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Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

rRoxymore's music is an intriguing, one-off blend of contrasting textures - organic and synthetic, icy and warm - a fresh step in dance music. Real name Hermione Frank, the French musician and producer has a long history making music in various ways, with various people, before settling in Berlin and concentrating on the solo project that refines it all.

As rRoxymore, she released her epic 10-minute debut "Wheel of Fortune" in the summer of 2012 - half of split a 12" with Planningtorock on the latter's own Human Level label. Human Level also provided the outlet for rRoxymore's first EP, Precarious/Precious, the following year. The four tracks combined nervous grooves, bewitching cosmic synths, twisted snippets of acoustic instruments and other intriguing sounds. Live, rRoxymore creates rhythms and sounds with energetic rawness merging with a stirring psychedelia, taking you into a new world.

Hinter Anohni verbirgt sich Antony Hegarty, die Sängerin von Antony and the Johnsons. "Hopelessness" ist ein Dance Album mit Soul-Gesang und politischen Texten, die staatliche Überwachung, Drohnen-Krieg und Umweltzerstörung thematisieren. Indem Anohni zeitgemäße elektronische Musik mit politischen Inhalten kollidieren lässt, wirft das Album gängige Erwartungen an Pop-Musik über den Haufen. Passend dazu erschien die erste Albumauskoppelung, "4 Degrees", zur Pariser Weltklima-Konferenz im Dezember 2015, was der "Guardian" mit "Hugely affecting (...) instantly earns its place in the pantheon of great musical protests' kommentierte. Im selben Fahrwasser bewegt sich auch die zweite Single. Musikalisch wunderschön, inhaltlich erschütternd brutal: "'Drone Bomb Me' is a love song written from the perspective of a young girl in Afghanistan whose family has been executed by unmanned U.S. drones. She dreams of being annihilated." Visuell wird das Ganze von einem atemraubenden Clip des bekannten Musikvideo-Regisseurs Nabil (Foals, Bon Iver, Bruno Mars, Kanye West) unterfüttert, in dem Naomi Campbell in der Hauptrolle zu sehen ist. "Hopelessness" entstand in Zusammenarbeit mit Oneohtrix Point Never und Hudson Mohawke.

For those of you wondering what Adesse Versions was doing at our Heist Boiler Room this summer in London, the answer is here. The "Push it along" EP for Heist is Adesse Versions first appearance on our label and features 4 stunningly raw and warm originals, and an amazing remix by New York's ambassador of funk: Ge-Ology, together with multi-instrumentalist Marc de Clive-Lowe on keys.
After having released numerous records for Jackmaster's Numbers, Local Talk and Toy Tonics, we're happy to welcome Adesse Versions to the Heist family. When he sent us his demo's we had the tough job to choose the right tracks, cause there were just too many. The selection on the "Push it along EP" features what we feel are his purest work up to date. With only a small amount of elements, he manages to create such a big and warm sound, finding a great balance between gritty percussion, rich analog synths and funky sampling work.
Opening track Tout it is built around an ever evolving arpeggiated synth, a dancehall-esque percussive riddim and lovely pad work. It builds up slowly, without ever becoming dull, changing small elements and adding momentum with each step.
E to E is based on a chopped vocal looped to bits (only shouting: (E, E, E, E, E..), dancing hihats and a rolling bassline, whereas Geology flips the high energy original into a classic deephouse tune that fans of Larry Heard will love. The steady bassline and trianglework form a perfect canvas for MdcL's work on various synths, adding layer after layer of melodrama.
The title track goes for the same recipe as Tout it, with fierce snares laying down the rhythm and a far away disco sample adding the right dose of funk. Ebony Roses is the final track of the EP: A beatless groove built around a spoken word vocal with dreamy piano work around it building up suspense as the track evolves.
We've been playing this EP over the course of the last few months and it's been getting great response, so we're happy to finally share it with you.

Sincerely yours, Lars & Maarten

Josh Praus has been involved in San Francisco's Bay Area scene for the last two decades. A prolifc collector and player of records, What We Tellin' Them marks his frst public outing as a producer. As debuts go, it's pretty darn impressive.
Praus has been working hard in the studio over the last three years, creating tracks that draw infuence from a wide range of styles and artists. He cites 'downtempo, disco, house, Italo and techno' as major inspirations,
and listeners may hear elements from all of these disparate styles on this assured, confdent EP.
Some may hear echoes of the trippy, tribal-infuenced house sound of Siesta and Tango Recordings in the dense, drum-heavy shuffe of 'What We Tellin' Them', while others may fnd comparisons with African rhythm tracks and hypnotic, late night techno. However you frame it, 'What We Tellin' Them' is
an impressively percussive, mid-tempo workout designed to tease and titillate late night dancefoors. Flipside 'Lucas Valley Dr', featuring the dreamy, freestyle vocals of experienced San Fran singer Nina Lares, couldn't be more different. Sparse, synthesizer-driven and undeniably intoxicating, it seemingly channels the spirit of both dubbed-out West Coast deep house, and the similarly delay-laden New York proto-house of Winston Jones and Paul Simpson. Throw in clear Italo-disco and Chicken Lips infuences, and you've got something that's undeniably magical. Both tracks were produced by Josh Praus at his home studio, with additional production, mixing and mastering by friend Layne Fox, best known as part of regular Leng contributors 40 Thieves.

After a highly-regarded debut single on Names You Can Trust back in 2014, Combo Chimbita returns, expanded and transformed into one of the most original and wild ensembles currently cutting their teeth in the New York City live arena. Their latest 4-track studio effort, EL CORREDOR DEL JAGUAR, co-produced by NYCT's Greenwood Rhythm Coalition and featuring the powerhouse Carolina Oliveros on lead vocals, is an explosive tour de force of unbridled psychedelic energy and futuristic fire with firm roots in the ritmo of the African diaspora. With connections and inspiration drawn from the vast sea of Caribbean music - specifically the band's native Colombia - these transplanted first-generation New Yorkers have carved a unique corridor in the thriving underground jungle of the big bad city.

Spanish techno master Reeko makes his mark on Detroit Underground with a release exploring the darker facets of humanity in mesmerizing fashion, with rhythm and drone taking equal importance. "Lovers and Bandits" sets side A off with a brutal broken march, hard kicks building slowly into caverns of sonic noise. "BDSM" twists the sounds of pleasure and pain into an endless dark delay, leading you to the edge and right into "Hard Sex Club", roiling with indecipherable voices and a hovering synth build that teases but never quite strikes.


Side B straightens the beat with "Slaughter", a searing background noise underpinning an evolving rotation of menace that pushes the beats forward into a pit of noise and sludge. "Sex With God" is a fierce techno rhythm, wet, crunchy, and percussive without the ubiquitous kick drum, building to a crescendo of heat and buzz. Finally, "Submissive Behavior" is a massive paranoid drone, prickly with hunger and menace. On "We Are Bandits", Reeko strips down his explorations of sound and texture to the barest essences, making for an unsettling and intriguing listen. Graphic design from The Designers Republic. This is the first release in a collaboration with tDR called DU-TDR/GRD with a grid font designed for 2016 - 2017 DU releases.

The Label Owners Of Enough! Music Will Tell The Next Story With Their Music Project. The Following Releases Are Bind Together Witch Each Other Through The Same Story. Each Release Gets You Closer To The Whole Story. Enjoy Listening To The Invited Second Artist Digitaline (Cadenza, Get Physical, Raoul). Four Groovy, Glittering Tracks From Eveline Fink
and Digitaline are in the right direction in to your heart. The Secret Of The Whole EP Is The Concentrated Passion. Enjoy Our Second Journey !

Back in stock !

Michael Mayer is one of the leading German tastemakers in dance music and his DJ sets have influenced a generation (or two) of musicians and fans.As an artist, Mayer remains tirelessly motivated to DJing, in the studio or behind his desk at KOMPAKT, the label he co-owns. His recording career spans four albums, 23 EP's, nearly 170 remixes and the legendary DJ mixes for fabric and Immer. '&' is his third full-length, a passionate and personal album that speaks as broadly as his DJ sets - embracing his genre-busting love for music, rhythm and atmosphere - and the dancefloor in front of him. '&' is the rare manifest of an established artist who is willing to risk it all and challenge himself, and the world around him. 12 tracks, 12 single narratives coming from a group of very individual minds orchestrated by Michael Mayer - the DJ, artist, A&R but most importantly, obsessed music lover. Michael describes the process of curating and creating '&' as a constant battle between his three alter egos but 'the obsessed music lover has had the final say.' As diverse as they are, all the tracks that result from this long and winding road create a cohesive story and present the elasticity of Mayer's musical galaxy. Michael gladly leaves it to the rest of the scene to discuss the different grey shapes of club culture. For him there is only one club culture - a playful and open-minded one that's easy to comprehend after you hear ‚&'.

New project from Massimo Vanoni in which his black streak with Slow-Down & Nu-Disco-Funk features prevails.
The tracks have strong groove rhythms, with intense, rather thick and ascent.loops. The contaminations collected
by the club consoles seem to merge in the creation of unreleased songs which recall an interesting return to the
old beat with dynamic rhythm. Deluxe package Artwork.
For fans of Frank Booker, LTJ Xperience, Stereo 12", Tee Mango, Fouk, Inkswell, The Revenge, Session Victim, Debonair...

The Turbo debut from Gilmer Galibard is a collection of four dark, visceral techno floor-destroyers from a young Canary Islands-based producer about whom we know relatively little. It also marks the label's first release to feature a swear in the title, offering a foreboding glimpse of the paranoid machine-driven warehouse terror contained within. "By now you will have heard the demo in its entirety and are still dancing whether you want to or not. For my purposes, you will use the Search Engine Optimization terms "Dark," "Visceral," "Techno," "Floor-Destroyers" and "Paranoid Machine-Driven Warehouse Terror" to ensure that it finds its way to the 83 people who need to hear the release through this specific channel. You may tell people I am 26 years old and from the Canary Islands; both facts are true and sound comforting enough but as you now know this does not matter. Print this in its entirety and leave the release title unchanged. I would say I've said too much but that is impossible because as you've come to understand all of this has already happened.

Newborn Munich based label Slam City Jams comes around the corner with its first release from young gun Gonima straight outta Montreal, Canada. His Grids EP An exciting mixture of swinging distorted drums, catchy melodies and hazy atmospheres. You can definitely spot Gonima's passion for DX7 adventures, analog drums and tape hiss right here. Opener "Grids" starts off with lush synth blips, 707 drums and a bassline Bootsy Collins would give high-fives for. "Subdivided" is one of these tracks that shows you that it doesn't need more than a few elements to get you going: A rough kick drum, cowbells and a smooth pad that gets slapped by just one bass note. The last original on B2 is the ambient-like "Organ Tutorials", which shifts your mind directly to outer space. And as if all this wasn't enough, someone really special did a great remix job - Khotin from 1080p fame, who gave the A2 cut a treat with his unique trademark sound. Four house and ambient tracks both for the floor and the couch. Or as Gonima puts it: "An EP that has the sound of visiting home in the winter and rediscovering environments frequented in the past, birthing previously obscured memories. The sounds within are a ritual dance to stay warm through the procession of the seasons"

**LP + Download - Bonus track 'Three Tears' on download***Natalie Mering, the being behind Weyes Blood, embeds her sublime song in a harmonic gauze of arpeggiated piano, acoustic guitar, druggy horns, & outer space electronics. Propulsive, spare drums carry us across the album's course. There is a faded California beauty to Front Row. A gentle honesty that recalls the finest folk music made on the West Coast of the '70s. The hue hangs in the sweet-spooky harmonies, the pulsing sway of the vibrato & the ecstatic chord resolves. But this beauty is scratched with shadow, with dark foreboding, alienation, & acceptance of change. Love & loss balance together in suspended alchemy, as the earthiness of the singer-songwriter tradition wears digital sounds like feathers in its hair. Mering, together with co-producer Chris Cohen contrasts live band intimacy with the post-modern electric sheen of A.M. radio atmospherics. The experimental flourishes sparkle amid the succinct, thoughtful arrangements.The closeness of this record - how personal, alone, & frank it feels - conceals its aspirations to the outside, to the "Earth" of its title. Weyes Blood harbors devastating weight while also universalizing the strange ways of identity & relationships. These are not typical love songs or protest songs -- they are painful, poignant riddles that celebrate the ambiguity of love & affirm the conflict of harmonious life within a disharmonic world.

After a first release early 2016, the Discomatin crew from Paris returns to their Discomatin Edits series with this second effort, still in the spirit of the afterparty they organize to entertain the early birds, who prefer to dance than catching the worms.

The EP is composed by four tracks, finely picked and slightly edited by the DJ's of the crew. From AOR mellow grooves to French original kitsch and funkyness, they open a wide range of possibilities. It's fresh, it's French, so don't sleep on it!

Der nigerianische Musiker Fela Kuti gilt als Begründer des Afrobeat. Das Label Knitting Factory legt nun verschiedene Werke aus dem Backcatalogue als neue Vinyl-Edition vor. Diese entstammen ursprünglich dem von Brian Eno zusammengestellten Set "Vinyl Box 3/Compiled by Brian Eno" und waren einzeln nicht erhältlich. Schwarzes Vinyl / 180g. Das 1971 aufgenommene Album "Shakara" begründet das Genre des Afrobeat und experimentiert mit dem Einsatz musikalischer Mittel: Erstmals mit zwei Gitarristen, die ihre Riffs parallel anlegen, werden Überlagerungseffekte geschaffen, die der Musik einen starken Drive und eine hypnotische Wirkung verleihen. Über weite Passagen instrumental angelegt, ist "Shakara" von einem kurzen Text in Yoruba durchzogen.

Here Come the Horns is the second studio album by the hip hop group Delinquent Habits. Formed in East Los Angeles in 1991, the group are known for their Latin-tinged rap, which is both melodic and hardcore. Their first self-titled album (MOVLP1338) was executive produced by Cypress Hill member Sen Dog and featured guest appearances by Sen himself as well as Puerto Rican New York City rapper Hurricane G.

Remember how badly we wanted to join them and be part of those sea-faring adventures: Jack London’s The Sea-Wolf, classic TV shows based on his novel The Road, on Radu Toduran’s novels... back then, a couple decades ago, the titles of these shows alone were enough to trigger some strong gusts in our hearts, salty squalls perfect for imaginary downwind journeys we dreamed of with billowing sails. We wanted to cruise alongside albatrosses, seagulls, and fellow sailors. Floating high above a three-masted vessel, we watched our own adventures unfold far below, an imagined movie scene complete with a whole crew that worked the rigging, and all the rest. Cutting waves. Amidst the storm and stress of sounds hitting our eardrums far out in the ocean. Combined with the sounds of rotors, of tropics crossed, of marimbas and cabin wood pounded, of strange music spotted in the distance. And even though it was merely for an hour or two that we were rescued by that seal-hunting ship “Ghost,” as Jack London had it, plus, even worse, often found ourselves surrounded by villains: it was a great escape, for we’d successfully set sails – to new and exciting places.

Both around their own Weilheim shores and elsewhere, brothers Markus and Micha Acher have launched various musical vessels, bands and free-floating constellations over the past three decades – and yet: amid all these other speedboats and unlikely sonic barges, The Notwist has always remained the mother ship. This new album documents the latest live incarnation of this very band, which also features Andi Haberl, Max Punktezahl, Karl Ivar Refseth, and Cico Beck. Recorded on December 16, 2015 on the second of three consecutive, sold-out nights at UT Connewitz in Leipzig, Germany, "Superheroes, Ghost-Villains & Stuff" indeed feels like a first-hand live experience caught on triple vinyl. That’s why it’s the definitive album of The Notwist’s career.

Although there is one song that points to the early, “louder years” of The Notwist – “One Dark Love Poem” off the album Nook –, the rest of the night’s set sees the band perform all the major hits off Neon Golden, The Devil, You + Me, and Close To The Glass. However, these are different, organically enhanced versions, new interpretations and combinations that feel much more alive; thanks to Olaf Opal’s incredible mix, they sometimes even outshine the original studio recordings. Listening to "Superheroes, Ghost-Villains & Stuff" feels like watching these songs evolve and change, moving from one frame to the next, much like a baroque triptych.

What starts out like ‘wimmelbook’ imagery, the music soon folds and unfolds like a Moebius strip: Sans bottom or top, sans inside or outside, the inside becomes the outside and vice versa. It’s all about sonic interconnection, about music as entanglement, music as reconciliation. The rather majestic, cinematic (indie) pop and experimental, kraut- infused jazz, the spirit of the enlightenment and baroque playfulness, the traces of modernism and minimal music, dub leanings, hip-hop lessons, and even hints of house music: here is where they all come together, reconciled in a sound that’s both melancholy and romantic. And ultimately, the spirit of these songs is set free – and the band has released itself, is free at last.

As for the album title, it’s lifted from the song “Kong,” and encapsulates Markus Acher’s motto. Throughout the track, the water theme first appears as a dangerous threat: a force that’s strong enough to wash away an entire house; and yet the fluid state keeps transforming and eventually releases that sense of threat into something rather hopeful, a new musical beginning, a melodic departure that ultimately leads to euphoria and a renewed spirit of adventure. These are the strong gusts mentioned above, it’s the spirit of discovery, the urge to set sail together. The crew’s back at it, working the instruments, the rigging, with sails a- billow, launching the next voyage of discovery, assuming the East in the West and vice versa. And thus the adventure saga continues.

Pico Be (Das Weiße Pferd)

Marcel Dettmann has mixed the latest edition of the highly respected DJ-Kicks compilation series.
Whilst Dettmann is well-known for his incendiary sets at his residency at Berghain, his DJ-Kicks mix is crafted for listening, and displays a more reflective side of the DJ and producer. The mix explores a wide array of selections from various subgenres; ranging from the a new vocal-led Strictly Rhythm release, to rapping on Clarence G's 1991 release 'Cause I Said It Right', recently reissued by Clone Records.
Over the course of its 1hr 14 duration, Dettmann reveals multiple new original productions; most notably a collaboration with Levon Vincent, 'Can You See It'. The pair have collaborated once in the past, releasing 'Vengeance' on Levon's own Novel Sound label towards the end of 2015 to critical acclaim. 'Can You See It' sees the duo venture into darker territory; a stripped back, sub-bass laden affair, the quality of this production immediately stands out in the early stages of the mix.
Dettmann also collaborates with MDR affiliate Wincent Kunth on 'Possible Step'. In addition to five brand new original Dettmann remixes and edits, there's an unreleased remix of Marcel's 'Let's Do It' from Ostgut Ton labelmate Rolando.
Designed to be enjoyed by both the critics and more casual listeners, this mix is the latest in a long series of lifetime achievements over the course of Dettmann's career - and with so many new unreleased original Marcel Dettmann productions included, this is a landmark release for the producer

REPRESSED !!
Heart Warming Hard Hitting
Early plays by Ben UFO & DVS1 & O. Hafenbauer !! Just in time for all the festivities concerning the end of the year frank music drops another double bomb on wax. Achterbahn D'Amour is back with a bouncy track called JX3. It is Techno-Yes-Techno Music with all ingredients needed for a bumpy ride. Imagine fog machine and strobe lights over the top. Another 9 minutes and 31 seconds into XTC. Fasten your seatbelts. BTW the guys will release their debut album through acid test very soon so keep it locked. Flipside comes with Albert & Albert and a song that goes on ... well ... Forever. You will feel good along those strings. Perfect for any part of your dj set or even better as christmas present for your mother-in-law. Two heart warming / hard hitting trax. 12" tastes better!

RAWAX proudly welcomes Mr. Carlos Sosa aka DJ Sneak to the Family! You can't imagine how happy and honoured we've been when we received an email from DJ Sneak paying us respect for the label work so far and offering us most of his amazing past productions. We now pay our respect to DJ Sneak and present his own series on CHIWAX called "DJ Sneak Edition", with re-issues, new productions and also with unreleased tracks from the 90's. The first release will be the legendary "Blue Funk EP" from 1994. First 500 copies will be pressed on blue vinyl - preorder necessary!

The Sound of Detroit by one of it's unsung heroes, Amp Fiddlers new album Motor City Booty comes straight off the D Funk assembly line, a full on dance floor affair from Motown to P-Funk, Techno and Neo Soul.
This 11 track album produced by Yam Who & includes the massive Soul Fly sounding like a Mark Ronson production had he been hanging out with George Clinton's Parlet followed by the bonafide P-Funk anthem 'Steppin' both featuring the stunning vocals by the Dames Brown girls.
Amp Fiddler is credited for taking both a young J Dilla and also Q-Tip under his wing teaching them Akai MPC techniques, setting the path for some of Hip Hops finest recordings which have defined the shape of things to come.

Non Series celebrates five years with three-part compilation series. Psyk, ROD, Architectural and Yotam Avni feature on NON Series's vinyl part I/III.
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In December 2016, Psyk's imprint Non Series will reach its fifth anniversary and to celebrate the Spanish label will be releasing a compilation series. FIVE comes up as a birthday countdown divided into three parts that will be released September 30th, October 28th and November 25th respectively.

FIVE will bring together artists from the label family as well as some new faces to deliver 3 various artists EPs according to the Non Series sound. Expect to hear beats from regulars like Mark Broom, Chevel, Henning Baer, Savas Pascalidis, Architectural, Tadeo, Eduardo De La Calle, Aiken and the label boss Psyk, while ROD, Dimi Angelis and Yotam Avni will join the crew for the occasion.

The first EP will feature the bleep-like groove of the label head Psyk, the textured sound of Architectural, ROD's representative funky rhythms and a mesmerizing cut from Yotam Avni.

Giant Step/De Ole Folks at Home is the third studio album by American Blues artist Taj Mahal. A double album, the first disc (Giant Step) is electric, while the second (De Ole Folks at Home) is acoustic.

The nine cuts on Giant Step feature support from the instrumental trio of Jessie Ed Davis (guitar/keyboards), Gary Gilmore (bass) and Chuck Blackwell (drums). The arrangements are unique and offer the artist's distinctive approach.

Those who are searching for an introduction when discovering Taj Mahal's voluminous catalogue are encouraged to consider Giant Step as a highly recommended starting point.

You Can't Defeat Her, When You Meet Her You'll Get What I Said B2 Marlon Hoffstadt - 2000MG Floating Info: Retrograde returns late September with 'In Reverse Pt.1', a various artist package featuring Matteo Luis, Natureboy Gold, Terron and Marlon Hoffstadt. Berlin based imprint Retrograde marks its fith release here and once again welcomes back a selection of the collective recording artists already featured on the label such as label head-honcho Natureboy Gold, FFRR/Play It Down artist Marlon Hoffstatd, also co-founder of the label and tipped as a Future Star by Pete Tong on Radio 1. Matteo Luis also makes a return following appearances on two EP's for the label prior to this, while an exciting addition to the catalogue comes in the shape of Terron, most notably known for their work with Young Turks sub-label WHITIES. Up first on the release is Matteo Luis' 'Out Here' setting the tone with ethereal pad swells, organic rhythms and choppy bass hits while a soft and brooding melodic tension subtly unwinds throughout the composition. Natureboy Gold's 'Eternal' follows and employs a similarly airy synth feel while introducing a robust tom- driven rhythmic approach to create an understated dance-floor focused contribution. Opening the flip is Terron's cryptically named 'No.57, You Can't Defeat Her, When You Meet Her You'll Get What I Said' which drops the tempo to a low slung feel with dubbed out bass licks, bumpy percussion and spiraling bass drones to create something idiosyncratic and psychedelic. Marlon Hoffstadt steps up to round off the package next with '2000MG Floating' delivering a raw energetic workout with soaring 80's tinged leads, snaking bass grooves and frenetic percussion.

With a title that suggests great things, making reference to 6 Victoria Crosses awarded to the Lancashire Regiment in World War 1, Mr Fantastic and Coherent (of Journeymen fame and much more) have set themselves a tall order. Before you have even listened to the music, the presentation points to success in this venture, with original artwork by the brilliant Stilts and marbled camouflage coloured vinyl to boot!

100 years after the press reported 'the winning of 6 VCs before breakfast' during the Gallipoli campaign in World War 1, S.O.E. (Special Operations Executive) opt for beats and rhymes rather than guns and bombs, and the resulting record is essential. The initial salvo is fired in 'Ready For Combat' which sees Mr Fantastic combine hard-hitting drums with stabbing guitar chops for Coherent to set the tone. The result is an instant smash which will have you rewinding, as I was, time and time again! From there, the duo, joined by Rola (The Numskullz/Journeymen) and Truck (also a member of The Journeymen), stage a three pronged assault over a haunting beat, spitting verse one after another like a creeping barrage before Mr Fantastic delivers the final victory courtesy of his trademark tight scratches. The concept for this EP is highly original and perfectly apt and on 'Foreign Lands', this is perfectly demonstrated as Coherent weaves tales of carnage that would sound at home on a jungle warfare documentary. 'Lyrical Assassin' once more sees Coherent dropping vocal hand grenades over double bass and electric piano skilfully fused together by his fellow soldier Mr Fantastic. Throughout, the subject matter and music is dark and 'Heavy Artillery' encapsulates this perfectly - Mr Fantastic's thumping, bass-heavy production would have sat perfectly on Show & AG's sophomore LP next to tracks like 'Night Time'. On 'Carcasses', Coherent shows the enemy why he is such a skilled MC, delivering surgical strikes with his tight metaphors and hard-hitting punch lines.

The question, then, given the highly ambitious nature of this project, is whether S.O.E. have won the battle they set out to win. With meticulous artwork, dark brooding beats and Coherent's masterful wordplay, the result is clear. They didn't just win the battle but the whole darn war!

First complete Sonic Youth album is one of Thurston Moore's favorites. Includes live cover of The Stooges' I Wanna Be Your Dog'. Vinyl includes digital download. Originally slated to be a 7' to follow up their self-titled debut, Sonic Youth's Confusion Is Sex blossomed into the band's first album: a brain-bludgeoning, completely fried endeavor of dissonance and disarray, a perfect soundtrack for running from a chain-wielding gang near the SIN Club. This was the sound of 1983 New York City, nothing like the jangly roots of college radio rock starting to formulate in Athens, Georgia. It sounded like no one else on Earth, for that matter. The raw, Wharton Tiers 8-track production is dark, the Kim Gordon- scrawled cover figure art of Thurston Moore is dark, Lee Ranaldo's back cover photo-collage and Catherine Ceresole's crumpled-xeroxed images that adorned the inside are dark. It's an album that moves Sonic Youth forward from their first EP almost by devolving backwards into true ugly, lo-fi primitivity. The bareboned arsenal of junkpile guitars and implementation of alternate tunings was growing, and so were the songs that matched the individual attributes of each instrument: certain ones groan and growl a specific way that the band started to realize itself could become the compositional germ of a song. Herein is the threshold of a new explosion of the band's creativity, replacing the comparatively cleaner buzz of the Sonic Youth EP with guitars that spew fractured, uglier chunks of sound everywhere, held down by menacing minimalist basslines (actually played by Thurston on half of this LP, and for the only time ever on Protect Me You,' Lee) and the brutal-yet-controlled metronomic drumming of Jim Sclavunos, augmented with replacement drummer Bob Bert's notable bashing on Making the Nature Scene' and grotty no-fi live rendition of I Wanna Be Your Dog.' Hearing the crashedwindow intro of Inhuman' and subway-brake screech of The World Looks Red,' you can attest that while Sonic Youth's guitars are not quite yet being utilized in the totally controlled, lyrical fashion seen later on albums like Evol, Daydream Nation et al., they were well aware of the colors and tonalities that were unfolding and the possibilities presented. Also, they were getting a grasp on adding colors to the chaos with tempered, simmering moments like Gordon's Shaking Hell' and Renaldo's chimy, home-taped Lee is Free.' Making the Nature Scene' and The World Looks Red' even toss in glints of hip-hop vocal approach way ahead of its time, albeit through a blender. While its confrontationalism might have put off some critics, time has rewarded Confusion with a truly distinctive air and atmosphere in the Sonic discography, enough to have Moore declare it his fave along with the band's swan-song The Eternal. Brian Turner, WFMU.

Prince Jammy became a King while cutting his musical teeth working for the dub master himself King Tubby.
In that old Jamaican way, when everyone in Jamaica was given a new name to work with, Prince Jammy as he would be known so impressed his colleagues that he rose from a Prince to a King,both names given to him by producer Bunny 'Striker'Lee.
Out of the many protégés that trained and worked at King Tubby's....and there were many, Scientist, Pat Kelly .Prince Phillip Smart to name but a few it was King Jammy's work that was the main stay .
We have selected a set of tunes that were rebuilt with King Jammy at the controls...
Hope you enjoy the set

The Martinez Brothers Cuttin' Headz returns with a new EP from The Butcha, entitled '10001' and backed with two remixes from Matrixxman.Phil Moffa aka The Butcha is a New York City based musician, producer and engineer most notably known for his works alongside DJ Spider and Anthony Parasole for Sublevel Sounds / Plan B Recordings and alongside Seth Troxler for Hypercolour. Here we see him return to the fledgling Cuttin' Headz imprint with his idiosyncratic take on raw, emotive house music following his Destination Void release alongside DJ Spider and Brendon Moeller last year.Up first are two originals from The Butcha, the first of which '99 Prince St.' lays focus on echoing atmospherics, snaking Rhodes and shuffling dubbed out percussion while the latter, '6 Hubert St.' pivots towards an amalgamation an upfront organic rhythm alongside a weighty low end drive and wandering synth swells.
To complete the package San Francisco's Matrixxman delivers two interpretations, firstly the 'Acidized Mix' which as the name would suggest draws on squelching 303 lines layered over processed snippets from the original before the digital bonus 'Transhuman Mix' closes on an arpeggio fuelled Techno tip.
The Butcha's '10001' is out on Cuttin' Headz 23rd September 2016.

Brotherhood Sound System Records is back with its third 12" offering and the first in a series of compilations entitled 'Percussive Parameters', delivering percussion heavy sonics focused directly at the dance floor.The lead track of the EP, Callahan's 'Kudzu', opens with a chopped, atmospheric vocal layered intelligently over rolling percussion and a hypnotic flute. A pounding 808 kick drum is teased underneath until the track switches into a relentless, chugging club tool.
This one's destined to tear up dance floors for a long time...
Next up are label bosses Silas & Snare with 'Eastern Shores'. An unassuming and innocuous introduction with lush pads and clean percussion that ricochets neatly off vocal cuts dramatically shifts pace and turns into a weighted, rolling cut of UK Techno. On the flip, A:Tonal leads the charge through an acid tinged stomper entitled 'Perfect Imbalance'.With driven percussion and firing synths in equal measure, this is unquestionably a peak time weapon in any DJs arsenal. Finally, Bristol locals SYZ & LKY deliver 'Turbulence', a groove and sub laden roller that's meditative and hypnotic whilst maintaining an assertively club ready focus.We're very excited about the start of this new project and chapter for the label, and would like to thank you for all your on-going support. Enjoy the music!

A great step forward for the legendary Tim Maia - working here in a style that's even tighter and more sophisticated than before - yet still equally filled with funk and soul! The arrangements are a bit bigger than before, and the production a bit more professional - but that change only brings Tim into even more heavenly soul territory - with a mix of grooves and strings that lays somewhere between the best early 70s work on labels like Curtom or Motown! Tim's got a new sense of majesty on the album - and also sings in English in a few spots - at a level that makes us wonder why he was never able to crack the American soul market at the time. An essential record from the man who brought American soul music to Brazil - with tracks that include "Over Again", "New Love", "Balanco", "Reu Confesso", "Preciso Ser Amado", "Amores", and "Do Your Thing Behave Yourself".

No light at the end of the tunnel. No helping hand to pull you out of the hole. No second chances. No God to cure this deadly disease. No heaven to save your soul after your final seconds... Hope will hold on, but in the end, death shall claim it.

All this, we understand a little more, day by day.

We will experience our absolute zero, and the stages of life that come as close. We think that we will never recover and that we are not strong enough to fight against it. Our immaculate, peaceful souls, that we begin our lives with, start to bleed, and slowly get torn into, bit by bit by the cold hard truth that breaks our protective walls.

We learn to handle and accept this even as pieces of us shatter and die every time a little bit more inside us. To give light, we must endure burning. But what if everything we are able to burn is gone
There is no other way... We are falling apart a bit more, every day...
Dedicated to this state of mind.

In 1997, a quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a studio for the very first time to record a masterpiece which many Cabo Verdean consider to be the best Funaná album ever made. Bitori´s musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion.

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it. Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences - often jail time and torture awaited musicians that were caught in the act'. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde's independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty - many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990's, however, that Funaná in its traditional form was actually recorded. It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori's unique playing style - a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots. The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná.

Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career - he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, "Bitori Nha Bibinha" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná.

The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards - classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands - until now!
Analog Africa is proud to contribute to the worldwide promotion of Funaná - the once forbidden sound of the Cabo Verde archipelago - by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording.

The release will herald Bitori´s first European tour taking place during the summer of 2016. Watch this space! And listen!

THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.

CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

Nas' I AM was his third studio album release and proved his reputation of one hip-hop's leading rappers. His strong lyrics are heard on tracks like "Small World" and "Favor for a Favor" featuring Scarface of the Ghetto Boys. The original material of the album was leaked onto the internet and this forced him to record completely new material.

The album debuted at #1 on the Billboard 200 and on the US Top R&B/Hip-Hop Albums, and was certified Double Platinum in the USA. In the US Nas had chart success with tracks "Nas Is Like", "Hate Me Now" and "You Won't See Me Tonight" featuring Aaliyah. The production on this album is solid and stands up, even to this day.

Peng Sound Records kick off the year 2016 with their first set of 10' discs - the original dubplate format does seem rather fitting for what is perhaps one of the biggest and most in-demand cuts from Ishan Sound & Gorgon Sound in recent years, a big contribution to their unstoppable rise in soundsystem music territory. Trojan, the grime-tinged steppers is reminiscent of the seminal 'Find Jah Way' by his peers Gorgon Sound, yet it's still an unmistakeable Ishan Sound production, in the way it's sonics are laid out and presented. In perfect combination fellow Young Echo cohort Rider Shafique steps up in authoritative style, going full charge at the walls of babylon with lyrical firepower. The Ishan Instrumental and the Gorgon Remix have been staples in sets from the likes of Iration Steppas, Kahn & Neek (aka 'Gorgon Sound') Mala, Dubkasm and and of course Ishan Sound himself. The list of selectors who have played this is small but refined, this one has been kept close to the chest, in true tradition to the dubplate ethos of exclusivity. In addition to the instrumental cuts, Peng Sound Records present the burning vocal cut with Rider Shafique. Flip the disc, and the Version awaits, letting the rhythm take full control, for extended dubwise pressure. For all the selectors out there, this release comes packed with enough version excursion to keep the fire burning 'til the dance is charred and dusted by means of frequency. The second disc comes loaded with the infamous Gorgon Sound remix, sonically pretty much exactly between the sounds of Bandulu and Gorgon, with their extra overdriven low-end and amplified, multiplied kick drum pattern, their version of Trojan is arguably the most explosive of them all. The combination of Ishan, Gorgon and Dubkasm is something we've come to expect from Peng Sound now, but this is the first Record that combines all three on one plate - the final cut on this set of Trojan interpretations gives us an exclusive, brand new Dubkasm counteraction - flipping the energetic steppers on it's head in favour of an uplifting one-drop beat, giving the vocal and rhythm a brand new space and presence. If the first three cuts were there to mash down the place with unhinged, dangerous soundsystem attitude, then the Dubkasm cut could be seen as the cool and easy soundboy burial, cementing Rider Shafique's message with deadly effect.

Repress

Peter Zummo (born 1948) is an American composer and musician. He plays the trombone, valve trombone, euphonium, synthesizer, other electronic instruments, and also sings. He is associated with the postminimalist and Downtown aesthetics, and he describes his music as "minimalism plus a whole lot more." He's well-known for his work with Arthur Russell.
"In this project for Optimo, the listener can hear that my musical food pyramid has musicians at top, or maybe they are at the bottom. In any case, they are important. That is why, from track to track, I selected
segments in which one player or another is featured in the take. Some may think that we musicians do multiple takes to get the perfect performance, but I like to find the special interactions lurking in each excursion. Different players came forward in each of the takes, which were recorded in the studios Seaside Lounge and Headroom, in Brooklyn, and live in performances at Cube Cinema, in Bristol, U.K., as well as in Long Island City and on Staten Island, New York.
In order to escape the tyranny of the lyric, I am exploring in this release the possibilities of nonsensical and non-emotional lyrics. These kinds of lyrics bring the singing voices into the mix without an overweening message. The tracks include open-form compositions in which the duration was not specified."

We want to present to your attention a compilation that consists of the Russian musicians' works. They're stylistically different, but in the same time they've got one energy and close affinity with classical sound. Musicians in this compilation represent a little-known stratum of a new Russian electronic scene. Their music embodies positive transformation of cultural values of our present and future. We'd like to thank all the musicians and those who support us. Peace!:)

Next installment of Rex Ilusivi archive uncoverings - This time a live concert from SNP (srpsko narodno pozoriste / serbian national theatre) in Novi Sad, Serbia. Again it's a sublime masterclass in layering and mixing from the much revered King Of Illusion. TIP!
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'To this day Rex Ilusivii remains an enigma of the global music culture, caught between late cold war electronic spheres, classic and the power of found sound. A musician from the Southeast European counterculture, whose art today seems to be the worldly intelligence of the modern age. Listening to the early music of Mitar Subotic sounds like catching the future even tough you know here sounds the past. How can somebody be light years ahead of most of his contemporaries in terms of individuality and uncompromising vision, creating such musical narratives with a feeling for outernational space' It must have been the signs of his time in Yugoslavia, that lead him to compositions in which two or more antithetic forces fight each other for the cause of an unheard harmony that melts industrial, sample art, Musique concr'te and ambient. His 'Koncert SNP' from 1983 demonstrates his ingeniousness to the core ' about 38 minutes of experiment and appeal that move playful between demonstrative frankness and seductive sensuality. You hear pulsating synthesizer bliss, widescreen sample art full of Bosch-like images and elusively drama catchiness that absorbs deep. So deep that words can't express their meaning. Only notes can spell out the score. Listening to his live recording several times without a break reveals also a story arc of literary transcendence. And as transcendence is something beyond speech, the music of Rex Ilusivii can't be narrowed down in phrases. Only one thing must be recommended: surrender to it and it will surrender to you.
Michael Leuffen in June 2016

TS08 is the 3rd EP of the TONE SERIES project and in line with the previous two releases TS09 and TS10. However, its two tracks HAWAIAN JAM and 24 BAR PER DAY present rather refreshing grooves, right on time for the summer.

HAWAIAN JAM makes you feel like in a Jeep, driving around the Hill of Mauï while looking at the best waves. And whereas HAWAIAN JAM follows the rythm of cutting edge and caraibian slide guitars with a touch of reggae, 24 BAR PER DAY unveals jumping drums and druggie pumping sounds surrounded by bitchy voice cuts.

With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, HAWAIAN JAM and 24 BAR PER DAY distinguish themselves from each other through their vibes and colours, although they remain in the same spirit.

TONE SERIES was born from the collaboration between Villa's former bouncer (one of the most underground clubs of Berlin) - Wolfram, French music producer, live performer and DJ - David K, and LumièresLaNuit's co-founder and An der Grenze's
founder - Edouard. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality
comes out of colours.

On this confusing ball of mud we call Earth, where things sometimes appear to be drifting apart, it's refreshing to see things coalesce. MindTrip is pleased to announce F Method, which sees label boss Pfirter present 4 brand new tracks - rich in variety and very firmly stamped with his hallmark. This is MindTrip.