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'Best electronic live set i've seen in two years!' CHRIS CUSACK (BOOKER, BLOC GLASGOW)

Fresh and heady slice of cerebral techno and out-there electro flavours.

EXTERIOR is the artist moniker of Edinburgh producer Doug MacDonald. Exterior represents his transition to electronic music and an embrace of the dancefloor. Doug played hardcore and noise-rock for a long time before eventually abandoning collaboration, nostalgia and formulaic rebellion in favour of synthesis. What he gained on the way was an understanding of the power of live drumming and years of finely honed performance-skills, something of an aberration in dance music.

Exterior thus represents a convergence of disparate personal and musical pleasures. Accordingly Exterior draws on rhythmic mavericks as divergent as Fugazi//Battles//Swans as well as DJ Spoko//Clark//Hieroglyphic Being. In addition, there is a deep undercurrent of melody and texture, drawing on the likes of Burial//Miles Davis//Bjork. Eschewing the modern home computer in favour of an exclusively hardware based approach, Exterior espouses a physical relationship to what is at heart an abstract practice, composing electronic dance music.

Perhaps it's unsurprising, then, that one of the things which really sets Exterior apart is his intoxicating live show. He gets the crowd going every single time he performs, so infectious is his energy, as he throws shapes and struts his stuff behind the gear, clearly 100% in the moment and his element.

His debut EP 'Public Transport' was released on London/Barcelona-based Land Recordings earlier in 2018. Having made his international headlining debut in Berlin in September, more continental sorties are currently being arranged (see below).

This record represents a significant move forward in sophistication and club-readiness.

On remix duties, anonymous analogue techno lover DALI returns on the back of four slices of extended club gear released via two Hobbes Music 12"s (2017-18), boasting colour-themed, screen-printed sleeves and an uber-simple design for that evergreen minimal aesthetic with a hint of mystique. These gained excited support/plays from the likes of Ben UFO, Nina Kraviz, Daniel Avery, DJ Deep, Laurent Garnier, Avalon Emerson, Twitch, XDB, Bill Brewster, Bawrut, Tom Findlay (Groove Armada) and many more... Clocking in (again) at just over 9 minutes, her 'Collapsing Star' remix is another marathon-length effort and does exactly what it says on the tin. Setting the beats to classic electro, everything's pushed hard until it all seems ready to fall rapidly apart (and it very nearly does), before dissolving in a fiery sizzle: a more visceral, dance floor accompaniment to Exterior's heady affair.

- Daniel O'Donnell's recording career has now spanned almost 35 years and he continues to delight fans around the world by his
recording and touring activities.
- Daniel is the UK chart's most prolific and one of the most successful recording Artists. In 2018, he broke his own world record, by
becoming the first recording artist to chart at least one new album every year in the Artist Albums Chart for 31 consecutive years.
- During his career, in the United Kingdom Daniel has amassed thirty-seven Top 40 albums, including sixteen Top 10 albums, with
fourteen of them this Century, a feat not achieved by any other recording Artist.
- 'The Gold Collection' is a heavyweight 180g Gold-colour vinyl LP, featuring duets with his long-term singing partner Mary Duff his best
known hits, including twelve Top 40 hits, in this 16-track set.

Mutima is the debut album led by bassist Cecil McBee recorded in 1974 and first released on the Strata-East label. In his review for Michael G. Nastos called it "A landmark recording in early creative improvised modern music" and states "McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era... Mutima (translated as "unseen forces") undoubtedly solidified his stature and brilliance as a major player". Dustygroove now calls it: 'A great bit of spiritual soul jazz - and one of the few albums as a leader recorded by the legendary bassist Cecil McBee! Cecil's joined here by a large group of players that includes Billy Hart on drums, George Adams on tenor, Onaje Allen Gumbs on piano, Jimmy Hopps on percussion, Art Webb on flute and Dee Dee Bridgewater on vocals - adding in just a touch of soulful color to the record as she did on a few other 70s sides like this.' Plus: 'The music's got that essential Strata East sound, with a rich and spiritual vibe on all tracks, and slight bits of funk hiding somewhere in the mix! Tracks are long and freely expressive - but never too outside, either.' A long lost classic we call it. And this latest reissue is the best vinyl version ever since it first appeared almost 45 years ago!

Jason Leder, otherwise known as Method One has been a mainstay of the American Drum & Bass scene for a very long time. Originally hailing from the east coast his earliest claim to fame was remixing DEEE-LITE - "Call Me" in 1994 for Elektra records after Lady Miss Kier heard his cassette demo. Eventually he headed out west to San Francisco where he has remained for over 20 years.

The Stomping Grounds EP is Jason's tribute to the music that originally inspired him. Two harder tracks that echo Tango & Ratty era Formation Records and two deep & melodic atmospheric tracks that nod towards golden era Good Looking. A Method One release is a rare treat and is his first solo release since 2015's "Blackwood" EP on Auxiliary Transmissions.

Check other releases from Method One on - Doc Scott's 31 Records, Seba's Secret Operations, Samurai, Auxiliary and Commercial Suicide amongst others.

"In 2013, the For Those That Knoe imprint burst into record shops with a release from one of the UK's unsung heroes, Jaime Read under his LHAS alias. 5 years later, we're proud to present a reissue of a selection of Jaime's music from his 1997 album ""The End of the Beginning"".

Jaime's take on futuristic chi-town influenced house is present across the selections. Written 21 years ago, the music is more relevant that ever. Serene galactic themes and time travel optimism permeate the collection: the music tells tales of optimism rather than the bleak images carved by other similar compositions of the time. Originally pressed in finite numbers, this is an opportunity to get a copy of the key material on vinyl again, split across two 180g 12"" EPs with a free digitial download code.
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Debut solo album from the psychedelic visionary and founder of the legendary Ozric Tentacles.

A visionary, a prodigal symphonist, one of the UK's leading influential musicians: Ed Wynne is undoubtedly a gifted instrumentalist. He is credited as one of the

linchpins of the UK festival scene's re-emergence along with his band Ozric Tentacles, who formed at Stonehenge Free Festival 1983 and became staples of the Glastonbury Festival, with their most recent performance at Glastonbury

in 2016 on the Glade stage. With an incredible flair for creating masterful tapestries of sound, and for having sold over a million records worldwide, Ed Wynne's debut solo album on

Kscope will be quick to take a hold on fans of psychedelic synth and rock music. 'Shimmer into Nature' was recorded and inspired by the different locations Ed Wynne travelled to over three years, from deep in the Colorado Mountains,

to the coastlines of Cornwall and South Devon, before being completed on Scotland's East Coast by the Firth of Forth. 'The idea is to transport the listener to a place where the everyday ups

and downs of the world dissipate, leaving the mind free to wander through a colourful, omnidirectional guitar and synth driven musical landscape for a while, landing eventually, hopefully freshly charged, with a smile and a calmer spirit.'

The music was written, programmed, mixed and performed by Ed, with mastering by Adam Goodlet at Re:Creation studios, with artwork designed by prolific English psychedelic illustrator John Hurford.

Daniel Savio has been producing hi quality releases for 20 years in groups such as Hundarna från söder, and a bunch of reocords in his own name, and as Kool DJ Dust. Most notably is his disco edits on releases as "The Disco Opera" and his contribution as a skwee originator on Flogsta Dancehall.

Now Daniel Savio makes his debut on Kings Chamber with four efortlessly cool digital dub tracks, on wich he manages to take on a new genre and still keep his signature sound.

After prominent releases on Rekids, Classic or Copie Blanche, one of the most promising french young house music talent Armless Kid is joining the VERTV family for his new EP : Choices.As a Millennial, questioning his own condition of young adult, the 24 years old producer explores the themes that strike his generation like love through the digital age (Internet love), the pursuit of a meaningful life and the need of affirmation through vigorous choices while options are abundant. Melancholia is one of the consequences of this quests (Flirting With Regrets) but it also gives a compelling desire to enjoy life to the fullest (Deep Energy) even if it means eating junk food and watching silly VOD with friends (B3A).This EP is good example of Armless Kid's music, catchy, fun and elegant with strong roots into the very French tradition of jazz-infused House music as well as bringing his very own twist on 90s influenced deep house thanks to his massive kick drums and sophisticated pads.

Stanislav Tolkachev is releasing a new double-LP through Krill Music called It Will Be Too Late Then.

The Ukrainian techno artist says he made the album by assembling tracks recorded over a three-year period, and he notes somewhat cryptically, "I think this record represents a phase."

As with most of Tolkachev's releases, the album will feature his own visual art on the cover. Krill Music, a Berlin-based label originally founded six years ago in Buenos Aires, is having it pressed in Argentina to support "the growth of the Latin American vinyl industry."

Tolkachev, who previously appeared on Krill Music with a track on a sampler 12-inch nearly two years ago, just put out a new EP on Mord. Rivet's Pohjola outlet repressed his 2011 ten-inch Why Are You So Frightened. He also recently shared a stream of an electro tune that's apparently coming out Umwelt's New Flesh label next year.

The second album from SpaceArk. More brilliant self-released, private-press jazz/soul from 1976 Los Angeles.

'SpaceArk Is' came out on Color World records in 1976, on a limited run of about 5,000 copies. It followed their self-titled debut (also available now on Mr Bongo) on the same original label, the year before.

For a handful of years in the Seventies, SpaceArk was one of the most promising and electrifying bands in Southern California. Although their music was far greater than the sum of its parts, those parts made for a very original style. R&b, soul, rock, pop, jazz, classical ... it all came together in blissful stream of intricate compositions that swept up crowds from US military bases to Northern Soul clubs around the UK.

SpaceArk wrote and performed more than 100 songs during their time together. Most of them were not recorded and are now either lost or forgotten.

Official Mr Bongo reissue with liner notes by Amar Patel. Licensed direct from Peter Silberg.

The 'Insights' EP is Spinscott's second release on the US based Elm Imprint label, as a highly anticipated follow up to the internationally successful 'Make It Funky / Lovelight' single. 'Insights' features 3 tracks that represent a progression of styles, and satisfies the demand for Classic Jungle sounds, fresh Drum And Bass, and deep '160' flavors.

Side A: 'Phaseout' - This forward-thinking Drum And Bass tune starts out with a moody & mixable intro, staccato drums and bass hits, before dropping into a precisely arranged dancefloor rhythm. Impact exceeds maximum threshold after the break, with the injection of an unexpected layered kick pattern, which has proven to leave no one standing still! But don't mix out too soon... the final phase features an exclusive drum break sourced from a family 45 pressing, circa 1968, sliced and reworked for it's debut appearance here. Phaseout has moved audiences during pre-release plays at Spinscott performances in the US, UK, and beyond.

Side B1: 'Rocker' - This 160 BPM tune was meticulously crafted using drums, effects, and other sounds from multiple genres of dance music, and engineered to make people move! Starting out on a jazzy tip with 808s, sax notes and various fx elements, it doesn't waste time getting to an onslaught of swinging drums and vocal artifacts. Rounding out with some classy Rhodes melodies, strings & short-cut Amens, 'Rocker' delivers an audible message for people to rock, swing, and move to the music! DJs will enjoy cutting in and out of this one, with many changes and elements to mix & blend with.

Side B2: (vinyl exclusive): '#7' - This oldschool style Jungle track FINALLY appears on the vinyl version of this release to satisfy over 5 years of relentless demand! Originally filmed as one of Spinscott's Real-Time Jungle videos, '#7' is the one that opened the floodgates to international recognition and performances worldwide. (see link below) Previously only available in video or performed live at shows, Spinscott has produced a full length 'dj friendly' version, featuring all the original elements of the original performance. '#7' was created and produced 100% on the MPC 1000 (as seen in the video), and features classic drum chops and layers, reverse bass, raw pads, and more.

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

With one of the hippest jazz albums of recent years under their belt, Jukka Eskola Soul Trio is back with a fresh new single. It's truly a double-sider of the highest order, as both of the tracks deliver a completely distinct flavor.

"Tiny B" on the A side is a neat bossa jazz number, and as usual in top of the genre, the lightness serves only as a facade. The composition starts to evolve before the listener gets too comfortable, transitioning into a beautiful cinematic section, which is followed by tight solos by Eskola on trumpet and Mikko Helevä on organ. The trio rises beyond its numbers, as the maestro Teppo Mäkynen overdubs his drumming with added percussion and vibes.

Hiding on the B side is a furious jazz dance burner, which sees the trio rise to energy levels that surpass even Five Corners Quintet in their tightest form. "Stick of a Branch" is highly syncopated business that takes its cues from a sound refined by 1970's independent afrocentric jazz groups. It's a style, which is inherently modernist, without a slightest interest in mass appeal, and firmly rooted in the blues.

If you need some no nonsense organic jazz on your turntable, it's hard to go wrong with this single.

The electronic pioneer and founding father of synthpop, Gary Numan, celebrates his 40th anniversary as recording artist. During these 40 years, Numan's impact made itself felt; his dark, paranoid vision, theatrically icy alien persona, and clinical, robotic sound were echoed strongly in the work of many goth rock, wave and industrial artists

Wave Tension Records invited 7 contemporary dark wave, gothic and dreampop artists to honour their inspirator with an exclusive tribute. The album opens with Agent Side Grinder's nostalgic analogue rendition of 'I'm an Agent', followed by Ash Code's fresh sounding fast paced post-punk/dark wave version of 'Down In The Park'. Shad Shadows turn 'Metal' into a whispering heated darkwave track. On the last track of side A, Box & The Twins create warm and dreamy soundscapes in their version of 'Complex'. SUIR opens side B with a hypnotic psychedelic slowed down art-punk version of 'Cars'. Synths Versus Me turns Numan's monster hit 'Are Friends Electric' into a fresh synthpop & EBM take with Art of Noise-esque vocals. The album's closing track is a gothic rock rendition of 'My Name Is Ruin' by Swedish rockers Then Comes Silence, which encourages you to sing along

In the Pacific there was another Atlantis, connecting Japan to what is now known as the United States. Swim with us through ancient caves and discover a secret that has been hidden from human eyes for thousands of years... Long thought lost Maiovvi productions from the early Berlin days remixed and remastered and made available for the first time.

Eduardo De La Calle has been doing his thing since the early 2000s, but the last couple of years have seen him move into overdrive. Releases on Planet E, Hivern Discs, Nitsa Trax, Turbo Recordings, Gigolo and Darkroom Dubs to name just a few have shown he is both prolific and consistent, and this new four-track collection is just as compelling as his recent output.rnrnDistortion Theory III is a whirring hypnotic machine jam that melds shimmering synth snippets to mind-bending FX undulations and throbbing low end. Disorientating and wonky as hell, it's the sound of a funky computer malfunction somewhere in deep space.rnrnLight Tunnel continues the theme, coming across like the dying throes of space station spinning out of control due to excessive amounts of sub bass. It's a dizzying, disorientating ride.rnrnAcid Aaron C (Edit) wastes no time getting down to business with its gurgling, incessant 303 line present from the get-go. Shuffling percussion rubs up against heady female vocal lines and wonky detuned 8-bit synth blips, the undercurrent of the track swelling and calming seemingly at will. rnrnThe Dub Math takes things down a notch with hazy sounds and plodding sub bass combining with heavily reverbed vocal incantations which all combine to bring together the vibe referenced in the title.

We are extremely proud to have 4 tracks from Dominic Stanton aka Domu aka Sonar Circle aka Sonar's Ghost.

Dom's vast back catalogue spans over 20 years, the music on over 15 labels and many different genres. This body of work includes a number of Sonar Circle releases for the legendary Reinforced camp including a stunning long player entitled 'Radius'.

For Dope Plates Dom has lovingly and expertly put together 4 nostalgic and authentic tracks clearly taking inspiration from early 90s jungle, drum & bass and hardcore.

Enjoy the ride!

Two sizzling South African boogie tracks from Kabasa's Tata Sibeko. A killer producer, arranger and bass wizard, Tata channels the gloomy current affairs landscape of 1985 into a glimmering Afro-synth nugget. As South African pop embraced 1980s synth sounds, Maxi Singles on 12-inch vinyl became a new canvas of expression with wider grooves for fat beats and extended mixes that suited dancefloors.
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The supergroups of the 1970s fragmented into solo recording artists with the likes of Harari's Sipho 'Hotstix' Mabuse releasing his seminal 'Burnout' single in 1984. Former Kabasa frontman Tata Sibeko dropped 'It's A Mess' in 1985, addressing the world's Cold War climate with an appeal to 'learn to love each other' and 'save ourselves from catastrophe.' The B-side 'Afro Breakdance' marked the evolution of Tata's Afro-global sensibilities from 'Afro Funkin'' that had appeared five years earlier on Kabasa's self-titled debut in 1980. Tata Sibeko (RIP) passed away in 2017 after approving the restoration and reissue of this single. This release is dedicated to his kindness, charm and creative zeal.

A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like 'acid folk' and 'soft rock', it's difficult to imagine a time when the legendary Susan Christie album didn't exist. When Finders Keepers Records first shared the unheard 60's songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan's new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an 'instant classic'. Which is why it's hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP.

The oft over used term mythical applies to this album on many levels. Perhaps it's the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960's copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where's My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase 'unbelievable' as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market... No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan's won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday... could easily allude to the haunting melodies that sat in the can on John Hill's studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it's future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender - at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60's America simply wasn't ready for. It is just over 12 years since champion record rustler Keith D'Arcy (who you'll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it's almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades.

Whether this album has been on your wish-list for what seems like a lifetime, or you are taking a plunge into this deep puddle for the first time, when the needle drops on the first track you'll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.

Silk Road Assassins, a trio consisting of Tom E Vercetti, Chemist and Lovedr0id, return to Planet Mu with their debut full-length 'State Of Ruin' two years after their first EP 'Reflection Spaces'.

The trio recorded over two years, working together to start with, then across different studios and via the internet when their lives became more separated. They also finessed the album at Abbey Road studios, making use of some short time to add in extra layers.

The three producers day jobs are in production music, music designed and created specifically for film and games, and this album uses these skills to explore the musical forms that they love. The album explores how trap and grime's minimalist form can be built and curved into musical architecture: elegant, opaque and layered, turning the sound into lush, melodic world-building.

The work gone into the album is revealed on repeated listens, every sound on this record feels built to sit within it's delicate ecosystem. The fundamentals of the music are given their own sense of purpose: hand claps spray, bells tumble, guitars splinter and lush melodies waft over and fill the track's spaces like light, glinting across snapping, crisp rhythms and deep bass tones.

The OUER guys just live down the road from us in Berlin and we have been crossing paths many times these past years so it is with great joy we can finally present a full EP with their unique approach to electronic music on Dirt Crew Recordings. Since their debut on 'HEIST' in 2016 Xaver and Oliver have consistently pushed their sound and production, on their own OUER imprint they released four EP's up till now and the latest called 'E' is just a few weeks old as we speak. The A side opens with the title track 'Stingray Nebula', a bliss composition of layered arpeggios underlined by a deep sub bass, building steadily towards etheric strings setting in and descending again with a break beat ending that builds perfect grounds for the following dance floor stomper 'Undine'. That second A side track is a great mix of Deep House and Electronica and is what makes OUER's music so special, almost entering trance territories here but keeping those Chicago and Detroit references alive. When we head over to the B side we encounter some new tracks that really made us want to release this EP in the first place. The beautiful 'Thales' contains live bass and percussive instrumentation and is a crossover indie-tronica gem. Following that is the deep 'Inside' where an 'emo' piano themed House jam meets clever vocal sampling and filtered synth stabs to produce a great going groove. Closing out we have some real ambience electronica for you in 'Train Ride to Bratsk', again played mostly live and using acoustic instruments recorded in their Berlin studio the OUER guys are crossing borders again and turned out this piece of goodness. Enter the world of OUER, we hope you like it as much as we do!

BENJAMIN FINGER, JAMES PLOTKIN and MIA ZABELKA craft a mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory.

"Pleasure-Voltage" was born in the mind (and studio) of BENJAMIN FINGER - a composer, electronic music producer, DJ, photographer and film-maker based in Oslo / Norway who in recent years has become quite a prolific artist, expanding his stylistic palette from piano miniatures and off-kilter pop experiments to lysergic, dream-like sound collages spiced with gentle warmth and sublime melody. These ingredients are also characteristic on this latest work where FINGER set the musical frame before passing it on to his inspired collaborators: MIA ZABELKA who for decades now has been involved in countless projects, be it as musician (violin / electronics), curator or founder of the international sound art centre klang.haus and who has worked with a.o. JOHN ZORN, FRED FRITH, ELECTRIC INDIGO, ROBIN RIMBAUD (SCANNER), DÄLEK or PHIL MINTON. And last but not least there's JAMES PLOTKIN who entered the scene with his first band OLD LADY DRIVERS (or OLD) on EARACHE in 1987 and later was a member of KHANATE (with a.o. STEPHEN O'MALLEY) while also exploring the areas of dark ambient and electronics by working with or remixing SCORN / MICK HARRIS, K.K: NULL and many more.

On "Pleasure-Voltage" which had its live-premiere at the REWIRE festival 2018, the trio craftsa mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory somewhere between ambient / drone / psychedelia.

Rounding up five years of Heist also means we're releasing our fifth version of the Round Up. Last year's edition was full of highlights with Fouk remixing Nachtbraker's anthem 'Hamdi' and Alma Negra going all tribal on Nebraska's 'Big plate chicken'. This year, we've seen a lot of new faces on the label, which has brought us a fresh set of combinations and a couple of really nice revisions of the tracks that made our year.

First up is Detroit Swindle's take on Heist's latest signing Hugo Mari. They chose to remix 'Change ur ways', beefing up the dreamy original. They focus on a simple but effective grainy groove and added a twist on the bass to give a more 'warehouse' feel to it and play around with the lovely detuned keys and vocal chops of the original to great effect.

Alma Negra show you just how loose their limbs are with a Rhodes filled version of Kassian's Acid surprise 'Bad Habit', while the full B side is dedicated to Pitto's personal take on Adryiano's classic house track 'Me and you and her'. His version takes the track into a new territory that lies somewhere between balearic and dreamhouse. Whatever it is, it's got a lovely vibe where the vocal is complemented by airy pads and a touch of acid.

Kassian on their turn, have done a great job on taking Pitto's 'Treat me like a fool' into 4x4 house territory. They've opted for a sub heavy club track where reverbed hits and the vocal take turns over a solid house groove. Next up on the C-side is Adryiano. He's picked Detroit Swindle's moody-but-heavy album track 'Cut u loose' and does what he does best: a steady and nicely distorted filtered house groove that packs quite a punch. The final track of this compilation really is a great pair of artists: Hugo Mari and Alma Negra. Hugo takes the tropical warmth of 'This is the place' and adds a subtle punch with a smart percussion loop and some added pressure on the low end.

So there you go. Another year, another Roundup. We hope you'll enjoy listening to these re-interpretations as much as we do. Yours

Sincerely,
Maarten & Lars.

Deep, raw and real Then NY*AK is the man! Andrew Scott has been releasing superb bottom heavy deep house groovers for many years on various top labels (like Local Talk, Paper or Ninja Tunes Technicolor). Now its time for Quintessentials! The A-side features after the sun, a deep, minimalistic and sexy groover, and mind, a blissfull and rich low BPM tune for an early morning come down. The B-side starts with vice, a proper Detroit track bassline, strings, rims and snares - and finishes off with the funky and mellow onions. Deep, raw and real NY*AK anytime!

Armagnac started in 2010 a label in metz all naked records & throwing up parties with his Fensch Groove Consortium (FGC) crew. After few years, he decided to move to paris france where between his writing for some famous french magazines & sites, he produced some marvellous tracks that keep the bobby konders spirit alive. This is spiritual deep house full of mystery and fuzzy textures that puts most 'deep' house to shame. ESSENTIAL ! SKYLAX RECORDS 4 EVER

Abstract Theory is back with a new 12" release, from the great house producer Tevo Howard. Early support by Ame. PASSION, is an audio depiction of the emotion, 'PASSION', as considered from the mind of Tevo Howard who has said, 'if PASSION were a Chicago House track'. His take is also a prediction of human beings in the next 300-500 years: after the world learns to not do irrational WAR and not kill, Howard says: an era of some 300 years of compassion will begin, and will be followed by at least one thousand years of atonement in the existence of the passionate human being as an era of mankind. LATE WORKING MAN as a B-side track is about being at the office late, and dancing very late at the disco.

TUTTI is comprised of eight soundscapes: an audio self portrait comprising of manipulated sound recordings from Cosey's life, music and art:
'It's the only album I've made that is an all encompassing statement expressing the totality of my being. A sense of the past in relation to the present and everything in between.'

These eight pieces were originally conceived as the soundtrack to the autobiographical film 'Harmonic Coumaction', and performed live in February 2017, part of a series of events that accompanied the COUM Transmissions retrospective which opened Hull UK City of Culture 2017. Later that year, 'Harmonic Coumaction' was presented as an audio-visual installation for Cosey Fanni Tutti's solo exhibition at Cabinet Gallery, London.
Cosey Fanni Tutti explains: 'Working on the COUM Transmissions exhibition also coincided with writing my autobiography - collating archive material and re engaging with my past. My work is a continuum, the past feeding the present and vice versa. The album is an interpretation of my past and present, of my understanding the shifting perceptions of how they inform one another. One form creating another through a metamorphic process.'

On TUTTI, the music has been updated and enhanced with elements of the original tracks re-recorded and further processed specifically to create a unique stand-alone document, separate to the live performance and installation. Recorded at Cosey Fanni Tutti's studio in Norfolk, the album, as on her debut release, Time To Tell, merges Cosey's art activities with her exploration of sound: The album's autobiographical theme is not locked into any specific time or place, the 'voices', instruments and sounds together span decades of my life, music and art. In this context my name 'TUTTI' shifts from its role as a noun to perfectly represent the concept of the album, also acting as sign for me the artist.
TUTTI is Cosey Fanni Tutti's only solo album release since 1982's Time To Tell. Time To Tell was recently given its first release on vinyl, on a long awaited official deluxe edition. The interim years between solo releases has seen a blisteringly prolific output as an artist and musician. Renowned for her art, her work in the sex industry, as co-founder of Industrial music and Throbbing Gristle, and her pioneering electronic music solo and as Chris & Cosey, Carter Tutti and Carter Tutti Void, she has created throughout with the motto 'my life is my art, my art is my life'.

Cosey's autobiography ART SEX MUSIC was published to worldwide acclaim by Faber & Faber in 2017, a Japanese edition has just been published with further translations and an audio book to follow. TUTTI

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

For the third release 'Purify Records' presents the first solo EP of the cologne based label co-founder 'Tangram'. Having refined his craft for many years 'Circadian Rhythms' showcases his unique ability to create immersive and hypnotic soundtrips tailored for dancefloor usage and home listening pleasure alike. Deep electronic excursions in their purest form.

KosmoramaDisco Vol. 2 is the second of a series of compilations that KosmoramaDisco label begun to release in 2018. This is a follow up of what the label it's been trying to show in the last 2 years. For this we have a new bunch of artists which music styles fit again with the philosophy and taste of the label: from Italo to Dark Disco and Slow Mo all wrapped, as usual, in club dancing format.

On 8th February 2019, Eric Gales returns with his brand new album 'The Bookends' on Provogue/Mascot Label Group and it features collaborations with B. Slade and Provogue artists Doyle Bramhall II and Beth Hart. The challenge for making 'The Bookends' was for Gales to challenge himself. 'As a guitar player it's been established that I can play a little bit, just a little bit,' he smiles. But for this album he not only wanted to push himself as a musician, but also as a vocalist, to build up his vocal discography. Gales' story is an incredible one, he was a child prodigy and released his debut album The Eric Gales Band in 1991 as a 16 year old on Elektra Records. It was the first of 10 albums on a major label through a blistering career. He has released 15 studio albums in total ahead of 'The Bookends' and a host of other collaborations. He has battled drink and drug issues and spent time in jail in 2009 for possession of drugs and a weapon. Gales proudly tells his story every night before every show, now over two years sober he is creating some of the most breath-taking music he has ever made. If his previous album 'Middle of the Road' was the rebirth of Eric Gales, then 'The Bookends' is him knocking away his boundaries and taking flight on a voyage of self-discovery asking himself what do you think you can do and pushing that into the stratosphere.

Originally starting out in the late 90s, Paris-based 8 piece, Cotonete originally gained fame for renditions of tracks from their contemporaries, the likes of: Deodato, Lalo Schiffrin and Banda Black Rio. Replicating the heavy grooves, sweaty jazz-funk with a nod to the Brazilian warmth and beach breeze. Before bowing out of the game thinking the fun was over….

Fast forward to more recent times, having had their flame reignited by Melik Bencheikh, head honcho of Paris vinyl emporium, Heartbeat Vinyl. He encouraged the band to get back together and over the last two years the band released four EPs of original material - including the collaboration with Dimitri from Paris - quickly becoming collectors items, and now gearing up for 2019 they are finally ready to present a full body of work, their album debut 'Super Vilains'.

Left Ear are issuing two previously unreleased Full-Length versions of Space Farm's mid 90's Egyptian inspired tracks. Both, 'The Dawn of Birds' and 'Camels in Desert Air' were initially cut short to allow for additional remixes on the original release. For their 2019 issue, Left Ear have decided to focus only on these downtempo original songs allowing the heavy percussion and synth workouts to shine through on a loud 45RPM press.

Space Farm is the story of three friends Darrin, Bill and Waleed their love for 80's NY culture, Egyptian music and a cross continental business plan that never materialised. Darrin and Bill grew up in North New Jersey only a few miles from NY city and met while studying in '90. Bill spent his formative years listening to the emerging sounds of 80's left-leaning New York radio stations, while Darrin immersed himself in the DJ and B-Boy culture. Fast-forward to '94 and the two found themselves living in Boulder, Colorado. By this time the tag-team had started producing music and would look to their NJ roots for a group name, deciding on the title 'Space Farm' after a kooky local petting farm they often cracked jokes about. Armed with an open mind and a bunch of old studio gear the duo began producing music inspired by 80's NY, however after a budding friendship began with Egyptian native Waleed they were inspired to start experimenting with Egyptian and Arabic sounds. After hearing their output Waleed pushed for the release of an Egyptian inspired record saying 'it would sell like crazy in Egypt', that 'he would bring it back to Egypt on his next visit and get it to all the right people that need to hear it'. The record got done but, due to circumstances beyond their control it never made it over to Egypt. The duo performed live a few times in Boulder before finally returning to NJ. Darrin recalls playing their final party in Boulder in which the Space Farm record was played from start to finish, 'Some joker ran up to us while we were playing and kept signalling to up the tempo we were like F Off! raver boy'.

It gives me the greatest honour to finally be able to announce the release of this amazing triple vinyl masterpiece by log(m) and Laraaji on Invisible, Inc.

It's been over a decade since Laraaji first joined forces with log(m) in their Canadian studio in early 2007. In those ten years the trio recorded many hours of music. Over time these recordings, beginning essentially as live jams, were polished, dissected, processed, re-arranged and then finely and painstakingly distilled down to the 105 minutes of music that now form this album, which finally reached completion just earlier this year. The wait has been more than worth it.

The Onrush Of Eternity is a melding of minds like no other. Ever the pioneer of experimental ambience, Laraaji's signature hammered dulcimer, zither, mbira, auto harp, sruthi drone box and of course his exceedingly positive vibes are here combined with log(m)'s unique vision of gronky hi-tech psychedelic space dub. The resultant voyage into deeply meditative ambience and trance-inducing dub is as unexpected an outcome as it is a bona fide "Eureka" moment. It sounds neither like log(m) OR Laraaji....but of course like both. It is one of those rare collaborations that is, without a doubt, even greater than the sum of its already great parts.

Log(m) started making waves in the early '90s as Legion Of Green Men with their visually striking 12"s, complete with eternal opuscules (locked grooves) and mathematically inspired titles, all lovingly issued on their own Post Contemporary imprint. These deservedly got the attention of Richie Hawtin who promptly asked the duo for an album on his own classic Plus 8 Records. 20+ years later and the music (much like their name) has morphed into something more sophisticated: even more complex, atmospheric and deeper than ever.

Laraaji's reputation of course precedes him: he first came to wider attention when Brian Eno released his "Day Of Radiance" as part 3 of his Ambient Series in 1980. Since then, Laraaji has released over 40 albums, yet his stellar path seems still to be on the ascendant - a recent landmark being the 2017 "Sun" series of albums for the wonderful All Saints' Records.

This unique triple LP in tri-fold sleeve is limited to 200 copies on coloured vinyl and 300 copies on black vinyl featuring ten of log(m)'s signature eternal opuscules and cryptic engravings on all three discs.

The Daktaris is a well-disciplined army of two hundred African Bull Elephants marching relentlessly up your business to the beat from Funky Drummer. Or so began the liner notes on the original pressing of this album.

Truth is often stranger than fiction. In 1998 Desco Records—a precursor to Daptone and Soul Fire records—released The Daktaris' Soul Explosion, ostensibly as a reissue of an unearthed Nigerian LP from the seventies. Though it's now common knowledge that the story was a bit of a hoax, the record's significance as a seminal part of the Afrobeat and afro-funk renaissance of the last two decades cannot be denied. The roots of the Budos Band, Antibalas, and uncountable others can be traced back to this enigmatic afro-funk release.

Now, two decades later, Daptone has remastered the album from the original tapes, including a bonus track that had previously only been available on a 45, and featuring extensive all new liner notes by Bosco Mann telling the bizarre true story behind the Daktaris sessions.

KEY MARKETING POINTS:
- FULLY REMASTERED, including new bonus track, 'In the Middle.'
- Extensive new liner notes by BOSCO MANN explaining the real story behind The Daktaris.
- Features members of The DAP-KINGS and ANTIBALAS.
- Features JOJO KUO (drummer for FELA KUTI) on vox and percussion.
- Originally released on DESCO RECORDS in the 1998, has been out of print for years.
- The spirit of the late, great Fela Kuti runs through The Daktaris' Soul Explosion. - Jazz Times

Vaal announces the release of debut album 'Nosferatu' via new label Pale Blue Dot.

A dark, cinematic triumph, title track 'Nosferatu' was the first song to be released from the record, following a huge few years of touring and underground releases, including one of 2016's most ubiquitous tracks 'Wander To Hell' and 'Monument' on Afterlife.

Vaal has established a sterling reputation as one of the key members of the Afterlife family. Steadily cultivating a strong identity and sound, merging a crossover of techno and breaks, traces of 'Bachian' melodies and UK rave culture.

Beautiful debut album from the incredible, Ce´lia. Conducted & arranged by Arthur Verocai and Roge´rio Duprat; featuring songs by Lo Borges, Antonio Adolfo and Joyce amongst others.
Ce´lia recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before she sadly passed away late in 2017, aged 70. This is her debut album from 1970.
Ce´lia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career. Joyce was particularly supportive in the making of this album, writing the beautiful 'Abrace Paul McCartney' and her husband at the time, Nelson A^ngelo, recorded some of the songs.
Features an exclusive insert of a translated interview with Celia, completed in 2011 in her hometown of Sa~o Paulo. Focusing, in particular on her recording work with Arthur Verocai, it showcases her wonderful sense of humour and how she was embracing her new legion of fans, particularly in the world of hip hop.
Official Mr Bongo reissue. Licensed from Warner Music.

Art is a matter of different phases and influence. The artists' core reaches out like heat waves. And very rarely do these artists' core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of "folle sagesse" (crazy wisdom), above all genres and song limitation.

"Le plaisir secret que donne une chanson, dessin à la craie sur le mur de tes sons" (the personal delight within song, a chalk drawing on your wall of sounds) whispers Areski, right after Brigitte's voice on the penultimate song of the double album "Vous et nous". Released in 1977, this free flowing record contains 33 songs, it's their 6th album after "Comme à la radio", "Brigitte 4", "Je ne connais pas cet homme", "L'incendie" and "Le bonheur", and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers, surprising us each step along the way. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard's studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work ("je") thrived to become us ("nous") and you ("vous") ...

Benjamin Barouh, June 2018

Martin Buttrich, a name synonymous for decades with expertly curated sonic productions, has had a career as long as it has been prolific. From youthful productions as an 18 year old under the alias 'X-Rotation', to his 2010 debut album 'Crash Test' and its follow-up 'Collaborator, Vol. 1' in 2016, he is an artist who has constantly evolved. Now he's back to showcase his latest EP 'Northeast / Southwest' on Planet E, due for release on 1 February. 'It's been 11 years since my last full release on Planet E and I am so happy to be able to kick off 2019 in style and return to my spiritual home. I spent the last few months working on these tracks at my studio in Barcelona and am looking forward to sharing them with you'. - Martin Buttrich The opening track 'Northeast' sees punchy stabs interlace with a shifting melodic bass, both dancing playfully over and under shuffling snares and hats which carry the listener from start to finish. 'Southwest' continues on with a bouncing percussive groove that provides the platform for a canorous bassline and string melody to emerge.

Reaper Recordings is a brand new label focusing on delivering a regular supply of second to none jungle and jungle related music.

Reaper is getting the ball rolling with the first in a series of 10' vinyl releases courtesy of Ghosty, who has released music under many different aliases for over 15 years. Presented here are two tracks of meticulously programmed hardcore jungle: modern production values and attention to detail whilst maintaining grit, dirt, warmth and weight. Both tracks have recently been road tested with great reception at various Jungle events around the UK.

Side A, 'Dead Already' is a low slung, bass driven, dark jungle workout with creeping, tape saturated arpeggios with powerful lows and aggressive, punchy percussion.

Side B, 'Forward' is a soul influenced, 94 style jungle track. Solid, deep sine basses hold down the chopped, steppy, dynamic drums.