waiting for you.

Early support by: Laurent Garnier, AME, Marco Bailey, Jennifer Cardini, Terrence Fixmer, Kyle Geiger, Marcel Dettmann, Apparat, Richie Hawtin, Vril, Charlotte De Witte, Sasha, Benjamin Demage any many more..



Fresh off of a remix for Grimes’ “My Name is Dark”, producer Julien Bracht has been powering through CV19 studio seclusion on full-power, with a distinct vision for brighter days ahead. Bracht’s new album, “Now Forever One,” an emblem of dark analog synthwave, is set to drop June 11. Bracht’s first solo album under his own namesake is cut with surgical precision for the shoegazing astral sound travellers who long to break out of their pandemic quarantines, and reconvene for techno-induced ascension. The album’s first single, “Melancholia,” and it’s accompanying video, is already breaking hearts and charts. An exquisite sonic hybrid of communal revelry and profound introspection, “Now Forever One,” focuses Bracht’s multilayered craftsmanship on resolving this era’s angst with sensory exploration and optimism.



As a lifelong drummer, Bracht’s insatiable musical energy lead him to bang out his first 3 EPs within one year of first being signed in 2011-12. In 2015 he founded the band Lea Porcelain with Markus Nikolaus in London. Their hypnotic post-rock debut release in 2017, “Hymns to the Night,” gained instant acclaim from UK tastemakers Lauren Laverne, Steve Lamacq and Zane Lowe, to name a few. The lads broke back onto the international stage with dates on several major festivals around Europe, including the Leeds/Reading Festival, Great Escape Brighton and Latitude. Rich output combined with the inclusion of live drums in his solo live sets quickly gained Bracht recognition and slots on the global tour circuit.

“Now Forever One” forges Julien Bracht’s transition from techno djing, while continuing the explorations of texture and timbre over functional song structures from Lea Porcelain, to a more open-ended search for the aural sublime — the substrate on which music, life and light glide to create momentary nodes of meaning in an increasingly meaningless sociopolitical atmosphere. These are crucial themes to Bracht’s process and approach. “The intention in my music is to strengthen people’s awareness and minds… I want us all to gather in spirit and stick together.”

The album exemplifies Bracht’s hunt for elemental juxtaposition with the warm Prophet 6’s sawtooth howls and bright pads against chillingly indifferent pulsing basslines and percussion. Clocking in at just under 65 minutes, “Now Forever One’s” tracks are sequenced to take the listener through the full emotional arch of a 15-hour rave, with an emphasis on those moments of collective epiphany where heaving techno floors become the perfect microcosm for an idealistic and interconnected future. Interspersed with improvisational one-takes, the album submerges the listener in polyrhythmic meditations, of which “Streets” and “Nocturne” are standout examples, and soars on the vaulted synth melodies of future dance floor favourites “Melancholia” and “Dreams of Euphoria.” Sascha Ring of Apparat & Moderat puts it perfectly: “I played “Melancholia” the night I got it at Mutek Festival in Mexico City, and instantly knew it’ll shine on a big floor at the right time. It’s just the right balance of majestic melodic deepness.” The sounds are both triumphant and exploratory.

Greater than the sum of its parts, Bracht’s latest release hints at the artist’s emerging potential for nailing our moment’s zeitgeist; learning to live smaller while constantly seeking higher heights. Inhabiting the fertile ground between solitary rumination and dance-floor convenance, the launch of “Now Forever One’s” lunar expedition into the techno oblivion of pandemic lockdown is oddly fitting.

New school techno star Lee Ann Roberts continues to light up 2021 with another brand new single on her own NowNow Records. Her standout original is backed by remixes from MRD and D.A.V.E. The Drummer.

This year already belongs to South African-born, Amsterdam-based Lee Ann Roberts. Her new label has had high-profile support from tastemakers like Charlotte de Witte & Ken Ishii, and is already well known for its off-grid techno sounds. Roberts herself debuted only last year on Suara. She immediately hit the number 2 spot on the Beatport Hard Techno chart and followed up with more on Octopus Warehouse Series. She has played festivals like Caprices this year and is lined up for BPM as well as plenty more headline gigs.

The excellent 'Feel' is a nine-minute, hard-edged roller. The drums are flat-footed and unrelenting, the synths bring turbulence and dark vocals add dystopian unease. The edgy textures and caustic pads make for a visceral groove that is perfectly designed for shadowy warehouse spaces. An Acid Trip Mix sees the track erupt on wild acid lines that spray about the mix and cannot fail to blow up the dance floor.

Remixer MRD hails from Norway and has released plenty of EPs and an album in a short space of time. He has a ferocious sound that fuses new wave, hardcore and banging techno as evidenced here. His version is break-neck techno with trance pads lighting up the airwaves in euphoric fashion.

The second remixer is the legendary London techno titan and label boss D.A.V.E. The Drummer. He heads up Hydraulix Records and Apex Recordings and always brings the fire. His take on 'Feel' is a wall-rattling banger with oversized bass. Saw-tooth synths rip up the track while the stark, strobe-lit stabs and some buried vocals make the floor sweat.

‘Little Eden’ glows with vintage McCartney-esque couplets before rolling out a chiming signature riff on ‘As I Lay Down To Die’ and adopting Jimi-like phrasing on ‘And Away We Go’.

A psychedelically-hewn panoramic take on brutalism Britain punctuated with pure pop melodies and beautifully-observed English melancholy.

This is an album that rekindles your love of music – from the harmonies that are oh-so Teenage Fanclub and Lemonheads, to the grunge and awe of Dinosaur Jr.
There’s perspective and retrospective tale-spinning where we wait “for the wonderful world to come” (©‘Start Burning’), an imaginary future soundtracked by the spirit of Arthur Lee, brought into focus with witty wordplay on songs that are littered with spine tingling guitar breaks.
A brand new album from national treasures The Bevis Frond.

“A cult favourite.” Pitchfork

Just what you want from “the E17 psych guru.” MOJO

“Harking back to the liberating songcraft of The Beatles, but with a jagged edge.” Classic Rock

“Still mixing pop, punk and psych to giddy effect.” The Guardian

This live set from the 1971 Montreux Jazz Festival was co-led by tenor saxophonist King Curtis (who tragically would be killed three months later) and veteran blues pianist/vocalist Champion Jack Dupree. With guitarist Cornell Dupree (in excellent form), bassist Jerry Jemmott and drummer Oliver Jackson laying down the foundation, Curtis and Dupree find a great deal of common musical ground. Dupree has quite a few witty vocals (particularly the near-classic "Junker's Blues") while taking choruses of irregular length that keep his sidemen continually guessing. Curtis' distinctive tenor is also heard from, making one truly regret that this was his final recording. (All music)

In the most literal sense, globally renowned whistler Molly Lewis makes her gorgeous
and curious compositions out of thin air.
New entrees into the Exotica canon; sprawling, would-be Spaghetti Western scores;
and a dash of Old Hollywood glamour - the whistle-led songs on her debut EP ‘The
Forgotten Edge’ are as complex, delicate and indelible as anything performed with
viola or piano.
“Whistling is like a human theremin,” said Lewis, an Australian native who’s spent the
last several years in LA and whose performances there and around the world are
changing any preconceived notions of whistling by the room-full.
That’s not to say Lewis is all serious and snooty about the craft. Quite the contrary.
Her sense of humour is witty, self-deprecating and zany. She’s as likely to reference
the slapstick Leslie Nielsen film series ‘Naked Gun’ for music video concepts as she
is a classic piece of noir cinema.
Look no further than the equatorial and breezy opening cut ‘Oceanic Feeling’, a
lovely walk across the flotsam-sprinkled sands in the rum-pumping vein of Les
Baxter. Meanwhile, the title track - and really, the entire collection here - is a loving,
albeit rather haunting, salute to one of Lewis’s heroes, the Italian composer and
musician Alessandro Alessandroni, whose whistle and guitar you hear on the title
theme of Ennio Morricone’s ‘A Fistful of Dollars’. Lewis and her ensemble create
classic cinema for your mind.
Her own love for the artform began when, around the age of twelve she was given
the CD ‘Steve ‘The Whistler’ Herbst Whistles Broadway’. Something contained in it
clicked. “It wasn’t that I was immediately obsessed, but I knew it was something I
could do well,” Lewis said.
The daughter of a musician mother and a documentary filmmaker father who often
focused his films on niche communities and topics, Lewis recalls watching a
television documentary with her parents about The International Whistlers
Convention in Louisburg, North Carolina. “My dad said, ‘If you ever make it into the
competition, I’ll take you there’,” Lewis said. Turns out, there was no bar to entry, just
a small fee. And so, several years later, she and her father travelled to the
convention. New to the form, Lewis didn’t take home one of the bigger prizes but they
were awarded the prize for Whistler Who Traveled The Greatest Distance. “We really
just used the trip to drive around the United States,” she said.
After studying film in Australia, Lewis moved to Los Angeles to be close to the film
industry. There, her circle of artist friends grew naturally and with providence - her
unique talent drawing more and more recognition. And over the last few years,
Lewis’s Café Molly events at LA spots like Zebulon, Non Plus Ultra and The Natural
History Museum have become fabled, elegant happenings with appearances from
guests like John C. Reilly, Karen O and Mac DeMarco.
Recorded with a crack team of friends and musicians during 2020’s quarantine, ‘The
Forgotten Edge’ is rife with incredible performances from Thomas Brenneck (Sharon
Jones & The Dap-Kings / Budos Band), Joe Harrison (Charles Bradley, Lee Fields),
Eric Hagstrom (Brainstory), Abe Rounds (Meshell Ndegeocello, Andrew Bird, Blake
Mills), Leon Michels (El Michels Affair), Gabriel Rowland and Dave Guy.

Get on Down is proud to present A Wolf in Sheep's Clothing, the debut album by Black Sheep, available for the first time ever as double vinyl release. On the initial release of this classic it was 'The Choice Is Yours' that blew the roof off with even the most of novice rap fans gravitating to the song's energy. The cut has gone on to be featured in a long list of films and commercials (including the KIA campaign with the hip hop hamsters). Singles like 'The Choice Is Yours' and 'Flavor of the Month' made a perfect landing strip for those to delve deeper into the duo's debut. Often humorous ('Strobelite Honey'), often serious ('Black with No N.V (No Vision)', Black Sheep were able to craft an album that displayed their witty sensibilities while also staying conscious in true Native Tongue form. From the moment the album starts with Prince Paul introducing the 'lowlifes of the family tree' you know you are in for something special....and different. Mista Lawnge's production is every bit as textured as fellow counter parts Tribe or De La, while standing out as being completely original and fresh. Tracks like 'Butt in the Meantime', 'Try Counting Sheep' and 'La Menage (Featuring Q Tip)' are great examples of the duo's original style - complex layered beats (everything from Jazz, Soul and Rock all meshed together perfectly) to compliment Dres' distinct voice and word play. With other standout album cuts like 'For Those That Slept' and 'To Who It May Concern' it seemed as if they had an endless bag of treats, each offering something different while preserving the groups style. Polar opposite to what other groups at the time were doing, Black Sheep hit a homerun with their debut that few hip hop acts would ever reach. VH1 called 'The Choice Is Yours' one of the Top 100 Hip Hop tracks of all time and with not one bad or filler track, this full album certainly ranks as one of the best hip hop releases of the 90s.

Rising from the wreckage of a war torn planet, Czarface joins forces with MF DOOM in the epic Czarface Meets Metal Face! Blending DOOM's trademark abstractions and CZARFACE's in-your-face lyrical attack, this album is ripe with cartoon violence, societal observations and pop culture musings. Over banging beats provided by The Czar-Keys, the armored team give you the witty unpredictable treats any hip-hop fan can sink their fangs into. Expect beats, rhymes, and metal as Czarface controlled by WU-TANG CLAN powerhouse Inspectah Deck and 7L & Esoteric team up with everyone's favorite villain, MF DOOM. With track titles like "Nautical Depth","Meddle With Metal", "Astral Traveling" to "Madness of Badness" this album packs a punch with 16 brand new tracks. Add that with features from Open Mike Eagle and Jedi Mind Tricks' Vinnie Paz, we promise you mind-bending metaphors and brain-melting beats as this powerful pairing sounds off in March 2018! Long time rumored full length collaboration album from Czarface and MF DOOM, fan favorite "Ka-Bang" from Czarface's 2015 sophomore LP Every Hero Needs A Villain had fans begging for more. Cover Art by clothing brand Mishka's head designer Lamour Supreme. Album features Vinnie Paz of the legendary Jedi Mind Tricks, and Open Mike Eagle, who's most recent album "Brick Body Kids Still Daydream" was on Rolling Stone & Pitchforks top 50 albums of 2017 list. The albums lead video "Meddle With Metal" done by Animation Firm TFU Studios who have worked with MF DOOM prior on the "All Caps" video as well as with Mayer Hawthorne, Biz Markie, Cut Chemist and more!

Double vinyl on blue and orange transparent vinyl in gatefold sleeve with download code.

 Former bIG*fLAME singer and bassist Alan Brown returns with his long term solo project The Great Leap Forward, releasing a powerful and trademark new album ‘Revolt Against An Age Of Plenty’. 

Vigorous, scintillating and life-affirming, this 13-song album sees Brown reach a milestone birthday, as explored in 'Can You Kanreki?’ - the Japanese concept of second childhood and re-birth. Then there are the trademark political and social vignettes, such as the title song of the album 'Revolt Against An Age Of Plenty' – railing against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – a scathing attack on the lack of openness, honesty and humility of our political leaders.

Brown featured on the legendary and influential C86 NME cassette as singer and bassist with Manchester agit-post-punk trio bIG*fLAME, and recorded nine John Peel sessions for BBC Radio One in the 1980’s with bIG*fLAME (4), The Great Leap Forward (2), A Witness (2) and Inca Babies (1). 

Formed by Brown following the disbandment of bIG*fLAME in 1986, The Great Leap Forward is essentially a solo project in which Brown writes all songs and lyrics, and plays / programs all instruments on recordings.

The style and sound is more melodic and accessible than bIG*fLAME, but still with overtly political lyrics and a socialist / humanist ethos: incisive political and social commentary layered over sharp yet melodic guitar pop – and with a touch of electro and humour thrown in for good measure…
Stuart Maconie, writing for NME, summed up the band's sound: "First there's the jagged guitar melodics, sweet but never tacky. Then there's the ferocious rhythmic drive. But best of all there's the stylish and witty use of found voices...snatches and snippets of speech and propaganda that are integral to the songs."

Little wonder that as with McCarthy, The Great Leap Forward were loved by a young James Dean Bradfield.

Brown writes- “This album is the culmination of four year's writing, and it has a much more varied approach than previous releases. Whereas previously I've concentrated on a political approach, this album takes a wider view of the world. Of course I still provide the trademark political and social vignettes - how could I not - such as the title song of the album 'Revolt Against An Age Of Plenty' – named after a collection of works by the English writer Jack Common in which I rail against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – with what I think is a scathing attack on the lack of openness, honesty and humility of our political leaders.

Repress on Black Vinyl

GENX003 is a four track EP tribute of the classic "Boy's Interface". Starring the legendary DJ Rob with a remix of himself, Rotterdam City and label owners Deep Dimension. Relive the old vibes of Parkzicht with a techno twist.

Supported by: Charlotte de Witte, Chris Liebing, Dave Clarke, Len Faki, Rebekah, Speedy J, and Thomas P. Heckmann, Perc, 2000 and One.

'softcore mourn' is the forthcoming second studio album by pizzagirl. “Pizzagirl is a revolving door. I like the idea of not knowing from which entrance I’ll emerge.” To date, the audio randomiser that is Liam Brown has spat out two EPs:‘An Extended Play‘ & ‘season 2’ (2018) and debut album: ‘first timer.’ (2019). While the extended players plaited together wonky 1-900-hotline-rock and ambient infomercial electronica into perfect pop pigtails, the LP styled the rest of the Pizzagirl mannequin to deliver a Frankenstein record of split-personality genre jumping. Liverpool based and self-producing out of his home studio (The Beatzzeria), the likes of The Guardian, The Sunday Times, Vice, Highsnobiety, NME, DIY and The Line of Best Fit confirm Pizzagirl’s status as a unique, quick-witted and vital energy. DJs are also lining up to call themselves fans, with the UK’s most trusted ears in Annie Mac and Huw Stephens at Radio 1 and Lauren Laverne, Shaun Keaveny, and Radcliffe & Maconie at BBC 6 Music all backing his tracks.

The album features a notable line-up of musician such as: Sami Yaffa (New York Dolls/Joan Jett), Dave Richmond (Serge Gainsbourg/Elton John), Christophe Deschamps (Jean-Michel Jarre), Kath Guifford (Stereolab), Will Crewdson (Adam & The Ants/The Selecters), Danny Ray (Bo Diddley/Brian Setzer)...Mastered at the legendary Abbey Road Studios and cut to vinyl across a 180g LP in a gatefold sleeve with booklet. L'homme de l'ombre immerses you from start to finish in a sonic and lyrical journey that rewards your mind and emotions. Here you will find the glamorous rock attitude of Marc O's musicianship colliding brilliantly with the wise and witty writing of french philosopher Bruno Pons Levy. The result is not so much a double identity, but an intangible and powerful third element, much like the mathematical equation described in the song The triangle squared (Le triangle au carré). This song is emblematic of Marc O's persona: a musician of style and vision, crossing cultures and decades to collaborate with a remarkable team and create this, his most personal album. Press quotes: Ten well realised, vintage aesthetic fantasies ****" MOJO "Singular debut set that lurches from glam-punk to Air-meets-Gainsbourg purr, infectiously Pulp-ish electro-rock and gauche, Bowie-esque panther strut. Formidable! 8/10" UNCUT "Never less than fascinating, this is an important and hugely enjoyable work ****" RECORD COLLECTOR "Propelled by his core rhythm section and lyricist collaborator, they address some weighty subjects with passion ****" SHINDIG! "Blends aggressive and powerful textures and melancholic soundscapes to break down language barriers and deliver a powerful, evocative and stunning album" LOUDER THAN WAR "The music is as strong as Pons Levy's lyrics, mingling melodic rock with chanson in the grand tradition ****" RNR

Acid Electro Techno Rough and dancefloor : the 4/4 kick and the analog Acid music defenitly pakes it rock'n'roll at some point... the TB303 is played like a guitar lead while the kick textures are loud an,d thick !
Masterpiece !

Chart-breaking German folk rock institution SUBWAY TO SALLY have carved a unique live experience in stone with their upcoming release, Eisheilige Nacht: Back To Lindenpark, out on BluRay/DVD/CD on June 18, 2021 via Napalm Records. Since their foundation in the early ‘90s, SUBWAY TO SALLY have established themselves at the top of the scene. Having released thirteen studio records so far, the seven-piece featuring the remarkable Eric Fish on vocal duties never fails in surprising their devotees with an ingenious symbiosis of folk, heavy metal and rock. In the course of time, it became a tradition to celebrate every year with numerous fans and a final live show on December 30. What started as Eisheilige Nacht - with sold out solo-gigs in the band's hometown of Potsdam at the venue Lindenpark - turned into a whole annual festival tour shortly after, where top-notch bands heeded the call to join SUBWAY TO SALLY for some magical evenings. Due to the pandemic, 2020’s edition couldn’t take place in its usual form. As a result, the German folk rock unit decided to offer an unforgettable lockdown live event which they hope will be a unique way to fill the gap until they return to the stage. SUBWAY TO SALLY returned to Lindenpark and - supported by many great artists like Chris Harms (Lord Of The Lost), Joachim Witt, Feuerschwanz, Schandmaul, Saltatio Mortis, Major Voice and Patty Gurdy - created an extraordinary live experience. In an intimate setting, the recording starts with “Messias” and “Königin der Käfer” from the band’s latest chart-breaking full-length, Hey! (DE #5). SUBWAY TO SALLY then continue to not only travel through their own discography with songs like eerie “Unsterblich”, animated “Tanz auf dem Vulkan” and live-sensation “Grausame Schwester”, but also present a bunch of enchanting features as well: Don’t miss when highly talented Birgit Muggenthaler-Schmack and Saskia Forkert (Schandmaul) join SUBWAY TO SALLY for Schandmaul’s “Dein Anblick” and a premier version of “Kleid aus Rosen”, or when the band sets the exceptional stage on fire for an explosive performance with Saltatio Mortis on their hit “Sie Tanzt allein” - just to name a selection.

KNTXT kicks off 2021 by welcoming exciting new talent ONYVAA to its ranks. The much vaunted DJ and producer debuts with her Lost Angeles EP, a superbly powerful four tracker that is perfectly at home on this agenda setting label.

ONYVAA is an LA based artist who has been on a swift rise up through the global techno ranks in the last couple of years. She brings classy Detroit, melodic and dub influences to her music, and her raw analog aesthetic always helps ensure her stylish tracks bring plenty of atmosphere to go alongside her strong modular live-sets. Now, she steps up with a much anticipated debut on Charlotte de Witte's KNTXT label having struck up a personal friendship with the influential artist.

Says ONYVAA, "Lost Angeles was inspired by my time back home in LA and things feeling a bit foreign to my everyday life pre-covid. I’m super grateful for all of Charlotte’s support and really proud to be a part of the KNTXT family. Hoping to play these tracks out on the dance floor soon!"

Opener 'The Way It Is' wastes no time in laying down a heavyweight techno groove that is run through with edgy, laser-like synth riffs. It's an all consuming wall rattler that will blow clubs away. 'Lucid' is a darkened techno roller again lit up with expertly designed synths that are bright yet menacing as distant vocal sounds add another layer of tension. It's an all out acid attack on 'LXD' which places you at the heart of a rave, strobe lights flashing, smoke in the air, darkness enveloping you. The title track closes out at hyper speed, with turbocharged drum programming, interwoven bass and clanking industrial motifs all getting you thoroughly in the zone.

Says Charlotte, "I met Shelby for the first time after a show in Athens. We visited the city the day after and instantly became friends. Whenever the opportunity would arise, we’d spend time together. I love being around the ball of energy that is Shelby and I’m beyond excited to have her and her music on my label. Expecting big things from her!”

This is a fantastic new signing for KNTXT and surely the start of even bigger things for ONYVAA.

After years of performing live together and appearing on each other's solo albums, critically acclaimed mc's/producers Aesop Rock and Rob Sonic, along with DJ Big Wiz, come together as Hail Mary Mallon and deliver their Rhymesayers debut Are You Gonna Eat That?. The name and album title are inspired by Mary Mallon aka Typhoid Mary, the first person in the U.S. identified as a healthy carrier of the pathogen associated with typhoid fever. Mary Mallon was presumed to have infected 53 people, three of whom died, over the course of her career as a cook. She spent three years in quarantine, which is where she died. Are You Gonna Eat That? is full of powerful dense production and witty word play courtesy of Aesop Rock and Rob Sonic. Add some turntable wizardry from DJ Big Wiz and this trio is destined to be as infectious as Typhoid Mary herself.

A reliable traditionalist with a penchant for bittersweet songs of heartbreak and loss, Ashley Monroe pulled a complete 180 for her spectacular new album, Rosegold, riding the joyful emotional wave that followed the birth of her son to create her most ecstatic, blissed-out collection yet. Written and recorded over the past two years, the record finds the GRAMMY-nominated Nashville star pushing her sound in bold new directions, drawing on everything from Kanye West and Kid Cudi to Beck and The Beach Boys as she layers lush vocal harmonies atop dreamy, synthesized soundscapes and sensual, intoxicating beats. Monroe worked with a variety of producers on the album, letting the tracks dictate her direction rather than any arbitrary adherence to genre or tradition, and the result is a record as daring as it is rewarding, an ecstatic, revelatory meditation on happiness and gratitude that tosses expectation to the wind as it celebrates our endless capacity to love, and to be loved, even in the midst of chaos and tragedy.Born in Knoxville, TN, Monroe first began turning heads in Nashville as a teenager, when she arrived in town with a notebook full of mature, emotionally sophisticated songs that belied her young age. A jack-of-all-trades, she picked up work behind the scenes at first, singing on sessions at Jack White’s Third Man Studios and penning tunes that would appear on albums by the likes of Guy Clark, Carrie Underwood, Jason Aldean, and Miranda Lambert. Monroe and Lambert forged a close personal bond through their collaborations, and in 2011, they teamed up with fellow Nashville journey woman Angaleena Presley to launch the critically acclaimed trio Pistol Annies, which would go on to top the Country Album charts, crack the Top 5 on the Billboard 200, and earn a GRAMMY nomination for Best Country Album. Monroe’s solo output was equally lauded, with NPRhailing her work as “subtle and breathtaking” and Rolling Stone praising her writing as “riveting and sharp-witted.” Over the course of three studio albums, Monroe would land her own GRAMMY nomination for Best Country Album, share bills with the likes of Vince Gill and John Prine, and perform everywhere from The Tonight Show and Conan to Late Night and The View.

What's the equation that reveals your love? On the latest single from Alba & The Mighty Lions, the question is posed and answered in the form of a beautiful soul slow-roller. Alba Ponce de León's charming word play, both mathematically-minded and straight from the heart, is calculated as a sum of English and Español, and multiplied by the suave accompaniment of a Mighty Lions' backing track that cruises the border of lowrider soul and enchanted exotica. Adding it all up, you may find an answer to this magical schoolyard test, depending on how the numbers align for you. A witty and passionate take on a classic formula, "Matemática" is a deep and sweet flow, a slow dance mood for the heads and lovers alike.

Total Control is the debut solo album by John Norum, known for being the guitarist and one of the founding members of the Swedish rock band Europe. Originally released in 1987, Total Control was dedicated to Tommy Östervik, one of Norum’s friends and heroes, who had recently passed away in a drowning accident. It was produced by Thomas Witt, who was Norum’s stepfather. The album features nine original songs, including the singles “Let Me Love You” and “Love Is Meant to Last Forever”. Norum recorded two cover songs as well: the Vinnie Vincent Invasion cover “Back on the Streets”, which was also released as a single, and Thin Lizzy’s “Wild One”, a bonus track that also appears on this LP. The album is available on coloured vinyl for the first time; it’s a limited edition of 1500 copies on silver marbled vinyl.

A brand new 20 track album released via Sony Music Masterworks. A unique celebration of immigrants around the world, showcasing works inspired and contributed to by artists who either identify themselves as immigrants, are from immigrant heritage or wish to express support for those international immigrants who have found themselves judged or disadvantaged by pure accident of birth - Nitin's sequel to his 1999 seminal album 'Beyond Skin'. Jools Holland TV performance plus other promo/marketing activity.

British artist Robin Rimbaud (Scanner) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics innovative and inspirational works of contemporary electronic music. Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Wayne McGregor, Mike Kelley, Carsten Nicolai, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.

Rimbaud first met Belgian artist Hans Op de Beeck at Le Fresnoy Studio national des Arts Contemporains when they were both Visiting Professors in 2012. Op de Beeck lives and works in Brussels, Belgium and creates sculpture, installations, video, photography, animated films, drawing, painting, and writing. His various works show the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from everyday life.

The artists found an immediate creative connection, and a year after meeting Staging Silence (2) was completed. In 2019, they returned to the theme and created Staging Silence (3).

Each of the films is realised through the same principles, as two pairs of anonymous hands construct and deconstruct fictional interiors and landscapes on a mini film set of just three-square metres in size. The films take the viewer on a visual journey through depopulated, enigmatic and often melancholic, but nonetheless playful, small-scaled places, which are built up and taken down before the eye of the camera.

Ranging from hyper-realistic fictional land and cityscapes to absurd, almost surreal, dreamscapes, the various locations are connected by the sense of mystery and melancholy that pervades them. And at every moment Rimbaud's score is amplifying and illustrating these moments, from tragedy to nostalgia, witty to optimistic.

Introspective and lyrical, Staging Silence offers us a world of mystery and intrigue, held together by nature and time. This is a very humane works experienced at a time when many of us feel disconnected from the world around us. The peculiar silence that permeates this hauntingly beautiful work is very much an illustration of our times, anticipating a future in the past. Staging Silence is an exquisite study in dreamlike abstract ambience, a kaleidoscope of sounds and tones that engage the head and the heart.

Frontman of Nottingham punk band Kagoule, Cai Burns, returns as Blood Wizard. Arriving with no fixed direction, Blood Wizard is a project that sees Burns explore himself as a brand new entity, an artist beyond boundaries and preconceptions.

First single ‘Breaking Even’, showcases Burns’ impeccable songwriting skills and acts as the perfect introduction to this exciting project. With jangled, stop-and-go instrumentation, it is sheer artistic satire with an added charm.

Burns says about ‘Breaking Even’: “Breaking Even is a song about doing a lot for someone, changing yourself to fit their ideas of you but not getting the same in return. It's a satirical commentary on the effect that can have on a friendship or relationship”

Western Spaghetti, out 5th March 2021 via Moshi Moshi Records. Filled with crisp hooks, it is an album that has a predominant folk undertone that also expertedly navigates through various textures and dark melodies. There was not an album in


mind when Burns first started recording with Tom Towle at Random Recording Studio - just fragments of songs that all came together when the world paused in the spring and Burns realised that what he had been working on over the last few months could become a full record. The structure of the album follows suit, chopping and changing between harder-edged sounds and acoustic meanderings.

There is a forward honesty and a witty wryness to Blood Wizard. “Hooray to the big news, got my mouth around the spoiled fruit” he sighs on Fruit, a song about keeping happy for your friends’ achievements while your life feels static. Meanwhile, Total Depravity’s stand-out, bittersweet lyric “I’m never going to get that jacket back” pinpoints a singular moment amongst an anxious blur and a time he cannot return to. The infectious and fuzzy Carcrash draws on the weird ways love can be displayed, whilst in stark contrast, the subdued Somehow I Knew tells of the people you’ve never got to know.

Hailing from Sunderland in England’s industrial northeast, the Toy Dolls infused their take
on punk with ample doses of working-class humour, the three-chord format a launching pad
for witty originals and clever cover tunes. 1983 debut Dig That Groove Baby captures the
group at their finest, their twisted rendition of kiddies tune “Nellie The Elephant” topping the
indie charts; the title track is an infectious singalong, while “Spiders In The Dressing Room”
and “Glenda And The Test Tube Baby” are more irreverent tongue in cheek, all delivered in
the peculiar androgynous accent of frontman Michael “Olga” Algar. Essential!

It was 1977, there may well have been “knives in West 11”, but at a student’s hall of residence in Leicester, a packed room of cross legged intellectuals were about to witness the debut of The Disco Zombies; Andy Ross on vocals and guitar, Geoff Dodimead on bass, Johnny ‘Guitar’ Hawkins on guitar and Andy Fullerton on drums. They were loud, fast and they had some witty one-liners.
The four-piece became five with the addition of Dave Henderson from The Blazers, a chirpy power pop punk quintet, who were part of a burgeoning scene in the city that included The Foamettes, Dead Fly Syndrome, Wendy Tunes, The RTRs, Robin Banks And The Payrolls and many more. Wine bars, canteens and bowling alleys in pubs were the home of this phenomenon until Subway Sect and The Lou’s arrived for The Great Unknown Tour. They needed a local band for support and the Disco Zombies obliged.
Record Shop owner - and now Mayor Of Mablethorpe - Carl Tebbutt was keen to ride the punk rollercoaster and decided to launch Uptwon Records with a Disco Zombies EP. Recorded in Chester in one four hour session, it included The Blazers’ ‘Top Of The Pops’ and Andy’s ‘Time Will Tell’, ‘Punk A Go Go’ and ‘Disco Zombies’.
Carl had done a deal with a one-stop music production company who went bust almost immediately and the record was shelved. Unperturbed the band pressed on and recorded a session at the local radio station, ‘TV Screen Existence’ being the only track that survived. A tour of Leicester – five pubs in five days – was the end of that era and the band without Johnny ‘Guitar’ who had another year to do at Uni, relocated to London taking with them The Foamettes’ guitarist Steve Gerrard who wisely returned to Leicester and become part of The Bomb Party. Steve was replaced by Mark Sutherland in what was to become the recognised line up of The Disco Zombies for several years, playing lots of London gigs from The Hope And Anchor to The Moonlight Club, North London Poly to the Scala.
By 1978, there was an eruption of small DIY indie labels and Andy Ross launched South Circular Records to release the band’s debut single, ‘Drums Over London’ - an ironic stab at people’s hostility to the arrival of other cultures, a piss-take of Spear And Jackson-wielding Tory attitudes. John Peel played it regularly until Rock Against Racism complained even though Peel explained that it was actually supporting their views. Ho hum. South Circular wasn’t to last but Dave Henderson launched Dining Out. Dave and Andy journeyed to Ipswich to record the debut EP from the Peel-approved Adicts, the plan being to follow it with a Disco Zombies’ single and regain momentum. ‘Here Comes The Buts’ was the second Dining Out release, featuring the breakthrough Dr Boss drum machine; it was greeted with great enthusiasm in some quarters, although strangely it was likened to The Cramps meets Neil Young in NME.
Dining Out was always just one step ahead of going out of business and even though the follow up had been recorded - ‘The Year Of The Sex Olympics’, backed with ‘Target Practice’ and ‘New Scars’ – it never saw the light of day as the money finally ran out.
Somehow, Dining Out had a second lease of life and Andy wanted to record a new track for a new release amid 45s from The Sinatras, New Age and Spit Like Paint. By now, the Zombies had been through their dark post punk phase and ‘Where Have You Been Lately Tony Hateley’ was a clever upbeat anthem which told the tale of the nomadic footballer. The test pressing gained many Peel minutes but by the time it was ready to release, the band had finally split up. It eventually saw the light of day on the Cordelia label’s ‘Obscure Independent Classics’ album. Very fitting.
So, it was 1980: Mark Sutherland opened a studio in Bow, Dod got a day job, Andy Fullerton already had one. Andy and Dave went a bit experimental in Club Tango; Andy eventually discovering Blur for Food which he started with The Teardrop Explodes’ David Balfe, while Dave flirted with Worldbackwards.
In 2011, the drum machine line up descended on Mark’s studio, rehearsing for a show at the Bull And Gate. They recorded two of their lengthier tracks – ‘Night Of The Big Heat’ and ‘LHO’ powered by a waning Dr Rhythm – these were pressed as an extremely limited edition ten-inch. A few years later Andy Fullerton returned to the fold recording three more originals ‘Hit’, ‘Lenin’s Tomb’ and ‘Paint It Red’ for an even more limited edition ten-inch in 2018 and a show in October that year at The Dublin Castle.
Since then, meandering lunchtime discussions in restaurants that were popular in the ‘70s (Joe Allen, Café De Pacifico, etc) have led to arguments about the lost tracks – ‘Man From UNCLE’, ‘I Need You Like I Need VD’, ‘Throwaway Line’, ‘I Thought You Were Only Joking’, ‘London Nights’, ‘Cosmetics For China’, ‘When Doo Wop Hit Hampstead’. It’s only a matter of time. Until then.....

John Prine’s self-titled debut album continues to sound as fresh as it did back in 1971, with Rolling Stone ranking it amongst its 500 greatest albums of all time. It includes some of Prine’s finest works such as “Sam Stone,” “Paradise,” and the famous “Angel From Montgomery.” After initially being spotted by famed singer-songwriter Kris Kristofferson, John Prine’s debut album earned him a number of admirers, including the likes of Bob Dylan. Tracks such as “Paradise” resonated with many, quickly becoming a bluegrass standard. Originally written by John for his father, the track has since been covered by a number of artists such as Johnny Cash and The Everly Brothers.

John Prine, who passed away in April, was one of the most celebrated singer/songwriters of his generation and recipient of the 2020 Grammy® Lifetime Achievement Award. Considered a true folk-singer, Prine was known for his raspy voice and equally admired for his unique songwriting ability. His career spanned over five decades, during which he created witty and sincere country-folk music that drew from his Midwestern American roots and incorporated sounds from rockabilly, R&B and rock 'n' roll.

In addition to earning the Lifetime Achievement Award this year, Prine also won Grammy® Awards for The Missing Years (1991) and Fair and Square (2005). His songs have been recorded by a long list of well-respected artists, including Joan Baez, Johnny Cash, Bonnie Raitt, Kris Kristofferson, Carly Simon, George Strait, Norah Jones, John Denver, Miranda Lambert, The Everly Brothers, Bette Midler, Paul Westerberg, Tammy Wynette and Dwight Yoakam.

Charlotte de Witte mints her new KNTXT label with a suitably epic collaboration, joining forces with techno royalty Chris Liebing for ‘Liquid Slow’, due for release on 27th September. The CLR boss and German techno pioneer has been a regular at KNTXT parties over the years, not least at the sold-out stadium event at Antwerp's Sportpaleis last year where he will be returning to once again this November, alongside de Witte, just after the release of this new EP.
The influential pair spent time hanging out together at Awakenings Festival last year when they had the idea to collaborate. “I field-recorded the sound of a crane that was already taking stuff down next to us and thought it would be a good starting point“ says Chris. Whilst he admits the sample didn't made it on to this release, he teased a future collaboration saying "who knows, maybe there is more in the pipeline, I still have the recording". Current BBC Radio 1 resident Charlotte de Witte is once again in the midst of a non-stop summer that finds her taking her dark, stripped and powerful sounds to the biggest clubs and festivals in the world. She adds, “we have shared a lot of laughs, a couple of beers and a million different mixdown versions of both tracks. I consider Chris to be my friend and I’m very proud and honoured to have worked with him on this EP". Opener ‘Liquid Slow’ is seven minutes of heavy and hypnotic techno. It is stripped back to an acid bassline and earth rumbling kicks, with a meandering lead synth line and a darkly absorbing spoken word vocal over the top sure to lock in the dance floor for the duration. ‘In Memory’ ups the pressure with rumbling drums and bass sweeping you up as more acid twitches and tough hits nail down the groove. It is another powerful and compelling piece of techno from this vital pair.
This is the latest fascinating development in the story of Charlotte de Witte and her KNTXT brand. Now a label as well as a radio show and event series, KNTXT strives to be a progressive player within the vibrant techno scene.

Vinyl Edition Featuring New Art! Features Guest Verses From Cormega, N.O.R.E., Meyhem Lauren, Freddie Gibbs, And More Plus Guest Production From Alchemist, DJ Premier, Pete Rock, And More. Kool G Rap doesn’t let his legend status stop him from continuing to do what he loves. Last year, the Corona, Queens veteran dropped his ‘Return Of The Don’ album, and in 2018, he’s following up the solid effort with a collaborative album full of heavy hitters behind the boards and on the mic, alongside Rochester native 38 Spesh (aka $pesh), who linked with Griselda Records’ Benny the Butcher earlier this year for the well-received ‘Stabbed & Shot’ album. The album’s tracklisting boasts veteran features like Cormega and NORE, while also brandishing newer school spitters like Freddie Gibbs and Meyhem Lauren, and Griselda Records’ Benny The Butcher. Behind the boards, as mentioned, KGR summoned production akin to MCing prowess. Alchemist heads up “Land Mine” while DJ Premier and Pete Rock lay the beats for two tracks each. Album mainstays Midnite and 38 Spesh handle most of the rest of the production. Overall, the project is a lot of what you’d expect from Kool G Rap: grimy street rhymes full of stories of peril and the beats to match. On “Land Mine,” the duo of 38 Spesh and Ransom provide a rather introspective look-back on their troubled come up while a song like “Flow Gods” reminds everyone that G and his assembly are nothing to be taken lightly when it comes to witty wordplay and velvety smooth bars.

Wieder lieferbar Harald Grosskopf ist seit den 60er-Jahren einer der umtriebigsten deutschen Musiker. Der Schlagzeuger aus Hildesheim spielte seitdem bei so unterschiedlichen Acts wie den Scorpions, Wallenstein, Klaus Schulze, Ashra, Joachim Witt, Lili Berlin und 17 Hippies. Grosskopf war 20, als ihm ein LSD-Trip "die Realität weghaute" und er seine eigene musikalische Sprache entdeckte - und die Elektronik. 1980 erschien auf Sky Records Grosskopfs erstes Soloalbum. "Synthesist" bietet acht instrumentale Kompositionen, die Grosskopf überwiegend allein einspielte. Die von Synthesizern und Schlagzeug getragenen Melodien erinnern an die Arbeiten seiner Berliner Elektronikfreunde wie etwa Klaus Schulze und Tangerine Dream und auch an die "kosmischen" Sessions der frühen 70er-Jahre - haben aber doch eine individuelle Klangfarbe. Auch deshalb gilt "Synthesist" weltweit unter den Liebhabern elektronischer Musik längst als Klassiker, der an eine aufregende musikalische Ära erinnert und auch in diesem Jahrtausend noch aufregend ist.

One of the big classic from Toolbox. Finally repressed with the missing track... Another way to compare the various cuts through the ages for those who are lucky enough to have the older versions ! ENJOY !

Witth jonny Stechinno we sick for the Pumpin Science :)

The long awaited third album from much loved vintage synth maestros Billy Bainbridge and Mike Johnston, finally finds its home on Ghost Box Records. This is unironically joyful and melodic electronica; informed by library music, music for children’s TV and a deep passion for the history of music technology.

Plone are very much part of Ghost Box’s DNA. They were a central part of the 90s retro-futuristic scene in Birmingham that included Broadcast and Pram and to which the label has always had strong ties through graphic designer and co-manager, Julian House. They are also cited by the label’s other boss, Jim Jupp, as a major influence on his work as Belbury Poly.

The band was formed as a three-piece in the mid-90s and their debut single, Press a Key, was championed by John Peel. The first album, For Beginner Piano, was released on Warp Records in 1999. Their warm, witty and unfunky music stood out from the crowd, almost in defiance of the moody and masculine post-rave electronica of their contemporaries.

A selection of bootlegged demos from the early 00s was rumoured to be the follow up album, but it never materialised. After that Billy went on to tour with Broadcast and later formed Seeland with another former band member Tim Felton (also of Ghost Box’s Hintermass). Meanwhile Mike formed the ZX Spectrum Orchestra, released solo singles as Mike in Mono and was a member of The Modified Toy Orchestra.

Twenty years on and Plone have reconvened as a duo with a third album, Puzzlewood. It’s compiled from material recorded at various points since the “lost album”, right up to the present day.

One thing‘s for sure: There aren‘t many bands with a history as long and eventful as Kreator‘s, who fascinatingly succeed in exploring new horizons while challenging and reinventing themselves time and again.That was perfectly illustrated by their latest record ‘Gods Of Violence’ in 2017. With this 14th studio album of their impressive career, the thrashers from Essen, Germany crafted a work of art of utmost vigor, drawing its unfailing power from the pounding heart of one of the greatest, most versatile metal bands of all time.

Mainman Mille Petrozza’s influences range from Hannah Arendt, Pink Floyd and Tocotronic to Slayer, even though he was born and bred in the metal scene. Nevertheless, he is and always has been open to inspiration from various sources, which is why his lyrics are by no means merely based on corny genre templates but offer trenchant observations of our time combined with a witty aside to long-standing cliches: One of the best songs on ‘Gods Of Violence’ is really called ‘Satan Is Real’.

Formed in 1982, Petrozza and ‘Ventor’ – the only two remaining founding members – have come a long way from playing in a small-scale student band. “In my history book, Kreator didn‘t really exist until 1985“, says Petrozza, laughing. “Although we had already started jamming together in `82, we only entered the stage two or three times up until `85. Back then, our set list consisted of five original tracks and five heavy metal cover songs, we went through several line-up changes and didn‘t really find ourselves until ‘Endless Pain’.Over the years, Kreator, the leaders of the German ‘Big Four’ of thrash, have sold more than two million albums worldwide and have played countless shows all around the globe. It is one of these shows that is captured on ‘London Apocalypticon’. Recorded in December 2018 at London’s legendary Roundhouse venue, headlining a bill with US hardcore pacesetters Hatebreed and Norwegian Black Metal legends Dimmu Borgir. Kreator’s explosive set was quite rightly heralded as “a demonstration of consummate musicianship and stagecraft” by Metal Hammer magazine.

Played by Francois X, Marcel Dettmann, Norman Nodge, Charlotte De Witte, Regal, Dax J, Slam, Arnaud Le Texier, Luke Slater, Ben Sims, Raffaele Attanasio...

The assembly line was a game-changing invention and introduced the monoton rhythm of machines. Its influence on Techno music is more than obvious and gave the opening track of this record its name.

Transistor was recorded during a LIVE show of Florian Meindl in Hannover Germany 2019.

The B-side features the epic track "Incal" named after a comic of Moebius.

Die Gruppe Automat - Jochen Arbeit (u.a. Einstürzende Neubauten, Die Haut), Achim Färber (Phillip Boa & The Voodooclub, Skip McDonald) und Georg Zeitblom (wittmann/zeitblom) - funktioniert wie eine gut geölte Maschine: Sie surrt, sie schnurrt, sie geht unbeirrt ihres Weges. Gemeinsam mit dem Modular-Magier Max Loderbauer sowie Paul St. Hilaire alias Tikiman, Lydia Lunch und Mika Bajinski am Mikrofon präsentieren sie nun mit »Modul« auf Compost Records ihr abwechslungsreichstes und konzeptionell stimmigstes Album.

Die Gruppe Automat funktioniert wie eine gut geölte Maschine: Sie surrt, sie schnurrt, sie geht unbeirrt ihres Weges. Auf seinem vierten Album allerdings schaltet das Trio einen Gang herunter, differenziert seinen musikalischen Ansatz weiter aus und geht fruchtbare Kollaborationen mit anderen Figuren aus der Musikwelt ein. Neben Max Loderbauer, dem Bandnachbarn aus den Candy-Bomber-Studios in Berlin-Tempelhof, mit dem Jochen Arbeit, Achim Färber und Georg Zeitblom bereits im Jahr 2015 für eine gemeinsame EP zusammenarbeiteten, sind das am Mikrofon die Dub-Legende Paul St. Hilaire alias Tikiman, die Königin der Gossenpoesie Lydia Lunch und die Newcomerin Mika Bajinski. Sie alle tragen ihren Teil nach dem Leitprinzip bei, welches »Modul« seinen Namen verleiht: Die acht Stücke entstanden gemeinschaftlich nach einem Baukastensystem, das den Kompositionsprozess dynamisch in Bewegung setzte und gleichmäßig auf alle Beteiligten verteilte. Das Resultat ist ein musikalisches Perpetuum Mobile - ein Album mit dem gemäßigten Ruhepuls einer Dub-Produktion, das unablässig in Bewegung bleiben.
»Modul« bildet als Album einen ständigen Veränderungsprozess ab, der erstmals im Jahr 2018 im Rahmen eines Auftragswerks für das Berliner Festival Pop-Kultur live erfahrbar gemacht wurde. Auf Einladung des kuratorischen Teams erarbeiteten Zeitblom, Färber und Arbeit gemeinsam mit ihren musikalischen Gästen St. Hilaire, Lunch und Gemma Ray ein Live-Set, das konsequent aus dem Studio auf Grundlage einzelner Passagen entstand, die nach dem Prinzip eines Resonanzmoduls miteinander (re-)kombiniert wurden: es geht zwischen den einzelnen Mitgliedern hin und her, die Strukturen morphen und der Sound nimmt immer andere Formen an. Eben dieser Ansatz bedingt auch die ständige Weiterentwicklung der Stücke, die gemeinsam mit dem Produzenten Ingo Krauss zu einem Album geschliffen wurden, das seinen nahbaren improvisatorischen Charakter keinesfalls verloren hat. Im Vergleich zu den drei thematisch ausgerichteten Vorgängeralben »Automat«, »Plusminus« und »Ostwest«, die sich jeweils explizit mit Berliner Flughäfen, dem Genre Dub und der europäischen Flüchtlingskrise befassten, setzt »Modul« auf eine inhaltliche Durchlässigkeit, welche die musikalische Offenheit der Platte widerspiegelt.
Nachdem »Modul 15« das Album mit satten Dub-Sounds und einer rollenden Bassline eröffnet, hebt »Easy Riding« passend zu St. Hilaires vor Fernweh triefenden Lyrics das Tempo mit dezenten Riddims an. Schon im nächsten Song, »Ghost«, debütiert Bajinski mit distanziertem Stimmeinsatz über einem melancholischen Stück, dessen Klangbild von den modularen Beigaben Loderbauers geprägt ist. So geht es weiter über die verzahnten Rhythmen von »Ankaten«, die von den verhallten Stimmen Lydia Lunchs und St. Hilaires begleitet werden, hin zum balladesken »Nothing Strange« mit St. Hilaire über das fiebrige Vocoder-Stück »Who For Eyes« schließlich zu den beiden abschließenden Stücken, »Pavo« und »Modul 11«, welche eine tiefenentspannte Coda zu den vorigen Tracks bilden. »Modul« durchläuft so eine Reihe von Stimmungen, ständig wechselnden Klangfarben und musikalischen Ideen, die sich in immer neuen Konstellationen zusammenfinden. Der erweiterte künstlerische Ansatz ebenso wie das vergrößerte Personal machen das Album nicht allein deshalb zur abwechslungsreichsten, sondern auch konzeptionell stimmigsten Platte Automats, die sich darauf in bester Form präsentieren: Als gut geölte Maschine, die surrt, schnurrt und unbeirrt auf dem Weg ist -
immer in Richtung neuer, unerhörter Sounds.

Carlo Onda vinyl debut represents the Neue Deutsche Welle reinterpretation as it must. Truly vanguard and fresh minimal synth and perfect Germanic vocals that transport us to splendor days of Grauzone, DAF, Joachim Witt or Robert Görl. All tracks have been specially remastered for long cut vinyl by Eric Van Wonterghem at Prodam Berlin.

Original library synth funk sci-fi soundtracks. This promo EP from the vaults of Warner Chappell's production music archive offers four more tracks from Eleven76's mystique Space Voyage recordings. Originally intended for film synchronisation usage as part of Warner's music library, their unique mélange of analog synthesizers, breakheavy drumming, trippy fx and euphoric-melancholic instrumental fantasies has gained them a cult following among witty beatmakers, DJs, cratediggers, tape recording freaks and space age afficionados.

Produced by Paul Elliott, director of The Library Music Film, this promotional vinyl 45 was made to support the library album SPACE VOYAGE and to make the music available outside of film usage. Limited quantities available as most of the pressing is used as giveaway for clients in film, TV and advertising.

Rhythm Rollers is proud to present as a limited edition 12” Vinyl, Jamakabi's Killer Club track “Wickedest Ting”. The Instrumental which is produced by Chimpo is as HARD hitting as it gets and everything a grime track should be – sure to go down as a grime classic!!!
For the A side, two grime greats come together for a new underground anthem. Those who have followed grime from its inception will be familiar with the name Jamakabi, who is a former member of the legendary Roll Deep Crew. So, grime fans will be ecstatic to hear that he has teamed up with another respected grime figurehead D Double E. The two who both hail from East London, come together for new track Wickedest Ting.
With its menacing beat produced by Chimpo, Wickedest Ting will have you bopping your head. The chemistry between Jamakabi and D Double E is evident, and both of them gel together as they exchange witty bars.

On the flip side Jamakabi rolls in an all-star line up for the Remix
OG Rootz, Footsie, Big Narstie and Devilman

Say no more!

Darkly Melancholic, Driving And Highly Original; The Tracks From 'daughter Of Darkness Ep Have Been Tested, Tweaked And Perfected At Sisyphos' Cavernous Main Room Hammahalle, Where Fidelity Spins Monthly As One Of The Berlin Club's Leading Residents. Tracks 'daughter Of Darkness' And 'the Huntress' Are Intuitively Inspired By The Sunday Daytime Vibe From The Berlin Club Scene, Whereas 'wolf Clan' Builds And Raises Energy, Written From The Perspective Of Being Behind The Decks As The Dj. Appeals To Fans Of Anna, Charlotte De Witte, Marcel Dettmann, Ben Klock, Adam Beyer, Chris Liebing, Nina Kraviz
Upcoming Shows
Monthly Residency At Sisyphos, Berlin

WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain, available on vinyl, digipack CD (for the first time ever), cassette, and digital, with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.

Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzurus fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance), Lady Maid is a testament to the creativity of the early 80s Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.

Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, anda Texas Instruments Speak & Spell! Its elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The a-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous!

CUL-DE-SAC (1966) WAS ROMAN POLANSKI'S FIRST ENGLISH-LANGUAGE FILM.
He called upon his friend Krzysztof (Christopher) Komeda to score the film which was done in one afternoon in London. Just like the film, Komeda's music is odd and sombre and then, at times witty and enchanting.
Originally only issued in the UK as an (now very rare) EP, this Harkit limited 7' vinyl edition reproduces the cover art and the original six tracks.

Don't Bite Records are happy to announce the release of producer/rapper Tom Dice's solo LP. The witty title has been more than prophetic. These are not just rhythms of Dice but rhythms of life. Reflection, auto biography and idiosyncricity are abundant, as shown on the final track, 'Irrepressible'. 'Put on a uniform, conform, consume, dance to another man's tune that's off key. That never was and never will be the essence of a man like T.o.m D".
From 'The Death of Me''s dark refrain 'How ironic I died from a shock electronic.....clutching at the MPC, finally..... music got the better of me, the energy', we know that Dice is fearless in pushing the envelope and the boundaries of what can be lyrically possible. However Dice acknowledges his influences and the importance of their recognition on 'Authentic'.
On 'Tears Run Dry' Tom touches on feelings of alienation: 'I'm not a loser cos I can't win, I'm just an outsider still looking in' whereas on 'Feelings' he examines the connection between emotion and physical feeling. 'Feelings- computers don't have it, they try to emulate that basic human magic'
On the LP Rhythms of Dice and particularly the track 'Rhythms of Dice' he is rhyming from a producers point of view. 'All you guys who do like 6 tracks a day...how good are they You need to focus your mind or really just stay...wondering....You heard my beat in a studio and just wandered in'
Tom is ably assisted by long time collaborators/ label mates The Phantom and Jumpsteady. While he explores the exploitation of the thug genre on 'Thug killer', he also comes with a new style on 'Interchange' where he and Jumpsteady rap the first 4 bars of each others rhymes causing 1, seamless, verse. We hope you enjoy this tenth release from Don't Bite Records which continues to strive for individual style and originality and embrace our motto that "Only pirates take that which is not yet theirs!"

SWINGTING017 is a bouncy JA-to-UK bashment banger that features a hefty combination of producers and vocalists from both the Equiknoxx & Swing Ting camps. The tune finds each artist at their most playful, riding the sparkly, jiggy riddim impeccably.

Jump to the Bar was built and voiced in two days at London Bridge's Red Bull Studios, late Summer 2017.

Day one involved Gavsborg , Time Cow , Platt & Samrai arriving from various residences of friends and family in the vicinity of the English Capital (shout to the Epsom crew). Alway early-birds, Gavs and Cow set to the task on various machines and available gear to construct the rough instrumental, with Platt & Samrai assisting on percussion and programming. Soon lush synths, tough kicks, flanged hats, grimy bass and snappy claps were combining neatly and the backdrop was set.

Day two featured Kingston's queen of the cool kids club Shanique Marie flying straight into the big smoke to lay down a witty hook in minutes before earning a lie down on the sofa. Original Brum-town don RTKal rolled in from the West-Midlands (driven by Farda Neeko) dropping a one-take freestyle (egged on by an excitable studio gathering including Randy Valentine, Mr Williamz & Specialist Moss) that later became his verse and the pre-chorus. With the clock ticking on the session, the flask was neatly passed to Mancunian stalwart Fox for the final flourish, giving shouts to buckfast tonic wine & organic herbal treats.

Supported by Toddla T (Coldest Record), Jubilee (BBC Radio 1 Residency), Chal Ravens (Top Flight), Max Glazer (Federation Sound Radio) as well as being added to Spotify's Dancehall Official Playlist.

The seventh volume of Drumcode's annual A-Sides compilation hits with no less than 10 debuts for the label, with Charlotte de Witte, ANNA, B.Traits and Scuba's SCB project, among the collection of topline artists to release their maiden productions on the imprint.

Over two decades into its lifespan, Drumcode keeps evolving and excelling, pushing techno forward while remaining wholly respectful of its roots. This reputation for progression was further fuelled this summer with its inaugural festival at the NDSM Docklands in Amsterdam, featuring a long list of heavyweights including Nicole Moudaber, Joseph Capriati, Amelie Lens and Ida Engberg, among others.

As ever, the A-Sides compilation provides a timely opportunity to showcase the full range of its sonic repertoire, with Adam Beyer scrupulously selecting unreleased tracks that have taken prime position in his sets over recent months.

Formidable duo Dense & Pika kick off part 5 with their powerful composition 'Lemur' renowned for their standout studio output they consistently conjure up a unique take on their distinct sound. Tastemaker's favourite Jel Ford makes a welcome return to the fold as he ushers in techno rhythms with bustling breaks with his track 'Nightshade'.

On the B side resident DJ of the infamous GZG parties in Holland, Man With No Shadow supplies his rave infused twisted cut 'Manilla', where his warped bass combines with shattering breaks & heavy weight drums.

Lastly, Locomatica & Blaukoma present 'Unfold' a brooding techno workout with crisp drum programming that features a euphoric vocal bursting with emotion. Set to cement these two producers as acts to keep your eye on in the near future.

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.'

Wittgenstein's 'Fictions' is the third release from Vienna-Berlin based electronic music label and art magazine 'Entkunstung'.

Following his R&S debut, Afriqua (aka Adam Longman Parker) presents Vice/Principle, his second release for the renowned Belgian label.

Recorded in the summer of 2017, Vice/Principle began as one of Afriqua's seasonal music packs, a quarterly offering of original tracks shared privately with a small cohort of friends and collaborators. R&S quickly picked up the collection, which expands on the melodicism and textural depth explored on his previous release for the label, Aleph.

The extended EP sees Parker veering into psychedelic territory, inspired by the cosmic departures of '70s krautrock and jazz. The title, Vice/Principle, more a coy bit of humor than a philosophical statement, reflects a wittiness that Parker often embeds into even the brawniest of his productions. This offbeatness is active in the music as well, which makes use of his voice, and edges past familiar four-on-the-floor patterns with interwoven polyrhythms and modality. Vice/Principle is confident in its curiosity, harnessing a wealth of artistic threads into a tightly knit, futuristic vision.

Parker currently resides in Berlin, Germany, where he works from his home studio in the city's quiet Charlottenburg neighborhood. Born and raised in Hampton, Virginia, Parker developed his craft as a producer while studying classical piano and practicing hip-hop turntablism from a young age.

After several years developing a hefty catalog of releases, Parker has embraced his R&S signing as an opportunity to dive deeper into his signature, yet versatile sound. His successful winter 2017 tour through the U.S. was a career first, and preceded international events at Comunité in Mexico, Concrete in Paris, and The Block in Tel Aviv.

Reminiscent of the infamous quote 'There are four lights", the release kicks off with an homage to the will of resistance. From Captain Picard to Orwell - may the (referential) chain of command is not as evident as H4L's sci-fi passion, the title track's power structure couldn't be wielded more efficiently: While stomping kick drums and subtle hi-hats build up a foreplay full of suspense, the witty melody with its warped and distorted sounds grants 'Four Lights' the perfect authority. Following a similar approach, 'Fesch' with its bouncy and mantra-like groove, in which synths playing a ping-pong game, completes the swinging A-side. Deep'a & Biri, the Israeli DJ and producer duo from Tel Aviv, start the flip side with their interpretation of 'Four Lights". By using breaks and greater attention for details, the remix not only redirects the originals' energy into more hypnotic realms, Deep'a & Biri extract the melody's keys in order to create a moody and dense version. Resonating from two decades of warehouse reverberation experience, 'Disc 2 Dysnomia' finishes the release with an IDM-drenched workout, full of UK bass knowledge, unpolished electro grooves, and swirling synth poetry. Absolute freedom means absolute lawlessness.

Les Disques du Crepuscule presents an expanded edition of classic festive album Ghosts of Christmas Past, featuring favourites from the original 1981 and 1982 editions now joined by newer tracks by Crepuscule artists.
Sometimes witty, sometimes melancholic, the original version of Ghosts of Christmas Past in November 1981 featured exclusive contributions from luminaries such as Tuxedomoon, The Durutti Column, Paul Haig, Michael Nyman, Aztec Camera, Thick Pigeon and The Names. Subsequent editions in 1982 and 1986 added songs by Antena, Mikado, The French Impressionists, Pale Fountains and Winston Tong.
For this new double CD version in 2015 Crepuscule have now added more chantons noel by Blaine L. Reininger, Section 25, The Wake, Marsheaux, Deux Filles, Stanton Miranda, Virna Lindt, B Music and Ultramarine.
'Crepuscule's Christmas cracker is here to rescue the festive season from the fogies and bores"(Melody Maker); "Aztec Camera's Hot Club of Christ is a busy, Django-esque run through a few well-known Christmas ditties, Michael Nyman's Cream or Christians is a silly but loveable fragmented organ collage in a typical English eccentric tradition, Tuxedomoon are in playful Residential mood' (NME)
Cover art by Jean-Francois Octave. The remastered 2xCD is sleeved in a deluxe 6 panel digipack.

Disc 1:
1. Section 25 Jesus Sweetly Sleeps
2. Miranda Dali Happy Xmas (War Is Over)
3. The Wake Jesus From the Block
4. Marsheaux We Met Bernard Sumner at a Christmas Party Last Night
5. Ultramarine Winter Circle
6. Isolation Ward Lamina Christus
7. Thick Pigeon Jingle Bell Rock
8. Aztec Camera Hot Club of Christ
9. Paul Haig Scottish Christmas
10. B Music Rocking Carol
11. Tuxedomoon Weihnachtsrap
12. Virna Lindt Festivo
13. Blaine L. Reininger Jingle Hell
14. Blaine L. Reininger Silent Blight
15. Blaine L. Reininger Xmas Blooz
16. The Durutti Column Snowflakes
17. Monks in the Snow A Theme for This Special Evening

Disc 2:
1. Hillcrest Club Breakfast at Christmas
2. Paul Haig Christiana
3. The Names Tokyo Twilight
4. The Durutti Column One Christmas For Your Thoughts
5. White Birds Possessed By the Stars
6. The Swinging Buildings Praying for a Cheaper Christmas
7. B Music Ode to Joy
8. Antena Noelle a Hawai
9. The Pale Fountains Benoît's Christmas
10. The French Impressionists Santa Baby
11. Simon Topping Peep Show International
12. Thick Pigeon Silhouettes
13. Deux Filles The Snow Falls and the Village Is Overflowing With Children
14. Mikado Message de Noël
15. Winston Tong The Twelve Days of Christmas
16. The Arcadians Write Your Letter
17. Michael Nyman Cream or Christians
18. Magazzini Criminali Honolulu 25 dicembre 1990
 
 

Terence Fixmer reached worldwide recognition with the release of his debut album Muscle Machine on DJ Hell's seminal International Deejay Gigolos imprint in 1999. The album opened a whole new genre by combining Electro, Industrial, EBM and Techno into a more dance floor-focused EBM style, simply called 'Techno Body Music'. The French producer and live act has consistently explored and redefined the boundaries of modern Techno -and he is not slowing down. Dance Of The Comets is the second release on the newly relaunched NovaMutelabel. NovaMuteis the seminal techno label that has been home to Plastikman, Speedy J, Juan Atkins, Luke Slater, Joey Beltramand more. NovaMute, born again, recently released Cognitive Resonance by Nicolas Bougaïeffand will release the forthcoming EP by Charlotte De Witte. Terence Fixmer'ssound deftly avoids repetition by developing soundscapes which maintain musical depth and integrity. He above all preserves an original style, an increasingly experimental, simultaneously ruthless and instantly recognizable aesthetic.

This is NovaMute's first release since MOTOR (Bryan Black and Oly Grasset) over ten years ago. The Release will be 3 weeks available as VINYL ONLY.

Nova Mute, a subsidiary of Mute (Depeche Mode, Goldfrapp, New Order, Liars, Erasure, Moby), began in 1992 as a response to the growing demand for techno releases in the UK. Originally presenting white labels and imports, NovaMute went on to release records by Plastikman, Speedy J, Juan Atkins, Luke Slater and Joey Beltram to name a few, this is Nova Mute's first release since over ten years ago

Nicolas Bougaïeff presents his new EP on seminal British imprint NovaMute. As a producer he harbours a diverse musical background, having studied in a conservatoire setting whilst foraying into anti-authoritarian rave culture. He is also a respected lecturer, regularly teaching masterclasses in composition and speaking at global events such as Mutek and Ableton Loop - the results of which come to life in the inquisitive spirit of his productions. Cognitive Resonance explores elements of psytrance, gabber and techno through a compositional lens, drawing on the artist's love for avant-garde forms and long-standing relationship with the electronic music community. The title track lays out long, expansive phrases and warped crescendos to create a disorienting structure, whilst distant harmonies, distorted kick drums and shattering effects merge into a hypnotic form on 'Truthful Hyperbole'. Lastly, 'Fake News' mangles our sense of rhythmic familiarity, disrupting the 4/4 beat with a complex metre and sinister melody. This is NovaMute's first release since MOTOR (Bryan Black and Oly Grasset) over ten years ago. T as well as forging invaluable links with labels such as Tresor and Probe, which allowed them to license rare tracks for a wider audience. Forthcoming releases on NovaMute will include EP's from Terence Fixmer and Charlotte de Witte.

When Steve Lawler first sent us 'Crazy Dream,' he told us that he had made the record 'specifically with Turbo in mind,' thus sending us on a quasi-lucid journey down a rabbit hole of self-discovery from which we have only recently emerged. Most labels would simply talk up a nuts-to-the-wall floor-filler with a killer 'White Horse' bassline from an acid house legend and be done with it, but the fact remains that if we forgo an opportunity to learn more about ourselves as dance music imprint, we are doing our fans a disservice whether they could possibly be expected to realize it or not. We hired a board-licensed Forensic Poet to parse the track's lyrical references to nothing being 'quite as it seems,' 'feeling naked and confused,' and rising above 'the push and shove.' What was he trying to tell us The poet assured us that all it meant was that Lawler admires Turbo and thought the track would be a good fit, and that we should put our clothes back on, wipe the confused looks from our faces, and stop pushing and shoving one another because everything was exactly as it seemed. We paid him his $25 and did as we were told. For the remixes, we took a track made especially for us and enlisted a diverse cast of Turbo All-Stars to spin it into a release for everyone, a proprietary practice we call 'Human Alchemy: The Future of Generosity™.' Finland's Jori Hulkkonen, Belgium's Charlotte de Witte, and Argentina's DJs Pareja trace a beautiful global triangle for lovers of acid bangers, stripped-down techno, and tripped-out weirdness, respectively. At Turbo, giving party people what they need is more than just a crazy dream. It's a crazy reality.

Spherical collections of stars form around black holes in situ; that is, locally to their cosmic neighbourhoods. It is said that future space colonization will rely on sourcing supplies in situ. Construction in situ uses raw materials at the site: colossal sculptures such as Naqsh-e Rustam, the Leshan Giant Buddha and Mount Rushmore were built in this fashion.


Wild, organic machine grooves, with a mind's eye on naked treetops and an early sunset. Melody breathes out from dubwise fx, percussion by turns sinewy and floating, sub blasts and stripped synth arrangements. Keys on air.
Spacious, witty, melancholic, deadly.

500 Copies Limited

Extended remix versions of some of the best pop music ever made. Vocals, drama, dance rhythms and witty lyrics: the intellectual shuffle! What more do you need

A new era is when a significant event or a discovery or
invention changes the past life and the circumstances of many
or even all people sustainably. It basically involves a positive or
neutral evaluation of this age.
- Thus, the discovery of America by Christopher Columbus in
1492 heralded a new era, the conquest and colonization of
America by Europeans.
- Similarly, the first public steam railway built by George
Stephenson in 1825, marked the beginning of a new era
of mobility.
- Also the theses of Martin Luther at Wittenberg initiated the
era of the Reformation.
- Not to forget the fall of the Iron Curtain, the Berlin Wall in
1989 and the resulting german reunification, thus initiating a
new era of world history