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Favorite Recordings proudly presents Recalling You, a dazzling Disco/Jazz-Funk new single EP by our longtime friend and label mate Andre Solomko. Born in Ukraine and based in Finland for a while, Andre Solomko is a rich and engaging personality, but above all, a talented saxophonist, composer and engineer, with contagious passion. Since they met 7 years ago, Andre and Pascal Rioux’s (founder of Favorite Recordings) collaboration resulted in 3 albums and a couple of singles acclaimed internationally. Primarily known for a sound mixing Jazz-Funk, with European Soundtracks, Pop and Soul influences, Andre Solomko’s skills for composition and production are much wider. Almost 2 years ago, he’s therefore demonstrated his versatility when delivering the hot Disco anthem “Le Premier Disco Sans Toi”. This first attempt definitely seduced many DJs and collectors, and it seems Andre enjoyed the trip too and decided to embark for it again with “Recalling You”. For this new single, Andre’s idea was to revive two of his past compositions, tailoring brand new glamorous Disco suit and arrangements for it. Backed again by a close team of musicians and the beautiful and charming vocals of Charlotta Kerbs, the new session was recorded live and analog as usual, and then brilliantly mixed in France by Jordan Kouby at Question de Son studios. It ended with what might be Andre Solomko’s best level of productions and sound so far. To make it short, “I Recall” and “Teasing You” felt in love and had a baby at the nightclub… here comes Recalling You, packed in a 45rpm 12inch vinyl edition and coming with a hot Dub edit by Charles Maurice on B-side.

Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.

Melbourne based producer Louis Marlo returns to Merriware with five meditative cuts, entitled Stained Glass. Recorded between 2014-2018, the EP is the culmination of experiments with tape loops, the 303 and 606, and processed guitars and electric pianos.

Vital Sales Points:
Early airplay from Moxie and Andrew Weatherall.
Upcoming premieres through Orb Mag and Hypno Groove

J A surfaces on RUBBER with six disorienting wave tracks, reigniting the catalogue after a short hiatus. Crafted by Andrea Noce (Eva Geist, As Longitude) and Jonida Prifti (Acchiappashpirt, Opa Opa), these productions find elegance in their noir aesthetic and sketch-like composition, breathing filmic atmospheres of its creative process and the hedonist self alike. Straying away from the societal drift for efficiency and make belief, this record was produced over a timespan of five years, while shifting between Berlin and Rome. Dancing and loafing, mirrors were splintered and scattered shards reflected a new light. Here, Noce her serpentine sense of melody guides uncharted signatures of reverberating syncopated drums, while soundscapes move in and out as apparitions fogging the mind. The poetic spoken-singing of Prifti subdues the tracks, through a linguistic form where Albanian and Italian intertwine, channeling her scientific field into art. Cleverly processed, the vocals take on many shapes, blurring lines between instrumentation and recognition, creating meaning where language ends.

Please find enclosed one 'Deluxe' stereophonic gramophone record from Concept City, containing thirteen recordings of musics entirely produced upon 4-track portastudio for your pleasure and discourse - the sole work of Mr Robert Grant of this parish.

So states the photocopy insert from the 1985 November LP on Cordelia Records. Home to R. Stevie Moore, Rimarimba recently reissued by Freedom To Spend - and label owner Alan Jenkin's The Deep Freeze Mice, Cordelia was home to a menagerie of sound collage plucked from the ether.

Included is the only vinyl release from Concept City, spreading across 13 instrumental tracks of samples and noise. The Welsh choir and robovox meets hypnotic bass of Open The Network glides to the acoustics of Jayne Andrews and Filament, before Steam amasses TV ad cassette archives. As Etruria and Lapse Wine's Durutti meets reel-to-reel to the cold wave of War, Children and wasp synth of Helsinki, Grant slowly unfolds a masterpiece.

Looped drum samples, multiple layered to tape, sped up and slowed down for phasing, the title track is a pinnacle of 80s DiY genius. 'Crossroads' multi-sampling Meg leads to the exotica 'muzak' closings of Penetration and Friends. With just 5 albums over 40 years the music of Mr Concept can be a discovery and cherished.

With its latest release Matasuna Records continues to explore contemporary Afrobeat from different countries. After the last trip to the Swiss Mittelland, this time the journey goes across the English Channel to discover more new & authentic Afrobeat and serve it on a tasty vinyl single.

Heroes of Limbo is a new studio project from long-time collaborators, producer and multi-instrumentalist Glenn Fallows (The Impellers, Disposable Breaks, Andres y Xavi) and trombonist/arranger Gram 'Canyon' Treldavs.

Reimagining classic and contemporary pop as authentic 70's Afrobeat and Highlife from Nigeria and Ghana, this first release asks you to fire up your time machine in your mind and wonder what would the Happy Mondays sound like if they'd played at Fela Kuti's Afrika Shrine, rather than Manchester's legendary Hacienda Club? What if Disclosure were not a Mercury Prize-nominated electronica duo, but a Highlife Orchestra based in Accra, Ghana?

Madchester Woman takes Ebo Taylor's African Woman and uses it as a chassis for a cut 'n shut reworking of Happy Mondays' 1990 classic 'Loose Fit' - a hot and explosive mixture as you can easily hear!

White Noise, featuring vocals from Clair Fallows (The Impellers, Soul Grenades), re-works Disclosure & Aluna George's electro-house anthem into an uplifting slice of afro-disco dancefloor shuffle.

One of the original catalysts of Latinx music in New York City, MAKU Soundsystem has been the connective tissue for several creative projects, bands and community roots for over a decade. As a group with a rotating membership, they've recorded multiple albums both DIY and for worldwide labels. Throughout their various iterations, the heart and mission of the ensemble has consistently built bridges, rather than tearing them down, remaining a remarkable beacon of positivity in a consistently competitive environment. The inspiring atmosphere has nurtured several notable musicians and acts over the years, including members of Combo Chimbita, Dilemastronauta, Bulla en el Barrio, Leon Brothers and Prince of Queens. Now down to a core group of three musicians, alongside percussionist Moris Cañate, MAKU and Names You Can Trust have finally teamed up for a vinyl edition after many years of collaborative shows and connections.

Perhaps their rawest and darkest recordings to date, this stripped down quartet is an ode to the creative source of their core members, lead singer & bassist Juan Ospina, drummer Andres Jimenez and guitarist Camilo Rodriguez. The A-side, "Culebra Coral" is a snakebitten taste ofla cumbia, played with an experience and restraint that only enhances the end result. It's a free driven approach born from familiar experimentation, rather than modern day trends — a singular jam, refined from years of playing together. Part psych, part cumbia, total MAKU. The B-side, "Contra Tambor," is emblematic of the group's roots in the traditional sounds of thetambora, a drum-forward percussive arrangement that follows Jimenez and Cañate on a free-driven approach to the ritualistic movements of the drums, this time drowned with an antidote of analog FX, synthesized glitches and atmospheric coros.

Contagious is a solid blending of avant-garde experimentation and electronic music. Formed by two innovative voices from the Improvisation scene of Berlin (Andrea Neumann and Sabine Ercklentz) and Mieko Suzuki, a well-crafted and creative DJ and musician who’s operating in Berlin venues and festivals since a long time.

Contagious is one of the most forward thinking, mind-melting projects to hit the electronic music scene. Intense and powerful, yet rooted in a tradition of crafting and sculpturing of in the most creative ways, all this building up within a solid structure of instant composition and improvisation. The trio plunder each other’s musical spheres, appropriate them and switch roles. Andrea Neumann on her infamous Inside Piano, an instrument she pioneered and crafted, is applying the most creative feedback processing to simple piano strings and sending them occasionally to Mieko Suzuki’s processing rig, who also uses her own pre-recorded sounds and her skills on turntables, while Sabine Ercklentz’s trumpet sounds blast through her processing system and altogether the three musicians communicate into logics of composition and futuristic structures, where fragile sound textures and pulses become monumental.

Contagious is also the debut album recorded and produced by Rabih Beaini. The Trio wanders in new aesthetic areas, sound is a texture where the processing rigs are constantly developing new forms and evolutions. Structures and grooves implode in noisy fragments, growing into a deep trance state.

20 years of Pop Ambient. Already? One didn’t notice. It’s an anniversary which comes quietly. An anniversary with quiet tones.
In the spirit of the special restraint of pop-elegance, it has no reason to drawn attention to itself with a big „Tam-Tam“. Or better: „Bum-Bum“. The bass drum stays outside. Nevertheless, in fast-paced, overstimulated times of moving forward, it’s a joyful occasion to look back.
What strikes most by putting or listening to 20 years of pop ambient in a row is the central theme that holds together the dense aesthetic concept like the pearls of a necklace.
Floral beauty for digital naturalists. Music like flowers, that don’t wilt. Timeless. Ageless. But with all of the conceptual unity and resolution, Pop Ambient would not be Kompakt without the break, the friction, the expansion of musical boundaries in between tradition and innovation, in between conspiracy and the openness of the discourse.
Aestheticism, escapism, acting in the spirit of „nevertheless“. Swans drifting by, clouds pass over, everything is floating and: „Boredom is a stylistic device“ (Andy Warhol).

Pop Ambient Music is medicine against illnesses, that you don’t even suffer from. It’s giving everything, demanding nothing.
Musical lotus leafs, off which the virtual wastewater of our time is rolling like the reality is dripping off the matrix.


In this sense, we’re happy about the pop-ambient anniversary greetings from new and old companions like Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco aswell as contributions from T.Raumschmiere, Andrew Thomas and, after a long break, from friends from early days like Joachim Spieth, Markus Guentner und Klimek.

Pop Ambient 2020 is released digital, as CD and of course as a chic double vinyl. Also included in the package: The whole distinctive cover-series as an art book of 44 pages. And for all of the old and young fans and collectors there is the Pop Ambient 2001 in a overhauled original version out on vinyl for the very first time.



Breath in. Breath out. Thank you.



Wolfgang Voigt, September 2019.

20 Jahre Pop Ambient. Schon? Hat man gar nicht gemerkt. Ein Jubiläum auf leisen Sohlen. Ein Jubiläum der leisen Töne. Und ganz im Sinne pop-eleganter Zurückhaltung, kein Grund, großes Tam-Tam zu machen. Oder besser gesagt: Bum-Bum. Denn die Bassdrum bleibt ja draußen. Dennoch freudiger Anlass genug, in reizüberfluteten, schnelllebigen Zeiten auf dem Weg nach vorne einen Blick zurück zu werfen. Wenn man 20 Jahre Pop Ambient Platten hintereinander legt / hört, sticht einem zunächst der sprichwörtliche rote Faden ins Auge und ins Ohr. Der Faden, der das dichte, ästhetische Konzept zusammenhält wie die Glieder einer Perlenkette. Florale Schönheit für digitale Naturalisten. Musik wie Blumen, die nicht welken. Zeitlos. Alterslos. Aber Pop Ambient wäre nicht Kompakt, wenn nicht bei aller konzeptionellen Ge- und Entschlossenheit, auch der Bruch, die Reibung, das Ausweiten musikalischer Genregrenzen zwischen Tradition und Innovation, zwischen Konspiration und Diskursoffenheit, inkludiert wäre. Ästhetizismus, Trotzdemismus, Eskapismus. Schwäne treiben, Wolken ziehen, alles fließt – und: »Langeweile ist ein Stilmittel« (Andy Warhol).

Pop Ambient Musik ist Medizin gegen Krankheiten, die man gar nicht hat. Gibt alles und verlangt nichts. Musikalische Lotusblätter, an denen das virtuelle Schmutzwasser der Zeit abperlt, wie die Realität an der Matrix.

In diesem Sinne freuen wir uns über pop-ambiente Jubiläumsgrüße von neuen und alten Weggefährten wie Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco sowie Beiträge von T.Raumschmiere, Andrew Thomas und nach langer Pause, von Freunden aus frühen Tagen wie Joachim Spieth, Markus Guentner und Klimek.

Pop Ambient 2020 erscheint Digital, als CD und natürlich als schickes Doppelvinyl. Mit im Paket: Die gesamte unverwechselbaren Cover-Serie als 20-seitiges Kunstbuch. Und für alle neuen und alten Fans und Sammler, erscheint zeitgleich Pop Ambient 2001 erstmalig auch auf Vinyl, in generalüberholter Originalversion. Das Ganze gibt es zudem im schicken Jubiläumsschuber in limitierter Auflage und farbigem Vinyl, exklusiv erhältlich nur auf kompakt.fm …

Einatmen. Ausatmen. Danke.

Wolfgang Voigt, September 2019

We’ve been waiting a while for this one… Dark Sky return after a brief hiatus with this incredible EP featuring band of the moment Afriquoi. Many of you will already know one particular tune here: ‘Cold Harbour’ used by Bonobo on his Fabric mix compilation back in January. This gem is now backed with three more blissful, vital fusions. All created with different members of the deeply-rooted London-based live band.


‘Valmer’ sets the tone with its chimes, bells and chants, featuring the drumming of percussionist Andre Marmot aka Minioca. It's measured, restrained and impossible not to get goosebumps to, a near-spiritual experience the deeper you get into the groove. Elsewhere ‘Love Walk’ takes a much more subdued sojourn into the cosmic dusk. Mid tempo and much more focused on the rich layers of atmospherics than the beats, this will disarm a crowd at 50 paces. Next our minds are altered by eight-minute synth-striking mystique marathon ‘Cambia’ featuring the Kora playing of Jally Kebba Susso. Finally, ‘Cold Harbour’, one of the highlights from Bonobo’s evergreen mix from the London club institution, the combination of those rattled strings, pregnant bass staccatos, rolling percussion and deep undulating bass make it one of the most versatile and touching tracks Dark Sky have given us so far. And that’s saying something.


Breaking the Dark Sky silence that’s been almost two years, the ‘Clod Harbour’ EP opens up a whole new page in the London act’s legacy. And there’s plenty more to come. Watch this space...

‘The songs on the first album are the children. The songs on the second
album are their parents. Ghosteen is a migrating spirit.’ - Nick Cave.
The album was recorded in 2018 and early 2019 at Woodshed in Malibu,
Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It
was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at
Conway in Los Angeles.
Ghosteen is the seventeenth studio album from Nick Cave and The Bad Seeds,
following 2016’s Skeleton Tree, and will be released via Ghosteen Ltd

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

Planning the imminent arrival of the 50th release on Touchin’ Bass, label boss Andrea Parker was digging through the warehouse during a stock take and it became apparent that there was something missing. There was a gap in the catalogue numbers. Where was TB036? Searching the archives it transpired that, for one reason or another (not least Parker’s inability to count), there actually wasn’t one.

So what better way to backfill this now documented gap than to welcome the multitalented guitarist and drummer, mathematician and multidisciplinary improviser Maria Gamboa Perez into the Touchin’ Bass fold with an updated focus for 2019.

Perez combines elements of rage, chaos, tension and anguish to form a visceral style. Her musical terrain and talent is shaped by dissonance and NO art. Under the moniker NonZero!, Perez brings Matrix Equation to the fore; a heavy 8 track EP with electro aesthetics from none other than Carl Finlow Scarletron/Silicon Scally/Voice Stealer.

Beginning her artistic career as a teenager playing as a bassist and guitarist in groups with influences from Noise, Avant Garde and the No-Wave, Perez was introduced into several areas of electronic music during the club culture years in Madrid and opted for styles such as Electro or Industrial, at which point she began to be interested in the introduction of rhythm boxes together with traditional drums.

Her passion for sound synthesis and musical exploration led Perez to introduce electronics into a solo project under the pseudonym NonZero!. Under this name she aims to make electronic music her field of sound research and for years has been continuously searching for existing relationships between sound and mathematics, focusing on the perceptual limit between music and noise.

Matrix Equation indulges in an evidential brooding angst, shifting between abstraction and the kind of elevated introspection carefully harvested over the years. With dramatic frontage in parts, blasts of boisterous energy and machine mayhem, its deployment of surprise, shifting focus and spontaneity operate in an assured statement.

Splintered beats and a foreboding sense of tension give way to a more DJ friendly logic of instinctive introductions and codas of gradual builds and breakdowns as Finlow further reworks the results to great effect.

Mount Kimbie, WXAXRXP Session, 21/06/2019: Das erweiterte Live-Lineup von Mount Kimbie demonstriert hier hervorragend, wie sehr sich ihr Material 'on the road' weiter entwickelt hat. Aufgenommen für den WXAXRXP x NTS Event. Inklusive eines Gastauftritts von Mica Levi.

Zur Sommersonnenwende 2019 nahm Warp den Onlineradiosender NTS für ein ganzes Wochenende in Beschlag, um die Feiern zu seinem 30-jährigen Jubiläum zu eröffnen. Über 100 Stunden Programm mit Mixsets, Dokus, Live-Performances und Sessions des gesamten Warp-Artistrosters von Aphex Twin über Brian Eno bis Kelela samt Gästen wie Ryuichi Sakamoto wurden von hunderttausenden Fans weltweit live verfolgt. Jetzt knüpft Warp mit der Veröffentlichung der "WXAXRXP Sessions" an diesen Event an, einer Serie aus zehn 12" Vinylen mit Radiosessions aus 30 Jahren Labelgeschichte, von frühen Peel Sessions bis zum diesjährigen WXAXRXP x NTS Wochenende, allesamt in höchster Audio- und Design-Qualität. Feat. Boards Of Canada, Aphex Twin, Flying Lotus, Bibio, Oneohtrix Point Never, Mount Kimbie, u.v.a.

There must be something in the air just now over in Italy with a steady stream of brilliant disco and house releases emanating from the country. Of all artists doing the business recently DJ Rocca has definitely stood out as being behind more than his fair share of incredible music.

Rocca is a veteran of the scene producing since the 1990’s. Recently he has had stand out tracks working with some of the key artists of the scene including Dimitri From Paris and Daniele Baldelli. There have also been a huge number of solo projects and remixes for everyone from Blaze to Andrew Weatherall to Soul Clap. It’s a varied and expansive list which shows the depth of his production skills.

His latest release a three track EP ‘Journey to Kizimkazi’ comes courtesy of one of the stand-out labels of 2019 in Samosa Records. This one is heavy on the Afro Disco feels with Combo Rox, Ju Ju Jackie and Kuma Rox all coming from slightly different angles of the genre.

Lead track ‘Combo Rox’ is peak-time hands-in-the-air disco goodness. Huge brass hooks cruise next to a bounce of a bassline, ever so funky guitars, smooth keys and a monster vocal hook. This is a track with everything in needs to cause a serious dancefloor commotion.

On the flip ‘Ju Ju Jackie’ combines a much heavier percussive drum line with multiple percussive motifs, it’s a track which will take no prisoners. Yet more off the wall vocal hooks merge perfectly with the carnival atmosphere of the percussion and some crazy brass licks. A unique and exciting track.

Last up is Kuma Rox a deeper hypnotic groove of a track, warm tribal vocals, smooth keys, a sparse but hooky bassline and brilliant percussion give this one a real timeless class.

Another top of the class release from Samosa.

Plants Dub is an art project of the homonym collective based in Lecce - Italy formed by Maria Teresa Santoro, art historian and light designer, Francesco Andriani De Vito aka Dubin dj and producer, and Andrea Presicce aka NoFinger Nails, dub master and producer. They work in Plants Dub project in a mutual exchange of skills so as to be able to research in a way where art and science has no borders. Plants Dub connects electronic music and bio-acoustic researches. Through samplings and synthesizers Plants Dub produces an inter-species communication in order to form a complete human-plant audio exchange. The album was composed using melodies generated by plants thanks to a special sound device that allowed the translation of the plants' electrical impulses into sound. Plant sounds were recorded between March 2018 and July 2019 in Salento. The musical production has followed a double register: in Acanthus Mollis, Morus and in Phoenix Canariensis the vegetable melodies overlap to specially composed dub rhythms, in Laurus Nobilis, Olea Europaea and in Quercus, the tree melodies are translated into ambient sounds.

The avant-garde composer and conductor Pierre Boulez was a titan of post-War experimental classical music. Born in the small cheesemaking town of Montrbrison in central France in 1925, Boulez studied at the Paris Conservatoire with the composer and organist Charles Messiaen and received private tuition from pianist Andrée Vaurabourg; after moving to the Marais district in 1945, he briefly studied with Schoenberg disciple, René Leibowitz, and further influence came from immersion in Balinese gamelan, Japanese classical music and African drumming, among other sources. Earning money by playing an early electronic keyboard called the ondes Martenot on theatre productions, Boulez soon became music director of the Renaud-Barrault theatre company (led by actor/direction Jean-Louis Barrault and his actor wife, Madeleine Renaud), leading to tours of Belgium, Switzerland, Britain and both North and South America. American composer John Cage became an ally, though they subsequently clashed over Cage’s commitment to the role of chance in his compositions, paving the way for an intense and lasting friendship with the German composer, Karlheinz Stockhausen, who arrived in Paris in 1952 to study with Messiaen. In July of that year, the pair attended the International Summer Course for New Music in Darmstadt, leading to contact with Italian composer Luciano Berio and other noteworthy figures. Then, in 1954, with backing from Barrault and Renaud, Boulez began staging a series of concerts of experimental music at the Petit Marigny theatre, titled Le Domaine musical. The pieces collected on this album are all taken from performances staged for the 1957 Domaine musical season, beginning with Berio’s “Serenata I,” conducted by Boulez, which debuted in Paris in March of that year; arranged for flute and fourteen instruments, Berio said that the idea behind the piece was for the solo flute to be confronted by continuously interchanging elements, rather than mere accompaniments or oppositions. Boulez’s own “Sonatine,” composed in 1946 for flute and piano, is a 12-tone piece that evidences Messiaen’s influence, with shades of Asian classical music in places; then, Stockhausen’s monumental “Zeitmasze” or “Time Measures,” a serial composition for five woodwinds, played in different combinations of tempos and speed, was partly inspired by Webern’s principles of homogenous and harmonic textures. Finally, Messiaen’s 1949 work “Cantéyodjayâ,” delivered by pianist Yvonne Loriod, takes it shape from the classical Hindu rhythms of ancient India, as with much of the composer’s oeuvre.

Beyond Compare is a low slung Nu Soul groove with Andres sun soaked vocals combining with a bumping bassline and infectious rhythm guitar, soothing brass and warm chords build to a piano crescendo with acid overtones to make this another brilliant Situation collaboration with Mr Espeut!

Sean McCabe is one of the leading Deep House producers in the UK and has lovingly remixed Beyond Compare and being as prolific as he is, he has given us 4 remixes and we love them all so much that we have decided to release a Sean McCabe remix 12” containing all 4 mixes!

The A Side provides us with his vocal mix which is beautiful Soulful deep house future classic with A2 being the instrumental for those that just want the groove. B1 is his stunning Vocal Reprise mix which strips things down a shade however don’t be deceived as the clever arranging with relentless piano takes you fully to the dancefloor. B2 brings you the Loose Dub where a driving sub b-line, deep chords and synth stabs framing the dubbed out vocals pushes us into some real deep house heaven.

Body Beat: Soca-Dub and Electronic Calypso (1979-98) comprises 17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. This compilation traces the soca genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s. TIP!!

Compiled by Soundway Records label founder Miles Cleret and DJ/collector Jeremy Spellacey, Body Beat, as with many compilations on the label, explores the fringes of this often maligned (by outsiders) genre. Boiled down to the bare bones of the matter though: soca is party music.

Soca was originally a re-invention of Calypso music; a genre that in the 1970s was fast becoming usurped around the Caribbean by Jamaican reggae and American soul, funk and later disco. The originator of soca (or sokah as he called it), the calypsonian Lord Shorty, began experimenting and modernising on the formulation of calypso in the early 1970s. His first album featured a strong emphasis on East African rhythms and a punchier recording style that emphasised the beat, and introduced arrangements that often owed as much to American funk and soul as to calypso.

So here you go - seventeen slabs of soca crossover, rapso, electronic calypso, and Caribbean ‘soca-soul’ for your enjoyment - and bound to fit well into modern, open-minded DJ sets alongside the resurgence of burger-highlife, digi-reggae, soukous and zouk.

‘Synth Expressionism/Rhythmic Cubism’ LP from Chicago’s Jamal Moss aka Hieroglyphic Being is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness.

The prolific catalog of Moss’ covers many musical dialects from his hometown and beyond. Never standing in one artistic sphere for too long, this adventure for On the Corner Records sees Hieroglyphic Being exploring a multitude of expressions of the American Avant-garde.

Abstractions Of The Future Past — Afro-Cubism: The Designation, conceived by an African With A Mainframe — An Etude Of Effigy — A Hieroglyphic Being.

Rhythmic Cubism: In this ‘Dissertation Of Disorientation’ Neal Andrew Emil Gustafson temporal considerations are put aside as polyrhythmic propulsion is the current flowing through the work. As prelude the fastidious ‘Rhythmic Cubism’, Moss enacts a flurry of white noise and musical coda as it phases in-and-out of synchronicity.

The disjointed dance of an alternative Black Music, ‘The Spiritual Or ‘Electromagnetic Worlds’ takes the meter down a fraction to exonerate a granular groove of visceral refracted complexity. Sonorus static sits alongside spastic shards of synthesis to reveal a melancholic medley before its conclusion.

‘Apocrypha’ collages distinct rhythmic source materials in an entrancing abstraction of ‘Hypersonic Hemiola’. An assertion of Art Blakey proportions. Perpetually pushed forward through the building of distorted percussion, Moss precludes into syncopated synapsis before and end of reductive symmetry.

Evolving into a studdered off-kilter groove, ‘The Redemption Project’ flows as a dissipating organ medley dissolves into a deluge of layered sonic textures, creating an indiscernible metric center before fading to a distant vanishing point.

Departing with a common-time ‘Timbuk2’ takes off like a classic Chicago Acid track, then makes a left turn towards the center as it drives the rhythmic motion into a dystopian dreamland, as the sax line surges forcing the track to break free from it’s charted course.

The Fragmented Fantasy of The Synth Expressionism/Rhythmic Cubism LP is a conclusive work that has no end, a conundrum of conceptual calculated improvisation. Drifting through time, this fragmented abstraction of Afro-Cubism leaves room for posterity, as each listen summons a new perspective on the suite. Something ever so common in the work of Jamal Moss. Charting new sonic directions, the very nature of its precedent makes it a truly Hieroglyphic affair.

Words By Neal Andrew Emil Gustafson

Destiny is made. Realised. Driven by the acts of vision. Hireroglyphic Being is a seer. Atomic resonance echoing from the big bang defies the conceptual reality of purity. The nuclear static of ‘white noise’ is HBs canvas. Channeling poly rhythms into the universe. Experience, repetition and eternal decay. From purity back to the absolute by way of a deluge of slurry across time. Infinite layers of distortion and refracted complexity. This is HBs canvas. Sound of eternity channelled through a bass bin, represented by its own impure reflection and fragments. Always more than it's whole but never as was before.

This album seeks to reach beyond ideas and emotions, beyond the comprehension of a human archetype. Beyond ultimate history, forwards and back. To ends and a singular beginnings. Timbuk2 is the frenetic intersection where the call and response of these ideas lock and dissipate back into the void.

Oscar- and Grammy-nominated composer, vocalist and multi-instrumentalist Sufjan Stevens will release his acclaimed score for Justin Peck’s ballet TheDecalogue October 18 via his own label, AKR. Performed by the pianist Timo Andres, the recording is the first time the score, premiered during the NewYork City Ballet’s 2017 season, is available to the public.



The Decalogue is the third collaboration between NYCB Resident Choreographer Peck and Stevens, following 2012’s Year of theRabbit and 2014’s Everywhere We Go. The piece was widely praised upon its premiere; The New York Times lauded the “beauty and charm” of Peck’s choreography as well as Stevens’ “romantically modernist études.”



Brooklyn-based composer-pianist Timo Andres is a Nonesuch Records artist, who has written major works for the Boston Symphony, Carnegie Hall, the Barbican, the Takács Quartet, the Concertgebouw, and elsewhere. He performs regularly with Gabriel Kahane, and has frequently appeared with Philip Glass, Becca Stevens, Nadia Sirota, the Kronos Quartet, John Adams, Ted Hearne, and others. As a pianist, Timo has performed at Lincoln Center, for the NewYork Philharmonic, the LA Phil, at Wigmore Hall, for San Francisco Performances, and at (le) Poisson Rouge. Upcoming highlights include a curated program for the Cincinnati Symphony (featuring Dance Heginbotham and a performance of Andres’s cello concerto, Upstate Obscura), and a solo piano recital for Carnegie Hall. Previous work with Sufjan Stevens includes the orchestration of “Principia” for Justin Peck and the New York City Ballet.

PBR Streetgang return to their newly launched KURTZ imprint this October to deliver ‘Acid Tools’, accompanied by Wilde Renate residents Longhair on remix duties.

Founded in Leeds but now found touring the international scene week in, week out, Bonar Bradberry and Tom Thorpe, aka PBR Streetgang, have cemented their position as leading names within the current house and disco landscape via a slew of stand-out releases on imprints such as Skint, Crosstown Rebels and Futureboogie, plus appearances in 2019 alone at Glastonbury, Love International, Printworks and a summer residency at Pikes Ibiza to name just a few. Launched earlier this year, their new KURTZ imprint quickly found favour amongst a who’s who of the industry’s leading names, from Andrew Weatherall to Bicep, Hot Chip to Soul Clap, and here we see the duo step out again on home turf to deliver the second instalment as they reveal their Acid Tools’ EP, featuring three versions of the up-front ‘Ron’ - each of which have been doing damage in their sets across the summer months - backed by a remix from Wilde Renate residents Longhair.

Up first and delivering the ‘Full Fat’, version one sees Bradberry and Thorpe introduce punchy analogue percussion arrangements in tandem with a chunky, menacing acid line at the production’s core, whilst infectious vocal samples and hooks ebb in and out of the mix to guide the production as it chugs along, whilst the ‘Half Fat’ mix strips back the vocals to reveal a driving and warping journey across six-and-a-half minutes. Next up, Berlin duo Longhair’s remix welcomes a low-slung interpretation armed with delayed effects and sci-fi atmospherics to provide a combination of rich depth and space, before rounding out proceedings via the ‘Fully-Skimmed’ mix – a high-energy 909 fueled workout set to feature as a favourite for many across the months ahead.

Hailing from Modena, the Northern Italian motor city, Strata-Gemma produce a music of beautiful symmetry, intense craft and surprising angles. Born as a club night, the trio grew out of jam sessions where musicians would play over the records DJ/producer Billy Bogus spun. Their name came about due to the core members finding shared inspiration in records they considered "hidden gems" (gemma means gem in Italian) while paying homage to the Detroit Jazz label Strata Records. Thus from a love of jazz and soul, soundtracks and library music, Strata-Gemma were born.

Where Strata-Gemma's 2018 debut album had a lush, late-night ambience about it, Autunno 1 is more intense and agitated, a reaction to extreme political and weather conditions. As with all things Italian, Autunno 1 is both beautifully sculptured and filled with wild passion while serving as an intense soundtrack to our fractured world.

Strata-Gemma are Billy Bogus (beats), Andrea Moretti (double bass, strings) and Luca Cacciatore (brass, wind). For Autunno 1 they are joined by heavy friends on drums, synth and Hammond.

Fjordfunk is Jann Marius Dahle. He started releasing records back in 1998 and is part of the Norwegian disco scene. His earlier productions has gained the support of diverse people like Idjut Boys, Francois Kevorkian, Anu Pilai, Laurent Garnier, Andrew Weatherall, Headman, Michael Mayer, Steve Bug, Bjorn Torske, Prins Thomas and Tim Sweeney. This album is inspired by ambient, Detroit techno, disco, funk, rock, dub, jazz and latin. Already getting early support from the A love from outer space outfit of Sean Johnston and Andrew Weatherall. He's already booked to play at their Convenenza festival in France later tihs year where he will perform live with Amy Douglas(DFA).

Having spent the past few years quietly building up a dedicated crowd of followers and dancers as a club night, Scenic Route step out for their first offering as a label with three expertly crafted club cuts from Desert Sound Colony, an artist whose pumping productions have provided some of the parties’ most memorable moments. Since his debut release in 2014 on New York’s Scissor & Thread, Desert Sound Colony (real name Liam Wachs) has been refining a deeply personal club sound with releases for the likes of Futureboogie, Me Me Me, his own Holding Hands imprint and most notably of late, Nick Höppner’s Touch From A Distance. In addition to his productions garnering support from the likes of Midland, Raresh, Andrew Weatherall and Lena Willikens, Wachs himself is also a highly sought after DJ whose skills have seen him land bookings at some of the world’s most well respected clubs and festivals, including two stints at Berlin’s Panorama Bar already this year.

His prowess as a DJ has undoubtedly informed the music featured on the Cartographer EP. All three tracks are primarily designed for club use yet their intricate arrangements and undulating instrumentation ensure they remain captivating, despite the effectiveness of their functionality. The EP’s opener, “The Cartographer”, is a sleazy machine-driven odyssey, continuously building and evolving until snapping back into its original groove with a vengeance. “Gypsy Moth” sees Wachs team up with fellow Holding Hands affiliate Guava (real name Bradley Hutchings) for a dangerously syncopated drum workout doused in warped agogo bells, spliced vocals and a two-note bassline with a distinctly London flavor. Rounding the release off is “Budapest”. The combined power of the track’s interlocking kick and bass provide a solid stage for Desert Sound Colony to unleash an eerie arp and pads combo alongside a flurry of stuttering percussion and twisted samples while intermittently sprinkled with an unintelligible and downright ominous pitched down voice.

This month has seen Liam Gallagher make a typically full-throttle return. Super intimate sold-out show at Hackney Round Chapel? Biblical. Premiere and release of the long-awaited ‘As It Was’ documentary? Completed. Featured on the cover of Q, who described him as “rock’s finest frontman”? Naturally.



Liam wrote lead single ‘Shockwave’ with two of the key collaborators behind the all-conquering ‘As You Were’ album: Andrew Wyatt, who won the Academy Award for Best Original Song as co-writer of ‘Shallow’ from the film ‘A Star Is Born’, and the multiple Grammy-winner Greg Kurstin who also produced the track. It was recorded in Los Angeles.



Liam Gallagher’s debut solo album ‘As You Were’ was a critical and commercial smash. It debuted at #1, out-selling the rest of the Top 10 in the process, and was soon certified Platinum. Liam was back where he belonged, selling out huge outdoor shows and earning major awards from Q, NME and GQ.



More details regarding ‘Why Me? Why Not.’ will be revealed imminently. “It’s a better record than As You Were,” promises Liam. “Which is saying something, as that was epic, wasn’t it?”



Liam’s next double-bill of huge UK shows comes at the end of the month. He’ll play a sold-out Eden Sessions show on the 26th before hitting Glastonbury’s Pyramid Stage on the 29th.

The infamous Kiwi returns to Needwant with his second EP on the London label (home to the likes of The Revenge, Ejeca, Maxxi Soundsystem and many more) On this cut Kiwi does what he does best by incorporating emotion and grit into dance music. The EP features 3 mixes of ‘Kiya’ as well as a remix from underground hero Brian Ring.

The record opens with the original version of ‘Kiya' which features warm bass tones, spaced out synth lines, shuffling percussion and a tribal-esq vocal. The Rave mix gives ‘Kiya’ dance floor authority, introducing driving acid synth lines and a weightier low end. On the B side Kiwi delivers a deconstructed ‘Dreamscape’ mix stripping ‘Kiya' back to it’s beautiful bare bones.

‘Kiya’ will be another addition to Kiwi’s already impressive physical discography which includes releases on imprints such as Disco Halal, Future Boogie & 17 Steps. His unique approach to remixing and producing over the years has meant that he has seen a wealth of support from names such as Andrew Weatherall, DJ Harvey, Gerd Janson, Daniel Avery, Erol Alkan, Optimo, Annie Mac and Skream.

More like a hidden vault of electronic treasures than your usual prolific label, ICON OF DESIRE suddenly resurfaces for a special limited 12″.
“Origin” features three tracks from the label’s founder Andrea ‘passEnger’ Di Maggio, showcasing abstract synthetic funk, lush electronic ballads and emotional, dystopic electro.
“Origin” was supposed to be the first record of the label, then somehow the plans changed until the label rescued the tracks for this release.
200 copies pressed with hand stamped and numbered sleeve.

Can it really be thirty years since The Brand New Heavies first sashayed into the public eye with a romantic’s heart, a hedonist’s spirit and a Superfly sensibility?

A heady cocktail of Chic-style funk-pop, sunshine grooves and scorched soul balladry, the release of TBNH on September 6th sees The Brand New Heavies writing a new chapter in what has been an illustrious journey whilst also marking a return to their spiritual home, Acid Jazz Records.

Today The Brand New Heavies share a breath-taking version of Kendrick Lamar’s These Walls recorded with long-time associate and vocalist N’Dea Davenport and produced by uber-fan Mark Ronson. It was that line-up of the band that had originally brought the funk into his life having caught their show in New York in 1991, later inviting them to play at his 40th birthday party. Insistent once more to reconvene that line-up, successfully reuniting N’Dea and The Heavies for his production of this track for their 30th-anniversary album.

The album’s heart, both musically and physically is a friendship that can be traced back to the mid-Eighties - more specifically the shared experiences growing into adulthood on the western reaches of London for Simon Bartholomew (guitar) and Andrew Levy (bass) and a return to the formula that saw the band score sixteen Top 40 hits and three million album sales.

Refined, reimagined and revisited, TBNH was recorded under the watchful eye of producer Sir Tristan Longworth, as Andrew elaborates; “as fathers of young kids, time was important, and we needed someone to crack the whip.” Adding further with a grin; “he also makes these amazing gin and tonics with chilli’s in. The pair also decided to feature various vocalists on these tracks, not only reuniting with Heavies alumni, N’Dea Davenport and Siedah Garret but collaborating with soul legends Beverley Knight and Angie Stone alongside current singer Angela Ricci and new boy on the block, label mate Laville – to present a gilt-edged collection of songs making arguably the best album of their career. Summed up by its cover artwork- shot in the suitably louche environs of ultra-hip nightspot Annabel’s – Simon explains with a smile; “It’s a bit clubby, a little bit sleazy, with a bit of luxury and a smidgen of street.”

30th anniversary pressing limited to 1000 copies. With the 2016 Roots

mini-series such a success, there is new interest in Quincy Jones’ original

soundtrack to the ground-breaking 1977 mini-series.

Highlights include the “Roots Mural Theme,” composed by Gerald Fried, and

the 28 minute, ‘Roots Suite,’ with Letta Mbulu as the featured vocalist. Plus

the stunning “Main Title: Mama Aifambeni” as sampled by Moodymann and Andrés.



Also included are snippets of dialogue from Roots actor Lou Gossett. Featured

players include: Shelly Manne, Victor Feldman, Ernie Watts and Lee Ritenour.

The Artist
When P.P. Arnold arrived in London on September 23, 1966 to support The Rolling Stones as one of Ike & Tina Turner's backing singers,
The Ikettes, little did she know that her world was about to be turned upside down. The shy but vivacious 19-year-old caught the eye
of Mick Jagger, who would persuade her to stay in London and record as a solo artist – ultimately leading to a five-decade career
working with everyone from Jagger, the Small Faces, Rod Stewart, Barry Gibb and Eric Clapton, to Nick Drake, Peter Gabriel, Roger
Waters, the KLF, Paul Weller, Ocean Colour Scene and Primal Scream, to name a few.
Five decades after she became a '60s icon with the timeless pop hits 'The First Cut Is The Deepest' and 'Angel Of The Morning' on
Rolling Stones manager Andrew Oldham's ultra-hip Immediate label, soul singer P.P. Arnold is set to release a double-album of stunning
new material featuring contributions from, among others, Paul Weller, Ocean Colour Scene's Steve Cradock, The Specials and P.P's
songwriter son, Kodzo.
“I've been a fan of P.P. ever since hearing 'The First Cut', and then 'Tin Soldier'. Her voice is still as great as it was when she was 18/19
years old! Steve Cradock has tried to keep something of the early Immediate Records sound on this new record, whilst still sounding
fresh, and it is for me one of the finest in her collection” – Paul Weller
The Product
“It's great that I'm coming back with this record,” says P.P. “Even now, I'm still finding my way, because the industry changes every
decade, and you're sometimes out of the loop. For me it's all about faith, meditating, love, praying… try to be ready and don't give up
the fight. That's the message.”
'The New Adventures Of P.P. Arnold' was recorded and produced by life-long P.P. enthusiast, Ocean Colour Scene star and Paul Weller
band guitarist Steve Cradock at his Kundalini Studio in Devon – after a 51-year gap in P.P. Arnold's recording career.
The beginnings of the album - spanning classic orchestral soul ('Baby Blue', 'Finally Found My Way Back Home'), sunshine pop ('The
Magic Hour'), house music ('Hold On To Your Dreams'), a spinechilling gospel elegy inspired by her daughter's death ('I'll Always
Remember You'), two Paul Weller originals ('When I Was Part Of Your Picture', 'Shoot The Dove') and an epic, edgy 10-minute reading
of Bob Dylan's poem 'The Last Thoughts On Woody Guthrie' – can be traced back 25 years to 1994. Worldwide tours with Roger Waters
put the project on the backburner, but when Cradock rediscovered the tapes during a house move four years ago, both parties were
excited about the prospect of finally completing an album. And so they did.

Birthed from Arizona’s regaled Ascetic House collective, Body of Light is a dark synth-pop outfit comprised of young brothers Andrew and Alexander Jarson. What began as a vehicle for their exploration of noise and sound during their early teens has evolved into an established production over the last decade, as Body of Light continues to carve out their own style of complex, structured, and moving dancefloor electronics.

Their music is not only individually personal, but drawn from experiences shared between the two brothers – and calls on elements of new wave, freestyle, goth, and techno to create timeless and singular tracks without fear of trend or passing fashion.

On their third album Time to Kill, Body of Light refines their brand of cold and driving synth pop with a bold pallet of sounds and a focus on uncharted technique and purpose. Like the pale digital stare of the modern devices surrounding our daily lives, the album weaves stories of love and obsession in an era of technical bondage and fleeting exhilaration. Written over a period of intense and profound change, Time to Kill stands as a startling reminder of how important our existence truly is. Haunting keys, swelling pads, and punching rhythms score their work as Alex Jarson presents an alluring and romantic dialogue with confident projection. The title single “Time to Kill” kicks off the album with a merciless signature beat, complimented by distorted sample patterns against an infectious, moving bass groove

Velvet May returns on “ Tears On Waves” with the 4-
tracker EP “Unknown Bodies”.
This time he is joined by the live duo Years of Denial
and the northern-irish artist Autumns who delivered
their own interpretation and vision of the tracks in the B
side.
"Unknown Bodies" tell us a story, a contorted story of
lust and infernal gazes, yet divine that spread infamy
and glory, grief and bliss. A story of lost inhibitions and
sensations. A story of burning breasts. Now is the time
when each flower fades away like incense and sounds
and scents turn in the evening air.
“Bodies entwined 
Hearts resounding 
The shivers of sweat 
Coming and going”
The artist wants to show something. A natural desire
which finds its fulfillment in the body, but that instantaneously dies at the end of the sensations.
Sensations too much strong to last so much time. That’s
exactly why he doesn’t never renounce to let go his
inhibitions completely, having fear to be burnt, devoured
and thrown in the deep end.
On the B side, the original tracks find a completely
different vision, but especially a new light, leading the
listener to a different path of the same perverse and
twisted nature.
Years of Denial is the alter-face of French musician/DJ/
producer Jerome Tcherneyan and Czech performance
artist/DJ Barkosina Hanusova. With the use of hardware
combined with vocals and a plethora of dub devices,
YOD are re-visiting the dark corner of Post Punk,
Industrial music movement and rave culture. Its remix
fully distorts the mood, introducing a new color and
identity, juxtaposing acid sounds and sharp groove
elements. The vocal has a new touch, and processed in
another way, drags everything to it creating a vortex.
Autumns is the solo project of Christian Donaghey, from
Derry, Northern Ireland, an outlet for electronic post-
punk with a lethal pulse. He delivered a train-shaped
remix, making the bass line a key element for the whole
track and finding the perfect “carpet” where to express in
a powerful and straight groove, based on his beloved
Roland 707.
Label copy-credits
Written, produced and performed by Andrea Davide

FLOAT presents the next release from drummer and composer Andrea Belfi following on from his 2017 debut album Ore & just after the announcement of his tour with Thom Yorke!
Forthcoming Strata is an organic evolution of the unique synthesis of hypnotizing drumming and ensnaring electronic patterns Belfi has become renowned for. Strata's inception is due to Belfi's playful experiments with Gnawa rhythms - a music tradition from North Africa that draws from ancient African spiritual and religious songs - with which Belfi created basic guide tracks that were later expanded upon. Strata's remit expanded from these core rhythmic ideas into a mini-LP, spread across 6 tracks spanning 25 minutes.

LP Beatuful Ambient/LIstening ALbum by EVEN BRENDEN from Norway. Following his debut ‘Auto’, Chmmr delivers a new collection of musics to inspire half an hour of your life. The sophomore album features (in order of appearance): Prefab naiveness. Idle saturdays in early fall. Inaccurate weather reports. Lead arias for courtship. A planet. Romantic stage pianos. An ode. Post LAN party mood. All in all a fitting backdrop for any function that’s about opening yourself up, be that in solitude or in good company. This record is meant as an imperative to the listener: Try new things. You may regret it. It might backfire. Do it anyway

When Peggy Gou released her debut EP ‘Art of War’ in 2016, she made a list of career goals. One of them was to become the first South Korean DJ to play Berlin’s techno institution Berghain, an objective she achieved only a few months later. Another item on that list was to record an instalment of !K7’s DJ-Kicks series. “It’s the premier class of DJ mixes,” she says. “Some of my favourite selectors have contributed to it.” Now Peggy Gou can tick that off her list too as she proudly presents the 69th edition of the mix series.
The Berliner-by-choice started working on the mix last year. It was a
busy time for the 28-year-old: she’d just scored her first Mixmag cover
and her single ‘It Makes You Forget (Itgehane)’ was receiving awards
and critical acclaim. Each month she would DJ in 20 nightclubs all over the world. And yet, the goal for her mix was ambitious: instead of trying to capture the energy of her DJ sets, she aimed to create a portrayal of her own musical journey. An 18-track listening session that takes you straight into Peggy Gou’s living room where she plays you the formative tunes from her collection. No genre boundaries – she moves across disco, house, techno and electro. No tempo limits – the mix ranges from 90 to 150 BPM. And no age restriction – the earliest tunes on the mix are from 1983

Italian producer and musician DJ Rocca (AKA Luca Roccatagliati) is back on Nang. Rocca has been around the dance music block a few times; having collaborated with the likes of Howie B, Zed Bias, Daniele Baldelli and Jazzanova. He has also remixed a whole host of artists such as Oliver Koletzki, Luke Solomon, Blaze and even Flock of Seagulls.

Now our friend gets his own spotlight to shine with his debut solo artist album, Isole.

'Isole' consists of eight eclectic songs; the steady, deep beats of 'Alcatraz','Taquile' and 'Hong Kong' juxtapose the euphoric 'Tokyo', a warm sunset of a track. 'Nassau', written with fellow Rome-based Rodion showcases sensual and percussive waves of synth, whereas 'Favignana', written with Kool Water (aptly named after an Island off the southern coast of Italy) takes you deep underwater through its distorted build-up. 'Stone Town', written with Dimitri from Paris who is influenced by 1970s funk and disco, encompasses the marimba in keeping with the beachy feel of the record. Finally, the jazzy track 'London' written with Jukka Reverberi could have been inspired by DJ Rocca's work with the critically acclaimed jazz musician Franco D'Andrea, with whom DJ Rocca created the 'Electric Tree Project' which fuses jazz and electronics.

DJ Rocca has been touring his energetic sets globally over the last few years in clubs in Berlin, Paris, London, Oslo, Bruxelles, Vienna, Zurich, Bern, Helsinki, Brazil, Turkey and Croatia. Stay tuned for more solo and collaborative venture on Nang too.

Zru Vogue is a two man post punk avant-pop group from Palo Alto, California, combining the talents of Andrew Finkle and Rick Cuevas.

The band began in 1980 as a four member group: Rick, Andy, Tom Sanders and Nancy Miller. Tom and Nancy left the group shortly after the first single, "Nakweda Dream", was released by independent San Francisco label Adolescent Records in February 1981. Inspired by rave reviews and heavy airplay on alternative radio stations, Andy and Rick went back into the studio, now as a duo, to record some new ZRU tracks.

The self-tilted LP was released on the band’s Zero Risk Records in 1982. It contains eight compositions blending African tribal and Middle Eastern rhythms, avant-garde rock, minimal electronics, and funk-rock guitars.

The duo’s sound is inspired by the art and anti-art movements of Dada and Surrealism. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a replica of the original jacket, which features artwork by the group members, and includes the original 2-sided lyric sheet.

A fruitful collaboration between lyricist Andrew Birtles, composer David Watts, producer Dave Foister, and the beautiful voice of Kym Amps of which only two tracks were released on a 7". Now, almost 40 years after the original release date, the full album finally sees the light of day through Monte Cristo.

Kym Amps' powerful and moving vocal performance is supported by minimal electronic new-wavish arrangements that were produced with, at the time, cutting edge equipment.

Worst records is proud to present the third release of its growing catalogue. Unlike his
alias could evoke, Christian Coiffure is not so much specialized in online hairdressing
tutorials but has a fierce passion into brushing serious quality tracks. « Un Nouvel Âge
Réminiscent » hits hard with its progression into sharp and colorful forms, never bound to
redundancy. From slow EBMish , industrial tainted marching anthems of « A New New
Hope » and « Slowly Merging Into One » to synth-infused acid railroads built for futuristic
Trance Europe Express trains in « Révolutions Synchrones » and « La Dernière Volonté
des Atlantes », everything functions as a toolkit for imagination. Add to this a breaky
andrefreshing post-dubstep turn on « Biosphere is Reborn » alongside a delicious
headshot surprise on digital bonus with « Pouvoir Lacrymal Renforcé », and you will
never see the word « coiffure » the same way again.