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The release of Marc‘s album „Voyage de la planète“ in 2017 marked a new era of his career. With ten rather beatless tracks where he combined his definition of electronica with classical instruments like violine, cello, double bass and piano Marc began to walk the path of fresh sounding music for the brain.

The title track has been the most successful one so that Marc called no one else than Erased Tape‘s poster boy Ben Lukas Boysen from Berlin to contribute his very own interpretation. Ben created a typical and unique version which comes along with a, believe it or not, 4/4 kick pattetn towards the end. But listen yourself, it totally makes sense. And Bordeaux‘s best Ocoeur made a short but epic ambient version you also should not miss.

Releasing his first ever vinyl release 'El Sunset' on James Holden's, Border Community back in 2007, Chilean producer Ricardo Tobar has since been held in high regard by the seminal UK producer. Intricately constructing his way around the parameters of emotionally-lead, highly atmospheric electronic music, Ricardo has brought his sound forward to grace the rosters of Jennifer Cardini's, Correspondant, ESP Institute and MUSAR Recordings. Continuing to extend his already significant discography, he now returns to MUSAR Recordings for a third time with the 'After The Movie' EP.

Ricardo's 'After The Movie' EP forms a selection of cuts that have been held in his locker for quite some time. Uncovered by MUSAR Recordings label head, David on a podcast from way back, it seemed only natural that this unreleased music from Ricardo would find its home on the Amsterdam-Tel-Aviv label.

"This EP is quite special to me because it reflects a long timeline in my work. The 'After The Movie' track had been in the vault for ages until David from MUSAR found it in an old podcast; it really takes me back to those first steps in recording music." Ricardo Tobar

Across his EP, Ricardo plays with varying textures and arrangements that in turn provide a cross-section of his sound that has expanded and developed over time. 'After The Movie' presents the experimental ambience synonymous with his early works, whilst 'Parques' brings an idyllic, cinematic feel with strictly crafted synth arrangements riding high, post-rock influences also show through. 'Regain Your Power' represents a change of course, whilst also channeling a political message punctuated by social unrest taking place in Ricardo's home country, Chile. He abandons experimentalism in favour of tougher 4x4 elements, allowing his machines to run riot.

"The mixture of ideas and feelings on this EP have a politically charged spirit, as electronic music always does. A few weeks after I finished 'Regain Your Power' the whole Chilean social explosion took place with the same ideals I had in mind when recording the track." Ricardo Tobar

Stepping up on the remix is a pair whose names are etched into the history of UK electronic music, Andy Turner and Ed Handley a.k.a. Plaid. Reworking title track 'After The Movie', they produce an emotive, soundscape complete with droning basslines and ex-terrestrial flourishes.

Visible Spectrum is the newly launched creative playground of Yuri Boselie, also known as Cinnaman. Since donning the Cinnaman alias nearly two decades ago, he’s become a well known figure of the Amsterdam nightlife scene with long running residencies at the city's most lauded clubbing institutions like Club 11, Trouw and most recently De School. Next to his DJ sets, he's made early moves in label curation with A&R work for Rush Hour and Kindred Spirits offshoot Nod Navigators, and with his own Beat Dimensions compilations in the late 00s. With Visible Spectrum — defined as the electromagnetic frequencies visible by the human eye — a new chapter is born. It is an outlet for electronic music in the widest sense. Each sleeve will have its own unique screen printed artwork by Marilyn Sonneveld.

The first EP comes from Mor Elian, the Berlin based artist and owner of the Fever AM label. Here she offers the loose and hypnotic rhythms of 'Clairvoyant Frog' which is deep and atmospheric, like some sort of primordial techno soup. 'Shoshana's Roses' then picks up the pace with layers of rumbling drums, wooden hits and snaking synths taking you into a steamy, humid jungle before closer 'Planet Kismet' is a much quicker and more urgent bit of enchanting break-beat techno with pummeling minimal drums and warped synths and perc getting you under their sci-fi spell. A fascinating first outing that sets a high standard from the off.

Since relocating from Amsterdam to Bergen on the Netherlands’ north west coast, Tom Trago has gone back to basics. Every day he jams out tracks in his home studio using a small selection of electronic instruments, drum computers and effects units, a process that allows him to quickly capture ideas, emotions and the intense moments he experiences while making music.

It’s these diverse and sometimes surprising musical moments that will be showcased on Trago’s new DIY record label, Jong Nederland. The imprint is named after the building where he now lives and works, an historic and storied place that has been home to artists of all descriptions since the 1960s. Each vinyl release will feature tracks made by Trago using his improvised, straight-to-tape technique, packaged in handcrafted sleeves illustrated by internationally renowned Dutch artist – and fellow Bergen resident – Pieter Bijwaard.

The Jong Nederland story begins with two tracks of undulating, slowly shifting dancefloor voodoo rich in crunchy drum machine hits, lilting electronic melodies and instinctive dancefloor warmth. On the A-side you’ll find “Whisper”, a hypnotic but fluid affair where hushed melodies tumble down over off-kilter polyrhythmic machine drums, spaced out effects and bubbly, ever-changing analogue electronics.

B-side “Belltower” sees Trago up the tempo a little and bounce us towards the farthest reaches of the galaxy. Utilizing a rubbery rhythm track full of sturdy but supple kick-drums and hissing cymbals, Trago layers up fizzing synthesizer lines, poignant minor key chords, wiggling acid-style motifs and starburst electronics to fire the synapses and stir the senses. Like its’ A-side companion, “Belltower” gently twists and turns throughout, reflecting the real time, hands-on changes made by its creator during the spontaneous sessions that led to its creation.

Borneo Records welcomes Swedish made, Berlin based DJ City to the family!

As a fairly fresh face to the European dance music scene, involved with renowned musical outlets like Cocktail d’Amore and Born Free, DJ City has been turning heads with his playful and energetic style.

For Borneo’s ninth release DJ City delivers two deep dance floor cuts, referencing and paying hommage to his childhood idols, craftily combining well known building blocks into future classics.

”Sierra Madre” is a warm and deep dive into the aesthetics of the late 90s electronic music scene, balancing between lush pads and low bit rates. Steadily it progresses as the loops unfold and evolve into an ambient landscape of clear peaks and valleys. Dreamy and suggestive without becoming too literal or camp, it invites its listener to let the mind wander during the course of the dance.

On the flip side, “5426261” is a more playful feature as its percussion and somewhat off tune melodies roll out. The texture is light and invites its listener to venture in thought to an imaginary Mediterranean location right before dawn. The enigmatic title is repeated in a sample towards the end, implicating it is a phone number. Who are you trying to reach?

Written & produced by J. Norling, 2016-2018, Örebro/Berlin. Artwork by Nicole Martens. Borneo Records Rotterdam 2020.

A really, banging hardcore sound! At the frontier of 'Raw and Gabber' . Defenilty a rare style nowaday on, vinyl! Get your chance to catch one! ...This LP, regular pressed & designed on Green Coloured Vinyl.

This split cassette by Unconscious (Italy) & HKKPTR (Germany) includes 8 tracks of uncompromising & state of the art body-techno floor killers. Both acts are emerging at the forefront of a new breed of underground stalwart producers. Edition of 100 C-47 tapes with download code attached to the J-card. Released by X-IMG.

Dick Verdult, a.k.a Dick el Demasiado is the Philip K. Dick of multi-disciplinary art, the Moby Dick of “cumbia lunática”, and the Charles Dickens of literature and experimental cinema. He first fell in love with cumbia when he heard his nursemaid singing the classic “La pollera colorá”. From this moment on, he adopted the genre and reinvented it, in a perpetual degeneration called Cumbia Lunática, twisting up the elements of traditional cumbia, the “cumbia of the mucamas”, to create an anarchotropical vertebral rhythm, one which supports every moving part.

Celulitis Illuminati is the powerful debut of the anarchotropical gentleman knight of the abstract, Dick el Demasiado, eight dangerous tracks recorded for the first time on vinyl, songs that, upon listening, will liposuck all that grotesque accumulation of adipose tissue out of buttocks and brain. They interweave an amalgam of South American folklore and the cables of electronic music, the plugged-in Ranqueles indians, as in “Asi Que Los Que Sí” (“So That Those Who Yes”) on Side A, surrealist and lugubrious beats, poetry made song and “the dead man’s drool is good for painting watercolors”, as he sings in “Búho Sin Un Ratón” (“Owl With No Mouse”).Euphony that will abduct you away to a viscous street party with “Son Cosas De Hoy” (“They’re Things For Today”) and to an eclectic and excessive dimension with “pero bien bweno” (“but very proper”).

Side B is pure dynamite: “Mecha flan” (“Pudding Fuse”), “Sábado cultural” (“Cultural Saturday”) and “En la jeta” (“In the face”) represent the perfect blend of Lucho Argain (La Sonora Dinamita) and Muslimgauze (Bryn Jones). On top of this, the album includes an as-yet unheard gem, “Llama Mi Abogado” (“Call My Lawyer”), produced by Dick himself and Manuel Schaller, the telepathic mage of the Theremin. When the Dutchman stepped off the boat and onto the block, as well as offering us the TV set, the sculpture of a deranged English woman who devours islands like they were sandwiches, the synthesizer, the sound effect, the African drum, the maraca, the indigenous whistle, he obtained for us the song and the stanza, he provided us with the language and the poetry, the truthful, the epic of the ugly. Cellulite for mortals, cumbia lunática for the enlightened ones! Alfredo Padilla (Trans. Komurki)

Legend has it that Brian Eno’s concept of ambient music came to him while laid up in a hospital bed after an automobile ac-cident in the 70's. A friend brought him some records, playing them too low to be properly heard, and Eno couldn’t get out of bed to adjust the volume. While the record spun softly, Eno’s idea for music you could ignore as easily as you could give it your full attention, like a sort of sonic wallpaper, was born. It’s in that spirit of quiet isolation that Ghostly International, in associ-ation with Adult Swim, shares Ghostly Swim 2, our way of giving listeners a space to get away from the manic holiday bustle.

For those keeping track at home, Ghostly is wrapping up its 15th anniversary as an Ann Arbor/Brooklyn-based indie. 2014 has seen the company soundtracking video games (Playstation’s Hohokum), collaborating with awesome companies like Warby Parker and VOID watches, and clearing 300 releases of for-ward-thinking music with records from Tycho, Com Truise, and HTRK. What better way to end this banner year than to revisit one of our favorite partnerships from the past decade and a half?

Released in 2008, Ghostly Swim was praised for its adventurous survey of exploratory dance and pop music. Our curatorial focus has shifted this time around, moving further inward (spiritually) and outward (as far as our roster goes) to reflect the electron-ic underground in all of its hazy and vibrant experimentalism. Ghostly Swim 2 is a document of textured ambient zone-outs and woozy, granular house and techno that will help you find some downtime away from The Most Wonderful Time of the Year. So sit back, lower the volume, and enjoy our selections.

Raw Culture is back to torment your lives. This time we have the regret of having in our roster the ex ice skater Wosto.
Based In Hamburg he is putted his sign on some label such as Sign Bit Zero and he give is effort to some groups such as Fallbeil and Sauerstofff (with the duo Nostalgie Eternelle). Teerpappe is his own vinyl label where he released also solo records. This release Das letzte Nasenhaar EP is a collection of Kraut Break Beats with a strongly German and weird imprint. Borderline with noise.
Raw Ambassador had the task of cooking his version of Party Animal with the collaboration of the vocal cords of the same Wosto for a really original result, a dance floor killa.

The release will be available form 13th December in a limited series of 300 hand stamped vinyl.

Dukwa is back with the second chapter of his own personal output with a new killer four tracker EP: first cut on A side is the stunning motor city anthem Akira, an epic soulful winner which reminds some of the best Inner City’s moments thanks to its catchy vocal parts and twisted up grooves. If you are more a fan of instrumental club tracks on the second cut instead you will find Akira’s dub version where drum parts , strings, its original wicked bass line and the romantic piano solo totally stand out!

We stuck in the Detroit with the raw jam of Violet opening the flip-side, a wonky lost brother of Strings of Life that through its original arrangement and a clever broken beat will be able to amaze any dance floor. Dukwa’s pinnacle of poetic and compositional intensity happens with the poignant combination of dramatic strings together with beautiful piano notes and acid tinged bass within the closing track Water. Timeless stuff and absolute burners to enrich your record collection.

Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980. AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in history, remaining relevant today, continuing to reach new generations of younger audiences. Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves. ‘Show Your Hand’ is the debut album by AWB and was originally released in 1973 on MCA Records, having been recorded in London. It was produced by AWB with Robin Turner and set up a tantalising deal with the US giant, Atlantic Records.

The 888 Miles E.P. includes two original tracks, 888 Miles and 777 Miles, which both develop a psychological tension that leads to moments of euphoric liberation where the synths soar and allow the mind the wander, accompanied by a rhythmic groove. There is a slightly different sensitivity between the two tracks that you'll can easlyer constat. Then, don't forget, even if the approach sounds different, the soul remains the same. The other original track, 000 Miles, places you on a spacecraft, with ambient musicality sounding like it could have been generated by hydraulic pipes or air conditioning. This E.P. release also includes '888 Miles XXX Reshape', a deep techno remix by none other than the awesome Francois X. He's probably the best person to describe it: "I've known David & Kevin (Klash Point duo) for a while now and when they suggested that I produce a remix for them, it was natural to say yes. It's funny how this piece of music saw the light, as it has a completely altered tone from the original. It's definitely one of my funkier tracks, with trippy and bluesy vibes - like a trip deep into the wild."

Inviting slow disco and spaced out ambient characterizes this new material from Golden Bug and In Fields on their collaboration-album ”Vibration Métallique”. Golden Bugs kind of extrovert and electronic sound is recognizable from his previous 7” release on Höga Nord Rekords and together with In Fields it gets dressed in a fluffier costume.

This album is the result of two persons with tons of respect for one another musically, two musicians who have been floating past and sometimes in two each others projects for the last couple of years. Their musical roots In ”Leftfield land” intertwine and reaches up above ground, connecting to different musical stems and holds together the sound; like sightseeing in a familiar town this album has outer limits but as unpredictable as the city can be, this record surprises you from one track to the other.

The album has a springtime feel to it in all it's brightness, but suddenly it shifts shape in a song like ”Lush”, picked straight from the factory floor. This album is both a standoff and a board meeting in electronic music. Golden Bugs metallic excentricity meeting with In Fields darkness and live feel creates an unpredictability and the music goes on an exploratory trip far away!

A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 eld recordist Tony Schwartz frequently checked in with Moondog, his favorite street musician.

Tony Schwartz made recordings of Moondog’s earliest com- positions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

Side one kicks o with an unreleased version of Moondog’s classic composition “Why Spend The Dark Night With You?” fol- lowed by the rst ever complete recording of his “Nocturne Suite,” a beautiful piece of classical music performed with members of the Royal Philharmonic. The side ends with the complete “On The Streets Of New York” 7” EP, which was released on Mars records in 1955 and subsequently re-released by Honest Jon’s Records in 2004 on their excellent Moondog anthology. Side B features sketches of Moondog compositions never released, many with the man himself howling and chanting over his homemade percussion set.

Moondog’s music is as universal as it gets - part classical music, part Native American, part European folk, and part something completely unique. Moondog is one of the towering gures of 20th century music. This record comes with liner notes featuring never before released interviews with Moodog by Tony Schwartz and is housed in an old school “tip on” cover. All tracks fully licensed from the Library of Congress.

The legendary Winter of Love was an athletic event of unprecedented scope and ambition held throughout the 1980's. For one beautiful decade, ice lovers from all four corners of the globe gathered at Mount Unity for two weeks of spectacular competition, dazzling snowscapes and glittering nightlife.

Ski Infinity is your official soundtrack to the Winter of Love. Inspired by the electric energy of the event, Ski Infinity will take you directly to the dizzying peaks of Mount Unity where you will experience the agony and the ecstasy of elite athletic endeavour. Bear witness to the epic ice dance battles held at the fabled Rink of Respect. Rub shoulders with the creme de la creme of sport, art and music all night, every night at the grand chalet of Peace Village.

Of course, located at the nexus of skiing, art and music, was the greatest Winter of Love event of all, ski ballet. No wonder the grand chalet named their beloved club, ‘Chaffee’s’ after prima ski ballerina Suzy “Chapstick” Chaffee. Above all, she epitomizes the glamour, the power and the artistry that the Winter of Love stood for.

... Take your ears on a wild ride where sport and music collide!

Woods 786 is back. The alter ego of Roberto Bosco returns with “Exploration 01”, a live jam recording split in two tracks performed with Elektron Analog 4 and Analog RYTM. Last Drop Records and Sonorous Waves' founder has been for years both a producer and a DJ with dates all around the world, now takes another step forward into ambient music. His hypnotic textures invite the listener to travel without moving. Mastered at Mixmastering Studio, the first joint effort between Souterraine.org and Envlp_Imprint, “Exploration 01” is a dreamy continuum of twenty-five minutes or a way to escape from everyday chaotic life. Synthesizers brings you the sound of outer space.

Ardent sounds attuned to desires & politics of 21st century América, crafted by Chicago quintet’s progressive & poetic approach to (Latin) American rhythm & song. Logos received “Best of 2018” honors from Austin Chronicle, Bandcamp, KCRW, Gay City News, 606 Records, and Ragged Records.

Mysterious German producer His Master's Voice makes his debut on Delsin Records. With three mind bending originals plus an absorbing Vril rework his entry on the Delsin e-series is a deeply immersive beat trip into another dimension. The roughed edged ambiance of 'Fire Red' opens the dance in soothing yet engaging fashion with superbly spacious soundscapes pulling you in and slowly involving into a foggy kick drum extravaganza. 'Eve' then offers a deep and propulsive electro groove with glitchy atmospheres. Lead track 'Transition' hits hard, an intergalactic trip on turbulent stuttering drums and whipping synths. To finalize an immersive EP, close friend Vril jumps in for a rework of 'Eve' where he smoothly connects the dots between his typical dark bass lines and blistering dub chords.

French superstar, D.ko Label bossman and all-round bemasked mystery Mézigue brings the heat on this special release for skylax records. His style is uncommon & raw, mézigue is doing mézigue style, take it or leave it. If you're listening carfeully to his music you can imagine a dream mix between the absurd poetry of the pixies crossed with the craziness of Mr Oizo.This is one of the weirdest release we have ever signed and we are so proud of, unusual & unique. Mézigue is here to stay.

Two years after an acclaimed first album, Al Sunny and Favorite Recordings proudly present Planets, carrying on their collaboration and bringing it to another level.

Al Sunny is a young and talented singer/musician/composer emerging from the French soul music scene. During his conservatory studies, he refined his knowledge and confirmed his desire to write and compose. He quickly matured the music that he truly loves, inspired by artists such as Tim Maia, America, Al Green, and Al Jarreau. Giving birth to the majority of his compositions through his guitar, he always seeks to bring his songs’ melody to the forefront. During his studies he kept experiencing live performing on different scenes and confirmed his choice for a musical career, while also meeting many brilliant musicians, including Florian Pellissier, who later introduced him to Pascal Rioux and Favorite Recordings.

It resulted in 2017 in Time to Decide release, a dazzling first album establishing Al Sunny’s music and writing style, looking towards the 70s and 80s Westcoast movement, infused with Blue-Eyed-Soul, Pop and Folk flavors. Built on the same influences, Planets is made of 8 new compositions (including a CD and digital bonus), and is clearly a continuation of its cadet, asserting Al Sunny’s talent and singing skills.

Fully recorded live and analogic in Paris, this new album also stands out by an impressive level of production, faithful to some classics of the genre. Mixing catchy melodies, soulful vocals, warm and heavy bass, strong beat and beautiful guitars and keyboards harmonies, Planets just perfectly meets the AOR and Modern-Soul golden era standards.

DJ Mad A (Adam Embleton) & Dr. Stevie The Ambient Guru (Stevie Hewitt) originally met when Adam picked up the Saturday shift at 'Record Mart', a record store run by Stevie back in the late 80's. They quickly bonded over shared tastes and enthusiasm for the growing dance club culture in England.

'Balearic Beat' had arrived from Ibiza, house music was taking over, and clubs were pushing boundaries, encouraging DJs to experiment with the dancefloor. Stevie was a regular selector at classic venues like 'Club Havana' and 'Flixx', where he blended house, electro & techno for the loaded English youth. Adam had signed to Island records, at 17, the first signee for newly appointed A&R rep Darcus Beese. Their collaborations in the Island studio is where the early 'Mad A' production techniques were cultivated.

With Adam behind the programming and Stevie on guitar, the two assembled a few songs to add to their explorative DJ sets. They printed a white label tiny pressing of 'The Mad Vibe', four tracks, "sending out waves that shock", their sound was a frantic blend of electro and house. The E.P. sold out fast locally, with their tune, 'Levitating Pharaohs' catching the attention of Drum 'n' Bass duo 'Spring Heel Jack' and labels like Mo'wax. As the 90's rolled on, the two continued to DJ as residents at clubs like Corner House, Brody's, Arena & Dickens.

Smiling C 2019 repress of this cult 12". Remastered and housed in a die-cut 12" jacket with pharaoh's head sticker.

"Play The Trax. Feel The Vibes. Mad as....."

“Cryptic, twilight emissions from Villalobos and Loderbauer; their synthetic compound of electronics and ouroboros jazz has walked from ECM and Perlon over to Mana.
Developing a sound that tends to drift along as otherworldly atmospheres and strange fusion, Vilod evade easy categorisation, even compared to Villalobos’ already experimental and genre-twisting solo minimal offerings. He and Loderbauer pull away the backbone inherent to the structure of that dance music, and The Clouds Know refines a deft and subtle musical noir built on ambient cues, sparks and claps of electricity, brushed drums, black voids and subterranean bass swoops. There's a twinkle in the eye and moments of deadpan levity, but the overall mood here is sober and introspective. Emotions run deep.

Through studio mastery and an enigmatic language the album forms a fascinating sonic and sensory work with few compromises. With erratic rhythms notably submerged—techno remains as an irregular pulse in the belly of the beast—fields of crisp, uncanny detail expand greatly. Humid environments appear, dense with the chatter of synthesised insects and the gentle rain of drums and whispering cymbals, enchanting the listener in focus or sublimating into layers of ambience depending on your disposition - and the quality of your stereo field.”

“Osondi owendi. What is cherished by some is despised by others. One man’s meat is another man’s poison. Different strokes for different folks. To each their own. Osondi owendi.

It’s a conventional aphorism in the Igbo language but if you utter the word “osondi owendi” in Nigeria today, the first thing that comes to anybody’s mind is the cucumber-cool highlife music maestro Chief Stephen Osita Osadebe and his legendary album that takes its name from the adage. Released in 1984, Osondi Owendi was instantly received as Osadebe’s magnum opus, the crowning event of an exalted career stretching back to the early years of highlife’s emergence as Nigeria’s predominant popular music.

Stephen Osadebe first appeared on the music scene in 1958 as a spry, twenty-two year-old vocalist in the Empire Rhythm Skies Orchestra, directed by bandleader Steven Amechi. With his dapper suits, urbane Nat King Cole-influenced vocal stylings and jaunty, uptempo, calypso-scented dance tunes, he personified the frisky spirit and anxious aspirations of a young, educated generation that had come of age in the wake of the Second World War, in a Nigeria that was rapidly shaking off British colonization and marching towards an independent future. 1959 would be the year that he truly made his mark in the business with his debut solo single “Lagos Life Na So So Enjoyment.” A giddy exhortation of the music, sex, fun and freedom availed by life in the big city, the song became a sensation and an anthem, and Stephen Osadebe became the leader of his own popular dance band, the Nigerian Sound Makers.

Osadebe would ride this wave of acclaim through most of the nineteen sixties, but a change in direction would be called for at the dawn of the seventies. As Nigeria emerged from a devastating civil war, so did a new generation of youth inspired by rock and funk, confrontational sounds reflective of a more violent, less idealistic era. All of the sudden, the idioms of the post-WWII dance orchestras that nurtured Osadebe’s cohort seemed quaint, the stuff of nostalgia. Osadebe needed to evolve to respond to the new tumultuous, turned-up times.

His response? He cooled it down.

Abetted by a new crop of fire-blooded young players, Osadebe slowed his music to a mellow, meditative tempo, brought forward the lumbering, Afro Cuban-accented bass and percussion, from the rockers he borrowed searing lead lines on the electric guitar. Over this musical bedrock, doesn’t so much as sing as he dreamily muses, coos, sighs aphorisms, words of wisdom and inspiration. “When one listens to my music, all I say appears meaningful,” Osadebe explained his lyrical approach, “at times they are in the form of proverbs which provoke much thought afterwards.” The result is a blend that is both rollicking and soothingly languid. Osadebe christened the style Oyolima—a tranquil, otherworldly state of total relaxation and pleasure. Osondi Owendi represents oyolima at its finest, and possibly Nigerian highlife in epitome.

Osondi owendi. What is cherished by some is despised by others. In some way, the album’s title constitutes a paradox. Because Osondi Owendi is a record that it’s almost impossible to imagine being despised by anybody."

... BubbleTease Communications and Running Back team up once again for Mim Suleiman’s fifth studio album on vinyl and compact disc. During the course of Si Bure you will find Mim at her very best.
It’s easy to imagine the Zanzibar-born-UK-based vocalist and percussionist dancing and prancing to the 14 songs featured here.

The tropes of house and disco are mixed here with wonderful rhythmic adventures, infectious futuristic pop and ultramodern African music, while the mesmerizing and addictive lyrics are sung in Swahili and deal with love and affection, freedom, oppression, unity and everyday life.
Enchanting, entrancing and entertaining all the way.
- Produced by Maurice Fulton.

'Matita Emostatica' is the re-issue of a sought after compilation connecting the most underrated outsider artists of the Milan scene, in the early eighties. The amazing artwork is the creation of influential designer and photographer Roberto Masotti, a very well known figure in the avantgarde and jazz realm (he made astonishing portraits for the likes of Anthony Braxton, Art Ensemble Of Chicago, Carla Bley, etc.)

The compilation was produced in 1981 by Al Aprile and released by Materiali Sonori. Among the 10 artists you can find future journalists, unstoppable record collectors, renowned photographers and influential underground persona ... just scroll down the album and read the names of Monofonic Orchestra, Angelo Vaggi, Baker Street Band, Al Aprile, Roberto Masotti and many others. The result was quite unbelievable, ranging from small cosmic opus to avantgarde symphonies and asymmetrical etno-world jams. In the end ‘Matita Emostatica’ was quite in line with the efforts coming from the rest of Europe and the other side of the ocean, so to speak the compilation wouldn’t be out of place in the Ralph or Crammed Discs catalogue. A postcard from a country that is no more.

• B Boy Records was a significant player in the development of hip-
hop in the 1980s, but a very short lived label shrouded in mystery.
• This double LP selects the best of the independent label, from the
beginning of the label to including past icons and future legends,
hard-hitting drum programming, synthesize and sampled beats
overlaid with fierce battle rap swagger. This is a snapshot of hip-hop
history.
• The label is best known for issuing the hugely influential Boogie
Down Productions LP Criminal Minded, which is included twice on
this release with ‘The Bridge Is Over’ and ‘South Brox’
• Other highlights include JVC Force’s enduring classic ‘Strong
Island’, DJ Scott La Rock (founding member of BDP) & D-Nic and all-
female rap Sparky D, 5 Star Moet.

Amadeo Savio is next up on Vigenere, the label that has thus far presented a whole host of unknown names in the field of minimal techno all bound together by a shared classiness in their production style. Savio's approach is deep and dubby on opening cut "Isolat", one primed for the after hours. "Trance Later" has a slightly more forthright approach, but there's still plenty of mellow delights to be found in the synth department to keep you chilling. "Encor" heads into more typically minimal pastures, while "Kassion" explores broken beat patterns and fragmented samples with scintillating results.

Official first reissue of this Senegalese gem recorded in 1981 and produced by Ibrahima Sylla.

Remastered, available on a limited LP with 4 pages booklet.

At the dawn of the 1980s, Senegal was immersed in the "beautiful era" of Cuban influences, African-American soul and funk.
A group of passionate musician friends want to shine in this construction of a revolution in Senegalese music. Their credo will be to claim a spiritual search, that is the meaning of the word Gestü in Wolof. The group of friends gathers around the young guitarist leader As El Haji Malick Diouf who is joined on vocals by Tidiane Bathily, reinforced by Couri Ndiaye and Abdou Bâ, on drums Abdou Kane, on bass guitar Jean-Pierre Gomes, Madiama Diop (saxophone, clarinet) and finally on tumbas Djiby Ndiaye.
They released their first album Diabar in 1981, recorded at Golden Baobab studio under the direction of Senegalese producer Ibrahima Sylla. This unique record of the group will leave the youthful and dynamic imprint of a Senegalese musical revolution like the Orchestra Baobab or the Etoile de Dakar.

What more can be said about The Slackers? Having released over 20 albums and countless singles over a decades-spanning career that dates back to 1991, the New York City hometown heroes have managed to thrive both underground and internationally in the firmly entrenched revival scenes of ska, punk and rock 'n roll.

Their generational impact may be unmatched, especially considering the incredible run and reach that they've made throughout a myriad of tours across North America, Europe and South America.

Easily standard bearers for the modern day, working, independent musician, The Slackers have also embodied a very thoughtful and respectful brand of Jamaican roots music and production into their own skilled compositions and writing. It's a concrete connection to the musical roots that makes this particular one-off release on NYCT a prime example of The Slackers in their most classic and reverential stance.

Two unreleased exclusive instrumentals in the canonical Jamaican stylee: one ska, one rock steady, two burners on the preferred 7-inch format.

Ahead of the 5th Blackpool International Soul Festival in June 2020, Expansion are pre-releasing a re-release from one the participating artists, the amazing Maxine Brown.

“Let Me Give You My Lovin’” is one of her most classic songs, originally released on Wand Records in 1966.

Original copies are worth over £100.

After the great success of his last EP, 8Ball is back with a 3-track single featuring the already well known Jungle staple "You" plus two brand new cuts.

"Been Higher" is ode to the sometimes overwhelming dread of a post party dip. It features haunting synth lines with a looping vocal and deep under-laying bass. This is taken straight out of the 8Ball hardcore revisited back catalogue.
"Table Spice" is a jam roly poly wrapped in custard being eaten in the garden of De Skool Amsterdam. 8Ball here strips back the drums to leave the bare bones of atmospheric hardcore tune.

Comes housed in a hand-screen printed sleeve and stickered centre label. Designed in house by Grade 10 International.

After being blown away by a few tunes - probably just as you will be after listening to this - Samy Ben Redjeb travelled to the infamous capital city of Somalia in November of 2016, making Analog Africa the first music label to set foot in Mogadishu.

On his arrival in Somalia Samy began rifling through piles of cassettes and listening to reel-to-reel tapes in the dusty archives of Radio Mogadishu, looking for music that ‘swam against the current’.

The stars were aligned: an uncovered and unmarked pile
of discarded recordings was discovered in a cluttered corner of the building. Colonel Abshir - the senior employee and protector of Radio Mogadishu’s archives - clarified that the pile consisted mostly of music nobody had manage to identify, or music he described as being ‘mainly instrumental and strange music’.

At the words ‘strange music’ Samy was hooked, the return flight to Tunisia was cancelled. The pile turned out to be a cornucopia of different sounds: radio jingles, background music and interludes for radio programmes, television shows and theatre plays. There were also a good number of disco tunes, some had been stripped of their lyrics, the interesting parts had been recorded multiple times then cut, taped together and spliced into a long groovy instrumental loop.

Like everywhere in Africa during the 1970s, both men and women sported huge afros, bell-bottom trousers and platform shoes.
James Brown, Stevie Wonder, Marvin Gaye and The Temptations’ funk were the talk of the town. In 1977, Iftin Band were invited to perform at the Festac festival in Lagos where they represented Somalia at the Second World Black and African Festival of Arts and Culture.

Not only did they come back with an award but they also returned with Afrobeat. While Fela Kuti’s ‘Shakara’ had taken over the continent and was spreading like wildfire throughout Latin America, it was the track ‘Lady’ that would become the hit in Mogadishu.

Ism opens audaciously with the spiritual mic-check “You Are Free To Choose,” a track that features bassist Junius Paul alongside Vincent Davis (drums), Justin Dillard (piano), and Corey Wilkes (horns). This is by no accident. In many ways, “You Are Free To Choose” captures the spirit of Junius Paul’s artistic roots. Corey, Justin, and Vincent were among the multigenerational cadre of Chicago musicians present when Junius chose to follow his own path of creative discovery at the storied Velvet Lounge on the South Side of the city in 2002.

Though he began learning his craft playing in church, Junius’s creative voice really developed during jam sessions at clubs like The Velvet alongside members of the AACM. It was iron sharpening iron, the most natural form of knowledge transfer. He explained The Velvet’s vibe in 2018: “It’s like in Africa.... If you had this society of diviners or medicine people, or you know, sages… The Velvet stuff is not secret; but there are certain aspects of it… if you weren’t there, you weren’t there.” The Velvet Lounge closed in 2010. But, of course, the spirit of the Velvet Lounge is not dead. “Tune No. 6,” recorded live at the Co-Prosperity Sphere in Chicago, is a sweet interlude here to remind us that jazz is alive, bristling with what’s yet to come.

As Junius pushes forward as a creative musician, he is careful to carry with him the spirit and the knowledge he’s gathered from those who have come before him. He is very literally a bridge between generations of the Chicago vanguard, currently playing in a handful of combos with Makaya McCraven (who produced several of the tracks on Ism) as well as a few of Roscoe Mitchell’s working groups – most notably the Art Ensemble of Chicago – in addition to fronting his own band.

Beyond Space And Time is the new record label from Japanese music festival, Rainbow Disco Club (RDC). RDC has been welcoming music loving people to Japan for over a decade. Throughout the festival's history, RDC have been fortunate to constantly encounter performers and DJs who've collaborated with them in establishing a beautiful dance floor year in, year out. These relationships have lead RDC to start their own label, and now gives them the opportunity to reveal one of the best-kept secrets: What is in a DJ's record bag?

This time around, festival regular DJ Nobu kindly opens up his collection and shares the music he loves with us all. On visual duty we welcome Senekt - his representational yet contemporary drawing illustrates the emotion we feel from DJ Nobu.
We have much more music to come in future from artists that we trust and respect.

▼ DJ Nobu describes 10 tracks this way ▼

A1. Laurent Garnier - Water Planet
Highly respected French DJ/Producer Laurent Garnier has been releasing tracks for decades capturing the very essence of Detroit Techno and Breakbeat. He always manages to create something truly emotional. This is not his biggest hit, but it's my favorite.

A2. Mono Junk - Beyond The Darkness
This track represents the very early days of Techno with it's ravey atmosphere. It has a primitive feel, and the obscure mixdown sounds almost unbalanced. That said, this one really stands out when DJing. Very cool.

B1. Psychick Warriors Ov Gaia - The Valley
It was always my intention to include this track in a compilation if were I ever to do one. It has a fat underlying groove, with some indigenous spices thrown in. The whole thing is put together beautifully. No complaints!

B2. Melody Boy 2000 - Plenty Of Love
I wanted to include a track that had Jacking feel to it - that is my definition of dance music. This track mixes well in both Techno and House DJ sets.

C1. Drax Ltd. II - Amphetamine
This is my all time favorite track by Thomas P Heckman. It asks questions and strikes down all the boring 'wanna be cool' techno tracks. It is obviously a well known tune already, but I include it here because I'm often asked for it's track ID from new kids in the game. This is a classic that should be passed down.

C2. Dan Curtin - 3rd From The Sun
Curtin's refined synth grooves and bass lines make this a true timeless classic. It do not get tired of listening to his rhythms and melodies - he always gets it just right.

C3. Front 242 - U-Men.
The originator of Electric Body Music. Their husky vocals, hard rhythms and strong synth basslines made the group very popular at the time, and they are still to this present day. To me, this track represents what the Belgian New Beat scene is all about.

D1. The Prince Of Dance Music - E3 E6 Roll On
This is the track I played the most up until around 2006. It is a genuine house track that cuts through trends in music. A hidden floor killer.

D2. Pan Sonic - Lähetys / Transmission
Electronic music has existed for decades, and if you are to choose some of the best from all scattered & hidden places, Pan Sonic's 'Lähetys / Transmission' must be considered. The track emerges beautifully - breaking structures and transcending the past. Every layer of the piece is produced with such delicacy and care, that as a whole it magically drags you into the world of the unknown.

D3. Burial - Archangel
This track merges melancholic emotions with technological prowess at the highest level, and deeply impacted the dance music scene on it's release. I recently played this track at the end of my set at the forward thinking Terraforma Festival in Milan. It faded out to huge applause from the open minded crowd. A moment to be remembered.

Pudel Produkte UG Ltd. information.
The Pudel Produkte UG announces, that they will now go along with it. They finally found time for future - just like the others.

But the others - They don't have him anyway: The Pudel. They have safes, hill forests, studios with numbers, power stations or factories, water gates, green valleys or rich beautiful ageless brits with mirrors and thousands of other cheap opportunities. Well. Whatdoweknow. We can only talk about the Pudel. This bare and pure creature. That poodle without an egg.

"Ich und mein Pudel" (Me and my poodle) is the name of the new anthem of our house written by the noble mould punk Rocko Schamoni. The original version on his album "Musik für Jugendliche" (music for teenagers) swings by in some quite bavarian hump-pattatata leather shorts. Alongside with that, a brass commando shows up in such a beyond comfy speed - it needs to lie down to wake up. All that is different, yet, of course, sick. But we all know: No Pudel may remain alone!

Therefore: PUDEL PRODUKTE 30 is out now! A fat 12" with remixes of: DIGITALISM/ FALTY D/ BRAND BREWER FRICK/ PULSINGER & IRL. (Cover by Alex Solman).
Plus: many more remixes online. Its the Pudels online-coming out prom night - if you like. A win for the future - probably for sure.

PUDEL PRODUCTS
Always far away from the pack against the pack!

R.S. (And at night under the stars, by the river, I am alone. You cant remove me, never will, cause i want to be here."

The vitality you hear on Antique Blacks is a testament to the unique energy of the community around The Foxhole Cafe in Philadelphia, as Ra honed his unique brand of Afro-Futurism through the late 60';s and 70's. Cosmic theatre, spiritual chants, and experimental electronics make this record an essential document that was ahead of its time. Ancient to future! BIG TIP !

The 1970s saw change in Sun Ra's recorded output, and as far as we can tell, the content of his live performances. By the middle of the decade, Sun Ra's music no longer seemed comprehensible as part of the jazz New Thing – quirkier, more idiosyncratic elements were more to the fore.

At this time, 1974, every Sun Ra record still surprised, and seemed radically different from everything else he had released up to then. The musical universe proposed by free jazz had never circumscribed Sun Ra. He had been part of the movement, but was able to use the possibilities it suggested without being limited by its conventions.

The Antique Blacks illustrates this well. Recorded as a radio broadcast in Philadelphia, according to Dale Williams, it has a well defined but oddball structure. Sun Ra was a master architect, very concerned to use the unfolding of an album, a broadcast or a live performance to create a satisfying structure.

Song No 1 starts on an upbeat note, it's a lively, tonal introduction, featuring John Gilmre on tenor saxophone, Sun Ra on roksichord, Dale Williams, then aged 15, on guitar, and Akh Tal Ebah on trumpet.

Sun Ra's poetry is featured on There Is Change In The Air, a track which has on occasion been used for the album title: in its original incarnation as a Saturn LP, there was no dedicated sleeve artwork, and this record appeared under many names. Ra's poetry is allusive, elusive and paradoxical, and this was its first major appearance on a record. During instrumental passages, Dale Williams' guitar is heard, along with the saxophones of Marshall Allen and Danny Davis.

The Antique Blacks is a similar setting for a Sun Ra poem, which encompasses "spiritual men", and Lucifer as a dark angel. The Arkestra is heard in conducted improvisational ensembles, in between the sections of the poem.

This Song Is Dedicated To Nature's God has Arkestral vocals, with John Gilmore's voice in th foreground. Williams' guitar is once again prominent in the instrumental passages.

Sun Ra's poetic declamations provide the structire for The Ridiculous I and The Cosmos Me, which also has a fine unaccompanied tenor solo by John Gilmore, keyboard improvisations by Sun Ra, and closes with bass clarient from Eloe Omoe.

Sun Ra's keyboards are heard with minimal Arkestra support on Would I For All That Were – a fine synthesiser improvisation, with electric piano left hand accompaniment.

Tension is resolved by Space Is The Place, which rounds the album out in an upbeat mood, with Akh Tal Ebah, James Jacson and Sun Ra prominent among the vocalists. The closing section includes the chant Sun Ra And His Band From Outer Space, often used at the close of live performances. This isn't strictly live, though: in one line the vocal is played backwards on tape!

Yours Truly is the debut studio album by American singer Ariana Grande. It was released on September 3, 2013, by Republic Records. Incorporating R&B, Yours Truly was influenced by Whitney Houston, Amy Winehouse, Christina Aguilera, and Mariah Carey, amongst Grande’s other idols. Grande describes the album’s first half as a “throwback” to the R&B music of the 1990s, and the second half being “very unique and very special that I’ve sort of written” which is completely original. On the album, Grande co-wrote six out of the twelve tracks and recorded a number of songs on this album over a three-year period. The collaborations are with Big Sean, Mika, and Mac Miller. Occasionally, the album dips into other genres such as adult contemporary music and dance music.

Derek Neal is a Turin based producer born in Vermont (USA). He started his DJ'in career as an undergraduate student at his college radio station and since then he's been cultivating his interest in house and techno music. Fostered by his brother's own producer career, who goes by the name of Motions and is 1/3 of the Montreal collective 00:AM, Derek pushed further his own interest in production to the point of proposing a set of tracks to Funnuvojere Records. Probably struck by the simplicity and effectiveness of Derek's sound, the Berlin label agreed on releasing Reason Machine, Derek's debut EP.? A comforting sound distinguishes this record, it is gentle and deep at the same time. If A1 - Sky City feels like diving in calm water, A2 - Jet Fuel could soundtrack a romantic date. On the flip B1 - October has a cinematic personality, envisioning a urban landscape, while B2 - Stereosense expresses a special dynamicity of sound.? Don't get tricked by my rather emotional introduction though, Neal knows about beats and you'll hear. From breakbeat to funk, Chicago house to dub this EP is all-round a delightful expression of contemporary club music.

Another banger from cultuurschok., 4 cuts straight out of The Lost Vessel After Midnight” in The Hague! This time he miraculously appears on the Dutch “Onrijn Records”, the third release on their label. Soundwise this EP is comparable with cultuurschok his previous EP “op Sterven na Dood”. Tracks on Planet Hoax are more diverse, still catchy, uplifting and wrapped in a good amount of energy.

This record was made to dance, wether you are into raw Disco, lo-fi Techno, Electro.. This EP rocks!