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Originally trained in classical piano through his mother and some of Indonesia's legendary classical music virtuosos, Fariz made his own historical moment when he became Indonesia's legendary Pop Icon of the eighties. With his unique talent as a multi instruments musician, Fariz wrote not less than 1,760 songs within his magnificent years between 1980-2000 and still leading the role as one of the most in demand and legendary Indonesian performers and producers ever noted by history. During his brilliant career, Fariz collaborated with the most famous names in the business, locally and internationally. This stunning compilation of incredible and hard to find tracks covers his early years from 1977 to 1982.

- Remastered from original sources in collaboration with the artist
- Strictly Limited Edition of 500 copies
- First reissue ever of collector's material

Hell Yeah Recordings are pleased to announce they have been tempted into the reissue market. As such, the label starts a new offshoot, PERDIO (roughly meaning 'lost' in Portuguese) which will focus on putting out re-issues and new remixes of classic or forgotten gems.

The first one is a newly remastered instrumental version and new Francisco Dub of Giorgia Morandi's 'Children of the Sky', a cover of the Italo-classic "Figli delle Stelle" by Alan Sorrenti which just happened to be released 40 years ago.

'From a lost Australian electronic soul gem, to a cult classic: Shahara-Ja's 'I'm An Arabian Knight' has gained much momentum since it's 2017 reissue, so much so that the Egyptian Lover reached out to the label proclaiming he'd do a remix. The electro innovator who the original release appears to be highly inspired by seemed like a perfect fit for this sleazy late Night groover. The result is 3 fresh mixes using elements of the original session tapes and the perfect touch of the Egyptian Lover's signature 808'

Das norwegische, in Berlin lebende Electro-Pop-Duo Soft As Snow, bestehend aus Oda Egjar Starheim und Oystein Monsen, präsentiert mit "Deep Wave" auf Houndstooth sein Debütalbum, co-produziert von WIFE (Tri Angle Records). Die 13 Tracks bestechen durch einen frischen, originären und innovativen Leftfield-Pop, inspiriert von Cabaret Voltaire, Throbbing Gristle, Detroit Techno, 1990er IDM, Fever Ray, Cold-Wave und den 1980er "Mutazione" Compilations.

For those who love digging into the dancefloor world but haven't discovered the pleasure of Detroit Nu-Disco and Afro Spiritual Funk yet, the duo Conte/Petrella has just delivered their brand new 12-inch EP "Sun Song / Nigeria", just a few months the previous Conte&Petrella EP "African Spirits / New World Shuffle" (SCEP 480). A release that brings to the fore the value of new musical encounters and expresses the artists' desire to constantly dig, discover and share their endless love for music.

Fünf Jahre nach seinem Debütalbum "Ilp" meldet sich Kwes. mit einer neuen 6-Track EP zurück. In der Zwischenzeit arbeitete er mit Künstlern wie Bobby Womack, Solange, NAO oder Loyle Carner zusammen und mischte Kelelas Meisterwerk "Take Me Apart" ab. Die "Songs For Midi" handeln von aufregenden Entdeckungen und Erfahrungen in der Kindheit, und entsprechend fragil und sinnlich klingen die Sounddesigns dieser 6 Tracks. 12" Vinyl mit Download-Code.

The early 2000s were a time of upheaval for hip-hop. The underground and mainstream divide that had dened so much of the previous decade was showing the rst signs of irrelevance. Timbaland and The Neptunes made radio rappers sound futuristic while independent artists struggled in a quagmire of backpacks and misguided claims to keep it real. Away from this, in a misunderstood middle ground between hip-hop and electronic music, a new generation of artists were busy imagining a new sound for hip-hop.

One such artist was Scott Prefuse 73' Herren, whose perpendicular MPC chops on his 2001 debut for Warp Records set curious minds racing with possibilities. That same year Tadd Mullinix released his debut as Dabrye on Ghostly International, a sonic wildstyle that appealed to both hip-hop heads and IDM nerds. Sometime that same year Herren and Mullinix met after sharing a bill in Detroit. CD-Rs were exchanged and a year later Eastern Development, Herren's newly launched label, released Dabrye's Instrmntl, a short album with a big impact. On its fteenth anniversary Ghostly International is reissuing Instrmtl on vinyl and making it available digitally for the rst time.

Instrmntl is a continuation of the beat experiments Dabrye began with One/Three and a bridge to the diverse textures that would dene Two/Three four years later. About half of its nine tracks (ten if you lived in Japan) were created at the same time as One/Three while the rest were newer or made specically for the album. Once again Mullinix looked outside of hip-hop to techno, house, and drum & bass for stylistic and technical ideas while embracing the blissful minimalism of a good hip-hop instrumental and the rhythmic nuance of Detroit.

Despite the similarities between Dabrye's debut and this follow up, Mullinix didn't simply replicate what had made One/Three so arresting. He pushed and pulled further between the two cornerstones of his approach to reveal more potentials. Instrmntl takes you deeper into electronic depths — the rugged synth stutter of 'Won', the tumbling, wobbling bass in 'No Child Of God', the electro get down of 'Prospects (Marshall Law)' — while also treading more organic grounds by letting samples breathe and moods unfurl at a gentler pace ('Take Me Home', 'Evelyn', and 'You Know The Formula Right'). And then there are the moments where this push and pull nds balance and the result becomes more, as it does on the mournful march of 'D-Town Tabernacle Choir' and the twinkling daydream of 'This Is Where I Came In'.

At just over 30 minutes, Instrmntl offers a snapshot of a time when potentials seemed innite, when lines could be drawn between jazz, ragga jungle, techno, and hip-hop and the resulting shape divined an exciting future.

- Reissue of the out of print 2002 album, available for the rst time on Ghostly.
- Includes previously Japanese-only bonus track, Gimme Lowlands'
- Standard weight blue vinyl is housed in a matte jacket.
- Dabrye's beats are like Jay Dee getting crunked up with Autechre.' — Prefuse 73

It was chance that brought about the release of One/Three, Dabrye's debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late '90s producing jungle, techno, house, hip-hop and more using the All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the contours of di-erent musical personalities. Dabrye was his hip-hop wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Umma-era Jay Dee, and the calculated subtlety of Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye's arrival with an unavoidable contribution to Detroit hip-hop. Ghostly International is reissuing the album in 2017 for the first time, including a long overdue vinyl edition.

On its release One/Three was the rare album that appealed to both fans of Slum Village's smooth yet rugged hip-hop and enthusiasts of the distinct American IDM released by labels like Schematic. Over the following decade, the inadvertent demo submission turned into a body of work that placed Dabrye alongside innovators such as Prefuse 73 amid the cannon of a new generation of producers. Today, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between J Dilla and Flying Lotus.

One/Three is a record that says much with little. There are no obvious hip-hop tropes. Instead Mullinix captures the ingenious minimalism of '90s hip-hop instrumentals to build tracks both supple and hard, joyous and melancholy, full of sharply angled rhythms and warm rubbery basslines: 'The Lish' throws a sickly sweet saxophone against digitally fragmented melodies, 'How Many Times (with this)' draws you in with an irresistible, clipped guitar groove, the rhythmic stutter of 'Smoking The Edge' makes your head spin with pleasure. Playing with his inspirations, Mullinix injects omitted downbeats for imagined rhymes and repurposes the intricacy of ragga jungle for breakdowns.

But what really defines One/Three is the rhythmic sensibility and metric modulation of Detroit's school of hip-hop production, which Mullinix was a fervent student of. The beats feel like they're constantly escaping a rigid tempo grid even though they are, in fact, pretty tight. A lot of it is nuance,' Mullinix explains. I've been known to say that I'm not impressed by spectacle. I think that nuance is what really captivates people.'

If you like your beats with a dash of class, do not miss this. An essential purchase of the highest order.' -BBC

- First time all tracks from the original 2001 release appear on vinyl.
- Remastered by Daddy Kev
- Standard weight black vinyl is inserted in to 3.5mm matte finish vinyl jacket.
- Download card includes free download of the Payback EP

With his new album 'Trail Of Intuition' Danish singer and songwriter Jacob Bellens once again is shimmering somewhere in-between electronically influenced songwriting and synthpop music, using his characteristic voice to reflect on his life's journey. Since the age of five, making music means creating a parallel universe to Jacob Bellens. It's his very own space, where he can be himself and always retreat to, no matter what happens. Out of this universe the Copenhagen based musician has released numerous songs and albums with his previous bands I Got You On Tape and Murder, with side projects and features as well as a solo artist. 'Trail Of Intuition' is his fourth solo album and the second one that's internationally signed with hfn music. Unlike the songs for his previous release 'Polyester Skin", which he wrote mostly on piano and guitar before sending them to producer Kasper Bjørke for final production, Bellens wrote all the songs for 'Trail Of Intuition' on his computer. You could see him sitting in front of his laptop in coffee shops across Copenhagen, with his headphones on, letting the basic programming and pre-production of the songs become an essential part of the writing process. The final production was made mostly by Rune Borup, who he knows back from the I Got You On Tape days and his friend Lars Iversen (The Asteroids Galaxy Tour), with whom Bellens also had the band project Goblins. The new album is a collection of snapshots of the whole range of feelings for which Bellens digs into the pool of his own experiences.

Tadd Mullinix first made a name for himself as Dabrye in the early 2000s with a pair of instrumental albums combining the rhythmic finesse of Detroit hip-hop with the ingenuity of electronic music. But instrumental beats were only a temporary goal, a way for Mullinix to catch the ears of MCs. On Two/Three, his second Dabrye album for Ghostly International, Mullinix brought together a formidable crew of local and national talent to make the statement he'd always intended. Released in 2006, Two/Three o-ered a fevered vision of rap's future that remains just as intoxicating a decade on. Ahead of the long-await-ed conclusion of Dabrye's hip-hop trilogy in 2018, Ghostly is reissuing Two/Three.

Dabrye's move towards rap began in 2004 with the album's first single, 'Game Over' featuring Jay Dee and Phat Kat. An early inspiration of Dabrye's, Jay Dee invited Mullinix to his crib in 2002 for a listening session during which he picked the 'Game Over' beat to rap on. Crucially everyone involved was in accord that despite perceptions of their respective work this would be a hardcore rap song. Together with Kat, Jay delivered a one-two lyrical punch on 'Game Over' that no one saw coming. Detroit made the world go round and everyone's head spun. 'Game Over' set the tone for the album and, over the next few years, became a Detroit anthem — shortly after Jay's passing in 2006 the audience at Movement Festival sung his verse.

Moody, propulsive, and above all ambitious, Two/Three emerges from a sonic stew of Detroit and UK dance music, Jamaican sound clashes, and hip-hop sampledelia. The guests, a who's who of the mid-'00s underground rap scene, engage in a raucous rhyming session that pays as much attention to the realities of the streets as it does world events. MF Doom, Wildchild, Vast Aire, Beans, and AG represent for the various coasts while local talents — Waajeed, Ta-Raach, Invincible, Finale, Kadence, Guilty Simpson, Big Tone, Phat Kat, and Jay Dee — bring Two/Three alive with an infectious energy. In between bursts of raw rap and hard beats, Dabrye showcases detailed instrumentals that evoke bleak industrial futures, underwater meditations, and smoky late night sessions. With Two/Three Dabrye placed himself at the forefront of hip-hop's new wave, throwing a Molotov cocktail into the rap world as uncompromising as the head-twisting cover art from WK Interact. The independent press praised Mullinix's audacity. Over the following years the impact of Two/Threewas felt in slow increments as Dabrye's music became central to the sonic makeup of a new generation of producers. As this beat scene grew and moved away from rap, it showed Mullinix the influence of his work and the value of his vision for Dabrye as his own brand of Detroit hip-hop.

the first release of our new project studio mule' is a cover of japanese 80's dance classic carnaval by taeko ohnuki'.
is studio mule a band unit we never have fixed member except kuniyuki takahashi as a track maker.
we invite who we love.
the first gest is our beloved miyako koda aka dip in the pool.you remember the reissue of on retinae' on music from memory.
miyako koda is one of the most carisma model in japan in 80's and the vocalist of experimental pop band dip in the pool'.
dance edit on a side is true to the original.off course more playful than original.
extended edit on b side is more club friendly house version.

New York City has had a long history of dance music fused with confrontational performance. Whether it came from within the late 70's No Wave canon projected through venues like the Mudd Club or the downtown avant-garde galleries such as The Kitchen, the feeling that influences and infects Brooklyn-based duo Wetware's overall being as a cohesive and confrontational unit is as much enigmatic as it is familiar. Formed in 2015, Wetware eased into its performative role with their live shows around their home base of Brooklyn, NY.

Vocalist Roxy Farman, who's familiar voice was last seen on Drew McDowall's 'Unnatural Channel' album, stole audience's attention from the moment they started, using her body in tandem with her voice as a weaponised vehicle for the band's anxiety filled performance. Matthew Morandi cut his teeth in the electronic music world through his solo tech-industrial project Jahiliyya Fields and partner to Inhalants, the techno collaboration of Morandi and Max Ravitz (Patricia). The synergy that developed between Farman and Morandi has been explosive. Wetware's live antics and behaviour has caused alarm and envy amongst their local audiences, causing Wetware the group to 'not be missed' on any particular bill that they are allowed to take part in.


Wetware stepped out from their live persona and self-recorded a selection of songs that viewers had grown accustomed to and were debuted on the flawlessly curated Primitive Languages imprint. Shortly following their recorded premier was an EP collection of demo recordings on the much praised Bank NYC label. Once the band reconciled with documenting their work, they set out, with the help of engineer Kris Lapke (Alberich / Hospital Productions) to formalise their most recent output in the context of their first full length album entitled 'Automatic Drawing'.

Given Wetware's penchant for endurance, as displayed by their 3 hour long production at Koenig & Clinton Gallery in the Summer of 2017, one would expect the usual restlessness on Wetware's debut full length. All of the apprehension and unease in Wetware seems to have been channeled into a string of cohesive electronic statements found on songs 'Frequent Dreamlands' and 'Ode to Joe'. Industrial dance rhythms bounce around Farman's poetic stance on 'Where Ever You Were', causing flashbacks of an early 80's dystopia that jumps around a confusing, uncomfortable backdrop. Inter-spliced with modular electronic instrumentals like the album's opener 'Pantomime', Wetware's devastating portrait is that of a society in peril.

7"

Xen & Yovav return to Malka Tuti in 2018 with full thrust and eyes to the future. After being responsible for the first 2 releases on the label, this time the enigmatic singer and the influential producer collaborate and deliver 2 original songs. Hayom Etmol is a 100% good vibe diy post-punkish poppy song with a flowing synthetic bass line, balearic guitar riffs and dreamy vocals. The B-Side, Shavit, is a vocal led song, with a repetitive guitar bassline and, trip guitar riffs and a minimalistic drum machine. low fi in its production Shavit feels as if it has been dug out of an abandoned 80s record store in the outskirts of Glasgow or Amsterdam, with a strong cold wave feel to it.
This 7' will be the first in a series of more diy approach to electronic music, song writing and production. Some exciting names on the bill so hold on to your chairs...
Hayom Etmol's artwork design was made as always by Morey Talmor, with a printed inner sleeve designed by the Israeli artist Kobi Swissa and a special silkscreened outer PVC sleeve.

Intimate November tour also announced After their 2012 Mercury Prize nominated debut and 2015's Top 20 follow-up 'Born Under Saturn', musical adventurers Django Django are back for 2017, exploring new sounds with their brand new album 'Marble Skies' which will be released on January 26th on Because Music. Today the album launches with first single 'Tic Tac Toe', a rousing, trippy upbeat rock track with an enormous echoing hookline which will excite fans of the band's rockabilly-influenced elements. The accompanying video for 'Tic Tac Toe' was directed by John Maclean, brother of Django Django drummer/producer David Maclean and director of the critically acclaimed modernist western 'Slow West'. It depicts vocalist/guitarist Vincent Neff enjoying a rapid-fire day-trip to Hastings which takes a turn into the surreal and sinister when a ghost train puts him on a collision course with a grim reaper inspired by Ingmar Bergman's The Seventh Seal. As John Maclean explains: The film could be about the fading era of the beach arcades, time moving too fast, love and games, horror and happiness but it is actually about a man who needs to go buy a pint of milk to make a cup of tea.' After the brilliant, rave-shaped grooves and expansive arrangements of its predecessor, 'Marble Skies' is a more concise and focused offering which recalls the dynamic, genre-blurring music of their debut. It's a return to form, an album which finds them returning to the handmade, cut-and-paste approach of the past. Upon finishing the 'Born To Saturn' tour, Dave ventured to LA to work on a production project, whilst the other band members went to India with the British Council. When they returned, the new album process began with a back-to-basics approach which recalled the DIY ethos of the band's early days, Django Django - minus an absent Maclean - assembled at Urchin Studios in Tottenham, London with Metronomy drummer Anna Prior to experiment with the idea of coming up with new tracks through loose jamming sessions. After ten days of recording, there was plenty of raw material to send up to Dave (then back in his hometown of Dundee) for him to edit, refine and evolve. As ever, all four band members (completed by Tommy Grace on synths and bassist Jimmy Dixon) contributed to the band's music, melodies and lyrics as the final album took shape. Parts of 'Marble Skies' find Django Django sailing into uncharted territories, not least the driving title track (propelled by Prior's drumming), with its echoes of Krautrock and Suicide. Meanwhile, the hazy Zombies-like summer pop of 'Champagne', which explores the joys and ills of alcohol, was inspired by the band's over-indulgence during a boat trip on the Seine that was hosted by their label. Those drawn to the more dance-orientated side of Django Django will find much to love in the twisted '80s electro pop of 'In Your Beat' and the dancehall-influenced 'Surface To Air', a dreamy-headed pop song fronted by Rebecca Taylor of Slow Club. The collaboration came as a result of the two bands meeting up at SXSW some years ago, where Rebecca and Dave in particular bonded over shared interests in R&B, hip-hop and dancehall. Another more surprising collaborator is Jan Hammer, the Czech-born, American-based jazz-fusion and electronic artist who shares writing credits with the band on the gorgeously floaty 'Sundials'. If there's a mood running through 'Marble Skies', it's one of reflection on things past and present, and finding some kind of peace with your place in the grand scheme of things.

Malik Hendricks is a rhythmically inclined aesthetic enthusiast born in the 80s, and raised in the 90s. Here he delivers his debut EP of bumpin', soulful, and inspired House music.

As the lead singer of George Darko's legendary Burger-Highlife hit-band, Lee Dodou became the number one voice of 80's Highlife. Born in Kumasi, the epicenter of Ghanaian Highlife, he came to Berlin in the late 70's - by then the uprising epicenter of Burger-Highlife - to work as a back-up-singer for Pat Thomas. After joining and leaving Georg Darko and running his own band "Kantata", he stopped releasing music in the early 90's. Now, Philophon is proud to present new recordings of his soulful genius to the world of 2018.

Basa Basa is a song in the classic "concert party" style, as it was played in the glorious 60's. After a firey horn introduction Lee takes over in that funny and entertaining manner typical for "concert party" music. Buzz Duncker joins Lee's phrases with some gentle clarinet. Highlife at its best!

Sahara Akwantuo is anything but a classic: it's the start of a kind of philophonic Highlife, labeled as Kraut-Life. Ghanaian love of life meets German romantic melancholy. Happy rhythms meet mysterious synth landscapes. Eternal summertime and mangos are meeting a wet winter world and roast apples. Kraut-Life at its best!

We got to know Dan Only, an exciting emerging artist from the Toronto underground, when he collaborated with Jesse Futerman on our recent 'Deep Love 2017 compilation. His debut record, released on Adam Marshall's 'New Kanada' imprint, introduced his deep instinct for electronic music and unique, boundless approach to deep house. An avid collector of old school gear you can hear the analogue warmth throughout this intricately detailed yet heavy hitting four-tracker. 'It's Clear' opens. A solid House jam, its thumping drums and resonating melodies follow a steady bass groove ready to heat up the dance floor. 'Be Major...Believe' leads in more gently before warbling key lines and synth details layer over gritty percussion pushing the mood closer and closer to bursting. This one conjures images of summer nights and distant coast lines. On the B, simmering vocals and tropical rhythms dance amongst straight forward house energies on 'Don't You Understand". Rich with subtleties, it's somehow smooth while seriously impactful. Finally we have 'Truffles". A very modern twist on Disco vs House it's an original Italo infused gem with an edit feel, that maintains the vibe of an 80s era hedonistic night throughout. Perfect as a peak time mood elevator or blissful, hands-in-the-air closing record. We're convinced Dan Only's future is bright and are overwhelmed by the quality and musicality of this, his first solo EP on Dirt Crew Recordings.

Kalabrese sagt: Hört sich wie ein versteckter Talking Heads Track an!' Ja, irgendwie schon. 80er Leftfield Pop mit der Nuance einer modernen Disco-Produktion und einer dafür großartigen Auswahl an Remixern: The Juan Maclean, Daniele Baldelli & DJ Rocca, Michael Reinboth - die wissen, wie man so einen Track schmooven lässt.

Off the back of Rudeboyz follow up EP entitled Gqomwave, Goon Club Allstars are back with an EP from UK Funky producer KG. In 2007 Karen Nyame, otherwise known as KG, was at the Nottingham Trent University producing beats on Fruity Loops. Slightly isolated in Nottingham - away from the UK Funky scene's London epicentre - KG posted her tunes on popular UK Funky message boards and Facebook pages, but never had an opportunity to properly stake her claim as one of the scene's heavy hitters. 808 and Midnight (Flute Riddim) are two lost anthems from that era, although receiving support from the likes of Marcus Nasty and others, they were largely forgotten amongst the numerous stand out tracks of the era, appearing rarely in mixes of those lucky enough to have digital copies. 808 is the party anthem, it's joyous, quivering melodies ascend above the thumping kick drum, while relentless crashing snares and carnival whistles rain down - guaranteed to heat up the coldest of dancefloors. Midnight (Flute Riddim) on the flip side is the softer, slinkier bubbler. Built for smouldering club action and hot sunny days. BSNYEA is a new addition to Goon Club Allstars' burgeoning family of artists. Hailing from the Bronx he is a veteran of the Borough's Litefeet genre that soundtracks the performances of subway dancers cross New York City's transit system. On his remix of 808 he focusses on the whistles and gutter synth lines adding in booming bass drums and lock inducing chants. Hitmakerchinx comes fresh from his anthemic Night Slugs compilation. Bringing his signature FDM energy he drops the tempo and builds on the light, airiness, letting the flutes play out softly underneath the thumping drums.

A rich and diverse palette of 7 tracks occupies the record, touching on italo disco, some sparks of bass driven synthwave and the late '80s house sound. 'RITMO!' is full of melodies, injecting beats and energy that create an addictive drive and momentum. The record is featuring an impressive list of artists as vocal collaboration as well, leading to an expressive journey that evolves throughout its infectious grooves and powerful 4/4s. It's the dynamic and propulsive power sparked by the 80s sounds that makes 'RITMO!' an album you would want in your collection, or on your decks while playing at the club

TenGrams are brothers Alessandro and Davide, who collectively have a deep and long understanding of dance music. Davide is a co-founder of N.O.I.A, one of Italy's first electronic live acts to perform and record with drum machines and synthesizers as early as 1978. He was also behind seminal Italo outfit Klein + M.B.O and proto house hit 'Dirty Talk.' Since then they have released under an array of aliases, have clocked up numerous club hits and this new project brings them back to their electronic roots, with influences like sci-fi movies and old school electro and italo looming large.Devious' is a very breezy and energetic track with a rolling arpeggio and rich keyboards section over a simply but groovy Tr-808 pattern. Classical Italo Space Disco sound updated to nowadays. 'Translucent' sounds like a dreamy electro-ballad heavily influenced by Kraftwerk. 'Pop Song' keeps the same 80's electro vibes with simple, wistful melodies and a great funk bass line. 'Disco Dub' is a pretty damn cool early eighties electronica, with a great pumping 'robo-funk' Linndrum!

Legs 11 was formed when members of various underground bands in Oslo, Norway, met during a karaoke-fuelled haze in the seedy parts of Oslo, and discovered a shared love of synth pop, post-punk, new wave and house music. Drawing on these influences, the band has created a diverse musical universe, ranging from dark repetitive guitar driven tracks, via infectious pop gems, to deep yet melodic dancefloor-orientated grooves.

The 'Another Wave' album is hand-picked tracks from their latest works, focusing on a more dancier approach. The house and nu-dance influences of today are mixed with heavy influences from 90's UK indie-dance acts like The Shamen and the Madchester scene, and hints of new wave from the 80's.

Quality is the key word from Copenhagen based Music For Dreams and here is another home run. Willie Graff splits his year between DJ residencies in New York and Ibiza. In this new outing with studio partner Darren Eboli, the influence is, as the title suggests, clearly NY-based. Over only four tracks, the pair manage to craft a stunningly comprehensive exploration of the essential elements of dance music.

Opening track "Love Flight" staggers into a lush string-driven groove that recalls the glory of Metro Area meets Wally Badarou vibes. Minimal yet playful, it lounges somewhere in the depths of the house tradition, calling on familiar sounds while throwing in odd details along the way (harmonicas). It takes both skill, devotion and a sense of humor to pull this track off, making for a strong opening. "Moon Tan" lingers on a metallic hook that drags you into a plethora of percussion followed by a rubbery soft baseline. Dubby key work would suggest this was a new wave band jamming at Compass Point, while the icy chill of the xylophone transports you into 80s italo territory.

"Second Sun" pulls out the bag of boogie tricks, relying on a firm but humble baseline and smattering drum machine claps. Nile Rodgers-style guitar licks guide us onwards into a well-orchestrated jam that builds up and breaks down with perfect timing while dreamy chords reach for the sky. "First Light" keeps the groove tight while dipping over towards more Balearic temperatures. Steeped in a watery atmosphere and gentle organic percussion, it focuses in on a trance-inducing arpeggio that lulls you in to the swaying Badarou-style synth swirls that intercept it.

Warp-Wunderkind Lorenzo Senni liefert in Kooperation mit Francesco Fantini samt Orchester den Soundtrack zu Yuri Ancanaris Kurzfilm "The Challenge", einer anthropologischen Dokumentation über die seltsamen Hobbies reicher Wüstenbewohner. Schwarzes 10"-Vinyl im luxuriösen, 32-seitigen Fotobuch im goldgeprägten Leinen-Hardcover in einer streng limitierten, handnummerierten Auflage.

Inventions & Dimensions is the third album Herbie Hancock ever released as a leader and proof that he was not an artist who was willing to be pigeonholed. Featuring a quartet made up of a bassist and two latin percussionists, Inventions & Dimensions explores the possibility of latin percussion outside the context of a latin jazz album. Comprised of post-bop and modal compositions all from the pen of Hancock, this is a beautiful album that shows the promise of a young and confident pianist and composer who would blossom into one of the most celebrated talents in jazz history. Essential.

There is no doubt that Bobby Moore is an absolute F***ing legend, and a true icon R.I.P. A hero who lifted the World Cup for England at Wembley. He is widely regarded as one of the greatest defenders of all time, and was cited by Pele as the greatest defender that he had ever played against. A leader of the highest quality and a true inspiration to us all. We would love to say that Neil Diablo shares these traits and acomplishments but his Bewuda EP is tribute enough to one of Footballs gretaest ever captians. The EP itself is a remix record , the track is called Bewuda, and what a track it is . A 6 min trancy club banger. 808 drums all over the place give it a 90's vibe but with Mr Diablos signiture Italo feel. And what we can we say about his team mates . Coyote , Tiago & Dawn Again on the same record !! yes please !!!. The Coyote boys dont mess around at all .Straight into a ravey , sweeping banger. Teasing balaerica but keepng it a fully loaded dance floor bomb. Tiago does what Tiago does . His signiture sunshine vibe oozing out of the track from start to finish . The drums are something to behold and the piano riff drop packs a real punch. And last but not least our mate from Melbourne 'Dawn Again' tears up the track and brings us a classic weird re-triangluation in true banging Dawn Again fashion. Big record from team Rothmans for their 15th release!

Now presented in a shrink-wrapped 6 panel fold out card wallet on CD, on heavyweight double vinyl in a gatefold sleeve. Digitally re-mastered by John Rivers at Woodbine Studios, November 2017 August 1988, Spacemen 3 embark on one of the strangest events in the band's already strange history. Billed as "An Evening of Contemporary Sitar Music" (although consciously omitting the sitar), the group would play in the foyer of Watermans Arts Centre in Brentford, Middlesex to a largely unsuspecting and unsympathetic audience waiting to take their seats for Wim Wenders' film 'Wings of Desire'. Spacemen 3's proceeding set, forty-five minutes of repetitive drone-like guitar riffs, could be seen as the "Sweet Sister Ray" of '80s Britain. Their signature sound is at once recognizable and disorienting - pointing as much to the hypnotic minimalism of La Monte Young as to a future shoegaze constituency. On this double LP reissue, Dreamweapon is augmented by studio sessions and rehearsal tapes from 1987 that would lead up to the recording of Spacemen 3's classic 'Playing With Fire' album. 'Spacemen Jam,' featuring Sonic Boom and Jason Pierce on dual guitar, is a side-long mediation on delicate textures and psychedelic effects.

Few authentic Electro producers from the UK can wear the badge 'legend' with the same level of justification as Phil Klein aka Bass Junkie. Active since the late 80s, Phil has been peddling his own take on Electro almost constantly, either as a solo artist or as part of numerous collabs with the likes of Dynamix II, Keith Tenniswood (Radioactiveman) and Si Brown (Dexorcist). DJ, remixer, live act, and the man behind the killer Battle Trax label, there is nothing this Junkie hasn't done.

With essential releases on labels such DMX Krew's Breakin Records, Andrea Parker's Touchin' Bass, and Billy Nasty's Elektrix; the Bass Junkie sound spans the old school beats and vibes of the Electro genre's origins, to the borderline industrial. From funky to ferocious, Bass Junkie's discography is a must have for anyone claiming passion for the genre - influential, individual, and infectious with every beat.

His 'Low Frequency Fugitive' EP is a welcome return for his Bass Junkie project, after several years working primarily on collabs. The EP brings four new tracks that maintain the Bass Junkie sound that brought him such success and notoriety in the first place, with a healthy dose of evolution too.

This is one Fugitive everyone should try and track down...

Second reissue of Claque Musique's Formes featuring The Museri, Federico Grazzini, Calma and Analog Inside.

James Ramey, better known by his self-depreciating stage name Baby Huey, was a potently flamboyant presence in Chicago's soul scene during the 1960s. Though he suffered weight problems throughout his life due to a glandular disorder, he was easily recognizable for his appearance, which featured an enormous afro, and long, flowing African robes. He and his band The Babysitters were a wildly popular and successful local act across Illinois, cutting numerous 45 singles, without releasing a single full-length album. A chance audition with Donny Hathaway and Curtis Mayfield of Curtom Records would change everything for the band. Though the two of them were pleased with the group, they opted only to sign Baby Huey without the Babysitters. Huey would go on to spend much of

1970 recording a studio debut of psychedelic soul and funk music, comprised largely of covers of tracks by Mayfield, Sam Cooke, and others, plus two original compositions. During this time the now 400-pound singer struggled with addiction to alcohol and heroin. Huey would not see the release of his debut album, dying at the age of 26 from a drug-related heart attack. So many years after its 1971 release, Baby Huey's studio album Baby Huey: The Living Legend went on to become a cult phenomenon, a massive influence to hip-hop artists and fans, and is now considered a classic of its era. Tracks from the album have been a treasure trove of sample material for artists like A Tribe Called Quest, Wu-Tang Clan, DJ Shadow, and The Chemical Brothers to name just a few. Additionally Huey's own vocal style, which dabbled in sing-song melodies and self-referential rhyming, has been said to have influenced the development of rapping itself.

- 180 GRAM AUDIOPHILE VINYL
- FEATURING SUN GODDESS', JUNGLE STRUT', LIVING FOR THE CITY' AND MORE

Ramsey Lewis is an American jazz pianist, keyboardist and composer born 1935, Chicago. He has recorded over 80 albums and played with artists like Max Roach, jazz-singer Nancy Wilson and performs with his own trio.

The album Sun Goddess was a soul jazz-funk album, recorded in 1974 and was produced by Maurice White, Teo Macero (who had produced albums by Miles Davis) and Ramsey Lewis himself. The opening track Sun Goddess' was composed, by Earth, Wind & Fire member Maurice White and featured Philip Bailey on vocals. Living For The City' was composed by Stevie Wonder, arranged by Ramsey Lewis and Jungle Strut' is a jazz track melting funk and R&B.

Sun Goddess was Ramsey Lewis' biggest success of the decade reaching #1 on the Billboard Black Albums chart, #12 in the Pop chart and has been certified gold, it also featured most of the key players of Earth, Wind & Fire.

More stunning live material to come out of the Factory Records vaults...Ian Curtis & company recorded this live at the legendary Les Bains Douches in Paris on December 18th, 1979. This is the 2nd proper live album released by Joy Division & it contains great versions of "Love Will Tear Us Apart," "Shadowplay," "Atmosphere," "Transmission" & others, with liner notes by Anthony Wilson.

What we have here is one of Cornell Campbell's great Dancehall early 80's set of song.
Dancehall was when the beat slowed down to that classic one drop style that suited his voice so well.
The album includes the title track 'Boxing' which was a massive hit for Cornell on its initial release in 1982.
It also includes a Dancehall reworking of 'Queen of the Minstrel' and a fantastic dancehall cut to Bob Marley's 'Natty Dread'.
This was a new chapter in Reggae's sound that saw the rhythm slowed down and seemed to add even more emphasis to the songs meanings.
A reissue of Cornell's early 80's 'Boxing' set is complete here. We have also added some other Cornell period classics to the CD version of this release.
Be sure to play it in full...Cornell Campbell at his finest

Phantasm is a new vinyl label and collaboration between Amsterdam's Sinchi Collective and the much-admired Night Noise outlet, based in Geneva. It kicks off with a strong EP from The Soviet Union aka Richard Baldwin, including classy remixes from Sinchi themselves and In Flagranti.Baldwin has a signature style that is cinematic and synth heavy and has been formed over the last decade plus. A fine DJ, experienced promoter and self-confessed addict of vintage analogue synthesizers and drum machines, Richard pulls his influences from early electronica, 80s film-scores, and shades of techno right up to the present day. This track was first written on a cold evening in December 2010 using a Roland TR707 and JX8P Synth. After collaborating with his songwriting partner the track was given a haunting vocal and released as 'The Disappearance of Becky Sharp', while the original remained on Baldwin's Soundcloud and got ID requests from all over the world. 7 years later it comes back to life in the form of its original instrumental, with a 2017 rework, plus remixes by Sinchi and In Flagranti.The superb original is a perfectly spaced out and a retro-future bit of synth heavy electronic music. Arpeggiated bass props up rueful chords and icy percussion brings that essential cosmic vibe. It's a timeless track that overflows with emotions and is sure to really make a mark in any DJ set thanks to its rich musicality. The 2017 Rebuild is even more lush and zoned out with sombre chords forcing you to reflect on the deeper meanings of life. In Flagranti—the Codek Records duo based in Switzerland—then lace in some hip swinging claps and make this one a deep disco track that is riddled with little synths, chords and melodies that exude warmth and sci-fi soul. Last of all, Amsterdam's Sinchi cook up a storm with corrugated basslines, long tailed pads and turbulent solar winds that make it that bit darker and moodier. This is a brilliant package of emotive music that is a real statement of intent.

The new release by POLY SONE on FRIENDSHIP & DECADENCE is an introspective trip with a bouncy, dubby flair that sets the scene with gritty synths and spacey arpeggios reminiscent of sci-fi soundtracks from the 80's and continues by avoiding the ordinary with some light Trance and a tinge of Acid. Get ready for this out-of-body experience and exit flesh!

The Afro-Funk side of the Latin Soul maestro!

Born in Gao (Mali), Boncana Maïga is one of the most talented and popular producer of West-African music since the 60's. He studied flute and Latin arrangements in Cuba during the 60's and founded the famous Les Maravillas du Mali' in 1968.

He became orchestra leader for the national Ivorian TV in Abidjan in the mid-seventies, and toured all over the world with the famous Africando band. During his recording sessions in NYC at the beginning of the 80's with a lot of Latin musicians' from Puerto Rico, Venezuela or Colombia, Boncana Maïga also recorded few rare Funky tracks with heavy breaks!

With the artist, we decided to reissue four rare tracks from 1978 to 1982 dedicated to dancefloor, including a really rare soundtrack for the oil company of Ivory Coast called Petroci'.

In 2018, he'll be back on tour with Les Maravillas du Mali', still have a weekly TV show on TV5 Monde and with this reissue will continue to warm your Afro-Funk parties!

Fully licensed, 12inch vinyl (45 RPM) including interview. Remastered by The Carvery!

Mondo Groove celebrates Italo-Disco in fine style delighting us with the most important tunes from the legendary Phantom Records; a ride deep into the world of the label that has not only produced renowned music, but has been acknowledged as a serious influence on modern disco sounds. Emerging in the late 70's to early 80s, Italo bridged the gap between disco and house, and was a staple of seminal Chicago DJs like Frankie Knuckles (who pioneered many of the drum machines and synths that are still in use today).

I-Robots, a true connoisseur of the genre, hailing from the Piedmont area of Italy, curated and carefully selected the tracks on this compilation.

This eleven track collection features originals and rarities, officially repressed here for the first time, and 2 tracks re-edited by I-Robots. The LP comes with the original Phantom Records logo on the front, scans of original 7-inch and LPs covers, as well as photos of the era on the back.
The sequence begins with "Come with me" by Carlotto. Roberto Carlotto was a keyboard player and singer who was very active since the 1960s. His solo recording career began in 1971 with a 7-inch release, and was followed by the progressive rock cult album "Dedicato a Giovanna G." signed under the pseudonym Hunka Munka. At the time he was distinguished by its remarkable technique and the high quality of its equipment that included an incredible number of keyboards and even the first examples of electronic measures. "Come with me" is an astounding unique Rock-Disco tune pressed only on 7-inch and highlights all of its instrumental and vocal prowess in a tight rhythm.
Comet Music Hall also came out as a 7-inch as a promotional edition for the homonymous discoteque - a kind of psychedelic-disco still currently produced by Enzo Draghi, a key figure of the Phantom, among others.
Roberto Ferracin is the man behind the Music One project, the name by which he produced only one LP of short electro-disco jingles. Included here are four of the most powerful cuts.
Every Italo Funk-Disco collector knows "Radio Cosmo 101", a soulful jazzy-disco-funk number produced by the homonymous radio station that was based in Alessandria in 1975, and spawned from the mind of Tony De Giglio, his two brothers, and a group of friends. At the end of 1974, Tony saw "American Graffiti", which instilled the desire to create a free radio format which became very popular in Italy. The programming took place at De Giglio's house and the wavelength was, in fact, 101 Mhz. The show immediately became quite popular, with programming that began in the morning at 10am and ended at 11pm. Included in this LP are the vocal and instrumental versions, as well as a long-version edit by I-Robots.
Don Luigi Bernini is a Piedmontese priest who has devoted his life to music. His father played the organ in church, and in those days the electric organ did not exist, therefore the father used little Luigi to push the bellows. The boy soon learned to play it as well. He then entered the seminary but continued to study music and graduated from the Vivaldi Conservatory of Alessandria in piano and choral composition. Later, he became a teacher of music education at the State School. He was introduced into the world of pop music by producers Riccardi & Albertelli and debuted with a single in 1977. Of his discography, his most interesting work is undoubtedly the weird "Telepatia" of 1979 - an experimental album, electronic, psychedelic, with the theme of good and evil always in the foreground. Featured in this collection is 'Whirlwind', which was recorded by Roberto Ferracin (Music One) and Enzo Draghi.
For all Italo maniacs!

Offical reissue of this super rare, modern soul boogie 45 originally released in the early 80s - pressed in a loud 7" with lovely picture sleeve!

Curtis & Dondi, brothers by name & nature, epitomise the strength of musical talent that Chicago was nurturing during the late 70's & throughout 80's. This is the first ever reissue of their hugely sought after 80s soul 45, 'Magic From Your Love / Don't Be Afraid' with full colour sleeve.

* Boom 90's sought-after selection from versatile JA/UK vocal veteran Danny Red licking out against bad boys and gangsters alongside Boombastic Crew aka Nick Raphael (Manasseh. Riz Records, Roots Garden) and Gil Gang (Tuff Scout, Riz Records)
* Riddim-wise this is a sound system bullet which has hints of the mid 80's in the style of King Jammy, Jah Tubbys and Unity Sounds.
* This track originally came in the early 1990s on a Riz Records LP `Themes From Riz' which is now a wallet-busting records to secure.

For the first release of 2018 we welcome Harry Wolfman to the Outplay family!
Having followed his work for the last couple of years we're very happy to have him deliver this varied 4-tracker, which very well might be some of his best work to date.

The A side starts off with 'Hitch'. A warm and dusty groover driven by rhodes, a rubbery bassline and a thudding kick. A lovely string piece in the middle of the track slowly builds up to the break for it to return to the head nodding groove soon after. The added percussion gives it a nice lively feel as well.

'Pigs in Blankets' sets the pace a little slower, but the funk goes on. The track incorporates 80's style samples with some excellent synth and chord work. Perfect for a warm up session.

Starting on the B side Harry takes it up a notch with 'Nemoto', which will be a definite stomper for the dance floor. It takes you on a 9 minute journey of rolling bumpy basslines, screaming distortion leads and hypnotising synth work.
Finally, to ease things off, STS-136 (Final Call) comes in at a slow 88 bpm pace as a perfect closure to the EP. Dreamy pads, piano licks and a calming marimba melody combined with a beat which feels like a warm blanket will make you wander off for a moment...

limited edition deluxe 2LP bundle

Luciano e Valerio, Giacomo e Michele: Odeon are the union of two couples of Roman brothers who are not easily defined. Take the mellow melodies of Talk Talk and the celestial guitar riffs of Cocteau Twins bound together with some heavy Goblin-inspired bassline and you'll be close to picturing Odeon's signature sound. Drawing from '70 Italian B-Movies' soundtracks, psychedelic rock and early 80s new wave, and combining analog synths, dreamy guitars, melancholy vocoder and drum machine-driven percussion, Odeon put together a debut album that sounds fresh and classic at the same time. Ethereal and mesmerizing, Galaxies is the perfect soundtrack for a sonic journey through dying stars and forbidden planets.

It was 1970 when Curtis Mayfield left R&B group The Impressions, to set off on his own solo path. What followed was a rich and highly celebrated career, during which Mayfield produced some of the most influential R&B, soul, funk, and gospel recordings of all time. Along with Marvin Gaye and Stevie Wonder, Mayfield is credited with helping to ring in a new era of socially-aware funk and soul music, all while raking in numerous Billboard-charting hits both as a performer and a songwriter. Though he died in 1999, he left behind a vast legacy of innovation and long-lasting music, and has been ranked by Rolling Stone magazine as one of the 100 Greatest Artists of all-time. Coming hot on the heels of his powerhouse hit soundtrack for the film Superfly was 1973's Back To The World. Mayfield's music always had a socially-conscious and political bent to it, but the tracks on Back To The World cranked this conceit up to an even higher degree, largely inspired the increasingly industrial world around him, and the social and environmental concerns that followed it. (The album's lead single "Future Shock" was named for an Alvin Toffler book on the subject.) Though not the smash commercial success of his previous efforts, Back To The World still landed in the Billboard Top 20, and is considered an underrated, and overlooked entry in the soul innovator's catalog.

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from a disparate array of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are entrancing and beautiful affairs, while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

T-Coy's 'Cariño' - An all-time UK acid house classic from 1987. Fusing the industrial clicking and whirring of the UK's post-industrial landscape with the lush, melodic, balearic inspired piano lines of the white isle and sucking us all in in the process. A true masterpiece courtesy of Mancunians Mike Pickering, Simon Topping and the late Ritchie Close who's combined projects included Quando Quango, M-People, Annette, A Certain Ratio and more. It's truly hard to believe this record is 30 years old. It can easily stand shoulder to shoulder with anything being released today. The B-side 'Regret' is also an amazing, minimal slice of punk-funky 808 driven niceness. Super stripped back and with an innocent charm and poppy vibe it is the perfect foil to the latino house chaos of 'Cariño' on the other side. One could argue that the A-side will take you up, and the B-side will bring you down (In the best possible way!). This classic has been legally reissued by Above Board distribution in conjunction with the legal rights holders - Sony Music Entertainment. This high quality repress features original 1987 Deconstruction Records label artwork and has been remastered from Sony's original sources by Optimum Mastering, Bristol UK.

Calendar Crowd was the duo of Alan Heaton and Terence tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the '70s. In the '80s they formed a 6-piece band called Room For Humans 0and recorded one single'Telephone Telephone / Girlfriend'. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division.In 1982 they released their debut single 'Perfect Hideaway/Perfect Hideaway Dub' on 7'. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP 'Listen in to the Heart' in 1985. A reviewer at the time called Calendar Crowd 'A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.' For this reissue we've compiled both singles on one EP featuring all four songs. Perfect Hideway is a evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance's deep, rich vocals guiding the way accented by bright brass stabs. Meanwhile the Dub has stripped back the vocals, added delayed samples and heavy pounding drums. On the B-side 'Listen in to the Heart' and 'Questions Answers' are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original Perfect Hideaway jacket featuring black and white October 1982 calendar with the tile hand written in red pen. Each copy includes a double-sided 8x11' insert with lyrics, notes and photos.

We're super excited to present the latest artist to join the Dirt Crew stable, French producer Sekou Babe. He ticked all the right boxes for us with this beautiful debut EP 'Foresight Prevents Blindness' which explores his fresh and vibey outlook on house with sideways glances to smokey jazz, breaks and garage. The a-side lines up three varied tunes. 'Perspectives of the Youth' and 'Soukoun' step in quickly with lively breakbeat rhythms. The first boasting warm soul vocals and steady bass groove, the second a melancholic yet uplifting back and forth between vintage piano and warbling rhodes. 'Treize Zero Zero Trois' is a deep and dreamy house jam. Cinematic elements infused with punchy percussion and 80s sonic touches add up to good times all round. On the B, our good friend Nachtbraker does what he does best, flipping 'Treize Zero Zero Trois' bringing the deep, dubby Amsterdam vibrations. His version is lush, textural and slightly fruity, with surging synths, tropical percussion and a stomping kick. Sekou Babe rounds things off with the extravagant 'Crown Collection", showing us yet another colour in his musical spectrum. It's trip hop meets Detroit where warped strings introduce shuffling drums before the track begins to build layering subtle arpeggios, smooth pads, crash hits and a buoyant melody. Sekou Babe would like to add that all tracks were written and produced by b.b. at 7e Republique Studio and says thanks to Peter, Ghizlène, Mohammed and Florian, you beautiful souls.

A year after his last 12 inch release Here We Are / That's Desire EP and few months after a CD release Hamburg Süd/Nee IYaow eow eow featuring experimental field recordings and vocal improvisations, Wolfgang Tillmans returns with a new extended play on his own label Fragile. Heute Will Ich Frei Sein sets an energetic tone for the 5 track EP that leads straight on the dancefloor, a space that Tillmans has observed and discussed from various angles throughout his artistic career. While Los Angeles based experimental noise project Wreck and Reference's beats and 808 staccato claps instantly create a hedonistic dance moment, it is Tillmans' lyrics that contrast the simplicity of this message. Tillmans knows that clubs have always been spaces mirroring constant crisis of 'western' societies towards minorities, race and gender. In the light of current political events, it is the singers' nod that informs us about the precarity and necessity of such spaces as no contradiction. Completely Changed and On My Own, Tillmans and his long-term collaborators Jay Pluck, Kyle Combs and Tim Knapp return to more song based recordings but with a stronger approach on synthesiser soundscapes. On My Own finds Tillmans again singing simple lines over a staggering pop production that can be read as a comment on nightlife as well as the artist emerging into a more mature stage in life. It is this ambiguity that marks Tillmans' writing and constant striving for variation. Almost last, the extended play features a remix of Fast Lane, originally released on 2016 / 1986 EP - tracing back to Tillmans' first musical steps with collaborator Bernd Lessmann in 1986.

Mandala Trax aka Shingo Suwa and DJ Mori is releasing a first EP on Merkur Schallplatten.
Shingo has established the Label in 2008.
DJ Mori is working as resident DJ at suicide circus Berlin.
They often performed at many clubs in the city.
Their first collaboration includes two different versions of rave influenced techno remixes by Anna Bolena.

Anna is Music producer, Promoter and Video maker, she is an underground activist since the 80`s.
She runs the label Idroscalo Dischi since 1999 and since 2005 the Video Production Company Idroscalo Digitale.
They both are working as resident for Button's party at ://about blank.

A1, their very first track, is called 11pm. The main solid synth line features deep kick drums surrounded by dubby industrial effects in the background.
On A2 we find a heavy bottom groove, surrounded by echoes in a dark atmosphere. Hand claps and white noises are driving any techno floor.
The B Side includes two different version by Anna Bolena. She produced some 90's rave structures affected by her experimental senses.

Obrani Records are proud to present 'Strangeman' - an EP from the young and talented producer Plantae, who has conquered the minimal hearts of techno and house heads alike. The intensity and broadness of Plantae's musical pallet, reflected in every crease of the release, will appeal to diggers from all scapes of the globe. From grassroots break-beat to snappy hats and bold percussion, occasionally visited by passing high notes, like comets in a coma of ever-changing motive. If forced to reduce his sound to words, musical abstractionism would hit as close to home as the 808 bass drum. Undoubtedly, 'Strangeman' made it's way to the Obrani Records collection.

TERRANOVA kicks off 2018 with a bang with 'Cosmo EP' (KOM378). 4 top-notch tracks showcasing the strongest outings yet in his impressive back catalogue.
Following an excellent entry in our SPEICHER series with 'Speicher 94' (KOMPAKT EXTRA 94 - co-helmed by Reinhard Voigt), the much- acclaimed full length 'Restless' (KOMPAKT 327 CD 123) hit turntables two years ago, TERRANOVA aka Fetisch, the creative mind & producer behind the project he likes to describe as 'the deep space electric ark' has been in orbit since the release of 'Terranova DJ Kicks' (!K7) in 1997.
TERRANOVA* now returns to the spotlight with COSMO EP, a jacking four-tracker inspired by raw Chicago House, early NYC Electro , old school computers /A.I. and some very special analog &digital machines featuring 2 excellent collaborations with Milan based artists.

Opening track COSMOCHORD features the Italian DJ legend Flashmob. The result is a peak time monochord banger that takes both producers' extensive expertise in propelling dance floor cuts to new heights.
COSMOCODE feat VOLTAGUE intense psychedelic Techno again with peak time quality. LANGSAM is an elegant, driving example of classic dance floor electronica. A skilled combination of an 808 with an obscure vintage beatbox of eastern origin, an Oberheim OB8 and a 1970 Kunstkopf Mic Instructions mixed on the original Deutsche Grammophon 1950 Valve mixer. PERFECT HAPPINESS wraps up this action-packed release with some a twisted afro stomper lead by a drunk sounding computer bouncing on the mic.
*Ad eundum quo nemo ante iit

FORMA DI COMUNICAZIONE ALTERNATIVA E PARADOSSALMENTE ANTIMEDIATICA

Vinyl only

KMD1 is not an ambient opener. It's the sound translation of your nightmare's anxiety. Don't be scared, it was just a dream.
Intentional Drowning is a bridge to the underworld. Let the syncopated groove fl ow through yourself and brace yourself for another dimension.
Aquaris Monopole takes you in a sub heavy journey towards the dancefloor. The urge to dance will be stronger than first expected.

All tracks mastered by Pole at Scape Mastering in Berlin.

Fathered by Lium, dj active in the Belgian new beat scene back in the late 80's, Cabasa is the continuity of his father's passion. Drawing influences from electronica to jungle and techno, his sound is an hybrid bass music genre. The will to make people dance has definitely been passed down though!
Resident dj for the Under My Garage party concept in Belgium and 199Radio in London, Cabasa is the kind of new blood that kicks you in the head: his sound is a threat, a menace, a danger to your existence.
He's also able to pick up the records you would never play out and make the crowd dance on a level you've never dreamed of. And should you give him that old synth you've never been able to get something of: he will use it and produce the most futuristic sound.
In a nutshell: don't forget his name, in a few you will follow him around the globe.

Hailing from Mali, Amadou Bagayoko and Mariam Doumbia first met as children at Mali's Institute for the Young Blind—both lost their vision at an early age. It was here that they started performing in the institute's Eclipse Orchestra, eventually marrying and began recording together in the '80s.

Over the span of three decades Amadou (guitar and vocals) and Mariam (vocals) developed an international following having recorded eight full-length albums and toured around the world. Their album Welcome To Mali (2008) was nominated for the Best Contemporary World Music Album' at the 52nd Grammy Awards. Tour highlights for the duo include supporting U2 on their U2 360 Tour, performing at the 2010 World Cup for FIFA's Kick-Off Celebration and performing alongside major acts across multiple genres such including Blur, Coldplay and Pink Floyd's David Gilmour.

The album also includes the hit single Bofou Safou,' which Stereogum calls the funk, the whole funk, and nothing but the funk.' The band discussed La Confusion and performed new music on a recent stop at KCRW's Morning Becomes Eclectic' during their recent sold out North American seventeen city headline tour — watch HERE. The band played major markets including New York, Los Angeles, San Francisco, Chicago, Washington D.C., Philadelphia, Montreal.

Amadou & Mariam recently released the Bofou Safou EP via Because Music. The EP includes the first two La Confusion singles, Bofou Safou' and Filaou Bessame,' alongside remixes of the EP's title track by Fatima Yamaha, Africaine 808, Henrik Schwarz and more. The term bofou safou' is a Bambara (the Malian national language) nickname given to nonchalant young men who would rather dance than work. Of the new EP, the group notes, We really like the remixes that were made for the EP. You get to hear our music in a different form, which is great. All five remixes manage to catch the essence of our song while really pushing those enticing afro pop and electronic vibes further.'

Version Galore is a newly found label, deeply rooted in the music culture. We bring you the selected reworks / versions from the top producers in the game, showing lots of respect and care for the original, but elevating it's spirit and taking it somewhere else. It's all about the dialogue of cultures and the idealistic desire to pass the music legacy on! No half-measures, played-out tunes, lazy cuts, or boring "808-kick boosting" biz!

K2 is an alias of someone who you should be very familiar with by now, especially if interested in quality house music. No clues He the music legend from Baltimore, one of the most versatile and technically-gifted DJs on the scene, a master of CDJs, who singlehandedly restored public's interest in gospel music with his ultimate dance bomb "Work It Out". Still Hesitant Ok we'll help you - it's the one and only Karizma!

A-side is a pure fire-starter! One of those tunes that works perfectly in any surrounding, location, context, club. Here Karizma flips a version of a certain African-American work song, which catchy refrain just seem to resonate with anyone, while the rough dirty beats with the cheeky start/pause technique destroy the dance floor! Essential party tool!

On B-Side the maestro travels in time to grace us with a retro-futuristic workout on the edge of jazz-fusion / prog-rock & Italo-disco. "In Spite Of" is a peculiar, yet beautiful combination of hypnotic chord progressions, step-sequenced synthetic bass-lines, the virtuoso dialogue of electric guitar and electric violin (yes), spiced up with African percussion and forceful beats, all working together in harmony in accordance with the intricate time signature of the song! That's Karizma at his most Balearic!

IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max's Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don's background was in electronic music and Andy's in prog rock. To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of Post Punk and No-Wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled 'IMA' on an 8' flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd's interstellar overdrive. We've added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and uncredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a spray painted IMA tag a top a red dashed 'Do Not Enter' sign. Each copy includes a double-sided postcard with notes. This Album Is dedicated to the memory of Andy (Blinx) George.

At the summer party on the occasion of my soon-to-be 80th birthday, many friends came. As it said on the invitation: 'The Eschenau Chaos Band will play.' While the party was going on, people asked me when that band would be playing, and I replied: 'Now! You are that band', and I randomly handed out all of these instruments. Hartmut Geerken was clued in and had brought some as well - Sun Ra's Sun Harp among others. I started with a moroccan hand drum, bendir, and off it went. Unpractised." - Herman De Vries Herman de Vries, born 1931 in Alkmaar, is a Dutch visual artist who has been living in Eschenau in the Steigerwald region (Franconia, Germany) since 1970. Having started out as an Art Informel painter in the 1950s, his interests shifted in the ensuing years, and in the 1970s, he became focused on found objects from nature and their rtistic-philosophical qualities and implications. He has made paintings, collages, texts, sculptures, installations, a.o., and has dealt with plants, earth, and other parts of nature from botanical, medical, historical, as well as psychedelic viewpoints.Recording made on June 18, 2011, in Eschenau. Edition of 300 with liner notes by Herman de Vries and photos of the event on the back sleeve.

The original, the inspirational, the bombastic, the never bettered, the one.
'Don't make me wait' is all of the above and so much more. Classic to the core. Huge earth shattering record right here.
OK, so the scoop, for the uninitiated is this - the Peech Boys were Larry Levan's group, we're talking early 80's NYC here, 1982 to be precise, around the height of the Paradise Garage as Larry was making the transition from superstar DJ to producer. He brought a sparse, dubbed out, narcotic late night feel to the overall sound of this record. This was a short-lived project, but the influence is still felt today, the Peech Boys DNA is inside the veins of modern dance music, as is Larry's. There is no underestimating what an impact this record had. 7+ minutes of electronic bliss, trailblazing stuff, and don't get us started on the dub. Do yourself a favour, BUY this classic if you don't own it already, you'll keep coming back to it time and time again. Guaranteed. This essential 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

Visible Cloaks' Lex proposes a utopian dream language and its accompanying sound, a limitless, delicate space developed by fluid musical techniques and subconscious voices. The six pieces comprising Lex simulate a more peaceful future, their mysteries telling a new tale in an unknown but imaginable melodic language. Visible Cloaks are the Portland-based musicians Spencer Doran and Ryan Carlile. Utilizing software-based composition rooted in randomization, MIDI-translation and chance operations, the duo has established an improbable humanist mode of music from esoteric processes. Following their self-titled debut album, Visible Cloaks offered Reassemblage, an album simultaneously honoring the post-Yellow Magic Orchestra school of avant musical adventure and diverging from it. Veering from the paths cleared by Japanese and Italian electronic pop and ambient artists of the mid-80s / early-90s, Reassemblage established Visible Cloaks' own camp in a forest of deep sound canopied by trees grown from synthetic seeds.The sound represented on Lex is webbed with sculptural arrangements and interpolated by the sounds of alien speech. These strange and serene utterances were created by Doran feeding a chain of multiple dialects and accents through a language translation software to create an auditory poetry of an evolved place and time.

Lex features both the final version of this process and earlier, simplified experiments with it ( Keys'). The idea - building on 'fourth world' or 'global village' type concepts - was to create a projected language that was a fusion of many,' Doran explains. The result was a very disorienting form of non-language that amplifies the lapses in meaning that occur with the inaccuracy of auto-translation software.'

Permutate Lex, a companion short film to Lex made by Visible Cloaks in collaboration with artist Brenna Murphy (who also created the artwork for Reassemblage and several virtualist videos for the album), is an integral counterpart, both visualizing an aesthetic alive with human form and guiding the sonic experience of the first five pieces: Wheel,' Frame,' Transient,' Keys,' and title track Lex.' World,' the longest piece presented on Lex, is redrawn from a generative composition originally produced for an installation Doran made with Murphy.

The original work incorporates LFOs and randomized MIDI-information, and was intended to variate indefinitely. In this 'fixed' version, World' provides a more conclusive view into the impossible musical environments Visible Cloaks make real. Longer than any track on
Reassemblage, World' expresses the deepening, patient intimations suggested by Lex.

Doran says the Lex attempts to communicate the essence of a world distant enough that it can't be captured or comprehended from the present, appearing only surreal and inscrutable.' The statement reveals a broader musical philosophy fueling this new moment, an awakened voice woven through complex melodic shapes and phrases establishes communication between listeners and the unknown, here presented by Visible Cloaks as sounds coloring the very edge of the envisionable.

Early 80s. Christiane F and Tron meet over a brutalist landscape. Clock is ticking. Electronic pioneers bang up post punks. Dirty hits. Take more. Time is running out. Northern European sub-cultural appropriation to destroy the dance. Still, it sounds good. And it looks nice. Nice sleeve art. Move along. Move along.

Following the release of Synkro AKA Joe McBride collection of his formative early works earlier this year, Apollo Recordings is proud to present a brand new EP that draws on the rich heritage of library music. Despite having come up during the dubstep era McBride's music has always resisted easy classification - 'Hand In Hand' sees him shift his musical focus in a yet more cinematic direction. McBride explains : "The record was inspired and influenced by my love of electronic 80's UK library records like the Chappell AV series, Bruton, Soundstage & De Wolfe Music library. There's a lot of synth work that carries on from my album using my trusted Juno-6 / SH101 / JX8P combo with the addition of drum samples via an old akai S2800 I purchased recently. Most sounds I've made from scratch on hardware based on sounds used in the library records I mentioned above along with a few cheeky samples." Synkro's signature expansive atmospherics are still very much present, but now they have been burnished by soaring synth pads and pulsing drum tracks that call to mind the haunted melancholy of John Carpenter or contemporary such as Legowelt or Andy Stott. Rhythmically 'Hand In Hand' sees McBride moving somewhat away from his usual off kilter programming inspired by 2-step and garage, embracing the steady pulse of 4:4 which turns out to be an effortless fit.

Monstrous repress action from Chicago's Dance Mania - The source of the ghetto house movement, the rawness!
Club Style is the pseudonym used by 2 all-time Chicago legends, a truly all-star line up on this record, that's right, the pairing of Paul Johnson and Robert Armani. Say no more really. 'Crazy Wild' is a 4 tracker of infectious, grooved out, jacking and tough house jams, both producers fingerprints are all over this one. Narcotic, driving drum machines, phased out loops, armour piercing claps and basement trembling basslines are all over this EP, originally released in 1994. This one's a bit of a cult release from DM, collectors and freaks rating it highly. As usual it's a tough one to try and track down, changing hands for some hard earned cash too. This is the first time "Crazy Wild" has ever been reissued in full, just as it was originally released in 1994, complete with original Dance Mania label artwork. 100% legit, reissued in conjunction with Dance Mania records, Chicago IL and Parris Mitchell. Don't sleep.

Just in time to warm up your winter, Hell Yeah revisit the peerless recent Tsuki album from ambient and Balearic masters Tempelhof & Gigi Masin. Two tracks from the album are included on this new package, as well as a remix from Jex Opolis. Trancendental and dreamy drums characterise the new age 'Corner Song', which is the sound of laying back on a boat and bobbing up and down on gentle seas at sunrise. It's organic and soothing to the max.
The other original is 'Flying Man', a suspensory film that feels like floating amongst the clouds on a humid afternoon.
Wordless vocals add a heavenly feel to the lush and all encompassing chords and pads and nothing sounds sweeter than being lost in this one. It is Corner Song that gets remixed by Good Timin' and Running Back man Jex Opolis.
Famous for his disco infused synth pop sound he is a master of his own musical world. His version is eight minutes of laid-back tropicalia. Slowly churning drums and knotted funk-bass prop it up as an eco-system of pops, clicks and hits add to the steamy and sensuous groove. It's grown up disco for cocktails on the terrace and will have you hugging anyone in earshot.
Support by Calm, Lexx, Leo Mas, Apiento, Zambon, Max Essa, Kito Jempere, Buena Onda Djs, Balearic Gabba Sound System...

Oslo's Rune Lindbaek follows up the best-selling first volume of Norsk Tripping with his latest stash of secret weapons

A six track treat this time, and a veritable Norse Bankett of the good stuff- uptempo Disco, sits alongside wild Cosmic concoctions, obscure 80's jams and delicate Balearia

Limited run - buy now or cry later .

Superstar & Star are back on Porridge bullet with there first vinyl E.P Proper!: Mastermind E.P!
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A collection of seven classic songs from Superstar's vaults available for the first time on an Estonian Vinyl Record!

Neville Lawrence Immigrated from his home country of Trinidad to New York in the mid 80's where, a few years later, following his fleeting east coast success, he re-settled with Wife Anne (Star) in Omaha, Nebraska where they continued to perform, produce and record music until the present day.

After releasing a cassette, 7' and 12' single with us in the last year we are happy to present yet another wonderful release from superstar and star! Big Big Hugs!

The Black Pearl is very proud to present a real 80´s futuristic proto club banger from the STRÖER Brothers, with lots of clubby remixes by buddies & friends. The original track "Night Falls" was only released on a very limited hand-spread promo 12inch, which was especially pressed for the Kunstdisko art-project for the 24th Olympic games in 1988 in Seoul / South-Korea. Together with the Goethe Institut they created the "Kunstdisco" project for germany, which was located at the Yoido Ankara Square and took part for the german Seoul Olympic Art Festival. The Ströer Brothers, who were responsible for the video & music sector, invided and encouraged 25 young german composers and producers (among of them was the young DJ West Bam) to produce new music for the Kunstdisco between Rap and new electronic club music from the end of the 80´s. The Ströer Brothers, together with Howard Fine & Nadeen Holloway, were presented  through many DJ´s who played their music that they espacially created for this event. Next to the in-house project Mudegg, the single audio tracks of "Night Falls" were givin to musical buddies like First Touch, Enzo Elia, DJ Rocca, Siggatunes and Manelet to remix them and Black Pearl is more than proud to present a great variety of remixes, styles and visons on the original track. 

"This release is individually 200 hand-numbered limited edition CASSETTE (100 PINK and 100 SMOKE TRANSPARENT) with a sort of 'greatest hits' of (almost) all Archeo releases (AR001-AR011) + an unreleased bonus track from Roberto Aglieri (Ticino parte 4 - Il merlo), celebrating 3 years of the label, from 2014 to 2017 - selected with love by Manu- Archeo (AR001C).

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of predominantly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

"This release is individually 200 hand-numbered limited edition CASSETTE (100 PINK and 100 SMOKE TRANSPARENT) with a sort of 'greatest hits' of (almost) all Archeo releases (AR001-AR011) + an unreleased bonus track from Roberto Aglieri (Ticino parte 4 - Il merlo), celebrating 3 years of the label, from 2014 to 2017 - selected with love by Manu- Archeo (AR001C).

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of predominantly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

SYNE is the new alias of Dennis Huddleston (AKA 36), who is likely to be a familiar name to those of you who follow the modern ambient scene. The SYNE label is dedicated to his techno/dancefloor orientated productions, where wistful strings and drifting pads meet vintage drum machines and 808 basslines. From the melodic, midnight electronics of ""SYNE 2"", to the thunderous dread march of ""SYNE 5"", culminating in the moody Blade Runner-esque vibes of ""SYNE 8"", the SYNE LP is sure to find its place with lovers of deep, emotional techno music.

In recent years the clamour for the funkier side of AOR, Blue eyed soul, funky rock or any other description you'd care to imagine has reached heightened places. The hardest diggers have been endlessly searching for breezy, soulful and rock-infused R&B gems hidden away in the recesses of the major and independent label archives. Miami's CAT Records - one such independent, and an off-shoot of the hugely successful TK Disco empire had made it's mark since the early 70's with stellar sides from Little Beaver, George & Gwen McCrae, Raw Soul Express and many more. It was later, 1977 to be precise, in the height of the Disco era when Chocolateclay appeared. Their self-titled and sole LP has long been a thing of sought after beauty, a real Miami rarity that showcases a classy blend of funk, soul and AOR stylings delivered by the solid pairing of George 'Chocolate' Perry and Clay Cropper. Perry's name is well known among rare soul aficionados due to his involvement in some classic underground records from that scene (Wizzdom 'I'm So In Love With you' etc) and his part in writing, producing and arranging for artists like Blowfly, Milton Wright, King Sport, Bobby Caldwell, Latimore, Joe Walsh and many more. Cropper was also well known as a solid Miami session man who played keys, wrote and produced for a plethora artists from that part of the world throughout the 70's and 80's including Betty Wright, George McCrae, Frederick Knight and more. To say these 2 guys were seasoned pro's would be an understatement. No surprise then that their contribution to the CAT catalogue is a finely tuned, funky, sunkissed LP of jams that will bring unlimited joy and warmth to you via your turntable. Languid, melodic, grown-up soul music here folks, drenched in that sunshine state goodness. Oozing positivity and class - Chocolateclay is as deep as it gets. Often selling on-line for tidy sums (£60 +) this LP is a true gem, now is your chance to own a %100 legit, TK Disco sanctioned, vinyl copy of this killer Soul LP. Re-issued just the way it originally came out in 1977, no tricks. Essential!

Mix Records started in 1992 in Detroit Michigan by Blake Baxter this release is a label reboot MX-20 Machines EP will be Mix records 1st vinyl release in almost a decade this release is a randomly exchange of drum patterns using the Roland TR-808 and TR-909 rhythms composed and produced by Blake Baxter you can expect something uniquely creative and genuine from this vinyl release Mix Records is part of the Mix Media Music Group

Décalé. is a fresh new label based in Biarritz ( France ). Décalé. focuses on reissuing worldwide 'french speaking' music from the 80's / 90's. Travelling into multiple genres : Synth-Pop , West Indies , New Beat , Occitan Folk , Afrobeat , ... and taking taste in weird and obscure records.For it's first release , Décalé. started with one of the most awaited french zouk ( in the ear of the beholder ) albums : Nar'Chiveol - 'Esperance Music Wir'. Originally released in 1988 on a private press in Guadeloupe and the same year on West Indies Records in Paris .'Apocalypse Now Ho' is now a well known banger for diggers and Décalé. wanted to show the whole album that is really surprising by crossing West Indies genres.From disco west indies with 'Séance de Nuit' and 'Spleen Maria' , weird rumba funk with 'Fo Nou Pédalé' to early biguine inspiration with 'Separation KC'. To close this album , ' Apocalypse Now ' and ' Swingue Zouk La ' sounds like a revolution didn't yet happen in carraibean music.

Brazilian master Teddy Mike presents his new album 'On Point'. 8 tracks 100% pure old school 80's funk. Fast-pace bass lines, sensuous melodies and sexy drum machines will delight all the funk freak heads around.

Formed in 1997, and inaugurated that year with a split 12' from new-comers and label founders, Solvent and Lowfish, this year Suction Records celebrates it's 20th anniversary with the re-introduction of their famed Snow Robots series of compilations. While originally started as a North American answer to UK electronix labels like Rephlex, Skam and Warp Records, a sound that is still a staple of the current Suction Records catalog, Suction's sound has also swerved into new territories, reflecting our love of dark '80s electronic music - synthpop, EBM, and beyond.... Snow Robots Volume 4 features an international array of artists, from Suction Records mainstays like Digital Poodle, June, Celldöd, and Ceramic Hello (with their much sought-after 1982 vocoder anthem), to label-favourites appearing on Suction Records for the first time: Beau Wanzer, Morah, and one of Skanfrom/Sleeparchive's lesser known aliases, Civil Defence Programme.

Purveyors of enigmatic dreamscapes and organic, danceable electronica, Leeds-based, electronic-soul quartet Noya Rao are set to release their debut album, Icaros, this November. Founded by producer Tom Henry (Cosima, Yellow Days) Noya Rao was originally conceived as a solo production project with a separate live band representation. Alongside bassist Jim Wiltshire and drummer Matt Davies, whom Tom had met playing in other bands within the Leeds music scene, the project grew to become a collaborative effort mixing Tom's production ideas with the attributes of Jim's unique bass synth lines and Matt's polyrhythmic beats. Their compositions drew on the influences of jazz, hip-hop and electronic music whilst incorporating the sounds of the bass-heavy-dub music synonymous with the Leeds music scene. Their sound really came into focus when they met vocalist Olivia Bhattacharjee who brought her gospel style and complex choral harmony to the band. Developing from raw, psychedelic improvisations, their sound became more defined and minimal, underpinned by live instrumentation and more structured song writing. This co-existing electronic and organic thread gives the band a strong identity and their powerful live show sets them apart from other producer-led bands. Matthew Halsall from Gondwana Records saw the band perform at an intimate show in Manchester in 2016 and blown away, signed the band on the spot.

Icaros takes the listener on a journey through the band's unique sound-world amplified by Tom Henry's bold and inventive production techniques. Sometimes fragile, sometimes raw and visceral the album opens with the ethereal Azimuth. It's contrasting sections and mysterious chords offer echoes of the band's instrumental beginnings whilst the repeated vocal harmony layers at the end demonstrate a signature feature of the new Noya Rao sound. Moments is the first tune they wrote together and reflects upon taking joy in the everyday: the opening womb-like chords are another distinct sound of the band. The gritty Golden Claw describes the effects of a manipulative heartbreaker, it's darker, more driving and has a ruder '80s flavour. Midas demonstrates the band's use of linear structural forms and complex rhythms influenced from around the globe. It tells the story of someone who, led by greed, made some regrettable decisions. The atmospheric Dreaming Part 1 and Part 2 are sumptuous dreamy soundscapes. They were born from the same epic improv-based writing sessions as Fly, which has a trippy disco vibe, offset with wonky chords and crunching vocal harmony. The hook-led I Feel points to future ventures for the band: mixing their electronic textures with a more formal song-writing approach. A sublime slice of dreamy space-jazz, Same Sun Will Rise, finds Olivia contemplating mankind's utter selfishness and a desire for change, "Over borders we've assigned, same sun will rise'. Minimal and spacious, This Time demonstrates the merging of ethereal edginess and delicate songwriting. It is this combined with their electronic and live approach and more than a hint of Leeds attitude that gives Noya Rao their unique sound.

Milan based collective Just This return with two VA releases to continue their 'Broken Promises' series. With the aim of documenting the progression of cultural movements, the label have pursued underground material since 2010. Broken Promises Part 3 and Part 4 are due for release on 1st December and 8th December respectively, and each feature four new tracks channelling refined techno with minimalist, ambient sentiments.
Hunter/Game open Part 3 with 'Distance', a meditative journey through ambient textures using expansive synths and vast acoustics. Next, Architectural brandishes 808 drums for a tense workout on 'Electric Soul'. On the B-side, label co-owner Pisetzky explores the darker side of minimal on 'Anterial', whilst Altman plays with moody bass and ricocheting percussion on 'Shapes'.
Part 4 opens with a shuffling rhythmic framework on Inland's 'Aechmea', followed by 'Zona', a pointillist groove by Ben Gibson, aka one half of the collaborative project Dyad. On My Flower's 'Kundal', a cyclical melody wanders through eerie acoustics whilst Hiver navigates a broken beat framework with glitchy distortions and dub echoes on 'Stellar Parallax Landing'. 

Luiz Mendes Jr or "Junior Mendes" was a ubiquitous figure in the
Brazilian Soul / Funk scene of the 70s and early 80s, contributing to
compositions for bands such as Banda Black Rio , Tim Maia, Sandra de
Sá and many more. This, his only solo album has remained off the map
(unless your a collector of rare Brazilian vinyl). Despite his huge
contribution to Brazilian music the LP has remained unissued until
now, 35 years after its recording.

We hope you like this Ep as much as we do, ReSolute Label
Resolute Label's tenth release, The Nest EP , features the head honcho himself, Elon. Written and produced entirely in Nest's Brooklyn based studio, this EP is a collaborative project that showcases vintage gear such as the TR-808, 909, Prophet 6, TB-303 and SH-101 to name a few. The EP kicks off with the title track, a stripped back number featuring arpeggiated synths, warm pads and 303 stabs, co-produced by Bulgarian live maestro, KiNK, an industry vet who needs no introduction. On A2, Elon teams up with the machine obsessed Italian, mass_prod, for
Fractious , a techno number with swirling synths and reverberated vocal stabs that echo throughout. On the flipside, Elon collaborates with techno don Alexi Delano aka ADNY to produce Flirtface , a groovy 303 bassline track with resonant synth licks that keeps the mood rolling. The B2 vinyl exclusive track, Meander , features a second collaboration with KiNK.
Offered as a digital exclusive and co-produced by David Scuba, Last Call features a modulated bassline and intricate drum programming that effortlessly rolls along.

Straight out of Queens NYC, Love Letters makes their debut on YIELD. The 5th tape release is accompanied by the first vinyl release of the imprint. Love Letters provided 3 stunning and diverse cuts of the track 'Ducue', traversing the variety of early house sounds.

The 'Single Mix' is the classic House jam with a warm piano, jacking groove and seductive vocals by Love Letters themselves. 'Xtended Dick Dub' sets the mark at a stripped back and hot pace. Its penetrating groove and thumping low end will make it impossible for any dedicated dancer to stand still and ignore the energy. On the flip side is the 'Turtle Bugg & L.L. Free Edit', a collaboration with DJ and friend Turtle Bugg, which will literally vibrate the sweat off the ceiling with its 808 and 303 violence, showing no mercy for those who fail to yield.

Unsurprisingly, Richard Galling, does indeed hail from Milwaukee, having released disco inspired jams since about 2012. With his stuff getting plays on the likes of Beats In Space, he got his name out early. His latest offering is this single that features two original tracks and some remixes too. '303 features the eponymous bass machine all over this deep, arpeggio-heavy tech-disco jam, 'Organ' swaps the 303 for a classic Robin S-style house organ, and 'Prophet' adds some big room bass. Also included is a Prophet version of 'Clear Water", a real late 80s, Shep Pettibone-style, Latin house joint. Luke Solomon's Body Edit, is absolut Dancefloor HEAT !!!!

With its sixth release NEW YORK TRAX continues the mission of highlighting the jewels of the New York underground. Liquid Asset is a Philadelphia-born Brooklyn-based hardware virtuoso who has made a name for herself by virtue of appearances on labels such as E-Saggila's Summer Isle Brooklyn's own Primitive Languages
Jacktone and Acid Etch where she has recently delivered a furious 7' split with Isabella. Liquid Asset built her own 808 and 303 clones by hand. The modified 303 is particularly audible in the opening track of the record Ephemeral Nights' where she did not waste time on an intro and went straight to creating a sonic pandemonium by blending an airhorn sound with frenzy acid basslines and a hardcore-leaning 909 kick. Contact' is a merciless creature of the night with its relentless dark groove building up throughout this composition cannot easily be classified as a representation of any particular genre. Controlperception' opens the B side. Here Liquid Asset plays with a cheerful acid line over a dreamy landscape often punctured with bleeping sounds. Finally in Forgetmenot' two opposite sounding basslines intertwine creating a minimal yet very capturing composition to close this one of a kind record.

* Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 with her debut album 'Pariah'. Jana Rush received attention for her mind-bending drum acrobatics on last year's 'MPC 7635' EP also released by Objects Ltd. Jana started djing aged just 13, releasing her first record on Dance Mania back in 1996 but having a hiatus from music between 2000 to 2013. With 'Pariah' she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from 'MPC 7635'. By popular demand from a kickstarter, now on vinyl!


* We kick off with 'Midline Shift' whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. Moving on, the frantic 'Beat Maze' confuses the mind with white noise rushes and interlocking snares. Changing the scene, 'Divine' is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with ' ', whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of 'Break It' give one room to breathe before the croaking bass and distorted acid of 'No Fuks Given'. 'Old Skool' is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both 'Rapid Fire' and 'Acid Tech 2' are bangers, hitting you deep in that sweet spot. Jana brings it back down with 'CPU''s computer noises and sub bass hits. 'Chill Mode' gives time for reflection after all that fire, but its no ambient track, theres still that Chi-Town vibe. We finish with 'Frenetic Snare' whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.

Legendary Swedish production unit FRAK debut on UTTU with 4 jackin club tracks. The Börft Records founders deliver a wide array of dancefloor focused analogue mayhem! TIP!