Search:work out !

From the people who brought you Disques Sinthomme and Ghost Town comes a new imprint LESDK.

Bringing back that NYC Lower East Side grime, LESDK will feature edits as well as new work from Dennis Kane and his circle of proper low-lifes...

Ghost Town and Disques Sinthomme featured contributions from Brennan Green, Richard Sen, The Beat Broker, Bicep, Jose Manuel, and Cosmic Metal Mother, as well as edit monsters like Jeff 'The Drunk' Overton and Cazbee. Kane will be helming this label, curating work and providing his own productions and remixes.

LESDK

Starts off side A with 'Real' - A soulful disco romp that has a gospel force as well as a powerful vocal performance. The song grooves from its first beat, and pushes the energy as it builds. "Now it's time to be real..." Edit as manifesto - Pure heat! The edit work here comes from one of the OG's of serious digging, Senior Reyes aka Jersey Pete.

Side B brings 'Action' as its first track, complementing the A Side, this is some dirty late night Philadelphia bar nastiness, mentholated disco with a humid female vocal, "I like to party, I like to flirt..."

Side B closes out with 'Motion', a slice of cosmic funkiness that laments a love that is not happening while a thick bassline moves the proceedings along.
This song has heartbreak and the haze of an early morning on the dancefloor.

Three essential edits for the DJ to bless the party people with.

Dennis Kane is a DJ and producer based in NYC, he has run the Disques Sinthomme and Ghost Town labels and is also a partner in the recording group SIREN, (with Darshan Jesrani) on Compost records.
Kane has produced numerous tracks and done remix work for Cantoma, Liz Torres, The Phenomenal Handclap Band, and Hokis Pokis among others.
He has been a DJ in NYC since the mid 90's holding down numerous residencies and touring worldwide.

pparel Music is delighted to welcome aboard one of the most talented house music producers in the scene, Goddard, who’s the protagonist of APLTD012. The twelfth release of the Apparel’s limited catalogue is a brand new 4 tracks EP called “Signals” by the Mancunian featuring a 4-hands collaboration with Harry Wolfman and a remix by Jad & The. Every single track has been chosen carefully since the beginning of the project to make this record a representative work of the artist who perfectly blends his musical knowledge with the label’s imprint. The opening track “Fourth Dimension” is a teamwork between Goddard and the above mentioned Wolfman and is the ideal start with its crunchy, slightly distorted beat, bold bassline and spacey chords and arpeggios, surely a track for the DJ’s out there to play out to a busy dancefloor. A2 is the title track “Signals” and it lowers the heartbeat, displaying all Goddard’s talent on the keys and creating an impeccable fluctuating soundscape of his musical characteristics: the beat is an oscillating, yet solid structure while the different timbres of his synths evaporate and reappear conceiving a dreamy, spacey track. Side B begins with the whimsical chords of “It’s Not So Cold In Tromso” where the artist takes the listener to a brief and intense trip to see the Norwegian northern lights; the track is made by a strong rhythm section and flighty, far-out, harmonies which really evoke Scandinavian landscapes. B2 is a free interpretation of the previous track by the Australian Jad & The who amalgamates a jungle-ish beat to Goddard’s introspective harmonic section telling his opinion on the trip to “Tromso”.

Signals EP will be released the 2nd of December on 12” vinyl and we’re more than happy to welcome Goddard to Apparel Music’s family.

My Music is a stellar spiritual soul / jazz-funk gem, recorded by keyboardist-singer Samuel Jonathan Johnson in 1978. The epitome of a cult classic, it didn't do much upon its release but steadily found an audience over the decades that followed. It eventually worked its way into the culture, and latterly the wantlists, of wave after wave of soul aficionados.

This is music that shares the jazzy R&B DNA of contemporaries like Roy Ayers and is an intoxicating blend of mellow moments and more groove-heavy tracks. Spacey keys and lush production give it a luxurious, enveloping warmth.

My Music opens with the gorgeous title track: an indulgent slow jam opus. Introducing us to Johnson’s compelling musical vision, it features a rich mélange of production techniques. Dripping in strings, horns, backing singers, popping funk bass lines and swooshing synth waves, it’s an unusually structured cosmic two stepper that has an irrepressible groove. Accordingly, it’s been a favourite with the diggers and it was sampled by The Alchemist for Jadakiss’s “We Gonna Make It” (and it was also used on Ras Kass’s “Home Sweet Home”… but that’s a story for another time).

The up-tempo “Sweet Love” bubbles over with joy, its uplifting lyrics backed by infectious bass and jazzy Fender Rhodes lines. It follows a cover of “What the World Need’s Now Is Love”, taken at a funereal pace that transforms it into a heartfelt plea for love and understanding. Essential in these dark days.

After a full-minute-long opening of lush cinematic strings and horns, “Because I Love You” makes space for Samuel’s voice, accompanied by some keys and just a sprinkle of guitar. It builds back up and then mellows its way out to a jazz lounge finish (in all the right ways). The feel-good ebullience of the Stevie Wonder-esque “It Ain’t Easy” closes out the LP’s first side.

The second side bursts open with the heavy bounce and disco-funk basslines of “You”, a slightly off-beat string-laden dancer with insistent horns and a piano-assisted groove. Next up is “Just Us”, a legendary steppers track that could be heard oozing out of deep soul radios and funk sound systems back in the late 80s.

“Yesterdays and Tomorrow” is a moving original ballad that is followed by an exquisite high-stepping paean to mom in the form of “Thank You Mother Dear”. The thumping easy-glide of “Reason For The Reason” brings the album to a close.

Respectfully mastered by Simon Francis and cut by the master Pete Norman, this reissue of Samuel Jonathan Johnson’s sole LP sounds as sumptuous as that scarlet gown on the front cover. The sleeve artwork was lovingly restored by the Be With team. My Music is a luxurious and rare collection of songs that now has an opportunity to reach beyond its cult audience.

Following September 2017's release of "Imperfect Charm" a 5-track EP of post-club, haunted techno and heady sound designed industrial.
Evitceles has developed his sound far further, with releases on Seagrave, Yerevan and his own Amek imprint. "The Substance Of My Fantasies" is his first album and boils down the previous work into a narrative and truly dramatic session over its 9 tracks.

Opening gambit "Take Me to Common Ground" unlocks the gates with bruising rave stabs left to exist in a vacuum of sub-bass boom and augmented voice. "Nightcrawler / Third Night" is a diffuse future-garage roller, priming razor-edged basslines against a hollow melancholia, a theme present throughout this album. "Spit Hearts" cranks the busted drum patters out through a super hi-fi field of gothic synthesiser.

Closing piece "Behaviour Exercise" places off-thumbed emo-guitar lines and barely uttered exclamations into a gorgeous outro recalling sad boy rap styles from the darkest corners.

Shasta Cults is the musical project of Canadian electronics technician Richard Smith. For almost two decades, Smith was the official Buchla & Associates go-to repair person for studios, collectors, and musicians around the world, having worked with artists like Aphex Twin, Suzanne Ciani, Mort Subotnick and institutions like NYU, The Library of Congress and Mills College in Oakland, Ca.

Recording demonstrations of the rare equipment that found its way on to his workbench is how Smith describes the origins of Shasta Cults. Although sounds have been trickling out for decades via Soundcloud and other outlets, it wasn’t until 2017 that Smith recorded his first album using one of these rare instruments – the Buchla 700. Configurations, released this past September by Important Records, features eight tracks of heavily-modulated, wave-shaped explorations drenched in effects, and was the catalyst for his latest releases.

Recorded over the span of 3 months in the fall of 2018, this album was programmed solely on the only fully-functional Buchla Touché. Developed in the early 1980s with hardware by Don Buchla and software programmed by musician David Rosenboom, the Touché features waveforms generated internally by twenty-four digital oscillators using frequency modulation and sophisticated digital and analog signal processing for timbre and output assignment, all of this controlled via a six-octave black and white keyboard, unusual for a Buchla instrument.

This LP is a continuation on themes first heard on Configurations, with more consideration given to the generation and capturing of the pieces. This album is less dark than previous releases, showcasing the incredible fidelity of the hardware used and Smiths evolution as an audio engineer. Put on some headphones, find a comfortable chair, and let this LP transport you to the mystifying southern cascades of Siskiyou County.

The Outer Circle drops a debut release full of flavour and grooves reminiscent of the golden era of UK/US tech house from Glasgow's Craig Hamilton, alongside London's tech house veteran Silverlining on remix duties.

"Let You In" a deep rolling sub laden groove sets the mood of the EP. Tight percussive elements drive the track, incisive from the offset as spacious chord stabs dominate over arpeggiated tones laced with an appealing fragmented vocal throughout. "Monday Groovin" the deeper of the cuts follows on with slick rhythms and choppy female vocals scattered over smokey pads and mesmerizing overtones.

Before continuing on the flip with the Silverlining remix of "Let You In". The tech house originators interpretation is a far darker bass driven analog work out. Upfront beats and spaced out atmospheric layers meander among rolling snares and peppered chord stabs with satisfying vocal elements, leaning this towards the deeper end of the spectrum.

Emotional Rescue is delighted to present a collection of works by the founding father of the modern drum movement, Glen Velez. Collated from his first 3 solo albums from 1985 to 1989, Sweet Season is a snapshot in to the pioneering composing and performance of this four-time Grammy winner. Born in 1949, of Mexican American ancestry, Velez grew up in Texas before moving to New York in 1967. Playing jazz on the drums he soon gravitated to hand drums from around the world (frame drums in particular), seeking out teachers from many different musical traditions.

Among the many instruments Velez favours are the Irish bodhran, the Brazilian pandeiro, the Arabic riq, the North African bendir and the Azerbaijani ghaval. Although these instruments are similar in construction they have their own playing techniques that open new possibilities.

Sweet Season highlights this vocabulary, mixing and adapting techniques from various cultures to develop new ones. The music, often composed as cross-cultural ensembles, has a particular fondness for polyrhythms - superimposing different meters simultaneously - while incorporating Stepping Split-tone and Central Asian Overtone singing to complete the global horizons.

This new genre of contemporary drumming has been hugely influential and seen Velez work with the likes of John Cage and Steve Reich, as well as teaching his virtuosic combinations of hand movements and finger techniques to many emerging players.

Ellen Allien Keeps It Raw with the Third Release from Her UFO Label Ellen Allien returns with the third release from her label UFO. Focused on a raw aesthetic, UFO serves as a space for artists to explore the dark, rugged side of the music. On this third installment from the label we get three deliciously dark productions... First out of the block is 'La Musica Es Dios' (Music Is God), which comes in two mixes. The first works from the deep tremor of its juddering bassline, subtle beats tease this cut along with a contagious rhythm. As a master of vocal hooks, Ellen skillfully introduces a distorted clip that repeats over and over as the drama unfolds. Wistful pads and a sombre riff keep it melancholy. On the second mix the mood is a little more upbeat with brighter frequencies and skipping beats. Though, once the main body of the track comes in, a menacing swathe of analogue growls and snarls at you with aplomb. A breakdown tinged with 8-bit leads us into a rousing section of the track before another slight break ushers in more menace in the low end. Finally, 'Junge' penetrates our minds with its punchy drums and snares. The pace is quicker and more energi- sed with a pervading sense of dread emanating from the background. This cut is downright nasty, with a snee- ring riff and shadowy atmospherics. Rough, rugged and raw analogue technoid funk from an unknown future.

Franck Collin, a.k.a. Fleck E.S.C, brings some excellent winter-time electro to the London-based label untitled (recs) for their third u(r)blue record. The French-born, Tokyo-based producer has received praise from the likes of Jensen Interceptor, Dave Clarke, Laurent Garnier, and Helena Hauff. This record takes cues from several sci-fi soundtracks, and taps into Fleck's wider thoughts on cinema. After having studied film and worked in movie production for several years, he believes that movies need to be a kind of fairy tale usually a poisonous one. Likewise, u(r)blue003 delivers a capacious blend of texturesiat times delicate and expansive (e.g. 'Shelters', 'Skins & Scales'), at others assertive and grinding (e.g. 'KVFM, 'Roundup'). Together, this strikes a balance between deep club cuts and listening session tracks. Thanks to the mastering of Aphex Twin-collaborator Beau Thomas, these textures really stand out. Listen loud!

Skyf Connection (pronounced skAyf) was a short lived project by long time friends Anthony Mthembu and Enoch Nondala. At the time they were working for Annic Music, an independent label run by married couple Anne and Nic Blignaut. Although the label was known mostly for Zulu, Sotho, Tsonga and other traditional styles, they had a few Disco releases on the label including groups like Keith Hutchinson’s Focus and Enoch’s discovery Lena, who went on to have huge success under the name Ebony a few years later.

In 1984, when an artist didn’t show up for a booked session they decided to make use of the studio time and began working on a demo. At the time Anthony and Enoch had been playing for a year at a new club called Gamsho, located on a farm on the outskirts of Kliptown Soweto. Along with Blackie Sibisi, Sepate Mokoena and Elijah “chippa” Khumalo they made up the resident house band. Due to cultural boycotts and American artists refusing to perform in the country, locals took it upon themselves to fill the market with the American sound the crowds demanded. The demo they recorded at Blue Tree Studios was going to be their product they could use to promote their brand of the American sound. They then took the demo to Universal Studios where their friend and trusted engineer Jan “fast fingers” Smit was working. It would be here that they would polish their demo into something they could take to their bosses and have pressed. Equipped with a DX 7, Linn Drum and some Juno synthesizers they were on their way. Jan lived up to his name and programmed the drums, it is rumoured he could program in almost real time, a skill that translated to the local arcade where he held high scores on many machines. Enoch would be singing and playing guitar while Anthony would do all the Bass and Keyboards. The result was 4 funky party anthems with synth work like no other recording at the time. Their take on what they believed the crowd would want to hear at the beloved club they called home.

From start to finish the 4 tracks portray what would have been a standard night at the Gamshu. Although the club would open earlier and the standard hours of most clubs was 6 to 6 , the band would start playing at 10pm. With their standard set time and Anthony and Enoch unique view on what a Disco should be, they chose the motto Ten to Ten as the album title because those were the hours when they were the stars and Disco ruled the dance floor. To get to the club was a bit difficult, you needed to drive along an empty road where thieves waited for any patrons trying their luck walking after dark. Since there was no transport during the night, the safest way to get home was to wait till the next morning to walk home. Even though in the summer months of Johannesburg light begins to peek in just after 4am, crowds refused to leave and stayed enjoying good music and company until 10am. The lead off track “Let’s Freak Together” has powerful lyrics encouraging people to let go of their worries, put aside any differences and let the music bring everyone to freak and dance together. The whole album is about the joy we can all feel when we share the same moments and how music can bring people together in a unique way, a philosophy shared with the original nightclubs of 70s New York. This approach to music is where the name Skyf Connection comes from, translating from slang to mean the connection we create through sharing, in this case Music and good times.

Skyf Connection would go on to play at Gamsho till the club’s closure in 1986. In those years their popularity lead to being booked for private events like weddings and birthday parties, as well as gigs in some other venues like Mofolo Hall. They would share the stage with many artists through the years learning artist’s songs and providing support as a backing band. After the club closed Anthony would go on to join the house band at The Pelican, another famous club located in Orlando East, as well as dabbling with songwriting for artists like Phumi Maduna and helping Enoch on many projects through the years. Enoch would ditch live music altogether and immerse himself in studio work, starting full time as a house producer and A&R for the recently formed Ream Music. He would go on to produce hit albums for pop artists like Percy Kay and Makwerhu but made his mark discovering countless artists that would become stars in the traditional market. They would remain friends until Anthony’s passing in 2016 and although Anthony is no longer with us his spirit lives in the grooves he left on this one of a kind record. His wife Vinolia will be accepting his portion of the profits on his behalf.

PINK VINYL WITH PINK SLEEVE.

Kungens Män hail from Stockholm, Sweden and have been around as a musical unit since 2012. Their inspiration comes from the drone, the rattle of the loose screw, the circuit failure of the effects, the phatness of the moog and from the very diverse wiring of a bunch of middle aged Swedish freaks. Kungens Män never plan the next musical move - it presents itself.
 
Nine months after their acclaimed album 'Chef' (also released on Riot Season) the band return with 'Hårt Som Ben’, a stunning follow up with a debut UK tour to coincide.
 
Echoes And Dust on ‘Chef’: “From pure psychedelic freak out, to exploratory ramblings, and all imbued with a sense of communal priority to create together a work of immense intelligence, Chef is an album which begs for continued listens and deep immersion. That it is so accessible too, makes that genius shine through even more so. Superb.”
 
At the end of May 2019 Kungens Män packed a couple of cars full of instruments and life supporting essentials and drove into the woods of Värmland to spend three days in the legendary Silence Studio. It has hosted recordings by bands and musicians like Bo Hansson, Motorpsycho, The Hellacopters, Bob Hund and Union Carbide Productions, the presence felt and seen all over the place. In between watching VHS tapes with Twin Peaks, Miles Davis and Roskilde Festival 92, cooking pasta, sleeping in bunk beds, Bruce Bannering shirts and chilling in the sun, Kungens Män managed to record about 13 hours of music. Some of it will never reach your ears, but here’s the first slab made public – Hårt som ben – Hard As Bone. Not very hard, that is.
 

SIS003 welcomes Boston's deadliest modern wave duo Dead Husband to the SISTERS family across the murky waters of the Northern Atlantic for a host of dance-floor focused workouts.

A mixture of syncopated drum work and reverb drenched arpeggiators define Dead Husbands debut on the label across a capricious collection of tracks/music.

Doug Lee gives Facial Recognition the usual An-i treatment drawing out a monologue of emotion through the sub bass and sweet undulating use of distortion which constantly helps the track and the low end move forward, whilst electro aficionado Privacy offers up his take on the track with a rolling 4x4 composition true to his unique modus operandi, slowed down powerful.

And a remix debut for Papers, 5 years after down tooling from their white label series, they round off the record bridging the Atlantic gap with their distinctly steezey techno sound.

‘Portuguese electronic alchemist Bruno Silva aka Ondness aka Serpente lands his first ever vinyl release as Ondness on the ever-evolving SOUK imprint. The last year couldn’t have been better for Bruno Silva. Two major releases under his moniker Serpente, “A Noiva” (Tormenta Eléctrica) and “Parada” (Ecstatic) and a Ondness tape, “Not Really Now Not Any More” (Holuzam). “O Meio Que Sumiu” is the first vinyl release by Ondness, following more than a dozen releases on tape, CDRs and digital. He’s also graduating to vinyl on the Discrepant family, after his 2018 tape “Celas Death Squad” combining Serpente and Ondness works as a split.

“Meio Que Sumiu” can be translated as the “community that disappeared” and it alludes to the disappearance of outdoors communities and how it affects the music we listen (and how we listen to it). Ondness wanted to release an album less about himself and his inspirations and more about his aspirations about how dance music could be in an era of constant interactivity and information.

But also, how it fails to be that aspiration. Once again, like in “Not Really Now Not Any More”, Bruno works in the territory of science fiction. Investigating the present and future with nostalgia about how things could be and could evolve.
It’s music in the realm of non- existing, instead of raving nostalgia about dance music from the 1990s, Bruno explores the idea of possible futures with different approaches to dance/electronic music in each song.

In “Meio Que Sumiu” it’s obvious his music has matured and found its listenes. Bruno is no longer a bedroom musician. (He never was, but he sure worked on that idea. And very well, we might say). The dancefloor is now his, with music that explores the deeper immersion of ourselves. Communities may be changing, but the principles of dance music are always the same. Even with motion sickness for future nostalgia, like the music in “Meio Que Sumiu”.

OUTRÉ comprises of Detroit natives Joshua Harrison and Joe Sousa.

Joshua Harrison has released on Psychothrill Records, Beretta Music, DeepLabs Detroit, and currently runs the digital music label NONCOM Records.

Joe Sousa has released on Blank Code Records, and worked with labels Detroit Underground and Acid Friend. He has forthcoming releases on Detroit Underground and Clan Destine Records.



OUTRÉ is an entity that has come forth since 2017. Risen from a portal into the more existential rifts in consciousness, a mirror from the abyssal realm of the minds’ eye.


OUTRÉ 01 is it’s inaugural expression. With focus on live extraction and textural abrasives, chapter one presents ominous weight and forebodeing chaos, yet embraced with melancholic atmosphere and ethereal release.

TCB aka Chris Beißwenger, our boy on Jah bless road, goes a little something like: 1977, born cross-eyed, parents like Boney M; 1984, suburbia USA, DSNY, still cross-eyed; 1988, 98.7 Kiss FM New York on the school bus radio; 1989, Frankfurt Am Main, hyperactive, outsider, got lazered; 1991, drums and piano in cheesy school band; 1993, kicked out of Omen, kicked out of school band; 1994, kicked out of Omen again, got his own band; 1995, kicked out of band, finally in at Omen, The Box, Wild Pitch Club; 1996, got first car, Fasttracker, EMU ESI-32; 1999, no more car, no more Omen, Robert Johnson instead; 2002, first release, High Tide; 2003, Ableton 0.1 Beta, less MIDI, more gefrickel; 2004, exchange High Tide for CB Funk, kicked out of Cocoon; 2005, a silly move to Düsseldorf, Burkina Faso, more synthesizers; 2006, again silly in Düsseldorf, Brontosaurus, disco-house, love; 2007, Cologne and Frankfurt, back to piano, more love, still no car; 2008, with love to Frankfurt, Arto Mwambe on the road, storyteller; 2009, Mwambe still on the road, bored of work; 2010, Live At Robert Johnson, four-day week (thank God), four bike accidents; 2011, Europe, bored of piano, invention of The Citizen’s Band; 2012, modular cookery, thoughts of moving; 2013, Burkinian's death, Delphi's rise, almost made it, 2014, broke out of seven-year cycle too complicate

Girl is the second album from the North London band Girl Ray, released on 8th November 2019 via Moshi Moshi. Recorded at Electric Beach Studios in Margate with Ash Workman (Christine and the Queens, Metronomy), the album is a delightful, sun-kissed tribute to their love of pop and R&B.

The three-piece, comprising Poppy Hankin, Iris McConnell and Sophie Moss, today share a taster of the new record with “Show Me More”. According to the band, the song is about “crushing really hard but having to play the long game and wait it out because your boo is playing savage games. It’s your classic pop banger. Steamy dance floor. Drinks on me.” The accompanying video was directed by Crusoe Weston and features the band cycling around the city at dusk.

It was Ariana Grande’s explosion into pop culture that kickstarted a new era for Girl Ray, as well as the realisation that their most-listened-to Spotify playlists contained pure pop music. When Poppy began experimenting with writing songs on a computer using keyboards, a collection of shimmering, foot-tapping, sparkling pop bangers poured out. With this new set of songs, Girl Ray have been brave enough to completely change their sound rather than play it safe, yet still remain unmistakably themselves - it’s Girl Ray, but with added synths.

The teen girl falling in love with greasy biker melodrama that set The Shangri-Las on the scene was beaten to the core when English high society child Lynn Ripley -better known as Twinkle- took it to the next level on her own composition "Terry". Penned at the tender age of sixteen, Twinkle's lyrics were found so twisted and bad tasty that the song got the honour of being banned at the BBC thirteen years before the Sex Pistols ran the same luck with "God Save The Queen." A ban that, as you would have guessed, instead of hiding the song from the era's teenage record hunters made it even more coveted. Thus "Terry", Twinkle's first 45 issued on Decca in October 1964, became an instant top 5 hit in the UK and was released successfully worldwide as well as covered by many bands (like Claude François French version or Los Extraños cover sung in Spanish).



The success of "Terry" encouraged Decca to release other comositions by Twinkle, along with her recordings of songs by other songwriters, in 6 singles and one EP published between 1964 and 1966. Another of Twinkle great tunes, "Golden Lights", was covered by big Twinkle fan Morrissey and The Smiths in their 1986 "Ask" 12" EP.



The 14 songs from the Decca 45s are collected in this fatastic LP, housed in an amazing period style sleeve w/backflaps and including a gatefold insert with photos and first hand told liner notes by Twinkle's own sister Dawn James, a music journalist working for New Musical Express back in the 1960s.



It comes in a limited edition of only 500 copies : if you like sixties girl-pop sounds like those of The Shangri-Las, pop stars like France Gall, singer-songwriters like Margo Guryan and Phil Spector-ish productions you must get your copy of Twinkle's "Golden Lights" before it sells-out!

These amazing Brazilian soul-funk nuggets from Renata
Lú, originally appeared on a 7” compacto and on her self-titled debut album for Copacabana Records in 1971.
The up tempo break-beat funk of 'Faz Tanto Tempo’ has a real dance-floor cross-over appeal and should please Brazilian, funk, hip-hop breaks heads and mod-soul DJ’s & collectors alike.
Renata Lú had a long career releasing records on labels such as Compacaban / CID & Continental through out the 70’s and 80’s and worked as backing vocalist on recordings by Tim Maia and Nonato Buzar.

With their debut, MME dUO send us across an impulsive sound collage omniverse of enigmatic Dada - long live imperfection! Formerly working together as Sculptress of Sound, Cologne based Patricia Koellges and Tamara Lorenz make use of a variety of instruments and devices: DIY electroacoustics, small synths, loopers, tuning forks, electric bass, percussion and voice are thrown into the game and shape a sound that’s as diverse as it is striking. The four sides of the record are the four seasons of the year. The cover artwork depicts an oddly shaped honey locust situated just outside MME dUO’s rehearsal room; homebase for a year of recordings for awholerunboom. From spring to winter the album opens up a wayward palette of experimental music. Sweet Cold Night could be a soundtrack for a movie scene of ourselves trudging through a swamp. CutCut somehow sounds as if caught in a loop early in the morning after an extensive club night. RZCK, a deliberately stumbling forward percussion piece is the longest of the 21 tracks. Several video clips go along with awholerunboom, one of which features the artists going through some kind of a ritual exercise inside of a two person costume, trying to put things straight it seems. The track itself Isn’t It Isn’t functions by way of permutations of spoken phrases and it might actually make you wonder if Gertrude Stein had gone electric. Mixed and mastered by Volker Hennes. Cover artwork by MME dUO. Edition of 300.

12"LP plus 7", ltd copies

ERUPTION is an outburst of creaking energies, unconventional ideas, arhythmic thoughts, cacophonous images and musical phantasms. ERUPTION is also the name of the second album by Kluster, a band project of the musician and video artist Conrad Schnitzler, who died in 2011, together with his colleagues Dieter Moebius and Hans-Joachim Roedelius. ERUPTION was also the name of a two-day festival that took place in July 2018 at the Golden Pudel Club in Hamburg. For two days, artists and musicians from different generations and working in various fields met here, who were in one way or the other inspired by the comprehensive oeuvre Conrad Schnitzlers’, as well as by his free-spirited thoughts and actions. The result was a multi-faceted programme of concerts, performances, sound and video installations, which resulted in the release of these two special records on Pudel Produkte, the house-own label of the Golden Pudel Club. The single features a previously unreleased piece by Conrad Schnitzler & Ken Montgomery as well as a story told by Asmus Tietchens about his father and Schnitzler, who unwittingly crossed the Atlantic together on the steamboat Bornhofen in the late 1950s, one as an engineer, the other as a heater. The LP brings together the festival's invited artists, Schnitzler‘s contemporaries

such as Ken Montgomery, Wolfgang Seidel and Asmus Tietchens, as well as young artists who developed works especially for ERUPTION. Among them are Lena Willikens & Sarah Szczesny with fragments from their performance Phantom Con Ballet, the DJ Phuong-Dan who composed a musical collage from the poem About Rhythmus and rhythm studies by Schnitzler, a piece from the performance of Felix Kubin, who uses a light scanner and his modular synthesizer to convert graphic notation into sound, a theatrical sound piece by Carl & Sohn (also known as Les Trucs), the producer and DJ RVDS, who interacted with the piece Tanz im Regen by Conrad Schnitzler and many more. Initiated and curated by Nika Son, a musician and artist based in Hamburg

After a three year absence, Kasper Bjørke returns to hfn music with a sublime new double EP entitled
“Nothing Gold Can Stay”. Having followed a deeply personal ambient music path that last year led to
the release of “Kasper Bjørke Quartet: The Fifty Eleven Project” on Kompakt Records, (named 5th
Best Contemporary Album 2018 in The Guardian), Kasper has found his way back to producing some
of his signature leftfield danceable beats, which “the past decade has seen Bjørke steadily rising amongst the ranks of artful, eclectic electronic producers…” (XLR8R).The Double EP “Nothing Gold Can Stay” explores both the analogue and organic side of his production work on Side A - while Side B reflects on sounds that he would play today, in one of his nightclub DJ sets. Side A contains four collaborations with four friends from LA, New York and Copenhagen. “Water” feat. Toby Ernest, the slow mo opener to the EP, revives the partnership with Toby that was last seen on 2014’s After Forever album (on the single “Rush”). Toby also provides the vocals on the cover version of Alessi Brothers’ 1975 classic “Seabird” - a track that came about through Kasper’s friendship and musical synergy with DJ and vinyl digger Christian d’Or, who is lead crooning while Toby delivers his signature falsetto. The “Seabird” cover adds a distinct contemporary feeling to the original version while staying true and respectful to the delivery and mood of the songs core. The 2nd half of the release, Side B, is directly aimed at the floor. Having stepped away from releasing club jams for a few years, Kasper is clearly enjoying getting back to the business of making people move. Side B of Nothing Gold Can Stay is both a testament to Kasper’s versatility as a producer and an all-out dancefloor assault, made with precision and sensitivity.

‘Still Strange’ reaches back into the prized loft tapes of Jeff Sharp aka Orior following the revelatory discovery of his overlooked early ‘80s gems on 2016’s ‘Strange Dream’ collection, as coaxed out by
DDS dons Miles Whittaker and Sean Canty.
Huddling another sublime, dusty set of analogue tapes freshly baked and remarkably well-restored by Andy Popplewell, ’Still Strange’ contains four gorgeous flashbacks to the era 1979-1983
surrounding and even pre-dating ‘Strange Beauty’, and then shifts focus to recordings that Orior made around the early ‘90s.
As with its predecessor, Orior is not alone on the material in ’Still Strange.’ From those feted early tapes we find Phil Hollis returning to lend jagged guitar on the drum machine sizzle of ‘Feels Like
Summer’, while the mysterious synth player New Cross John makes vital contribution to ‘Invium.’
Along with the aching synth sigh of ‘To Return’, which pre-dated all of these recordings, and the nine minutes of haunting bedsit strums in ‘Larbico Alt Mix’ which came from the first batch, the
early material is all arguably worth the price of admission alone for seekers of lost synth treasures - really this stuff is just so good..
However, the album’s other six tracks expand knowledge of Orior’s work into the ‘90s and also contain some extraordinary material. Salvaged from further loft tapes found in various states of degradation, and subsequently mixed down between London’s Goldsmiths College and Miles Whittaker’s Whalley Range attic (and elsewhere), they are decidedly more blunt and gloaming, especially in the Deathprod-like ‘Under Shadow’ and the near static witching hour ambience of ‘Endless’, while shorter vignettes such as ‘Unknown Future’, ‘Gothic’ and ‘Another’ point to pre-echoes of BoC’s crepuscular scapes and even Bladerunner-esque sci-fi noir soundscapes

7"

Hamburg's long time standing Goth (Not Goth) / Rock (Not Rock) band outfit The Crystal Apes get a full on electronic remix treatment which has been dubplate tested and dancefloor proved by Intrauterin Recordings mastermind baze.djunkiii as a secret weapon on countless occasions over the past years, slowly and carefully building up towards a full vinyl release.
The A-side „I Can't Believe (baze.djunkiii meets The Crystal Apes 'Breakbeats Dream Of 92' Remix)“ hits dancefloors with an original Oldskool Rave / Breakbeat Hardcore vibe,
dramatic panorama strings and seductive vocals for the lighter and whistle crew.
Meanwhile the flipside „Broken End (baze.djunkiii meets The Crystal Apes 'When Time Decays There Is No Need For Architecture' Remix)“ brings forth a different flavor, fusing a blurred out, spatial, minimalist and heavily Dub-infused take on Bass Music / Post Dubstep with more dramatic dramatic string works and a surprisingly powerful Rock attitude for very
special moments on the dancefloor.
Initial pressing will be limited to 200 copies on black vinyl.

The modern, avant synth/dance-pop frolics of ‘Moi’ catch Steven Warwick (Heatsick) at his impish but droll best for PAN. Returning to PAN six years after his standout Re-Engineering album,
Warwick returns to similar zones of enquiry as 2016’s ‘Nadir’ - the first release under his birth name. With ‘Moi’ (which we definitely hear enunciated with a playful pucker), Warwick further emphasises the personal, playful nature of his work with 10 melodic, danceable and pop-tart arrangements accompanied by a range of vocal personas; from his naturally droll singing voice to more alien and leaned-out styles, plus a guest platitude by Turner Prize nominee, Jo Pryde.
Bubbling up with the pickled 2-step and Lolina-esque lilt of ‘Open Fire Hydrant’, Warwick clearly draws upon a UK dance music heritage - and its Afro-Caribbean and US inspirations - with the
freshest, exceptional style that percolates throughout the album, strongly informing its biggest dancefloor highlights such as the warped trancehall bumps of ‘Salvation’ and the crooked crankshaft of ‘Kaleidoscope’, along with the the brittle boned shimmy of ‘Rush’ and the hard but elegant drive of ’Silhouette.’
But they’re only half the story, which really comes together with contrasts in the fizzy downstroke of ‘Kind of Blue’, on the Black Zone Myth Chant-like psychedelic daze and blunted vocals in
‘Consolatio’, and the album’s standout ‘Danke’, which revolves around Jo Pryde’s gentle utterance of the title weft into ominous ambient clag, connoting a sort of humility that knowingly becomes
both less and more meaningful with each reiteration

2x12" 180g Black Vinyl

Pivotal UK producer Kirk Degiorgio returns to De:tuned for his first new and highly anticipated As One studio album in 15 years. "Communion" covers a broad sonic palette, ranging from jazz and hi-tech funk dancefloor beats to minor-chord symphonies, all coming together "As One". A trademark 90s electronica sound shifting between the mind, body and soul, produced and recorded with Kirk's 25 years of studio work experience.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis Mastering, pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

While filming "The Library Music Film", Shawn Lee & Paul Elliott travelled the world interviewing legendary composers, musicians and producers. This meant visiting some incredible recording studios, studios almost as famous as the music created in them, places like Telecine Sound Studio in Rome, Angel Studios in London, Studio CBE in Paris and Piero Umiliani's Sound workshop in Rome.

f you have ever met Shawn Lee & Paul Elliott, you will know they can't resist picking up an instrument or two for an impromptu jam, so it was inevitable that the pair would create some music in at a least a couple of these world-renowned studios. This special 7" release is the result of their spontaneous, off the cuff musical moments.

"Mexican Marimba" was kick started in The Sound Workshop Studio in Rome, when Shawn and Paul played the Maestro Piero Umiliani's Mexican Marimba with their fingers - the mallets where not next to the instrument, so they just played anyway!

"French Attack" began life when Paul improvised a piece on Studio CBE's tack piano, while Shawn sat on the floor beating out the rhythm on a bass drum and tom toms - this moment can briefly be seen in "The Library Music Film"

Both recordings were then taken back to London to Shawn Lee's own studio for the finishing touches and the music was included in the film's underscore. Here it is released commercially for the first time!

The late composer, arranger, musician and record producer Nonato Buzar is a lesser known great (outside of Brazil). His legacy leaves behind a rich body of recordings, working with some of the cream of the Brazilian 60s and 70s music scene, such as Evinha, Elis Regina, Wilson Das Neves to name a few as well as Reggae legend Jimmy Cliff. The awesome organ driven dancer of ‘Cafuá’ is taken from Nonato & Seu Conjunto’s 'O Som E O Balanço De Nonato’ album from 1975 on Som records.
Mr Bongo re-issued José Roberto’s (aka Ze Roberto) ultra rare 'Lotus 72 D' 7” earlier in 2019. 'Crioula Multicolorida’ though not as scarce as ‘Lotus' is still a hard record to find and is equally as great. This anthemic ‘samba rock’ gem, with its amazing breakdown, originally appeared as the B-side of a 7” in 1974 on RCA Victor. It has since been a favourite amongst Brazilian DJs and collectors, featuring on the influential ‘Via Brazil’ compilation series and 'Brazilian Beats Brooklyn' collection on Mr Bongo.

2x12"

A stunningly accomplished work, ‘Deep Rave Memory’ is an insight into Fearless’ worlds – both metaphysical and geographical. Pulsating in unison with the heartbeat of a modern metropolis, it was recorded at the Metal Box’ – his studio located on the peninsula of land where the River Lea meets the Thames.

The haunting and wistful blue ambient ‘Vision of You’ leads into the bracingly chilly ‘New Perspective’, which evokes a heavy rush where perceptions are blurred and vision is freeze framed, via elements of techno-soul, Sheffield Bleep and Mika Vainio.

A snarling beast of a track, the relentless machine funk of ‘Devil on Horseback’ perfects the pure cathartic release of dark ‘n’ hot body music, whilst ‘Acid Angels’ is a throbbing low-fi 303 requiem, which encapsulates that perfect dancefloor moment, when the first light breaks through the shutters.

A future classic and the album’s modus operandi, title track ‘Deep Rave Memory’’s discordant filter passes sweep across a hypnotic melody, communicating a deep sense of warm nostalgia and taking you on an epic journey – stretching out a single riff over 12 minutes – akin to the krautrock greats of which Fearless is so fond.

‘Atlas of Insanity’ is big room techno with pounding kicks, death-whip metallic snares and head spinning, spiralling synth lines that drill into your core. This is raw, impulsive and frantic music that sizzles with electric effervescence.

The Germanic kosmische idyll of ‘Driving with Roedelius’ is a homage to one of Richards’ heroes – Hans-Joachim Roedelius – and was inspired by his experience playing a set consisting solely of the electronic pioneer’s music, at a festival celebrating his life and career.

On the album's closer, Fearless recounts, “‘Broken Beauty’ is something I’ve always strived for in my art. It’s inspired by Robert Frank, William Eggleston and the way they could take the most inane object a turn it into something of beauty. It’s equally schooled by the aggressive simplicity of King Tubby’s dubbing and the transcendence of Joy Division’s ‘Decades’. The sparse allure of the best dub and techno is something I’m always striving for; being able to conjure emotion with the fewest possible elements; to not fix what’s broken, but to make it shine.

Limited to 500 copies.

Club Internacional dig deep to launch their new global reissue series in style with two long lost cuts from Rio-based label Top Tape. First up is Jose da Silva aka Zeca Do Trombone.
A massively respected instrumentalist, he has worked his trade over the years with many of Brazil's leading artists such as Tim Maia, Milton Nascimento, Elizeth Cardoso, Beth Carvalo, Martino Da Vila, Gonzaguinha and Carlos Dafe amongst others.
He also produced a very much sought after LP in 1976 alongside Roberto Sax which was finally re-released this year on Mad About Records. Tema Do Brisa dates from a few years later in 1978 and is Zeca's only solo 45 single. Never released on digital and never reissued on vinyl before, it is with great pleasure that Club Internacional re-launch this psychedelic jazz and heavily funk influenced gem with its still stunningly fresh sounding drum patterns to a new generation of listeners. Fans of jazz, funk, rare groove and Brazilian music in general will appreciate the strong vibes of this original track and be delighted to finally have this record in their hands. The track represents a unique moment in the career of a great musician fully in control of his instrument and more than willing to test its musical boundaries. Zeca continues to play out as an artist regularly in Brasil right up to the present time.
On the flip side, Sambacanas, or Os Sambacanas as they were sometimes also known, were a group of Samba musicians recorded by the Sao Paulo based producer Julio Nagib.
Although they were mostly known for a samba covers LP entitled 'Sucessos Da Juventude Em Tempo De Samba' (re-released in the UK under the title 'Fly Me To Brazil'), this song, Panga, Danga, Panga, was the A side of their only 45 single release for Top Tape which came out in 1976. Again this track has never been re-released before in its 45 single version, and has not been made available digitally. A beautiful example of raw and simple Batucada-style Brazilian samba music infused with Latin funk vibes, it features excellent vocals and percussion including the berimbau and cuica. Club Internacional hopes you enjoy this journey back to rediscover these very different, but wonderful, long lost sounds of Brazil on this limited edition vinyl 45 pressing to add to your record collection. Each Club Internacional edition may take some time, but it will be worth the wait!

Reissue of this 1976 LP from Zambia. Deep minimal African music, lovely compositions over scarce drum machines and (fuzzy) guitars.. Beautiful music with a deeper message in the lyrics which is explained better in the long review below. Some words from the label. There is music that falls right into place, a perfectly articulated expression of a few distinct influences. Then, there is another kind of median music, something more mysterious, the result of time, place, technology, and alchemy. Zambian writer and musician Smokey Haangala’s Aunka Ma Kwacha (The Money is Gone) released in 1976 is an example of this more mystical metallurgy, falling somewhere between psychedelic Zamrock, US folk, Kalindula, and Sundown Beat (music played after dark) from Tongaland. The unique mix of languages on the album (Bemba, Tonga, Lozi, and English) also suggest this complex cultural crossroads. Underlying the whole album is the insistent beat of a simple drum machine, which was totally unheard of in Zambia at the time, and parallels pioneering experiments by Francis Bebey, Sly Stone, and Shuggie Otis, utilizing a technology which would later come to define dance music. Then there’s the album’s original artwork by Peter Kependa, done in style similar to the infamous Jamaican dancehall illustrator Wilfred Limonious, interpreting the album’s title and primary theme; the burden of financial inequality.

In this sense the album is political, but the theme is extrapolated and explored through its impact on personal life; love, marriage, social status, and diet. The album is full of cautionary tales, folklore and references to magic, aspects of Zambian culture simultaneously mystifying and alluring to outsiders, part of what attracted Western readers to Nigerian writer Amos Tutuola’s hallucinatory Yoruba folktales. After becoming a household name in Zambia for his music, writing, and television appearances, Smokey Haangala died at the age of 38, the very week his book The Black Eye was published, abruptly ending his brilliant and ascending career. We are lucky to have his inimitable work to remember him by, Aunka Ma Kwacha resting comfortably in the pantheon of re-visionary works by Rodriguez, Kissoon Ramasar, TJ Hustler, and William Onyeabor.

2LP Gatefold Sleeve.

Lost Ethnography of the Miscanthus Ocean” contains six of their earlier works from 2013 to early 2014. The original release was on cassette from Guruguru Brain which was sold out less than a month. There is a new added D2. Miscanthus Ocean only for the LP version. The album is dedicated to Grass Mountain and the incredibly hot, humid summertime in Taipei. This is also the echo of their instrumental trio period before they moved on to digital composing.

Band Info:
Formed in Taipei, Taiwan in 2013, comprised of member Lu Li-‑Yang and Lu Jiachi, Scattered Purgatory is a name
derived from a Taoist ritual which expiates the souls of the innocent from a state in between life and death and then at last, release.
Growing up in Taipei, where two wheeled transportations are popular, the basin city of such population density and humidity had
inspired their sound distinctively differentiates from the US west coast desert drone. If we use Taiwan new cinema wave in 80s as
the analogy, the massive use of longshots of those films expressed a different halo from the Western Spaghetti; Scattered
Purgatoryʼ’s sound expresses soundscape to the world by using a familiar approach ‒– but with an oriental narration geographically
and spiritually.

Following on from the release of a spilt EP from rising stars Gramrcy and Gaunt late last year, GlassTalk Records returns in 2019 with the sophomore EP from Bristol's Henry Greenleaf, "Patent".

The unassuming producer has been making waves with his bassy 130bpm productions which seem almost custom-made for the later hours of dark club settings.

Since his debut release on Par Avion last November, Greenleaf has been focused on increasing the sonic scale and clarity of his work; something that's apparent on the whole of "Patent" but especially on the opener, "Inch". A true 'creeper' of a track, the groove and harmonic arrangement of the 3-minute build-up is somewhat

entrancing but then gives way to a head-wringing breakdown.

True to his previous output, Henry doesn't sit still stylistically on "Patent". The EP's second track, "Tare", moves away from the 4x4 structures of "Inch" and into more syncopated territory previously occupied by producers like Mickey Peace or Paleman. "Tare" is a masterclass in polyrhythms with all manner of kicks, claps and vox samples skittering over each other. This deft use of drum programming is complemented by serene and uplifting synth sections, cleansing the tonal pallet before the beat forcefully drops back in.

On the B-Side, "Caved" keeps the energy and the tempos high with supremely processed high hats and a rumbling low-end landscape. Here Henry Greenleaf's adoration of Paula Temple's music shines through more than ever. Much like her output, it's kind of hard to know which way is up in "Caved" with its ever-shifting

palette of sounds and grooves.

Closer and EP title track "Patent" is probably the vastest song Greenleaf has created during his recent mission to grow his productions in scale. It's a mammoth techno track with a pulsing low-end juxtaposed against some sporadic & icey synth pads.

This release solidifies Henry Greenleaf's already hard-to-dispute status as one of the leading lights of the 'Bristol sound'. Almost impossible to define; his work sits in that amorphous sweet spot where techno, dubstep, garage and a load of other UK influences bleed into each other to form something unique. Put your headphones on and let the grooves swallow you up.

Following the Stardancer EP and his remix for All I Need To Get High by Damian Lazarus & The Ancient Moons, Ae:ther unveils his most accomplished and daring work yet on the highly anticipated debut album Me released on Crosstown Rebels. Blazing a trail with his natural aptitude for crafting emotive, captivating compositions that have landed him releases on Crosstown Rebels Afterlife and Fabric, Ae:ther presents his debut LP. The album is a painstakingly produced collection of haunting melodies and narcotic rhythms that display his love and inspiration for ambient electronica, deep underground music and introspective atmospheres, culminating in dreamlike soundscapes programmed with taut percussion. The album begins on Stardancer, setting the tone with gentle keys and space influenced licks that portray a cosmonaut ascending into the stratosphere. This moves into the glistening, atmospheric Finferli, where synths depict aliens conversing in a distant, just-discovered world. Sub-aquatic ambient fills We’ll be Together, boosts of energy and intricate melodies weave in and out of the vocal, locked to the dubby groove. Ice cold subtlety and the otherworldly electronics of Costes drip slowly like water down a pane of glass. A mood of relaxation and weightlessness continues on Tina, a tender beat combined with pattering echoed chimes. N.62, a special ethereal piece, features warm chords and reduced percussion, gradually developing like the morning sun rising. Mysterious, playful charm unfurls on Elf, progressive harmony teases towards a crescendo before dropping back into the hypnotic beat. Clark is light and airy, funky melody constructing an interplanetary anthem. Stimulating a brooding mood, fuzzy clicks and glitches dance on the deep bass of Spektre II, conveying dust spraying off the surface of a moon landing. The shimmering ripples of electronica on title track Me fuse with delicate human vocals creating a heart-warming, personal account of Ae:ther’s relationship with his instruments. Trademark bleeps and blips wash over natural broken beats in one last final call to his utopia in the album outro.

Analog Fluids of Sonic Black Holes is a new full-length by Philadelphiabased artist, poet, and musician, Camae Ayewa, who performs under the name Moor Mother.
A sonic black hole is a place where fluid moves so fast that it traps all sound.
To be entangled in its gravity is to feel the pressure of an unjust system -- corruption so powerful that it drowns out whatever you throw at it. Analog fluids are resistance -- individuals who work to create and preserve community in the face of immense darkness and cosmic pressure.
Begun in 2017 as a sonic counterpart to Ayewa’s art show at New York performance space, The Kitchen, Analog Fluids was refined through exhaustive touring. It tracks Ayewa’s emergence into an expanded artistic ecosystem, with contributions from a distinctive set of friends and collaborators like Justin Broadrick (Godflesh, Zonal), King Britt, Saul Williams, Giant Swan, and Bookworms

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

Thousand Knives Of Ryuichi Sakamoto's Landmark First Solo Album From 1978 Issued On The Better Days Label And Featuring The Synth Classics "plastic Bamboo," "end Of Asia" & "thousand Knives" Is Reissued Outside Of Japan For The First Time In Decades.

Wewantsounds is proud to announce the release of Ryuichi Sakamoto's first solo album originally released in 1978 on the soughtafter Better Days label. Sakamoto was a member of Yellow Magic Orchestra at the time but the group hadn't released their first album yet. Featuring Sakamoto on a wide range of synthesizers and keyboards programmed by Hideki Matsutake, and accompanied by a few musicians including Haruomi Hosono and Pecker, "Thousand Knives" was a blueprint for the YMO sound and includes cult classics that were to become live favourites. Save for a small-scale release in 1982, this is the first time the album is being released on vinyl outside of Japan. Remastered from the original tapes by renowned producer and engineer Seigen Ono, the LP edition comes with original artwork including OBI and 4p insert with new introduction by Paul Bowler. 1978 was a key year for Japanese music. Haruomi Hosono, one of the country's most innovative musicians had just formed Yellow Magic Orchestra pursuing the sonic experimentation he had started with his solo album "Paraiso." The album, credited to "Harry Hosono and The Yellow Magic Band," had been recorded between December 77 and January 78 and featured both Ryuichi Sakamoto and Yukihiro Takahashi. Hosono quickly invited both musicians to form YMO but before the group could release their first album, Sakamoto entered the Nippon Columbia studios in April 1978 with a plan. Sakamoto had become an in-demand session musician after studying composition at the Tokyo University of Art and had played in many key albums of the time: Taeko Ohnuki's "Sunshower" and Tatsuro Yamashita "Spacy" to name just two famous albums. This led to an invitation by Hosono to feature on "Paraiso". A penchant for avant-garde and improvisation had gotten Sakamoto interested in Electronic Music early on and with “Thousand Knives”, he decided to get Hideki Matsutake on board as he had mastered the art of synth programming following a stint with Electronic Music pioneer Isao Tomita. “Thousand Knives” took several months to record as Sakamoto would be busy during the day with his session work and would only record at night. Named after Belgian-born poet Henri Michaux’s description of a mescaline experience, the album is a reflection on how synthesizer technology might come to change the face of music. The first side conceived as a long suite opens with the title track and a recitation of the Mao Zedong poem "Jinggang Mountain" filtered through a vocoder, before morphing into a mid-tempo synthpop instrumental. It is followed by "Island Of Woods", a ten minute track buzzing with insect-like synth sounds reminiscent of the tropical exotica of "Femme Fatale" on “Paraiso” (also featuring Sakamoto). Side one ends with "Grasshoppers," a beautiful acoustic piano melody underlined by a subtle synthesizer soundscape. Side two opens with "Das Neue Japanische Elektronische Volkslied," acknowledging the influence of the German sound spearheaded by Kraftwerk. The track features a mid-tempo metronomic beat skilfully intertwined with a Japanese folk sounding melody. The album ends with two catchy uptempo synthpop tunes in the form of "Plastic Bamboo" and "The End Of Asia," which both became staples of YMO’s and Sakamoto's live shows. Although "Thousand Knives" sold modestly upon release, it was hugely influential in setting the agenda for what was to follow. YMO's sound included various influences from its three members but there is no denying “Thousand Knives” paved the way for the group's Computer Music sound. Thousand Knives remains a fascinating insight into the making of a music revolution.

This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed PAREDO EP compilation (TAL12), which has been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the SUPER MILD split album is the second outing by KOPY and TENTENKO on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music.

TENTENKO is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BIS. Immediately after her departure from BIS in 2014 she commenced work on her solo project under her artist name TENTENKO. Since then she has radically reinvented her music away from glossy J-POP towards weird and industrial rooted dancefloor. TENTENKO first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band HIJOKAIDAN.

For a few years now KOPY has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name KOPY very much originates from this "concept". Apart from a few performances at Düsseldorfs famous nightspot SALON DES AMATEURS, she has been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018. Her sinister dancefloor mystique is heavily steeped in the free spirited noise and rhythm cultures of her hometown.

‘Green & Gold’ is the second collaborative release from Mr Key & Greenwood Sharps, the long awaited follow up to their
critically acclaimed 2015 album ‘Yesterday’s Futures’. The record was written and recorded between Greenwood Sharps’
cottage in the verdant English countryside and the off grid Finca in the foothills of the Andalusian Sierra Nevada, Spain where
Key is based.
The title has multiple meanings none of which are anything to do with weed or money. First and foremost, green and gold are
the colours which synesthete (a person who sees sound) Greenwood Sharps, composed the record in. It also alludes to the
dialogue between the green of the UK and the dusty gold of Andalucia which created the project. Finally green and gold speaks
of the dynamic between the sun and photosynthesising organisms, the driving force of life on earth.
‘Yesterday’s Futures’ took the listener on a meandering journey through a vast landscape of moods, sounds and ideas,
leading ultimately to redemption and the possibility of resolution. Thematically, ‘Green & Gold’ picks up where ‘Yesterday’s
Futures’ left off, but structurally it takes the opposite tack; an extended exploration of a single ubiquitous idea: universal love for
all things and all people and the challenge of maintaining these shiny ideals in day to day life, as our cynical side reasserts itself.
Key’s first output after an extended hiatus from releasing music makes it obvious that during this time he continued honing his
craft. The unique perspectives and disarming honesty which set him apart from his peers remain, but his technical prowess and
capacity to convey sentiment are notably enhanced. The same applies to Greenwood Sharps, who’s masterful production has
risen to new heights yet still maintains the rich and subtle sonic palette he has become known for.
Dropping alongside the EP is a short film featuring the works of long time collaborator Jamie Johnson, the man behind the
artwork for both ‘Green & Gold’ & ‘Yesterday’s Futures’. The short film is the visual counterpart to the EP and serves as the
perfect introduction to the world of ‘Green & Gold’ as it visually explores all the themes present in the music & provides a snap
shot of the incredible tracks on offer.
In a troubled and busy world, marred with anxieties and uncertainties, ‘Green & Gold’ comes as a breath of fresh air and offers some valuable food for thought for those searching for real heart felt substance rather than the sanitised, individualised &
commodified norm we have all become accustomed to.

Adapted Vinyl was a UK based techno label active in the late 90’s that picked up regular DJ support from taste makers of the time ranging from Jeff Mills to Mr C.

This, the label’s 7th record disappeared before a public release when the Integrale Muzique distribution company went out of business in 2008, but now gets its first official release date after years of very limited availability

Label founder Suade is the artist behind this release and these days he is best known as a highly-sought-after mastering engineer working for artists like Dense & Pika, Paranoid London, Jamie Jones and Vitalic.

Focusing his energies into family life and the fine tuning of other peoples music it’s rare to see Suade’s own music on a new release, but this hasn’t stopped him from collaborating on original tracks with the likes of Magda and Radioactive Man in recent years.

The EP has four contrasting tracks all with different moods and tempos all blended with Techno’s classic motoric drive.

With it’s absence from the usual music marketplaces creating something of a mystery this record ended up receiving a new, unofficial name on Discogs - The Citadel EP which is a title taken from the broken-beat second track on the B side of the record.

The Citadel is just one of the highlights on this eclectic EP, as it’s a Latronic Notron sequencer workout that patiently deploys layered synths in ever-shifting cross-rhythms for a languid 5 minutes before its deep, underpinning bass arrives evoking desert travel and arrival.

Baikal, named after the huge freshwater lake in Russia, is another stretched out meditation on tone and harmony acting as a foil to the delicate and vibrant Latin American percussion that filters in and out through a massive stereo Moog Modular system creating an energetic yet static, ritualistic atmosphere.

Trajan - the most driving track on the EP, gives a nod to the Probe era Richie Hawtin sound with a touch of Drexciyan melodics with shuffled percussion and bleeps over a snaking TB303 shaped bassline where the classic Acid box is given the role of control sequencer only commanding the thick, dirty oscillators of the big Moog.

A1 track Felix is a contrast yet again. A big room melodic Techno piece with another massive bassline and an almost orchestral level of layering, building to nine counter-melodies in total before letting rip with a classic TB303 acid line that builds from the heart of the track.

Hollie Kenniff is a Canadian-American electronic musician. The Gathering Dawn is her debut solo album .
The album, which is her first ambient proclamation, displays a sprawling looseness in sharp contrast to her works as one half of Mint Julep with husband Keith Kenniff (Helios, Goldmund).
The Gathering Dawn wistfully utilizes glacial synths, blurred out guitars and Hollie's melancholic vocal plumes as a basis. The album finds Hollie effortlessly folding classic ambient motifs in with minimal modernist brushstrokes.

The Gathering Dawn will be out on November 15th on limited edition 180gm pink vinyl and compact disc.

It took Mr Raoul K more than three years of work inside and outside the studio to complete his first album for Compost Records. His first goal was to show all the musical influences he came across during his time in Ivory Coast. Ivorian music has incorporated musical traditions and instruments from East-Africa, West-Africa and from Central Africa – a real musical melting pot.

Mythology for the posthuman age. From "The New Kind" to "Posthuman Wonderland", Simon Grab's album "Posthuman Species" is a sonic journey through an astonishing land of fragile feedbacks, pulsating drones and opulent outbursts of noise.

Recorded on a no-input-mixing setup consisting of low frequency oscillators, filters, analogue effects and a mixer patched with itself, the album sneaks up on dub and leftfield electronica from the side. Over time, the self-oscillating setup falls in and out of tune with itself, emphasising its transient nature. The album is a work of science fiction, telling the story of a time when "The New Kind" shapes its own wonderland.

Swiss sound artist and musician Simon Grab explores new grounds by negating assumed borders. In his recent work, he focuses on reduction, and the peculiarity of self-referential systems.
The album "Posthuman Species" follows his recent EP "Extinction" on -OUS. His "Diamonds EP" in collaboration with Togolese rapper Yao Bobby and Asian Dub Foundation's Dhangsha releases on Bristol's LavaLava Records in September 2019. Simon Grab's recent works includes "Hirnmusik 1 & 2", in which he dives deep into musical imagery by transferring his sonic ideas directly from his brain to vinyl.

The vinyl LP comes with a printed inner sleeve designed by Hammer and a download card that includes the digital only tracks "Transformation" and "Posthuman Wonderland".

Death Is Not The End offer up a vinyl reissue of Louis Johnstone aka Wanda Group's LP 'Tough Cunt', recorded under his The Hers alias and originally released on Sex Lies Magnetic Tape in 2012.

Funky soul-jazz organist Caesar Frazier crafted superior Hammond funk. 75, his second LP, is a rare gem. It’s comfortably his greatest artistic statement.

The follow-up to Hail Ceasar!, it’s a taut, grooving set that expands his sound and, put simply, it’s got better songs. The key elements of his debut album are all there – production from maestro Bob Porter, accompaniment from hip players (Bernard “Pretty” Purdie, Cornell Dupree, John Tropea) and arrangement from Horace Ott - but the overall sound is elevated. The tightly jamming, expressive jazz-funk makes for a richer, fuller, more satisfying experience.

75 is a mixture of hard-driving originals, deeply beautiful slower numbers to vary the tempo and a couple of classy covers. The crazy bombastic “Mighty Mouse” - a riot of horns, organ and in the pocket drums - became an acid jazz classic at Dingwalls and it’s easy to see (hear?) how. A blissed out, lushly instrumental take on Seals and Crofts’s “Summer Breeze” follows, perfect for those sunshine sets.

Side A closes with the heavenly “Sweet Children”. A loping, funky jazz masterpiece famously sampled by Kanye West for Common’s “Real People” from Be. It opens beautifully, with soaring sax and a funky horn section combining with weightless keyboard tones atop snapping drums. Unsurprisingly, the excellence endures right through to the end.

The B side opens with perhaps the album’s most famous track. "Funk It Down” contains the familiar “I can feel the funk” vocal refrain throughout. But it’s the gorgeous, insouciant bridge that you should all know and love, having been used as the hook for Gang Starr’s “Ex-Girl To Next Girl”. A great cover of Stevie Wonder's “Living for the City” comes next, with an unforgettable bass-line which anchors the entire heavy rhythm section workout. Dizzying organ, triumphant horns and sun-dappled guitar grooves combine to create “Walking On The Side”, rounding out a pretty smoking set.

This is one of those rare 70s funk-soul-jazz LPs on which a bad track cannot be found. It’s all essential. So of course finding original copies on vinyl at affordable prices has been tough for years.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with painstakingly reproduced artwork by the Be With team, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

Blaue Blume are a Danish alternative art pop band with a deep connection to the romanticism of the early 80s UK scene. Referencing artists such as Talk Talk, The Smiths and Cocteau Twins, it's clear their influences are with the more sensitive, magical aspects of music - and the eternal questions of love, life and death. Following two singles (Lovable and Vanilla) the album Bell of Wool is finally with us. It’s suitably enchanting from start to finish. Two themes dominate Blaue Blume’s new album Bell Of Wool, darkness and adventure. With the record mostly made before singer Jonas Smith slipped into a depressive episode, the album’s lyrics and moods draw pictures of the darkness, anxiety and tension that would mark Smith’s depression. Sonically, the album sounds a distance away from anything they’ve done before. Indie and electro pop and rock are out, and instead the album is crafted from soft, glowing synthscapes, dawns and skies transformed into sounds. Even on hints of their older work, like on the acoustics of “Rain Rain”, the synthwork comes into the picture and swells the song into something bigger and more majestic. Opener “Swimmer” introduces the listener to the softness and subtlety of the new sound, whereas songs like “Morgensol” and “Bombard” show it at its biggest and more grand.

One of the greatest enigmas of the music scene in mid to late 1970s Harare was The New Tutenkhamen, a band which played an eclectic brand of Zimbabwean township music combining
traditional rhythms and western influences. The band included some luminaries of Zimbabwean township music. Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano’s long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher “Chex” Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen’s most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax. The New Tutenkhamen recorded I Wish You Were Mine at Teal Records, produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic Skokiaan, and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the
heavyweight producing talents of Matema and the writing chops of Josamu, The New Tutenkhamen band created an album howcasing various musical styles popular at the time. From the afro-jazz jam session aesthetics of “Tutenkhamen Theme”, “Big Brother alcom” and “Forever Together”, to the almost Van Morrison-sounding “Sunday Morning”; from the upbeat rock ballad “True Love”, to the funk-infused dance song “Togetherness”; from the bouncy jazz
exhortations to work hard in “Ane Nungo”, to the brassy, raunchy foot-stomper “Me & Dolly”. The title track “I Wish You Were Mine” is a ska-infused ballad that wouldn’t be out of place in post-war
Birmingham, while the star of the show is “Joburg Bound”, itself a fast-paced rock piece with Motown undertones and funky guitar lines. As a collective effort, I Wish You Were Mine provides a fascinating insight into a fraught time in Zimbabwe’s history, and the bands plying their trade through the turmoil, making music for young people, by young people.

Ross Ferraro is a seasoned producer from Australia that has been making waves as 1/2th of The Posse, - after a Posse remix on the Pulp side of things, Ross Ferraro now presents his first outing as Rosario on the Saft mothership. "Keep On EP" contains three originals and a remix by Adam Feingold's under his Ex-T moniker.

The title track is a breezy affair that combines crazed synth swirls with oddball disco FX and a tight section of drums which serves as the perfect opening track for this overall outgoing record.

"Ex-T's Phunqy Mix" starts off in a more timid way, but as the name suggests - quickly gets more extrovert and freakish. Vocals and experimental sounding blips and blops take over and cleverly come together in an original fashion.

"Lo" revolves around an tribal sounding chant, chord hits and an array of fx, and quickly becomes - while remaining quite stripped down - the most euphoric track in this collection. The chords sit beautifully with the bouncy drums and evolving arpeggiator that floats on top.

"Follow Me" is a silky smooth work with a soothing vocal and piano sample that work as the main sounds. Rosario is constantly altering the bass sound throughout this cut and creating a modern boogie ambience. The trance inducing synths suggest a relaxing evening atmosphere and cause for "Follow Me" to be the perfect farewell cut.

2x12"

Milan Zaks' latest solo effort is coming out on Help Recordings.

Six compositions pressed onto two pieces of vinyl.

Assume your position, plug in or put on, play and await what could be described as the midday rebooting of your mental-balance. This work has not just one function. But it functions nevertheless. How? Find the time to time the find.
No one else will do it for you

71 minutes with full-on daydream catalysing, consciousness examining, sonic explorations that will take you in, out, to and through.

Recorded and produced in the Safe Studios during December '18 - March '19

Distributed by Triple Vision

Artwork by DJ C

Plants Dub is an art project of the homonym collective based in Lecce - Italy formed by Maria Teresa Santoro, art historian and light designer, Francesco Andriani De Vito aka Dubin dj and producer, and Andrea Presicce aka NoFinger Nails, dub master and producer. They work in Plants Dub project in a mutual exchange of skills so as to be able to research in a way where art and science has no borders. Plants Dub connects electronic music and bio-acoustic researches. Through samplings and synthesizers Plants Dub produces an inter-species communication in order to form a complete human-plant audio exchange. The album was composed using melodies generated by plants thanks to a special sound device that allowed the translation of the plants' electrical impulses into sound. Plant sounds were recorded between March 2018 and July 2019 in Salento. The musical production has followed a double register: in Acanthus Mollis, Morus and in Phoenix Canariensis the vegetable melodies overlap to specially composed dub rhythms, in Laurus Nobilis, Olea Europaea and in Quercus, the tree melodies are translated into ambient sounds.

The ridiculously talented Christopher Rau goes a little harder than his normal sonic spectrum for his debut release on Drone, delivering two fantastic techno excursions with this strong double hitter.

The tile track is Beasts: harsh, dripping, and cold. Fans of Pan Sonic won’t be disappointed.

Riggleysz exposes Rau’s Deep House sensibilities with a percussive, dj tool that breaks out into an infectious techno work out.

Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

Our imprint marks its five years anniversary this year and to celebrate it’s offering up five special various artist packages across 2019 limited to 250 copies each, featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..
Here though we see the focus on the core family as well as some new additions, celebrating the artists involved over the past five years and looking towards the future with some fresh, hotly tipped acts.

For the fourth installment in the series the label welcome’s Berlin’s queen of House Cinthie onto its roster with ‘6am’, as the name would suggest a heads down, emotive slice of House aimed at those special moments in the early hours of the dance floor, fusing a robust analogue drum workout with bright strings, jazzy piano lines and driving low-end.

Akiko Kiyama’s ‘Dirt Specks’ follows, a typically unique offering from the Tokyo based experimentalist, built around swirling bass notes, hypnotising processed vocals and glitched out percussion before label co-founder Red Pig Flower’s ‘Mental Adventure’ brings eastern-tinged plucked strings and vacillating atmospherics into the limelight alongside rounded subs and a bumpy rhythmic drive to create a smooth, hypnotic trip.

Ok, this one is different from the usual standard of re-edits releases on GAMM.

Swedish duo Pomona Dream from Gothenburg is no re-edit outfit but an official artist. The main track 'Blame It On the Groove' is a vocal rare groove jam which is based on Aged In Harmony's highly sought after 'You're A Melody'.

Together with catchy soul/pop vocals from Pomona Dream and tasteful additional production this simply just works...yup it's that good.

To make the case even stronger Pomona Dream got an extra treat on the B-side. 'San Francisco' got an uptempo electronic / hip hop feel that is very modern yet very timeless with its simplistic vocals and synth(ish) melodies.

It's basically a solid song with an edgy production. All in all, this a real nice 7" inch with lots of character. Check check!

“This album will be part of the everlasting impact the Tribe collective had on our culture, on our hope and possibilities.” - Herb Boyd

Strut and Art Yard present the first compilation bringing together the modern era recordings of Tribe, Detroit’s acclaimed independent jazz collective.

Tribe began as a musical ensemble in 1971 co-founded by Saxophonist Wendell Harrison and trombonist Phil Ranelin that soon expanded into a broad amalgam including a live collective and independent record label. Ignored by the mainstream, many African American jazz artists in Detroit and across the US began creating their own small imprints and Tribe emerged alongside other cultural entities to express selfdetermination goals in the city: saxophonist Ernie Rodgers with his sessions at Rapa House; John and Leni Sinclair’s Artist Workshop; Bruce Millan’s Repertory Theater; the Hastings Jazz Experience and the Strata Corporation led by Kenny Cox. Harrison’s ideas of independence, self-determination and education were central to the Tribe ethos: “I might be possessed with a drive to get the knowledge out,” explained Harrison, “because I see this as sustaining the future of the jazz diaspora, the jazz tradition.” Tribe album releases like Harrison’s ‘An Evening With The Devil’ (1972) and Harrison and Ranelin’s ‘A Message From The Tribe’ (1973) became early ‘70s milestones in Detroit jazz.

In 1977, Harrison teamed up with pianist/composer Harold McKinney to form Rebirth Inc., aided by Detroit cultural warrior John Sinclair, a continuation of the Tribe community ethos. Musically, it formed a link with radio station WDET and began an outreach program to teach children and to publish Harrison’s jazz instruction books. Harrison continue to record extensively as a leader with his own labels, WenHa and Tribe, documenting the collective through sessions led by Phil Ranelin, Harold McKinney, Pamela Wise and more.

The ‘Hometown’ compilation places the spotlight on this later era of Tribe and Rebirth Inc., with rare and previously unreleased recordings from Harrison’s WenHa / Rebirth Studios and the SereNgeti Gallery And Cultural Center. Among many highlights, Harold McKinney and his “McKinfolk” family of musicians contribute the pulsing ‘Wide And Blue’ and dance celebration ‘Juba’; Phil Ranelin re-works his classic ‘He The One We All Knew’; Poet Mbiyu Chui (Williams Moore), pianist Pamela Wise and percussionist Djallo Djakate spark on the uncompromising ‘Ode To Black Mothers’ and the rallying cry of ‘Marcus Garvey’: “If we ever get together we will astound the world.” Harrison himself evokes the power and majesty of juju on ‘Conjure Man’.

‘Hometown’ comes as a 2LP gatefold and 1CD digipak fully remastered by Technology Works from the original session recordings. Both formats include exclusive sleeve notes by journalist Herb Boyd with rare photos from Wendell Harrison’s personal archive.

15 years ago in a basement in the Bronx, I attended a bunch of sessions with my long time collaborator and friend, Ray West. Ray is a lifelong DJ and home producer, and only in 2012 did he begin to release music via his well-respected underground label, Red Apples 45. He had a main studio but also this much smaller room in the back which I dubbed “Studio B” in the tradition of any multi-room recording facility who would have a second “B” or third “C” room, and the name stuck. Despite the much lower-level quality equipment in that room, like a Yamaha MiniDisc board burning mixes realtime to CD-R, there was a certain vibe to it that inspired creativity, and a simplicity that encouraged faster working methods. One of the groups that worked there was called Results. Their philosophy was whatever happened in the moment was meant to be on tape and they didn’t spend hours perfecting it. This is rather opposite to how I work in the studio and especially on my own material, of which I can be thorough to the point of finishing less than I’d like. Through working there I realized the potential of having a smaller, simpler second setup, one that was not related to my work as an engineer, or my artist career as a performing electronic musician and techno producer.


Fast forward to 2016 and I would have both a professional studio outside of the home and enough spare gear to make a smaller studio based around a 4-track cassette recorder in my living room. This was a place where I could make whatever I wanted, whenever I wanted, without the disturbances of clients, the chaos of 30th St., or any genre restrictions that I might place on myself in the big studio. I spent some time tracking down a functioning Akai MG614, the holy grail of 4-track recorders. It’s a large machine, making even the MPC3000 look small on the table next to it. With no computer, things were focused. I went through a couple of variations of the setup in my living room beginning with an MPC1000, DSI Evolver, Sonic Potions LXR, Bastl Microgranny, and a variety of classic effects that I didn’t keep in the rack at Butcha Sound like the Yamaha SPX90 and Ensoniq DP-4, plus a bunch of pedals and eventually a Korg Karma keyboard. Then I had the good sense to bring home the Emu SP1200 I was borrowing from The Martinez Brothers. Eventually I brought home the MPC3000 as well. Another thing I kept connected was a Zoom field recorder that captured sirens, street noises, and me playing the upright piano in my apartment live to tape. Results. These recordings were made in Hell’s Kitchen from July 2016 - May 2017 with the window open and the sounds of my Manhattan block inspiring the takes. — Phil Moffa 2019

I felt totally unrestrained making this album” says Lindstrøm about his 6th solo album On A Clear Day I Can See You Forever (a title inspired by the 1970’s musical On A Clear Day You Can See Forever starring Barbra Streisand). “I’ve listened to Robert Wyatt’s solo albums and his Matching Mole’s debutalbum a lot lately. It so effortless, fearless and free. And not insisting. I was very inspired by this” In the autumn of 2018, Lindstrøm composed a commissioned piece for Norway’s premiere art centre Henie Onstad Kunstsenter. Sketches from the three sold-out performances became the foundation for the new tracks. “I decided to keep some of the initial ideas and develop them further. All the songs are based on long one-take recordings”, says Lindstrøm “Also I’ve been very conscious about the music on the album not exceeding the length of the physical limitations of the vinyl-format, finding that 2 long tracks on each side were the perfect balance for this album” This is also the first time ever Lindstrøm has made an album entirely with hardware instead of computer-plugins. He utilised thirty plus synthesizers and drum-machines during his performance at Henie Onstad Kunstsenter. The experience inspired him to embrace a similar set-up when making the album. “The joy of making music on actual physical objects and devices makes a lot of sense to me now. After working on a computer for over 15 years, I don’t think I’ll ever look back” he says with an almost childlike excitement. It was the accessibility to his enviable collection of music gear – largely consisting of sought after synthesizers – that allowed Lindstrøm to experiment so freely with ideas and soundscapes. “The title track is a 10-minutes improvisation on the Moog Memorymoog. I liked the loose feel so I decided to keep everything unedited. The other tracks were written and arranged prior to the recordings. I then set up the instruments needed for my sessions, then recorded more or less everything in a single take. I’m really happy with the way this album came together.” Lindstrøm has cited classical music as an inspiration the last couple of years “I used to study classical music at school. Back then I was listening to a lot of Opera, orchestral music and solo music on the piano. Listening to classical music again has been a revisit to my childhood days, just like I did when I embraced the 80s in the early 2000s”
Once embracing the freedom and the joy of making music without inhibitions, immersing himself in to the physical realm of making music with hardware, Lindstrøm learned something new not only about music – but about himself.
“I guess I've been trying to re-educate myself”

E-Missions co-founder P.Leone returns to Radio Slaves’ Rekids Special Projects dropping four high grade techno cuts. Known for releasing on labels such as Work Them Records and his own co-run E-Missions, P.Leone has firmly become of the most exciting artists within the inner circles of driving underground music. The Berlin-based American artist and Radio Slave collaborator is now welcomed back to Rekids, bringing his versatile sound that encompasses dark techno and groove driven house. 'Beyond Me' opens with eerie warehouse glitches, cavernous drums that ring out into a huge open space while unsettling pads and textures grab your attention, 'Hard to Find' is a rugged, relentless cut with perfectly forward moving rhythm with detailed edgy synths that keep you in suspense. 'Lenox' continues the energy with distorted drums, hitting hard beneath a blistering groove, 'The Genes is of A Flower' then takes control as an atmospheric track with structural synths.

Detroit imprint My Baby returns with its third musical offering, a split release from two Motor City heavyweights, in the form of Rex Sepulveda and Acid Pimp.
This fledgling vinyl only label has got off to a superb start showcasing music from Detroit locals on its first two stellar Eps. With a focus on the underground sound of the city it resonates with global fans of quality house and techno and continues to do so here with four outstanding new tracks.
First up is Acid Pimp, a DJ & producer who has been an integral part of Detroit’s music scene since the early 90s. His distinct sound saw him release a string of classic twelves on the Cheshire imprint, whilst his DJing took him from the warehouse parties of the city to international clubs like Tresor. He founded the ‘Friction Detroit’ night in his home town, hosting the likes of Ben Sims, Regis and Chris Liebing, and he co-founded the M-Nus sub label D- Records with Richie Hawtin and two other friends. The first of his two offerings is the superb ‘Re-Ak-O-Pan’, seven minutes of intense, industrial tinged techno with taut drums working alongside panning synths and static machine noise to superb effect. This is complemented by the looped excellence of ‘Lupe 09’, a rolling groove that is sure to lock in any dancefloor.
The flipside sees another of Michigan’s sons in the shape of Rex Sepulveda. Rex has a musical history dating back to 90s, he was one of the aforementioned friends that launched D-Records with Acid Pimp and Richie Hawtin and has released original and remix material on a number of imprints. His first cut here is ‘Rex presents Dvda’ a deep, brooding affair populated by rubbery, acidic synths and razor-sharp percussion. This is a pure early-hours number that is sure to twist up the floor wherever it’s dropped. Closing the package we have ‘Rexie’s Orgasm’ a spacious, and understated track that perfectly captures the echoing sounds of a cavernous warehouse space.
This is a sterling package of quality underground sounds from the city that sparked the fire.

Kerrie makes her debut for DBA with four tracks devised originally for her high impact live sets. Other than a cut on highly regarded London label I Love Acid's 10th anniversary comp Kerrie is a relative newcomer but the ten years she has put in honing her style immediately shine through in her music. The EP ranges from Before Calm's bug-eyed, angular swagger replete with a hair raising distorted hook, to Orb Weaver's peak time techno roll via Acid8 Slider which is one of the most original 303 tracks to come out of the UK in some time and Curveball, a bolshy electro leaning stepper.

Her influences range from current UK artists like Blawan to Japanese artists such as NHK yx Koyxen & Hiroaki Iizuka and pioneers like X101, Joey Beltram and Surgeon. The running thread in her taste is a penchant for high energy, raw banging grooves with a machine funk flavour, and a love of analog sound both as a producer and DJ. No doubt this stems from her time spent working at legendary Manchester shop Eastern Bloc Records where she joined in 2013 and has worked ever since. Honing her skills through her DJ residency for EBloc Kerrie has gone on to become a regularly booked act for the UKs most prestigious underground club nights. As a live performer she has also toured the UK since 2017 with the live show being met with high acclaim. Her live set for Freerotation 2019 has been one of the festival's most talked about debuts.

It’s the unexpected that fascinates us, letting our curiosity grow stronger than the urge for safety and control. The magic of new encounters and unplanned turnarounds helps us switch
off the autopilot of everyday life and grants us an unbiased, curious glimpse at ourselves and the world around us. In these brief moments we accept the chaos surrounding us, allow
ourselves to embrace it and see the beauty of it.
This delightful chaos is the vibrant fabric woven into “Pleasant Clutter”, the debut album of Vienna-based DJ and producer B.Visible. With an endless love for detail, he masterfully
condenses familiar and strange sounds into a fascinating collection of moments, each one in itself as beautiful as volatile – again and again you find yourself wanting to hold on to something
you’ve only just grown fond of, yearning to stay just a little longer. Leaving space for the unexpected, the album bit by bit reveals the beauty that lies in the harmony of the whole.
Using playful little melodies and decontextualized fragments of sounds, B.Visible conjures up a wide range of moods and emotions: he tells mesmerizing instrumental stories full of
unexpected twists and turns, evoking lively images within the mind. In constant flux between weightlessness and dead-aim beats, structures are being broken up and put back together on
the fly – always changing, always evolving.
Change as a constant and the symbiosis of contrasting elements are omnipresent on “Pleasant Clutter”, and beyond that. Running through the entire work of B.Visible, these stylistic devices have shaped the musician’s creative output over the years, and this distinctive sound has long become his trademark. Colorful Illustrations by Viennese artist Daniel Triendl complement the
music and add a visual dimension to the album, making the project’s intentions visually accessible.

With a third album, ‘Return To Telepathic Heights’, released this year on Gerd Janson’s Running Back label, techno outlaw A Sagittariun returns to themes of a space western nature with a closing epilogue, ‘A Fistful of Bitcoins’.
An extended player that traverses Tucumcari, Vietnam’s Black River, and the ultimate, and final leg, of the journey; to Devils Tower in Wyoming.


Vital Sales Points:
- full picture sleeve, designed by Jonny O (Rocket Recordings/Goat)
- global PR and marketing campaign from Hype Filter
- last A Sagittairun album for Gerd Janson’s Running Back label received excellent reviews in Mixmag, DJ Mag, The Wire & more…


Selected DJ feedback:
Robag Whrume – Good one!
Shanti Celeste – love this!
Nick Höppner – Sounding great
Brendon Moeller – Dope AF!
Johanna Knutsson – Beautiful stuff
Ed Davenport – Some heavy stuff here, Road To Devils Tower is a special cut!
Bruce (Livity Sound) – Real digging the slow bits, proper gear!
John Osborn – The Sacred Chao is heaven!
Interstellar Funk – Really like ‘A Fistful Of Bitcoins’
Neil Barnes (Leftfield) – very nice and imaginative EP
Fabrice Lig – Really nice EP, love it
DJ Octopus – Great one!
Vincent Neumann – Ooh, so nice!
Ell Weston (Banoffe Pies) – Superb selection
Cormac – Black River is super nice
Cooper Saver – wow, love these
Bill Brewster – lot’s of nice gear on here, good work
96 Back (CPU) – wonderfully bleepy and dubby
Tensnake – lovely release
Kirsti (Null & Void) – So consistent, another great release from A Sagittariun

A mind-bending blend of modular synth performance, Anthony Baldino’s dynamic Twelve Twenty Two LP is a treat for all ears. Baldino’s transcendent album is available both digitally and on vinyl on Thursday, October 24 via MethLab Recordings.

“The record focuses heavily on the modular synth as a composition tool and instrument. I originally approached this as a collection of tracks that were recorded straight out of the machine with little to no editing. The work flow of generating a complex patch and then figuring out the overall arch and performance of the piece was really exciting. The Tip Top Audio Circadian Rhythms was a key compositional tool in this process and was used to organize the overall structure of these pieces. It wasn’t until I stumbled upon a patch, the opening synths in ‘Fading Quickly Now,’ that I went back to how I used to write and shifted to harvesting sounds and rhythms from the modular and arranging and editing them in the box. That patch was originally created for a different track on the album, which I’ll let you find, but IH ad accidentally changed the clock rate before tearing the patch down. Hearing it in that new way triggered a whole new thought process and emotional reaction for me.” - Anthony Baldino

Originally approached as a collection of tracks recorded straight out of Baldino’s machine with little editing, Twelve Twenty Two is a complex piece of thoughtful modular work. A truly stunning display of masterful sound design, Baldino’s sound resonates with listeners from first note to last. Existing in a unique space where ambient sounds meet vivacious bass, Baldino seemingly exists in an impressive league of his own, with Twelve Twenty Two standing apart powerfully from the masses. With an already powerful arsenal of artists and releases, MethLab Recordings adds a brilliant 10-track addition to their already wild playbook.

“From the beginning, it was important for me to keep this record musical and emotional and not just an exercise in technicality, so using both the modular and the computer to arrange felt really good both emotionally and sonically and created a different balance to the record that I really liked. Switching the process up a bit halfway through kept things interesting and I think the body of work really benefits from it. This record is split in half with performance based/straight out of the machine tracks and the other half organized in the box. But when listening back, the two approaches overlap so much that it’s hard to tell where one approach ends and the other begins.” - Anthony Baldino


About Anthony Baldino:
Born and raised in New York, Anthony Baldino is an LA-based composer and sound designer whose work spans an enormous range of production avenues. The likelihood that you haven’t heard his world is nearly impossible, with music and sound design in too many trailer campaigns to list, including Prometheus, Interstellar, Ex-Machina, Star Wars: Rogue One, and Avengers: Infinity War and End Game just to name a few. From there, his work ventures to the opposite pole of production with custom sound design based compositions for Dolby Labs mixed in Atmos, beautifully glitched out remixes, and continues on to mind-bending modular synthesizer performances.

With his debut artist release, he delivers a devastatingly beautiful album grounded in IDM that focuses on modular synthesizers/ While a vast amount of modular synth music is currently being released, this album goes far beyond the typical beeps and boops that one may expect when they hear “modular IDM record.” This record is as technical as it is emotive. Tasteful and incredibly detailed, Twelve Twenty Two bridges the gap between sound-design laden beats and cinematic motifs and ambiences. This record does not disappoint and is sure to become a favorite of electronic music fans.

The album opens up with a slowly unfolding melody that seems to be within grasp, but never actually repeats itself. Incredibly tasteful glitchy sound design leads us into a build that one would only expect to be in a movie, and then drops into a full-on sonic assault of impeccable drums and rich synths. From there, the record traverses a wide array of texture, time and technique. Closing with a track that makes you feel like you could actually reach out and touch the sound and float in its space, the sonic landscape created in Twelve Twenty Two is a true treat for ears.

Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner.

Very limited silver metallic and black swirl 2LP - Non-Returnable

Steve Von Till explains the idea behind the remastering; "Bob Weston (Chicago Mastering Service, and member of Shellac) worked closely with Noah on making these new versions sound as good as the possibly can. Noah has the most trained critical ear for fidelity out of all of us being an engineer himself. We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously.  The technology has come a long way since then and we thought we could run it through better digital to analog conversion and trusted Bob Weston to be able to bring out the best in it....This new mastered version is a bit more open, with a better stereo image, and better final eq treatment."

He continues about the original artwork..."Aaron felt he could create something that would unify the energy of both Jarboe and Neurosis in an elegant manner.  We let him do his thing and I think it definitely adds to mystery of the album and sets it apart from the rest of our catalog."

When two independent and distinct spheres overlap, the resulting ellipse tends to emphasise the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time - a sentiment which also rings true to some 15 years later.

Neurosis & Jarboe opens with a high-pitched whirring sound winding up as Jason Roeder's ominous tom-drum beat and Noah Landis' slinking synth line writhe in unison until Jarboe drops in, drawling in her characteristic, corrupted Southern belle voice, "I tell ya, if God wants to take me, He will." From there on in, the album is a series of abrupt shifts and cleverly juxtaposed themes that flows in a rhythm of its own. The sinister and ethereal sounds, vocal coos and electro-pulses of "His Last Words" seem like the perfect soundtrack to a David Lynch film. On "Erase," song parts are dissected and grafted one atop the other, continually building tension as Jarboe wails and yelps with Banshee fervor.

The project began with the artists working in seclusion, recording the elements that would best highlight their own characteristic integrity and personality, rather than either attempting to mimic one another's familiar elements. As recorded ideas were passed back and forth, the collaboration proved to bring out the most unhinged and urgent talents of all those involved.

Throughout the album, that signature "Neurosis note" - the sound of something simultaneously recoiling and erupting, the apocalyptic tone announcing the birth of a new world - reaches its apex and becomes evermore icy and eviscerating. Guitarists Steve Von Till and Scott Kelly trim their tones for cleaner, chorus-drenched effects layered between the thunderous distortion blasts of bassist Dave Edwardson. Likewise, Jarboe's operatic wail and other vocal contortions sound perfectly suited to the eruptive emotional fray of the music.

The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of "dance music," Neurosis & Jarboe redefined all notions of their past - and outlined the course of heavy music to come. It's interesting to look back through the lens of this release, and think about these ideas and concepts in the present.

Neurosis & Jarboe remains the meeting point of all art that takes us beyond ourselves.

Influential Spanish artist Coyu is stepping out on his own Suara label with a long overdue debut album entitled ‘You Don’t Know’ that is going to shatter all conceptions about him. Due for release this September 23rd, the 16 track affair showcases his broad range and takes in collaborators like Moby, Lazarusman, The Horrorist, Thomas Gandey and many more.

Coyu quickly rose through the ranks to become one of the most prominent names in underground dance music. The Spanish man famous for his love of cats has established his Suara label as a go-to outlet for the most essential house and tech tracks, as well as releasing his own expressive grooves on Cocoon Recordings, Diynamic, Bedrock Records, Turbo Recordings and MORE. Now he really stretches his legs across a fantastic full length album that goes way beyond the dance floor and shows many new sides to his sound. The artist has been working on it since 2012 and aims to show people that whatever they think about him is wrong.

Says the artist himself, “the album is named ‘You Don't Know’ because many people have a preconceived idea of who I am. Until now, maybe I wasn't smart enough to show them my roots, what I love and what I can offer to the music. I'm not just a DJ or a producer who can play or make grooves – I love many different genres and many different kinds of music. With this album I want to change that preconception.”

The album kicks off with a dramatic spoken word from legendary vocalist Lazarusman before exploring low slung and sleazy grooves on ‘The Three Chimney’, floaty light melodic and dreamy house on ‘Out of The Pain’ and more club focussed but just as dreamy fair on ‘We All Try’ with Mike Leary.

Proving he can do everything from poolside gems to peak time techno, ‘Fear Is Gunna Be A Player In Your Life’ is one to get you in a trance with its sonar like synths and rolling deep space drums. Thomas Gandey aka Cagedbaby then steps up to guest on ‘1+1’ which is a hands in the air piano anthem to pump the party, and ‘Wanna Do Right, Wanna Do Wrong’ is a techno cut with brilliantly energetic drum programming and a big, perfectly placed vocal sample.

Switching up the vibe is ‘I May Be Dead, But One Day The World Will Be Beautiful Again’ with none other than dance legend Moby. It is a heavenly track with break beats, angelic melodies and a celestial feel that leaves you refreshed. The second half touches on raved-up drum & bass, gurgling minimal techno and harder techno with mind melting acid synths. The Horrorist contributes to the banging ‘My First Pill’, while the techno journey continues with ‘Unite’ featuring Gabriella Vergilov before the album finishes on the fluttering ambient track ‘Insania’, with mad church bells and manic percussion all bringing things to a close in style.

This is a broad, adventurous album that covers plenty of music ground and takes you on a true electronic trip from one of dance music’s most accomplished names.

Black Truffle invite you to an evening of drunken revelry in the Batcave! After a chance meeting at a local supermarket in Poughkeepsie, New York, Joe McPhee and Graham Lambkin have performed together as a duo extensively in recent years, in addition to their joint work excavating some of the wildest tapes from McPhee’s archive for Lambkin’s now defunct Kye label. Live in the Batcave documents an evening the two friends spent together in the company of Joe’s brother Charlie and Lambkin’s son Oliver in November 2017 at Charlie’s house in Poughkeepsie. The LP captures seven increasingly drunken snapshots of the four shooting the breeze, playing flutes and whistles, drumming on anything at hand, and playing records.

Edited together in Lambkin’s distinctive style of lo-fi domestic tape collage, the multiple simultaneous cassette recordings of the shenanigans abruptly cut in and out and fall out of sync, creating disorientating, woozy echoes. Mics are bumped, stories are told, drinks are poured, text messages arrive, and AACM-esque flute jams are interrupted by violent bursts of laughter and wet-mouthed sound poetry. All the while, classic soul records play, initially in the background, but coming increasingly to the fore until the record culminates in a strangely moving free-associative singalong. Presented in a gatefold sleeve with extensive photographic documentation and liner notes from Joe McPhee, Live in the Batcave is a truly unique document that exists somewhere between free jazz, audio verité, performance art, and everyday life. File next to your copy of Das Kümmerling Trio. ‘Our music was born from the sounds of jazz, funk, soul, noise … sounds with no other reason so exist, except because they did, sounds which occurred like putting one step in front of the other to see if the way was clear to take the next step. The plan was, there is no plan, just start at the beginning, end at the end and party like it’s 1999’ – Joe McPhee

“This sound / synapse transposition is as haunting as it is beautiful—surely Grouper’s best.”—Tiny Mix Tapes
“If past Grouper releases have inhabited abyssal trenches and damp backwoods, here Harris takes us journeying across constellations and stars. Two of the most beguiling albums of the year, exquisitely realized and singularly evocative.” —The Quietus
“This music feels both spacey and expansive and also oddly intimate and grounded, the work of someone who has mastered her tools and knows how to get the most out of them.”—Pitchfork “Harris nds a way to dive deeper in simple and unassuming ways.”—NPR

“This sound / synapse transposition is as haunting as it is beautiful—surely Grouper’s best.”—Tiny Mix Tapes
“If past Grouper releases have inhabited abyssal trenches and damp backwoods, here Harris takes us journeying across constellations and stars. Two of the most beguiling albums of the year, exquisitely realized and singularly evocative.” —The Quietus
“This music feels both spacey and expansive and also oddly intimate and grounded, the work of someone who has mastered her tools and knows how to get the most out of them.”—Pitchfork “Harris nds a way to dive deeper in simple and unassuming ways.”—NPR

Field Recordings, carefully chosen percussion, electronic spice and acoustic ingredients. This is the foundation for every recipe that Bolivian Belgian artist Suso Perez aka Susobrino creates. In 2018, he presented his debut EP “Mapajo” on Global Hybrid Records. Since then he has won several awards; the “Champion Sound Beat Battle” and “Most Promising Artist” at the Red Bull Elektropedia Awards of Belgium. He introduced his creations to numerous festivals in Belgium and abroad.

His new album “La Hoja de Eucalipto” brings alive a more energetic and aggressive part of Susobrino and presents a work focused on the ethnic and world sounds, mixing his masterful percussion with electronic beats to create a unique and distinctive sound. For fans of the organic electro-latino sound of Chancha Via Circuito, Nicola Cruz and Dengue Dengue Dengue.

In this album Susobrino created a story of 5 beings looking for answers in their individual lives.
The first track “La Hoja de Eucalipto” is the ceremony right before the journey. It’s a three part composition to set the tone of the entire album: question, answer and interpretation.
“Despertar” (wake up in spanish) is the realisation of the journey these beings are getting into. The guitar interprets the rain as a cleansing. A fresh breath in, breath out.
“La Marcha” is the physical start of a long journey. They will be walking for days, weeks or even months. The exciting, courageous travellers leave their families and friends towards unknown lands that they never dared to enter. Many days of walking pass and they reach a new habitat. A dense jungle.
“Dispersion”. This brings tension and fear out of the 5 travellers. A 6min long repetitive song that interprets walking in circles. Everyone gets separated from each other and they question with doubts of getting out of the unknown jungle. Eventually, the 5 beings survive the unknown jungle. Exhausted and lost, they keep walking with no idea where to go. That’s when they stumble upon “Polahimán”. A mysterious entity who’s very eager to help and knows exactly where they have to go. With riddles and poems, he gives them directions.
“El Desierto de Pazmancú” A new habitat. An endless dessert. Yet, the beings are refilled with courage, crossing the entire dessert. That’s where Polahimán is waiting for them.
“El Enfrentamiento de Polahimán”. This is the endboss; The Final Chapter. The 5 grown travellers find themselves in many challenges. This is where you, as a listener, can interpret if it’s a good or bad ending. Or an open ending?

Susobrino plays and records everything in his humble studio in Belgium. Percussion, quena (flutes), guitar, charrango, field recordings and a yamaha dx9.

Klein's offbeat singular vision continues to defy classification. Her acclaimed, self-released records – Lagata, Only and CC – along with Tommy for Hyperdub and her theatre musical Care, have allowed glimpses into Klein's uniquely spirally perspective on vocal abstraction, disarming experimentalism and pop culture wonderment. Yet these chapters have also served as masks to conceal the artist's own personal crises of self-belief, misrepresentation and belonging.

An 18-month writing process led to her new album Lifetime. It's an unexpectedly literal body of work which Klein compares to "giving someone your diary." Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Every sound in Lifetime is intentional, every influence—from 'King of Gospel Music' composer James Cleveland, to early 18th century tonalities in the b side, the work of 'race film' pioneer Spencer Williams, the residue of the religious experience is deeply personal. The 12 songs of the album are pieced together like a puzzle; seamless transitions connect each of its compositions in a reverse chronology, while every chord from every song is echoed someplace else.

What's been hinted at in Klein's live performances is now realised in full for Lifetime. Less vocal work allows her to be even more expressive, and in eschewing a tendency towards brief, truncated sketches, each song serves as its own long conversational piece, committed to realities of a lived experience. The artist who once grappled with self-doubt has set about breaking the cycle of insecurity for others like her, while mindfully chipping away at the conventions of classical music.

Like its artwork, Lifetime addresses intersecting life cycles: the inner and outer selves, hypermodernity versus history, living nightmares and dream states, while seeking the light and darkness in both. Part 1 opens with unmistakable Klein flourishes on the title track. Gusty pads, anxious, frayed-edge static arcs, and craters of deep negative space, all of which melt down to the clean slate of "Claim It," which is a tribute to embracing one's own blessings. "Listen And See As They Take" and "Silent" form their own microcosm, as the sound of crackling kindling burns backwards into imposing structures of distorted strings and disembodied marching drums, before returning to heat and ash again. "For What Worth", in collaboration with sound artist and saxophonist Matana Roberts, explores the kinship between two artists whose shared exploration of lineage leads them both toward uncharacteristically sweet clarity.

Part 2 is further steeped in black expressive styles of the past. "Enough is enough" links the Lifetime narrative to the broader diasporic black experience, inhabiting every chamber of a harmonica with ghostly notes of the present and past, as fragmented gospel chords reflect spiritual bonds between self and the divine. "We Are Almost There" begins the journey with nothing but the looped structures of multitude of voices. The drums and dischord of "Never Will I Disobey" wordlessly create the conditions for "Honour," a near 10-minute composition where crossed boundaries and crossed wires are exposed in real time, and sharp expressions of hurtfulness, accountability and corrupted expectations are rendered beautiful in representational form, via sustained synth tones which hum, jab and flit in natural disharmony. The interlude "Camelot Is Coming" draws on the choir tradition to prelude the spoken word recounts the cycles of trauma and death that form "99." Lifetime closes with the dystopian swirl of "Protect My Blood" a composition which details an excruciating rift, before blooming into serenity as it draws to a close.

Klein's Lifetime is laid bare, from the end to the beginning, and cycled over again. From her place within her family, to their place within her, to viewing the fragility of culture through the lens of memory. It's a lifetime, an embodiment of young livelihood, and an end as much it is a beginning.

About The Word Collected Works

The Word is one of the better-kept secrets of 1980s Austrian disco music. Yet once you put the needle on this record, you notice that it sounds oddly familiar. The awe-inspiring signature piece “Lobster” has the same analogue, slow-moving aesthetic as Zenit’s timeless “Waiting” that was featured on Edition Hawara’s first release. The same goes for the three other wonderfully unconventional, proto-electronic songs: “Easy”, “All my life” and the eponymous “the word”. And there are even more commonalities with Zenit’s LP: The vocals are Linda Sharrock’s, who here teamed up with Karl “Charly” Ratzer and Peter Ponger, the twin brother of legendary Falco producer Robert Ponger. The result of this collaboration is, well, also quite legendary. How this kind of sound emerged in Vienna in 1984 is still a bit of a mystery, but clearly all the stars were aligned when Sharrock, Ratzer and Ponger were jamming in the studio. We at Edition Hawara are very proud to share this secret with you. Just as there are very few lobsters in landlocked Vienna, there are very few records like this

out there.

The first artist other than label head Patrick Topping to release on TRICK , his Geordie compatriot Adamson delivers an eclectic mix of tracks. The EP opener and title track, ‘Electric Acid Tater Tots’ is an acid-soaked techno slammer, strung together by Elliots own robotic vocals. Skream then steps up to deliver the labels first ever remix, a trippy, high-energy workout, before the Electric Acid Tater Vox offers a stripped-back vocal version which is available exclusively on the vinyl. Over on the B-side, ‘NYC Dada’ is an infectious disco-house edit destined to fill countless dancefloors, then ‘11am in Brisbane’ delves into melodic techno waters.
“I don't recall writing the lyrics, but I like to believe they appeared in the notes in my phone delivered by some divine spirit via the medium of an Apple iPhone XR - cheers Steve,” Adamson jokes. “About four instrumentals existed for about four weeks and I would often find myself standing on the table at parties singing out the lyrics excitedly trying to explain that 'this is my song.’” - Elliot Adamson The record is also accompanied by two exclusive bonus tracks. Lesgo Lesgo Lesgo is a true techno odyssey and bonus purely for digital copies of the EP. Then, there is the Electric Acid Tater Tots (Acid Mix) , a secret dubplate that has only been sent out to a select number of DJs. A true weapon for the warehouses.
“Elliot had to be the first artist, other than myself, to release on TRICK!” Topping enthuses. “ I’ve been championing his music for years and this release has been a long time coming. He’s now helping me A&R and is a resident at the label parties. His EP genre-hops and this is what TRICK is all about.” - Patrick Topping

NO MORE don't need much of an introduction - the legendary Kiel-based (No)Wave / PostPunk band project took the worlds dancefloors by storm with the release of their seminal single "Suicide Commando" in 1981 which was later re-introduced to the Techno / Electro youth of the world, when Munich's DJ Hell famously reinterpreted the tune in 1998.

Still actively touring and releasing on a regular NO MORE are now making their debut on the freshly launched Intrauterin Recordings-offshoot EL CABALLO SEMENTAL..

The labels cat.no. 001 is a first time on vinyl release taken off NO MORE's "The Return Of The German Angst" digital mixtape and sees one of the bands hit tunes being reworked in a unique, highly captivating manner, pressed exclusively as a limited to 200 copies whitelabel edition on purple / violet vinyl.

"123456789 (baze.djunkiii + Herr Brandt Dream A Nudream Remix)" exceeds the bands natural musical realm by far and transfers the song into MoombahGoth / DubWave territories previously unheard of, not only for a classic band like NO MORE.. The rework picks up latest developments from the urban and bass music world whilst keeping the haunted vibe of the original songs chorus intact, slighty references NuBeat / PostPunk and Dub, adds lush, dreamy Cosmic guitar textures and even winks to the underground whistle and rave posse with a sweet as candy piano breakdown.

In their conjunctional remix work we see Intrauterin Recordings-founder baze.djunkiii, quality electronic music activist and prolific DJ for more than 20 years, and Herr Brandt, founding member of the classic German Wave / Indie / Alternative outfit The Convent as well as of the praised underground Synth Pop / Minimal Wave band Sonnenbrandt, effortlessly merge the best of two musical worlds to create something new and captivating, like they used to do on the decks with their former BETA-ZERFALL parties which were the main and initial reason the two of them and NO MORE came together in the first place.

a A- 123456789 BAZE.DJUNKIII + HERR BRANDT DREAM A NUDREAM REMIX

‘Synth Expressionism/Rhythmic Cubism’ LP from Chicago’s Jamal Moss aka Hieroglyphic Being is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness.

The prolific catalog of Moss’ covers many musical dialects from his hometown and beyond. Never standing in one artistic sphere for too long, this adventure for On the Corner Records sees Hieroglyphic Being exploring a multitude of expressions of the American Avant-garde.

Abstractions Of The Future Past — Afro-Cubism: The Designation, conceived by an African With A Mainframe — An Etude Of Effigy — A Hieroglyphic Being.

Rhythmic Cubism: In this ‘Dissertation Of Disorientation’ Neal Andrew Emil Gustafson temporal considerations are put aside as polyrhythmic propulsion is the current flowing through the work. As prelude the fastidious ‘Rhythmic Cubism’, Moss enacts a flurry of white noise and musical coda as it phases in-and-out of synchronicity.

The disjointed dance of an alternative Black Music, ‘The Spiritual Or ‘Electromagnetic Worlds’ takes the meter down a fraction to exonerate a granular groove of visceral refracted complexity. Sonorus static sits alongside spastic shards of synthesis to reveal a melancholic medley before its conclusion.

‘Apocrypha’ collages distinct rhythmic source materials in an entrancing abstraction of ‘Hypersonic Hemiola’. An assertion of Art Blakey proportions. Perpetually pushed forward through the building of distorted percussion, Moss precludes into syncopated synapsis before and end of reductive symmetry.

Evolving into a studdered off-kilter groove, ‘The Redemption Project’ flows as a dissipating organ medley dissolves into a deluge of layered sonic textures, creating an indiscernible metric center before fading to a distant vanishing point.

Departing with a common-time ‘Timbuk2’ takes off like a classic Chicago Acid track, then makes a left turn towards the center as it drives the rhythmic motion into a dystopian dreamland, as the sax line surges forcing the track to break free from it’s charted course.

The Fragmented Fantasy of The Synth Expressionism/Rhythmic Cubism LP is a conclusive work that has no end, a conundrum of conceptual calculated improvisation. Drifting through time, this fragmented abstraction of Afro-Cubism leaves room for posterity, as each listen summons a new perspective on the suite. Something ever so common in the work of Jamal Moss. Charting new sonic directions, the very nature of its precedent makes it a truly Hieroglyphic affair.

Words By Neal Andrew Emil Gustafson

Destiny is made. Realised. Driven by the acts of vision. Hireroglyphic Being is a seer. Atomic resonance echoing from the big bang defies the conceptual reality of purity. The nuclear static of ‘white noise’ is HBs canvas. Channeling poly rhythms into the universe. Experience, repetition and eternal decay. From purity back to the absolute by way of a deluge of slurry across time. Infinite layers of distortion and refracted complexity. This is HBs canvas. Sound of eternity channelled through a bass bin, represented by its own impure reflection and fragments. Always more than it's whole but never as was before.

This album seeks to reach beyond ideas and emotions, beyond the comprehension of a human archetype. Beyond ultimate history, forwards and back. To ends and a singular beginnings. Timbuk2 is the frenetic intersection where the call and response of these ideas lock and dissipate back into the void.

In late 1997, unsigned Melbourne producer Castel won a competition at a local club. The prize was certainly sought-after: a CD single release on leading local label DanceNet. That EP, “Estrel”, subsequently appeared in stores in 1998, but within two years Castel had packed away his Atari-ST, sold off his hardware and quit music for good.

Thanks to Echovolt Records, Castel’s story now has a happier ending. 22 years after it was recorded, the unfeasibly gorgeous “Estrel” is finally appearing on vinyl alongside original bonus cut “Me & You” and a trio of similarly impressive unreleased productions from the period.

“Estrel” is positivity personified – a melodious, morning-fresh blast of deep electro bliss rich in bustling drums, tuneful IDM style lead lines and darting, psychedelic electronics. It’s joined on side A by “Me & You”, a pitched-down chunk of hazy ‘90s electronica that wouldn’t have sounded out of place on one of Warp Records’ legendary Artificial Intelligence compilations.

On side B, Castel opens up his archive of unreleased recordings for the very first time. The rush-inducing, bass-heavy swirl of “Safer Somewhere” – one of the last tracks he ever recorded and reminiscent of some B12 recordings from the period – is followed by the intergalactic ambient brilliance of “Latch” and the lilting, sun-bright bliss of breakbeat-driven shuffler “16/11/1998”, whose combination of weighty bottom-end and layered electronics neatly sums up the unheralded qualities of Castel’s previously forgotten work.

The sought after LP from Zann ‘Strange Ways / Inside Jungle’ originally released as a private press in 1990 finally receives a full reissue.

Zann started life as a 7-member live band in 1982. Founder member Udo Winkler had been a part of New Wave & Post Punk band Konec touring extensively and releasing one LP on Polydor titled ‘Schrille Blitze’. Zann was an outlet for more experimental works heavily influenced by Brian Eno's collaborations with David Byrne and Jon Hassell, German bands like Embryo and Dissidenten, David Sylvian and middle & far eastern music.

In 1988 Udo and Hjalmer Karthaus built a small basement studio with a 4 track tape machine and musical experiments began in earnest. After the limitations of playing live it was an acoustic wonderland and they gave themselves no musical boundaries. The unlimited studio time meant they could pick up ideas and develop pieces gradually, friends would come to the studio to play and songs evolved from extensive jamming sessions. The resulting LP has Middle Eastern instrumentation at its core, particularly wind & string instruments such as the Tabla and Gong, and is a melting pot of influences incorporating elements of Ambient, Jazz and Folk with strong synth programming on a number of tracks. The band pressed up a handful of copies and sold them exclusively at record fairs in Germany and in the intervening years the LP has become highly sought after with copies changing hands for 150 Euros.

The LP has been fully remastered from the original DAT tapes with new full sleeve artwork from Bradley Pinkerton and is pressed on 180 Gram Vinyl.

360 degrees of freedom is overwhelming in music, and you need not truly begin to find freedom until you put yourself under extremely narrow constraints.” It was with this quote that Don Slepian laid the groundwork for over 40 years of musical output. Slepian’s work draws equally from the harmonic terrain he explored while performing with a Javanese gamelan ensemble, as well as his time spent building and modifying electronic audio equipment for studios and fellow musicians. Gravitating towards improvisation and experimentation, Slepian built a breathtaking sound-world that stretched the briefest of moments into an eternity of detail and depth. In 1980, Slepian self-released a series of cassette albums that built upon and perfected this practice, offering “New Music for Digital Orchestra”.

New Dawn is one of those albums - an enthralling example of New Age euphoria, and early-electronic
experimentation.

New Music For Digital Orchestra? An ironic subtitle for an album without any traces of digital technology found within. The instruments, tools, and recording techniques are entirely analog. A Korg PS3100, Mellotron voices, Mellotron flutes, analog tape echo and analog recorder were used to create both of the pieces found on New Dawn with both tracks being recorded live with no overdubs

Carla dal Forno announces her second full-length album, Look Up Sharp , on her own Kallista records.

Dal Forno beckons a bold new era in her peerless output pushing her dub-damaged DIY dispatches to the limits of flawless dream-pop. In a transformative move towards crystal clear vocals and sharpened production, Look Up Sharp is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, You Know What It’s Like (2016) and The Garden EP (2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London’s sprawling mess. The small-town dreams and inertia that preoccupied dal Forno’s first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. Look Up Sharp is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. Dal Forno connects with kindred spirits and finds refuge in darkened alleys, secret gardens and wherever else she dares to look.

In her own territory between plaintive pop, folk and post-punk dal Forno conjures the ghosts of AC Marias, Virginia Astley and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. The first half of the record is filled with dubbed-out humid bass lines, which tether stoned hazes of psychedelic synth work as on ‘Took A Long Time’ and ‘No Trace.’ These are contrasted with songs like ‘I’m Conscious and ‘So Much better’ that channel the lilting power of YMG and are clear sequels-in-waiting to dead-eyed classics like ‘Fast Moving Cars.’

The B-side begins with the feverish bass and meandering melody of ‘Don’t Follow Me,’ which takes The Cure’s ‘A Forest’ as its conceptual springboard. It’s the clearest lyrical example since ‘The Garden’ of dal Forno’s unmatched ability to unpick the masculine void of post-punk and new wave nostalgia to reflect contemporary nuance. Look Up Sharp reaches its satisfying conclusion with ‘Push On’ - dal Forno’s most explicit foray into an undiscovered trip hop universe between Massive Attack and Tracey Thorn. The album’s last gasp finds personal validation in fragility: ‘I push on / I’m the Place I’m Going,’ a self discovery lifted by reverberant broken beats and glass-blown vocals.

Adding further depth to Look Up Sharp are the instrumentals, which flow seamlessly between the vocal-led pieces. ‘Hype Sleep’ and ‘Heart of Hearts’ drink from the same stream as The Flying Lizard’s dubbed-out madness and the vivid purple sunsets of Eno’s Another Green World. While ‘Creep Out of Bed’ and ‘Leaving for Japan’ funnel the fourth-world psychedelia of Cyclobe’s industrial-folk into the vortex of Nico’s The Marble Index.

Conceived as a whole, Look Up Sharp is a singular prism in which light, sound and concept bend at all angles. A deeply personal but infinitely relatable album its many surfaces are complex but authentic, enduring but imperfect, hard-edged but delicate. A diamond. Look up sharp or you’ll miss it.

Kraak & Smaak's 6th studio album - 'Pleasure Centre' is the culmination of two years hard work since their critically acclaimed 'Juicy Fruit' LP and their first Kraak & Smaak LP released on their own label – Boogie Angst. As expected it's a glorious record packed with future classics, flitting between funky dancefloor focused jams and more relaxed downtempo affairs.

The album has a definite US West Coast vibe to it and sees them fuse classic 70's and 80's yacht rock, dream pop, and indie influences in with their signature electronic funk sound. And this result is no mere accident or emulation… Working on the demos in their own studio before travelling to LA for a month last year to meet and work with featured artists, they stayed in Echo Park and recorded in local studios and sometimes even in the homes or backyards garages of their collaborators.

Hand- picking the best of the local talent: dance diva - Gavin Turek, indie upstarts - The Palms and dream pop dealer – Satchmode all contribute their talents to the cause.

The Dutchmen have earned a deserved reputation in particular for the A&R side of the industry, with both the discovery and collaboration of new rising acts high on their agenda. Previous successes include working with Parcels, Alxndr London (championed by Annie Mac) Eric Biddines (6Music playlisted) and Cleopold (signed to Nick Murphy fka Chet Faker's own label). And they continue to uncover hidden gems outside of LA on this record too...

Moon Boots collaborator – Nic Hanson, Jalapeno Records' gospel/soul powerhouse - Izo FitzRoy and soul man Wolfgang Valbrun (Ephemerals/Kungs), New Zealand's imugi and previous collaborator and soul songstress - Sanguita are accompanied by regular members of the Kraak & Smaak live band - IVAR and Berenice Van Leer across 15 fantastic new tracks.

'Pleasure Centre' is everything you'd want in an album and everything we've come to expect from these dance stalwarts – innovative, relevant, and modern tracks with great production and exciting guest features that are guaranteed to fire up your own pleasure centre!











k 11 Sweet Time (feat. Izo FitzRoy) clip

Nark, aka Kevin Kauer, has headed up the Bottom Forty imprint since 2017 working with artists such as Doc
Sleep, La Fracheur & Léonard de Léonard, Ali X, Ximena, Alisu and Shit whilst maintaining the philosophy
oflaying down tripped-out, eccentric productions without conformity. Inspired as a young gamer and fueled by
the inspirations of travel and gigs today, Nark has cultivated a set of sounds and ideas that have come
together to form his creations today which include releases on labels such as Nein Records, 2MR and Bottom
Forty in addition to remixes on Soul Clap, Friends with Benefits and Love Story. ‘Do You See Yourself’ sees
Nark invite Mexico’s Thomass Jackson who holds releases on Feines Tier, Gomma and his Calypso Records
imprint in addition to Ali X and Palomo.


Title track ‘Do You See Yourself?’ lays the foundations for the EP delivering entrancing modulations, chuggy
rhythms and eerie vocals taking small stabs at vanity culture, while ‘The Playing Field’ seethes rattling
percussion, acid fueled synths and hypnotic chanting alleviating the senses. The Playing Field’ was inspired by
a long night out listening to Optimo DJ in a dark warehouse and it was made later that morning as something
to fit into a long, building and cathartic set.


On the flip, Thomass Jackson’s remix of ‘Do You See Yourself?’ maintains the stirring style deploying stabbing
bass notes, meandering waves and undulating unearthly atmospheres until Ali X x Palomo round things off
with an infectious remix fusing shaky, 808 drums, effervescent grooves and bright 303 flavours throughout.

Crosstown Rebels welcome Tochno Techno label owner Yulia Niko to release her first full EP, Paradise, a captivating three track EP featuring jazz bossanova vocalist Sil Romero and Italian talent Cioz on remix duty. Opening track Caminando encapsulates Yulia’s inspiration from walking on the White Isle of Ibiza where she spent the last year living. The hypnotising deep house melody of swirly synth pads and Sil Romero’s beautiful dreamy vocals wash over skipping percussion in an emotive composition. Cioz puts his own melodic stamp on the remix, creating a progressive club piece with bright keys over a reshaped bass line. Paradise continues the warm, ethereal atmosphere of the EP, bongos dance on hats as lush, relaxing tones fade in and out. Russian-born DJ, producer and label owner, Yulia Niko learned her trade in the clubs of her hometown before moving to the US to work as a resident DJ at Verboten, Brooklyn and Heart in Miami. Now touring the world, she is based in Berlin and runs a vinyl only label, Tochno Techno. She has also released on other esteemed labels such as Get Physical Music, Nervous, Heisenberg, Natura Viva and Dee-P-erfect.

Orange Vinyl

With "Steamy!" Jukka Eskola Soul Trio reaches its second album on Timmion and delivers another sure-shot for the soul jazz thirsty masses. As with his first self titled debut, this troupe of premium Finnish jazzers turns all the relevant corner stones of soulful and progressive jazz, never running too far up the deep end, but always harnessed with expressive sensitivity and professional cool. It's like the 1960's and 1970's global jazz movement got condensed into a radiant ball of hipness, heady and completely unpretentious.

In addition to the two single releases "Tiny B" and "Stick Of A Branch" Soul Trio dip their groove jazz chops into numbers such as "Five On Three", the shuffling "Jongo Street" and the fatback funky "Steamy". There's also a strong strain of Brazil on several tracks from bossa nova to richly percussive rhythms. On the over 7 minute long "Smash" they mellow out into a beautiful mood that sounds like John Patton swinging with a bunch of European cats. There's even a few studio tricks that we'll leave for the listener to discover.

Calling the Soul Trio a group of virtuosic players is an understatement as all of them have been working at it on a professional level since the 1990's. Trumpetist Eskola and drummer Teppo Mäkynen were both a part of the Helsinki nu jazz movement of the time, which later evolved into the now iconic Five Corners Quintet, while organist Mikko Helevä has hammered his Hammond in underground Finnish jazz funk groups for as long as his two band mates. Together they cook up a stew, which is like a bowl of perfect bouillabaisse, rich with flavour and with nice bits to chew on.