Cerca:zer

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Magnetic Web was released in 1973. It appeared under the Nik Pascal monicker and showed a clear evolution in sound, favoured by the addition of an Arp 2600 and some rhythm boxes. It also included percussions and cymbals. The Two Headed Dog site thinks "this is his masterpiece in all of its acid-laced glory."

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

Parisian-based Kodäma's experimental electro-soul is absolutely sublime (...) a warm and delightful sound to your ears !

Kodäma presents its second EP «Black Cloud», featuring five tracks to be released in spring, after the success of the debut EP end of 2016, highly acclaimed by Gilles Peterson and Bradley Zero. A mature and elaborate work, in which the band's influences take shape. From «Wonder» featuring Kiala Nzatovunga, to the impressing «Water No Get Enemy», covering Fela Kuti, along with «Black Cloud» 's enveloping harmonics, Kodäma delivers a unique & personal sound. The record was mixed in Los Angeles by Benjamin Tierney (Kamasi Washington, Shaq Husayn...) and mastering has been done by engineer Kelly Hibbert (J Dilla, Madlib, Flying Lotus...).

"The next one is signed by one of my contemporary idols. His zero-f*cks-giving attitude and his aim to move forward make Ascion the perfect artist to keep telling this story which two years ago was started to write. It could have been nineteen ninety two or today. It could be acid, techno-trance or even 'ardcore (you know the score). Echoes from Belgian New Beat and UK's Intelligent Dance Music resound all along it. Call it how you want and no matter when or where. This rave instrument is going to fill many epic warehouse moments. There is no way to escape: welcome to Your Finest Nightmare."

- Hector Oaks
September MMXVIII

Artist From Guadeloupe, French Caribbean Island, That Has A More Than 20 Year Career, Despite Presenting His First Studio Album Now. He Has Lots Of Mixtapes And Shows Made In France And Spain, And Combinations With Artists And Producers Such As: Chulito Camacho (kinky Music), Sir Samuel (saïan Supa Crew) Or Morodo Among Many Others.


This Album Is A New Level, A High Quality Work Made At Oktopus Studios Madrid With Featurings Of Asante Amen, Ras Kuko, Yeyo Pérez, Ras Tewelde, Lion Sitté, B-man Zerowan, Apach And Nanou. Many Producers, Artists And Musicians Took Part Of The Project, For Example: Emeterians, Skamélia Band, Forward Ever Band, Infini-t Music, Positive Vibz Productions, Ed Bassie (okoumé Lions) Or Kinky Music Just To Name A Few.

12 Songs Plus A Bonus Track On The Digital Version Of The Album, Where Ti Polosound Proves His Versatility And Originality With Rythms Such As Roots, Ska, Newroots, Digital, Dancehall Or Even Afrotrap. Always With Positive Lyrics The Artist Transmits Conscious Messages With Tunes As "longtime" Feat. Asante Amen (jam), Lion Sitté (esp) & Ras Tewelde (ita), "la Guerre" Or "oh My Lord". This Last One Introduces The Album With An Incredible Video Made By Bumpy Films In, Aquitaine, France.


The Album Recorded And Mixed By Mista T (infini-t Music / Chalice Sound) And Mastered By El Chiky (positive Vibz Sound), Has Also Tunes For Dancing And Enjoying, Such As "mon Pied" Or He Big Hit "señorita" Feat. Yeyo Pérez... A Magnificent Album That You Can't Miss!

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

Kinobe scored one of the biggest chill-out club hits of the Noughties, the deathless 'Slip Into Something More Comfortable'. Known from dancefloors, club backrooms, bars, radio spins, Café del Mar compilations and TV spots the world over - most famously the 'femme fatale' Kronenbourg beer advert - 'Slip...' established the duo at the forefront of a scene that still includes Groove Armada, Air, Röyksopp and Zero 7. Now Kinobe are back in a big way. Founder member and songwriter Julius Waters is now joined by Chuck Norman, multi-instrumentalist, producer and programmer who has worked with the Pet Shop Boys, Peter Gabriel and Robbie Williams. Norman has beefed up the classic Kinobe sound, while adding a pop sensibility to a raft of sparkling new material destined to soundtrack 2018 and beyond. On August 31st 2018 comes Golden Age, the first Kinobe album in 9 years. Lead single 'Little Words' might just be one of the tunes of year, a Donny Hathaway-esque, soulful slice of too-slow-to-disco that nods towards 60s hipster groovy. At once instantly familiar and brand new, a heartfelt three-and-a-half-minute pop-dance floorfiller - with a hook once heard, never forgotten. Elsewhere the Stephen Hague mixed 'End Of The Road' is a huge gospel-tinged ballad destined to own daytime radio, 'Skyhigh' is a gorgeously haunting sundowner, 'Heartstring' is all cosmic soundtrack strings while 'Sunray' is Kinobe at their very best, with its irresistible hooks, washes of melody and downtempo beats. Golden Age is shaping up to be the chilled album of the year, a thirteen-track soundscape of sparkling songs and idiosyncratic instrumentals that is vintage Kinobe. With live shows and festival appearances planned through the rest of the year, the return of Kinobe is only just beginning. Welcome to the Golden Age.

This special limited edition DAVID BOWIE 7" picture disc, is a double A-side of the radio edits of 2018 versions of ZEROES and BEAT OF YOUR DRUM. Both tracks are from NEVER LET ME DOWN (2018), a new version of the 1987 album featured in the forthcoming boxset LOVING THE ALIEN (1983-1988) which is released on 12th October. 
 
NEVER LET ME DOWN (2018), is a new production of Bowie's final 'solo' album of the '80s. Producer Mario McNulty worked on the tracks at Electric Lady Studios in New York with longtime Bowie musicians Sterling Campbell (Black Tie White Noise, Outside, 'hours...', Heathen, Reality and The Next Day) on drums, Reeves Gabrels (Tin Machine, Black Tie White Noise, Outside, Earthling and 'hours...') & David Torn (Heathen, Reality and The Next Day) on guitars and Tim Lefebvre (Blackstar) on bass. 

ZEROES, the lyrics of which reference Prince's Little Red Corvette was Bowie's salute to the '60s. He described it as 'The ultimate happy-go-lucky rock tune, based in the nonsensical period of psychedelia'. Mario McNulty commented, "Stripping this song down to its core revealed a track that could have been right at home on Hunky Dory, I kept Peter Frampton's sitar (which was originally owned by Jimi Hendrix) as it still fits against the new guitars from Reeves Gabrels'. 

Of BEAT OF YOUR DRUM Mario McNulty says, 'David Torn's ambient guitars start the song that now lead into a much darker world than its shiny predecessor. David sang all the backing vocals on this which I have kept.'



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A new project from two anonymous Aussie Veterans. Melbourne's smouldering underground turns up two untitled cuts from BAD CHANNEL, named for the faulty mixing console they were produced on, with a cheeky nod to Mark and Moritz. Organic late night tracks, soulful and dub wise. They passed Bradley Zero's litmus test, so now they come to you cut deep on Rhythm Section's twilight sister imprint INTERNATIONAL BLACK.

The A-side keeps it spacious, a relentless stepper for the early hours.
Side B is music for autobahns, starlight soul for the post-club cruisers.

It is said that every generation casts its mind back to a previous era in times of crisis; the resources that will allow us to decode the questions of our moment may lie in the myths of another era.

Le Renard Bleu, the new musical and cinematic collaboration between Lafawndah and composer Midori Takada, and filmmakers Partel Oliva, takes a cross- generational echo as ground zero for recovering a crucial myth for uncertain times: the blue fox.

As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype; belonging both to the heavens and to the earth, the fox is the agent of chaotic good, shaking the world up when its energy has become stagnant. Above all else, the fox is famous for its cunning nature.

Renard Bleu marks the first new music released by Takada in nearly twenty years; it would be difficult to overstate the importance of her return to the public eye. Her first solo record, 1983's Through the Looking Glass, has been rediscovered and heralded as a lost classic; the influence of her percussion trio, the Mkwaju Ensemble, continues to permeate and inspire a new generation entranced by its lucid beauty, playfulness, and sensual patience. Takada has performed in numerous film score orchestras, including the ensemble for Akira Kurasawa's Dreams, coincidentally a key influence on Renard Bleu.

In the ensuing years, Takada has worked closely with theater group the Suzuki Company of Toga on productions of Electra and King Lear, an experience, she says, that allowed her to pursue 'a unity of music, body and space.' Recent live solo performances have evinced the depths of her exploration of all three.

Equally, it is Lafawndah's freedom of tone, decentralized maps of ancient and modern music cultures, and alloying of devotional intensity with modern songcraft casts her as a distinct relative of Midori Takada's.

Over the course of two EPs, self- directed music videos, and countless live performances, Lafawndah has drawn out an uncompromising exploration of how theater, situational intervention, and choreography can amplify the affective palate of forward pop music. One can trace the influence of artists such as Meredith Monk, Carlos Sara, and Andy Kaufman as much as musical antecedents AR Rahmann, Missy Elliott, or Geinoh Yamashirogumi.

It is in a mutual commitment to this unity that Lafawndah, Takada and Partel Oliva find fertile aesthetic common ground.

The music of Renard Bleu originated in Takada's preoccupation with the legend of the fox; after constructing a vivid instrumental composition dramatizing the spirit animal's journeys through waterphone, bells, marimba and various forms of drums, Lafawndah responded - in her inimitable mix of fairytale and undertow-- with melodies and lyrics capturing a dialogue between her and the fox himself. Eventually, the duo met in Tokyo for a week of communing with the material at Avaco Creative Studios, where new elements were composed on site.

Created in partnership with KENZO and premiered today via their channels, it was Partel Oliva who imagined a contemporary cinematic frame for the myth of the fox to re- appear, creating a hybrid of choreography and narrative around Takada and Lafawndah's performance of their joint composition (also titled Le Renard Bleu.) Returning to film in Japan for the third time, Partel Oliva's moving image work (Club Ark Eternal, The Pike and the Shield) has set the standard for and revolutionized the fashion art film. Their deployment of original music, dance, and a highly stylized mis en scene coalesces here in the casting of Los Angeles krump artist Qwenga as the eponymous fox, stalking the halls of the ancient Noh theater in which Takada and Lafawnda's performance takes place.

Why call up the myth of the fox now In Le Renard Bleu, Lafawndah and Takada's collapsing of distance between generations, styles, and milieus intimates that the relationship to time must be shaken. The future lies in fragments in the past; to remember is to recover it; the fox rises to thicken the plot.

Fresh off the release of his 'Cosmo EP' earlier this year, longstanding label stalwart Fetisch reignites the fire with 'Singularity EP' - the second EP from the forthcoming Terranova album. A six-tracker featuring four original cuts plus a pair of remixes from Seattle's Pezzner and Istanbul's Rising Star Alican along with collaborations with Sifa (Congo) & Ivory (Milan). The outerspace'y stomp of Terranova's prime versions of 'Cosmochord' feat Flashmob and 'Cosmocode' feat Voltague, both lifted from his latest outing Cosmo EP, resonates deep into the grooves of the present platter, whilst the ethereally hypnotic vibe of 'Let It Fail' (feat. Sifa & Ivory), with its brittle percussions and slow-scudding pad tapestries, as well as the left-of-centre, hovering electro of 'Powergrid' draw in a further zero-G atmospheric vein and 'Sophia (Ode to a Robot)' are tailored for dawn-time party communion and intense stargazing momentums. All of these tracks are inspired by Fetisch's obsession with the current developments in creating artificial intelligence and robotic technology and his ambition to add androids to the impressive list of humanoid guests of the Terranova Soundsystem.

Already quite the jacking pumper, 'Cosmochord' gets a further menacing treat with Pezzner at the controls - ramming the doors of the club by means of loud kicks and lusty piano chords - each of them pounding with the impact of an apposite Glasgow kiss. Meanwhile Alican takes 'Cosmocode' further into Saturnian confines, densifying the minimal backbone of the track with an extended battery of arpeggios, bleeps and middle-eastern percussions thrown in for good measure. With the rolling techno shuffle of 'Escape Ism' and stuttering rhythmic engineering of 'Tempelhof' (the 'Terranova Maschinenraum' studio is located inside Berlins old airport). Fetisch loops the loop on a pulsating note, expanding the mind to horizons both poetic and physical - further establishing his unmatched sound signature.

Originally released digitally on Luke Solomon & Derrick Carter's Classic Music Company last summer; Girls of the Internet's deep-house-dub-techno-afro ballad 'When U Go' is now being pressed up to vinyl on RAMP Recordings. Since it's release, 'When U Go' has been burning up some of the more discerning dancefloors worldwide, with club support from DJ's as diverse as Mark Farina, Stacey Pullen, Eli Escobar, Oliver $, François K, Soul Clap, Roger Sanchez, Carl Craig, Booker T, Serverino, Riva Star, Doc Martin, Karizma, Marco Carola, Tensnake & Mousse T. Peckham's finest pervayers of Deep House, Bradley Zero approved duo FYI Chris, turn in an exclusive dubby West Coast-vibed remix of the track available only on this vinyl.

The B side is a brand new track from Girls of the Internet - 'Running' featuring Nattlie Maddix, of the House Gospel Choir. Mixing live instruments with synths and drum machines, 'Running' is a soulful yet driving disco tinged deep house track. To finish off this massive package, Local Action's Finn delivers a genre-straddling remix of 'Running'.

Confused Machines' are excited to release an E.P by the composer and producer Ishai Adar (aka Oosh). Adar started his musical journey in the mid 80's as the keyboard player of the legendary Israeli post-punk band 'Nosei Hamigbaat', together with his high school friend Ohad Fishof.After his withdrawal from the band, he released 'Her': An innovative, experimental, electronic dance album, rare in the Israeli music scene of the late 90's. In this album, he fused 80's synth-pop influences ('Depeche Mode', etc.) with a cutting edge techno sound, which still sounds up to date. This album influenced the local underground electronic music scene of the late 90's.Following the album 'Her', Adar became a prominent composer and created soundtracks for motion pictures such as: 'Year Zero' (2004), Oscar-nominated 'Beaufort' (2007), 'A Film Unfinished' (2010), 'Bethlehem' (2013) and 'Mr. Gaga' (2015).In his current project '12', Adar revisits the synth-pop sounds which shaped his musical taste. He infuses profoundness and character to musical genres such as new-wave, Italo-disco, Euro-pop and contemporary dance music forming - multi-layered, euphoric and romantic melodies. A killer acid-techno remix of the track 12 by the legendary Rude 66 is included in the E.P.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT

Alanis Morissette released some of her bestselling albums during the mid-90's, before writing some of her more complex songs in the zero's. Her sixth studio album So-Called Chaos deals with subjects like cynicism, bitterness and jealousy, but she acts in a happier way. The records reaches out to a more serious approach, but the catchy refrains stays intact. Romanced by her relationship with actor Ryan Reynolds she reaches out to unconditional love on her single Everything'. The opening track Eight Easy Steps' is layered in the ideas of self-destruction, while the new-age sounds of the synthesizers creates the imagination of Out is Through'. Allover it's an satisfying record in which she searches for answers in a more hopeful way.

Four years after her debut album Alanis Morissette released her million seller Jagged Little Pill, which includes her singles You Oughta Know', Ironic' and Hand in My Pocket'. She released eight studio albums and sold over 75 million records worldwide.

Warsaw based duo Private Press join Rekids Special Projects this July with four deep techno cuts entitled 'Zero Sum EP'.
Hailing from Poland, Adam Brocki and Jan Wóycicki make up Private Press - a project that's released sought after cuts on labels like Technosoul and Indigo Aera. The duo is also known by the name Raw Feelings, however many will be familiar with Brocki's Newborn Jr. alias, which has dropped releases on Rhythm Section, Echovolt, Dopeness Galore and Les Yeux Orange. 'Miracle Man sets the tone with delayed resonant synths accompanied by crunchy and distorted snares before 'Becomes The Prime' opts for a lo-fi sound with filtered synth blips and enigmatic vocal slices. On the flip side 'Tooms' delivers heavily reverberated horn-like stabs, modulated synth lines and an underpinning bass that rumbles throughout as 'Clan' offers a fast paced cut with high pitched whistling that echoes alongside a thumping kick drum and organic percussion to bring the package to a close..

Producer Okzharp and vocalist-artist-dancer Manthe Ribane both hail from South Africa, where Manthe still resides, while Okzharp lives in the London where he is a DJ and producer, initially cutting his teeth in LV, who in 2007 were one of the very first acts signed to Hyperdub. Manthe has been at the forefront of South Africa's cutting edge fashion, art and dance worlds for over a decade. After leaving LV, Okzharp and Manthe started collaborating, going on to release two well-received EPs on Hyperdub, 'Dumella 113' and 'Tell Your Vision', recorded in Joburg and London respectively. The recording of 'Closer Apart' reflects the title. Okzharp says 'Most of the music came out of headphone moments in hotel rooms, planes and airports in the brief periods of time that we spent together.' Describing Manthe as a co -producer, he continues 'She selected instrumental sketches and we developed them together, sometimes just keeping the bare bones or a melody or rhythm, or trying different elements or sounds.' Even though the album was built long distance, the short periods they spent together were the ground zero for creativity. Okzharp recalls 'One particular moment in Milan last year, we had a whole free day before our flight so we visited the Salone di Mobile design show. We were so inspired by an installation there just walking around, listening to the amazing soundtrack. That evening our flight was delayed, so we sat on the floor of the airport terminal putting musical ideas down for 'Time Machine' on the laptop speakers and writing the lyrics. "Tic Toc time, we'll be fine / Airport queues, cerulean blues / Viper trails cross the skies / Lights reflect in your eyes...' ' 'Closer Apart' has a softness and openness that contrasts the tougher sound of the EPs. Manthe explains, 'The new music is a 360 turn, an expression of my 'Lady' side. I grew up listening to Jazz, Classic and Gospel, I am a very soft spoken person, and it resonates with being confident with that. It's been crazy finding balance and finding a smart way to strengthen my weaknesses, I had to trust the process.'

Elektroliza is a series of club events formed by a group of dedicated electronic music enthusiasts in 2006. It is hosted by Ljubljana's Channel Zero, a legendary club that is part of the autonomous social centre Metelkova which used to be the Slovenian headquarters of the Yugoslav National Army.Filling a void in Slovenia's electronic dance scene, the night was a hit from the start and quickly grew into a diverse and successful series focusing on new and exciting electro, acid and dark techno.Elektroliza hosted many memorable DJ and live acts by performers/producers/pioneers coming out of international music incubators in Gothenburg, The Hague, Berlin and as far as Detroit. Even more importantly, it brought together producers and crews from the former Yugoslav republics of Slovenia, Croatia, Serbia and Macedonia. Inside the former Yugoslavian military barracks DJs and producers from Skopje to Ljubljana began bonding again through music, forming new friendships, starting new collaborations and dancing the night away... in 'Electro City Ljubljana'.This first double vinyl compilation of the Balkan Elektroliza family is a collection of our shared memories and visions of the future to come.

* Bristol's Joker has announced he is to celebrate 10 years of his pioneering Kapsize label with a special series of new 12' Joker releases, the second of which will drop this May.

* Over the past decade, Kapsize has put out some of Joker's most defining work, including the iconic 'Purple City' (produced with Ginz) — a track widely recognised as ground zero for Joker's purple dubstep aesthetic — and 2015 album, 'The Mainframe', as well as early records from Asa & Sorrow and L-Wiz.

* To be released both on special edition orange vinyl and digitally, Joker's second commemorative release lands in the form of 'Boat / Deploy'. A-side 'Boat' is gleefully maximalist, a playful accordion running alongside searing synths before a ominous bassline drops, taking us through his vivid and embellished creative world, while the cinematic 'Deploy' is another intense and larger-than-life riddim.

* To be released in June following the release of 'Anamorphic / Forever' in April, and 'Marching Orders ft. Footsie / Polka Dot' in May'.

1st release on NYC's BLKMARKET MUSIC kicks off with 'Twenty Eight Thousand Clouds' E.P by Cesare vs Disorder. The 4 track EP also features a track collaboration with Costa Rica's duo Mobius Strum. The catalogue will start from zero and BLKMUSIC_000. Label run by Taimur. Hand Stamped 12' Vinyl. Limited Edition.

FINA Records welcome Jad & The for a new EP that shows off the Australian-born, Berlin-based producer's majestically melodic house sound. A special dub from 6th Borough Project makes this another essential release.

Before now Jad & The has served up tracks of the year ('Strings That Never Win' - Mixmag 2017), fronted four piece live act Mitzi—who played alongside the likes of Nile Rodgers—and also produced as Jad & The Ladyboy, all the while picking up fans like Moxie and Bradley Zero. Sonar Kollektiv and Toy Tonics have put out his charming sounds before and this new one is another joyous offering.

The feel good '2 Getha (4 Eva Mix)' kicks things of with old school drum breaks and loved-up vocals. Big smeared pads, a new age melody and classic bassline line finish it off and carry you away to summery house heaven. 'Twist Club' then drops into lush deep house with a long legged bassline tumbling beneath organic drums. It's a dreamy and romantic cut before 'Disco Hold Down' has live sounding jazz drums, choppy vocals and rough edges that take you to the heart of a vibe-fulled basement party. Delusions Of Grandeur's 6th Borough Project serve up a Dub that's more stripped back and built on a big rubber bassline. Jacking drums and a more rapturous vocal make it a truly steamy jam.

Buy the EP digitally and you get a bonus track, '2 Getha (Neva Mix)' which is another blissed out and rave tinged house cut which oozes pure euphoria. It closes out a brilliantly heartfelt EP of varied and vital house sounds.

With MEL011, it is Melodies International's immense pleasure to direct their focus towards both Soul and House royalty, selecting and reissuing two of Frankie Knuckles' scarcer remixes of an all-time classic: Womack & Womack - MPB (Missin' Persons Bureau). Now known as Zekkariyas and Zeriiya, partners Cecil and Linda Womack, two eminent members in an extensive lineage of music artistry (i.e. Bobby Womack was Zekkariyas' brother, Zeriiya is Sam Cooke's daughter) engaged in one of music history's most successful and exciting singing and song writing partnerships in the early 1980s. Zeriiya says her process with Zekkariyas flowed like water, their shared complicity and talent led them to write and produce strings of chart topping hits and classic albums as Womack & Womack but also for other renowned artists of the time such as Patti Labelle, Teddy Pendergrass and the O'Jays to only name a few. The original version of Missin' Persons Bureau was first released in 1988 on 'Conscience' (Island Records), a classic album with impeccable instrumentation and thoughtful and relatable narratives that reflect on the nature of life, true friendship, love or in the case of MPB, it's subsequent loss. Following the release of the LP, Island records founder Chris Blackwell introduced the idea of getting Missin' Persons Bureau reworked by House legend Frankie Knuckles and whilst the Womacks weren't originally set on the idea of having their songs remixed by other artists, Blackwell, who Zeriiya describes as a 'record label manager seriously involved in making sure the project is what the creators really want it to be", had earned their trust. With these remixes, Frankie managed to turn a radio hit into underground club classics. The Paradise Ballroom mix conserves the essence of the original, reinterpreting the rhythm section whilst drawing it out over 8 minutes, with expert tension building and release clearly aimed at the dance floor.