Cerca:b o c production

Point B Biog 2018
Starting out on legendary Electro label SCSI AV and Orson Records in the mid noughties, Point B began to earn himself a reputation through his intense dance floor-focussed EPs and pensive, experimental long players. By sewing together influences ranging from 70s sci-fi films to traditional middle eastern music, he wove a unique sonic fabric. Later that decade and after absorbing the waves of dubstep and post-garage that washed up on the shores of South London, his sound matured into something that can deliver club euphoria and introspective melancholy.

With his last commercial release back in 2014, a four year hiatus passed whilst he worked on other music projects. During that time he built up a collection of handcrafted synth patches, some of them employing modular synthesis techniques. The ensuing sketches formed the basis of his latest work: Smash Hits. This is arguably Point B's most direct and focussed record to date. Opting for a techno template, he consciously kept the sound palette narrow, concentrating his efforts on the groove, energy and production fidelity. This is a statement record that demonstrates his creative control and programming playfulness.

Blue Veil, AKA Danny Clancy, serves up four mesmerising productions for his Dichotomy label's fifth release.

Having already showcased stunning releases from Mary Yalex and Ahu, Blue Veil continues to shape the sound and aesthetics of this burgeoning label with the 'Dreaming In Colour' EP.

Choral pads breeze over an uncluttered rhythm on the stunning 'I Can't Go On. I'll Go On', whilst 'Small Prophecies' drifts over forlorn piano chords and an almost tropical rhythm pattern.

A brooding and dusty breakbeat heralds 'Another Day', switching up the EPs tempo for a slower jam, but still bathed in blankets of soulful tones, whilst 'I Don't Want to Die in Dalston' is another emotive composition filled with deft musical refrains and big, panoramic melodies.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

mule musiq's sub label studio mule has formed a group of shifting members and are now releasing a debut album with 8 tracks of reworked obscure japanese gems.

the album contains the three singles the group released so far, featuring miyako koda of the ex-perimental pop band dip in the pool -- whose "on retinae" was reissued by music from memory to great acclaim -- on vocals and mule musiq staple kuniyuki on production with direction by label head toshiya kawasaki.

one of them, "carnaval," is a cover of the japanese dance classic by taeko ohnuki, produced by ymo. "shinzo no tobira" is a remake of the track by mariah, a band led by sax player yasuaki shi-mizu, from their album utakata no hibi -- which was one of the reissues that sparked the global interest in obscure japanese music in the last few years. studio mule's version features japanese lyrics rewritten by miyako koda. "face to face" is a cover of the ambient pop gem from the ultra rare album desire by yumi murata of mariah -- an album visible cloaks is a fan of.

also included is a rework of "kagami no naka no jugatsu," a song by tamao koike produced by ymo, turned into a dubby balearic pop track -- dubbier than the version included on the yen label compi-lation -- sang by nanako sato, one of the artists enjoying some newfound success following a string of reissues stemming from the "city pop" revival craze. the oriental ambient pop "yugao" by singer songwriter mioko yamaguchi is covered by vocalist saho terao, whom some describe as this gen-eration's taeko ohnuki.

"the april fools" is a rework of yukihiro takahashi's track, which itself was also a cover of the origi-nal song by burt bacharach. this new version boasts a more experimental arrangement with nanako sato handling the vocals. ymo's "ballet," originally with vocals by yukihiro takahashi, was reconstructed into a dance floor-ready instrumental by kuniyuki. many say yoshiyuki ohsawa's "soshite bokuwa toho ni kureru" is one of the greatest songs of the '80s. the 12" dance version is reshaped here into a melancholic balearic house track.

the album cover is by the increasingly popular hotshot photographer kota shouji.

Available april 30th

Heavy heavy heavy gospel compilation.. Including a few tracks that are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed... Also holds Paradise's brilliant "Keep the Fire.".. TIP!!

Although gospel and disco music seem like polar opposites—one is secular while the other has embraced a hedonistic culture—the marriage of the two genres has birthed the uplifting spirituality and dance floor thump found in gospel disco. By the mid-'70s many established and independent gospel artists started creating records with a tight four-on-the-floor beat that touched both churchgoers as well as patrons of the drug-fueled establishments of the '70s.

Cultures of Soul Records is proud to present the second installment of Greg Belson's Divine Disco. Belson is one of the world's leading authorities on the funky gospel sound; for this collection he dug deep into his crates to
undercover the rarest independent and private press gospel disco records ever recorded. Greg Belson's Divine Disco sound is one that's been heard around the world from his DJ appearances at Glastonbury's NYC Donwlow stage to LA's Funky Sole to soul nights across
Europe.

Many tracks are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed. This volume even includes gospel disco from the UK with Paradise's brilliant "Keep the Fire." This compilation also includes remixes and edits by Steve Cobby (who was a member of Fila Brazillia) and the Divine Situation production duo of Greg Belson and Paulo Fulci.

After a gap of a few years in between his latest releases (on Terminal M among others) Mar io focuses his attention on his own productions rather than sticking to remixes. He unveils a wonderful EP on Form & Terra Records which kicks off with the title track "Through The Night", a very special acid house smasher which will put every dance floor to a test. Then comes Max Cavalerra who puts the track through some secret alchemical processing and turns it into a dark and more techno-driven tune which is sure to make mind and body move even at 6 am in the morning. In addition, techno legend Patrick Lindsey celebrates his brilliant vinyl comeback with an irresistibly grooving remix which demands your attention with unprecedented drive and gets to the heart of Mar io´s original message "This Is What We're Living For". Last but not least, Mar io himself tops off this extraordinarily versatile EP with a grooving vinyl-only remix.

Consisting Neither Of One Lone Woman, Nor Hailing From Either The Eurasian Country Or The North American State, This Georgia Is In Fact Comprised Of Two Human Males Working Out Of China Town, N.y.c., Namely Brian Close And Justin Tripp. Together They Form A Creative Partnership Responsible For Not Just A Slew Of Output Upon Such Highly Regarded Imprints As Meakusma, Palto Flats And Emotional Response, But Also For A Kaleidoscopic Variety Of Multimedia Work With A Whole Host Of Clients, From The Corporate To The Counter Cultural. With An All Embracing, Freeform And In Some Ways Contradictory Approach To Production, Their Sound Is At Turns Stimulating, Terrifying, Comforting And Confounding. Separated From Any Visual Representation, The Audio On Its Own Becomes A Soundtrack For The Listeners' Own Intense Internal Projection Screen.

With 'time', Georgia's Vision Is Especially Well Realised As Here, In Collaboration With Fellow Intuitionists Firecracker Recordings, They Release Into This World An Album Which, With Any Luck, Shall Help You Unlock Your Inner Portals - Should They Need Assistance In That Regard Anyway. Unquantisable Polyrhythms Knock Against One Another In An Uncannily Externalised, Conflicting Collage Of Half Remembered Dance Ritual Memories. Fragmented Melodies, Disembodied Vocal Snippets, A Hint Of Ethnomusicality In Places All Give Deep Nods Simultaneously To Ancient Experience And To Post Human Intelligence, Condensing Past Present And Future Into One Eternal Instant.

'time' The Album Asks Us: What Happens When One Removes Ones Expectations Of Where In Time A Piece Of Music Or Art Must Sit And What Of Time Itself As A Construct, Now That We Have Myriad Ways Of Measuring It, Even At The Atomic Level; But Still Its Passing Is Completely Relative According To The Observer, And Indeed May All Be In Our Minds Anyway Equally, You Can Always Just Put It On - Again, And Again - Empty Your Mind Of Such Thoughts Completely, And Allow All Of Your Particles To Move Around Freely To This Joyful Noise... After All, That's The Point, Isn't It We're Gonna Have To Stop Asking Questions Eventually.

ANT ANTIC is the singer, multi-instrumentalist and producer Tobias Koett - originally from Austria, currently based in Berlin. On stage, he's joined by two musicians on drums and synthesizers to form a full live band. His signature sound: melancholy wrapped in contemporary R&B. Distinctive vocals that will stay with you forever, driven by a solid backbone of avantgarde beats of incredibly high-level production. Outside of conventional pop song structures, his latest single Whoop! blends stripped-down four to the floor aesthetics with an analogue approach to sound design. The result is as emotional, honest and relatable as it is catchy. Whoop!

hvmble is a newly-formed Berlin-based collective engaged in house music production and label work. Merging ideas in a fresh way is the intent of our approach and sound. Exchange in a diverse community is key to our spirit. hvmble aims at staying versatile. hvmble’s debut-EP series ’Textures’ features an eclectic practice where diverse elements of dance music are teamed playfully. Hypnotizing groove structures, vibrant hi-hats and a sublty-formed bottom-end unite and stimulate the bodymind. Textures invites the listener/ dancer to float through skillfully meshed patterns and dreamy layers, to experience promising new spaces. The sounds appearance and cover

Emotional Rescue announces the second EP of music from one of the label's favourites as part of a non-defined series where two of their (un)classic songs are remastered, reappraised and reinterpreted with new versions by a contemporary artist for reinterpretation today.

Thomas Leer is a respected and revered musician in both experimental and electronic circles. Having moved from Scotland to London in the late 70s, he moved away from playing in punk based bands, to debut his self-financed 'Private Planes' 7" in 1978, before releasing the cult-album 'The Bridge', with Robert Rental, the following year.

Signing to Cherry Red, he released the heralded '4 Movements' in 1981 and followed with 'All About You' in 1982, and it is from these 2 EPs that this release is sourced. The release starts with Saving Grace from the latter, a long famous "Cosmic classic"; it's mid-tempo, spacey, lifting repetition is the perfect soundtrack for those Baldelli trips straight to the stars.

This is backed with Tight As A Drum, a quintessential Leer production, where Teutonic drums is overlaid with sequencers and synth tones to elevate the song to some kind of disorientating outer-dimensional dub, while his lucid, spoken word vocals instill degradation and reinvention.

Asking Bullion to offer his own take on these two songs was the perfect pairing. A revered artist in his own time, the warmth and depth of his versions takes the originals to his own inner world; sampling, rewiring, reprogramming, resigning and replaying. An EP for the floor, the head and the heart.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Mastering: Mathias Durand

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Stéphane Ouzounoff, Bernard Bruges-Renard

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg

SIDE A
Contrée (2013), 20'

SIDE B
Allégeance volatile (2002), 8'46
Esquive (2010), 10'10

The mastering of these tracks was done by Mathias Durand at François Lê Xuân's Studio 101, in Paris. I would like to warmly thank him for this.

Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.

Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.

This is, indeed, a 'volatile allegiance' and 'avoidance' from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer.

He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. "Something" rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).

The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l'air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last.

Warehouse Find!

Danish producer Paxton Fettel joins Delusions for his debut EP for the label entitled Night Waves. Despite his youth, he has notched up an enviable catalogue of original, eclectic releases including two LP's for Greta Cottage Workshop as well as EP's for Plumage, Kolour LTD and Apersonal. Paxton's unique sound and audiophile approach to production has led to remixes for Uffe on Tartelet, Chocky on Secret Reels and most recently Sunrom on edgling vinyl-only label The Bricks.

For his Night Waves EP we get a snapshot of the mans diversity across three original tracks. The opener sees Paxton in his most raw, jacking, dance oor focussed mood to date and the result is a high energy house track which punches hard on a big system. Featuring his own bass playing, snipped and squeezed through the sonic mangle, Night Waves steams along with big bold pianos, swinging hats and just the right amount of oating synths. Simple elements which combine to be so much more than the sum of its parts and one of those stand-out cuts that will be stuck in your head long after you've left the danceoor.

Flipping over we have Paxton going full-on jazz mode in Pacica 399 To Freedom. A track which once again has his beloved Sandberg California live bass part pushed to the fore, pianos, strings and synths building around the driving disco groove. Feel-good sunshine vibes oozing from the speakers as little melodies dance around the sizzling hi hats and encompassing pulse of the kick drum.

Finally we have a deeper note to close on with It's Clear. A repeating vocal hook runs throughout the intro while intricate drum programming gives a nod to the sounds of broken beat and live jazz sensibilities. The end result is a warm, loose and dubby jam which completes the package in ne style and leaves us looking forward to hearing more from this talented young producer from Copenhagen.

Born out of a chance encounter in 2012 that led to a lasting friendship, Rhythm Section Int'l & producer, DJ, label boss, radio host, and record store owner Ruf Dug join forces to present 'The Committee'. Sitting somewhere between fictional band and studio collaboration, the record is the first fully in-house production for Rhythm Section, recorded start to finish at their own South East London studio and featuring vocals from label founder Bradley Zero and label mate FYI Chris's Chris Watson.

Right from the studio's initial creation, Ruf Dug felt inspired by the space's unique musical identity, jumping at the opportunity to create a collaborative record there over a two week studio residency. And between his DJ residencies at Pikes, Gottwood and NTS radio the Manchester-via-Ibiza computer game freak and renowned vinyl digger found the time to meld his wide range of influences. Having been a key driving force behind Be With's Holy Grail reissue of Bô'vel's - Check 4 U , Ruffy has more than earned his stripes as a boss level Street Soul collector, pre-empting the resurgent interest in the genre, which began in the mid 80s and is still a popular sound in Manchester today. This new release draws parallels between the DIY attitude of Street Soul labels like TSR, Intrigue, Jam Today & Elite and the modus operandi of the RS studio.

A wholly synergetic work, the project's title 'The Committee' reflects the collaborative nature of this release, as Ruf Dug states: 'Authorship is a strange concept at the best of times but this genuinely is a group effort and I very much enjoyed feeling like just one piece of a larger entity - the complete opposite to my usual production experience of being all alone in my room for days at a time.' The EP also features additional production from Rhythm Section's own Mali Baden-Powell, who DJ's and produces as Z Lovecraft and comes from a background in Street Soul music, his father was also in legendary UK acid jazz collective D'Influence. In addition, the record features a dynamic range of vocalists: sultry deliveries from Natalie Wildgoose and Sienna Mustafa, a rap from her sister Nadina, and the vocal debuts of FYI Chris's Chris Watson and Bradley Zero. 'I had been joking with Bradley that he needed to be on the record somehow and he did appear, playing an egg shaker at one point, but his singing wasn't in the least bit planned... I got back from lunch, and the next thing you know he just starts singing...So I dragged him reluctantly down the corridor to the studio and that's it- now he's a pop star!'

Also playfully melding digidub, soul, chicago house and acid jazz, the release not only marks a new chapter in the development of the Rhythm Section sound, but also catalogues a crucial turning Point in Ruf Dug's musical development. Still oozing with the cheeky DIY approach that won his own label, RUF KUTZ an army of fans, this latest Collab steps things up and opens a whole new realm of possibilities for one of Manchester's favourite sons.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Digital transfer: Jonathan Fitoussi & Diego Losa

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Jacques Brissot, ARR

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg
Remerciements: Brunhild Ferrari

SIDE A
Music Promenade (1964-1969), 20'29

Electroacoustic Music
World premiere for the Théâtre de la musique, March 16, 1970
" Hétéro-Concert ""

Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl.
The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.

SIDE B
Unheimlich Schön (1971), 15'40

Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden.
Voice: Ilse Mengel.

"How does a young woman breathe when thinking about something else "
To be listened to at a low volume.

After the storming success of Take It To Church Volume 1, Midnight Riot step up for another sermon casting a divine light onto the dancefloor to showcase a new era of Gospel - Disco & House.

The emphasis here is on sublime feel-good productions and peaktime workouts from the past and present harnessing that divine spirit of gospel and packing it into club giants. Prepare for a midnight mass of gems from The Showfa, Yam Who, Stephen King and Sweet Jubilees and take the power to the dancefloor.

Buffered Multiple is the techno A/V project of Vienna electro poster boys Microthol. Buffered Multiple return to Pomelo after their debut on our 20 yrs compilation and subsequent EPs on other imprints. “Buffer 05” starts off with “Prime Time” in super-saturated dub techno mode, its sublimely textured chords ambling hypnotically over a tense and pounding beat. “Shitty Track” changes gears into jack mode, with a bleepy morphing swing hook that drives up the intensity over a percussive beat and takes all the right cues from Chicago’s second wave productions. “Junolized” delves deep into the abyss again, its expansive echoes weaving intricate layers of dub over a foundation of bottomless bass.

* Dom & Roland Productions, the label, has gone from strength to strength since its conception in 2006.
It Features Dom's new solo work and his collaborations with other visionary artists such as Noisia, Hive and Amon
Tobin. The label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'.

* BEACH BUM - DOM & ROLAND

There's someone on the beach playing a catchy picked out guitar riff. The waves are lapping. A surfer walks along the beach carrying their surfboard, their hair is blowing in the wind. They are thinking about how powerful and awesome the ocean is in it's contrast to the serene and quiet sunset beach, They like the guitar a lot!

* DRED SOUND - DOM & ROLAND

Big Sound! In a large warehouse in Kingston Jamaica, a kid turns up with his laptop and a keyboard full of playable samples. The kid's twisted some funk era breakbeats into gigantic proportions and is trying out song structure ideas whilst listening back on the the huge sub bass system. There are a lot of people sitting around, everyone stops to listen, they never heard anything like this. It's raw, and powerful, and they like it!

To happiness through simplicity. Rendering a very personal tribute to well understood minimalism, the same that is based on simplicity and conceptual refinement and that is adapted to the creation and musical production -respecting that electronic maximum canonical of "less is more" - in terms of its compositional process, instrumentation, mixing, effects, etc. 'Simple Things' can be danced throughout the night. It is a collection of tracks with punch, made from the clarity and personality that characterize Nacho Marco, susceptible to being played at very different times and places. Exhale, from beginning to end, a natural love towards the dancefloor. From the simplicity of the search for this objective, its author -in his Warm Studio in Valencia- has used different rhythm boxes -programmed internally- for each track in order to, also based on a raw mix - especially in percussion and basses - to provide the tracklist with a varied air -between digital and analogue- through which to enjoy traveling through deep-house, nu-disco, acid, etc. and, therefore, in funk, soul, jazz, etc. From Chicago to Valencia, passing through N.Y. and Detroit. And all this avoiding arguments and essays of style. From a maximum freedom of creation and enjoyment. Yes, we are facing a "100% Nacho Marco" job.

As a musical act, Xeno & Oaklander (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo's immediate kiss and crush, there's a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo's artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they've recorded in their Brooklyn studio, they've both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.

On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It's a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.

'Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,' McBride says about the album's ethos. 'This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.'

'I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,' Wendelbo explains. 'I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.' Her intentions are best evidenced on the tracks 'Angelique,'and 'Insomnia,' the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control.









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Mysterious talent Clouds Of Kouros returns to their self-titled imprint to deliver the second EP on the
label this March, with three fresh cuts making up their 'Houghton Time' EP.

The enigmatic Clouds Of Kouros guise first surfaced in November of 2018, with the debut 'Reason's Why' EP picking up a slew of support from Secretsundaze through to Laurent Garnier and more.

Heavily influenced by the early UK rave scene, the project looks set to highlight key early inspirations from within the electronic sphere whilst keeping the focus solely on the music and not the artist behind the project across with each release on the imprint. The latest installment, the 'Houghton Time' EP, was written out of frustration after missing last year's edition of the festival through a last-minute transportation cancellation and in-turn returning to the studio to channel this frustration into a handful new productions. The result is an impressive fresh three tracker that takes cues from breaks through to deep house and beyond set for release on vinyl only this March.

Title cut 'Houghton Time' opens the package with authority as slick breakbeat arrangements combine with menacing basslines and infectious vocal hooks, before 'Diego's Groove' takes things deeper as dubby chords and bright melodies work in tandem. Last up, 'Hide2' completes the EP in style as the focus shifted towards punchy drum licks, resonant stabs and eerie melodies throughout.

Creating a composition means making decisions. During times in which you virtually have all sounds that have ever been recorded at your availability, composers must choose between infinite possibilities. The duo Ellicist does not perceive this contemporary ocean of possibilities as too much choice, they are swimming in it. Ellicist are weaving thick textures from the most diverse tones and rhythms. Their tracks are placing synthetic buzzing, the croaking of frogs, low frequency billowing and humming, flutes, the droning of flies, and the whole spectrum of the digital creation of sound next to one another. This intensity of sensations is not supposed to overstrain the listener, it invites them to follow a process. This music does not have a strict structure; instead, it is breathing openness at every moment. Ellicist are incessantly oscillating between abstraction and elements of pop music. Melodies are being hinted at, and sounds are being piled up, at times tirelessly. Fragments of etheric choirs or field recordings are unfolding their associative power. The melodious Ink is a track full of touching intimacy and is in constant motion until it eventually pauses to create a silent ocean of sound. Passage People is permeated by a groove of throbbing synths. The tapestries of sound of Ponds & Graves, on the other hand, are creating the foundation for expressive percussions. Ihnen Steg is almost a dub track. During the opener Hennepin and its follower Lilei sounds of palpable corporeity are being combined with ones that are hardly tangible. Point Defects has a incredible spatiality. At one point you might believe that you are able to precisely localize the sounds in an imaginary system of coordinates. And then the whole systemization crumbles. It is an astonishing production: you can almost taste the sounds. Biographical Notes: Ellicist are Thomas Chousos & Florian Zimmer. Chousos studied composition in Greece before moving to Berlin, where he is working as a producer and sound engineer under the moniker Tadklimp. Florian Zimmer has been playing with several groups. Besides Ellicist he is a member of Saroos and Driftmachine.

BT33 drags back Marco Bernardi for his 3rd solo EP on brokntoys.Plat + Form P.F. finds Marco run ragged through time, revisiting his sleeper-project Octogen's lost 3rd (!) album alongside his latest productions Cruising the dystopia, the EP moves through unnerving melodies hung against stuttering rhythms.
Handstamped and with screenprinted sleeve.

An exploration of traditional Chadian music with an electronic twist...

Chad is in many ways a blind spot on the map of today's global musical conversation. Overlooked, misunderstood and misrepresented, outside observers rarely concede the country an autonomous voice over its past, present and future. N'Djamena, the dusty capital of Chad with its well-kept stories of boundary-breaking musical collaborations and thirst for experimentation is a city that reflects the country's diversity: the arid North, bordering the Sahara, where nomadic tribes revere the endless desert with their handcrafted instruments. The lush tropical South, where the frenetic drumming of local initiation ceremonies blends with sounds of neighboring Congo and Cameroon. Right in the middle: N'Djamena, a forgotten melting pot of cultures and peoples bursting with unrecorded stories of life at the margins of the world's attention.

Tackling this view is precisely one of the aims of Pulo NDJ. In May 2018, Nickodemus accepted an invitation from Hape Collective to travel to N'Djamena to teach a group of young adults DJ'ing and electronic music production, which resulted in the encounter between and a group of talented artists from Cameroon, Chad, Congo and Togo. After a weeklong series of listening to original songs & demos, the recordings continued in a pop-up studio created by DJ Buosis & Nickodemus which culimated in Desert To Douala, an album featuring 11 songs, all originally written and recorded in N'Djamena.

The project found its inspiration in the city's un-narrated diversity and seeks to explore the possibilities offered by technology to demonstrate how the country's rich heritage connects with existing musical conversations. It strives to create bridges in a world of walls. It has been a yearlong creative process that built friendships and fostered understanding among people united by a passion for music and creation.

Lifted From Hubbard's Lauded 1979 Lp 'the Love Connection', This Sublime Piece Of Melodic, Deep, Soul/Jazz Will Have Ears And Minds Open With It's Instantly Recognisable Opening String Sequence.

Used To Devastating Effect On Pepe Bradock's All-time 1999 Deep-house Classic 'deep Burnt', Those Sweeping Strings Capture Us And Lead Us Into A Epic Journey With The Wondrous Vocal Stylings Of The Legendary Singer Al Jarreau.

This Is Prime Early Morning Music, Pushing All The Right Buttons & Spreading Light Wherever It Is Played, A Beautiful Beautiful Record Indeed! What Is Essentially An Extended And Rearranged Version Of Hubbard's 1967 Original, The '79 Version Of 'little Sunflower' Boasts A Sumptuous Arrangement & Production From The Mighty Claus Ogerman (Ben E King, Mel Torme, Bill Evans, Antonio Carlos Jobim & More).

A Truly Wondrous Piece Of Music, Reissued On A Single Side In It's Full 12" Length Of 9+ Minutes From The Source Archive Audio. Fully Legit, Licensed And Reissued With Love By Above Board Distribution And Columbia Records/Sony Bmg For Record Store Day, 2019.

This outstanding UK film score by Mr Roy Budd has been a treasure amongst music collectors for as long as I've known. Now, for the first time, Dynamite Cuts is making a 2x7' 45 collection of the musical gems form the 'Get Carter' Film using the original first pressing sleeve which was Japan only mega rare. His masterful chords and textures are a joy to listen to alongside killer bass and drum grooves that make for a cinematic musical heaven. Amongst my personal favourite Roy Budd compositions, 'Getting nowhere in a hurry,' is an easy listening gem with killer harpsichord lead lines and 'Hallucinations' (I love the deep groove in this song!) features his trade mark lush vocal production. Both cuts are sure to become favourites of yours too!

The music was play by the same following member of Roy's trusted crew.

GET CARTER Musicians

Roy Budd - Harpsichord, Piano, EMS AKS

Jeff Clyne - Electric Bass & Double bass

Chris Karan - Drums, percussion and Tabla

Brain Daly & Judd Proctor - Guitar

Lesley Cline, Johnny Turnbull & Mickey Gallagher Vocals on

'Hallucinations' & 'Getting nowhere in a hurry'

Lesley Cline - Lead Vocal on 'Love is a four letter word'

Recorded at the Olympic studios

Jack fishman - Producer

Roy Budd - Arranger

Keith Grant - Engineered

- Utopia Music are extremely proud to present UM022, Hydro's debut album 'Lateral Thinking'. - Spread over 3 plates (4 including the sampler), Hydro manages to really showcase the variety and musicality that he's known for. With over 20 years of experience, he manages to comfortably wear his many influences whilst offering something both fresh and new at the same time. The palette covers light and dark, warm & cold, ambience, jungle, funk, soulful, techy, rolling, half time, 130 & 140 bpm, hip hop, jazz, tribal, and even meditative vibes. Inspired by a lifetime of music, travel and memories the aim was to deliver an eclectic album that could satisfy both the DJs and the headz whilst also being able to transport the listener elsewhere on an emotional and cerebral level. Dance music that can work beyond the dance floor.

- Hydro has been releasing incredible music since 2003 on almost all of the big labels. Since his production beginnings collaborating with Break, he has continued to work on many different styles and with many other different producers. He's become known for his musical diversity and his name is synonymous with quality & finesse. It's an absolute honour to be able to introduce his debut album to you. This project also features War, who again establishes himself as one of the best engineers in the game. Since first collaborating in 2011, Hydro & War have proven to be a formidable team, known for consistently delivering essential releases, including for Utopia. The only other artist featured on the album is Mateba, who joins in for two of the more uplifting tracks. A talented French producer and a long time collaborator of both Hydro & War.

Parallel Minds Is A Group Of Like-minded Musicians, Djs, And Graphic Artists Working Together To Bring Compelling, Progressive Electronic Music From Toronto, Canada To The Rest Of The World. Spearheaded By Ciel, And Newcomers Daniel 58, And Yohei S.—who Have Variously Released Music On Labels Like Shanti Celeste's Peach Discs, Allergy Season, Coastal Haze, And Neo Violence—the Collective Offers On Its Inaugural Va Release Four Diverse Cuts Of House, Breakbeat, And Hardcore To Energize Your Body And Comfort Your Soul. The A Side Features Two Slamming House Cuts, With The A1 Offering By Discwoman Signee Ciel And A2 By Yohei S. Clocking In At A Frenetic 134bpm, "hind Sight Is 360" Is A Peak-time Dancefloor Banger Featuring What Has Become Trademark Characteristics Of Ciel's Productions: Intricate Drum Programming And Lush, Jungle-inspired Pads. "eastern Rankin" Is A Slower, More Hypnotic Percussion Track That Demonstrates Incredibly Effective Use Of Space And Delay. Its Minimalist Structure And Echoing Drums Would Sound Ideal In A Dark Warehouse. The B Side Opens With An Even Bigger Bang, With A Track That Would Best Be Described As Indian Hardcore. "mana Sadhana" By Raf Reza Under His New Alias, Radiant Aural Faculty, Is A Vibrant Mixture Of Hindi Vocal Samples Layered Meticulously In Between Freaked-out Synths And Thumping Breakbeat Drums. Completing The B Side Is The Aptly-titled "space Bubble" By Daniel 58. Drawing On Influences From Ambient, Trance, And Breaks, The Promising Toronto Artist Closes Out The Release On A Dreamy Note, Employing Nostalgic Melodies On Top Of Tough-as-nails Drums And Deep Rolling Sub-bass. As First Releases Go, Parallel Minds One Offers A Taste Of Something For Everyone, From A City That Has Perhaps Been Overlooked But Deserves A Second (third, And Fourth) Listen.

Random Numbers comes back with "Islands" EP by BXP.

An ecstatic recon through the meaning of isolation where field recording unfolds the ambient/techno sides of BXP's production. Born from nature, crafted in studio: techno meant for wide landscapes.

"Islands" is the result of a long search spent seeking sounds on various islands during his journey through south-east asia with a Tascam recorder and several directional microphones. He captured natural sounds from jungles, dunes, beaches and wild urban landscapes, not to mention the deep sounds of the Earth's elements: the sea, the wind, the interaction between man and nature.

Renart, A Young Producer, Is One Of The Proudest Representatives Of The New French Techno Scene.

Known For His Excellent Work In Production, It Is On Stage That He Impresses The Most, With Intense Sets With Textures Worked And Tinged With Trance, Just Like His Lives, True Techno Epics.

Music With Mythological Accents, Renart Connects Several Eps Since 2010, Both At Cracki Records, Versatile, Dawn Records, Or Fragrant Harbor Recently.

Inspired By The Ancient Techno, Renart Romanesque And Traditional Music Sounds Sometimes Oriental, Renart Tells A Story Of Hypnosis And Psyche, Made Of Throbbing Repetitions, Reminiscences Of Happy Mornings Where The Stars Are Dying.

Wehbba collaborates with ghetto tech legend DJ Deeon, to deliver another superlative EP on Drumcode.

Since his debut on Drumcode in 2017, Brazil's Wehbba has become one of the most dependable and impressive artists on the roster. Last year saw two standout EP's 'Eclipse' and 'Catarse' drop on the imprint, alongside 'Just', his strong contribution to A-Sides Vol.7. He also made his mark playing Drumcode events at OFF Week, Resistance Ibiza and the much talked about double header in Manchester and Bristol when DC took over Warehouse Project and Motion respectively.

A true master craftsman in the studio, his first contribution for 2019 is typically impressive. A huge inspiration to Wehbba since his nascent raver days, ghetto tech icon DJ Deeon contributes a fierce vocal to 'We Have Bass', after a serendipitous hook up in São Paulo. A peak career moment collaborating with one of his original heroes and the artist responsible for the classic 'Freak Like Me', the resulting percussive-heavy cut kicks like a rodeo bull. 'Third Wave' is coffee geek Wehbba's homage to his favourite brew, constructing the production to mirror the experience of a caffeine fix, as a loopy trance-inducing groove leads to powerful synth stabs that are heavy on impact. 'Steamroller' is a stripped back slice of techno driven by the Brazilian's Korg MS-20 and found form after it initially begun as a studio jam inspired by Richie Hawtin's 'Minus Orange'.

A Jean-Michel Jarre fan stretching back to his childhood, 'Another Mistake' was conceived after Wehbba saw the French legend in concert last year and was subsequently able to meet him backstage through a mutual friend. While creating the track, the producer imagined Jarre playing the main layers of the hook on his famous Laser-harp, eliciting an almost celestial quality with the melody. This is a stirring slice of techno fit for stadiums. The EP ends with 'Purge', the artist's stream-of-consciousness expression recorded in one-take and a beautiful beat-less way to conclude the work.

Laid back and chilled out, Andrew never lets anything or anyone bother him. He has an air of mystique about him which others often envy.

(Andrea Solitario) ANDREW SOUL Andrew from his real name, Soul as the part where his inspiration come from, is a native italian producer born in 1986.

Music has been the first and everlasting love for this guy who soon came into his city's underground scene: he was 15 years old when he walked into a club for the first time. Then everything came by itself: a fusion of house and techno, the passion for the acidized sounds filled his mind and his heart.

But listening wasn't enough: the love for the music was to much for not to create something.

So Andrew started a path made by wicked grooves, dropping acid synths and emotional vibes, huge baseline, soulfoul vocals, roland tr-707 on the drums: these featuring characterize at best Andrew's sound.
The love for the analog sound push him over the years to purchase some vintage drum machine and keyboards, to make his sound as better as he can, and to add to his sound some cool old flavour.

Having DJd for years in his native Italy, Andrew turned his hand to production a few years back and promptly set about making some of the most emotive and engaging analogue house and techno around.

Vinyl collector, record lover, for him there's nothing better than watching a wax riding a turntable and listen the music that come from it.
As an eclectic artist, in his sets, Andrew likes to mix from deep to techno, through the house, but people never know what to expect from his large underground music knowledge; old, classic, brand new tunes and own productions makes his set really sophisticated and different each time.

After working on music collaborations for several years, with some friends , early 2011 was time to start sharing solo productions with his first release on Paulatine Records, wellknowed Uner's label. 4 tracks that take attention of many wellknowed djs, like X-Press2 that played the tracks at MOS and on their radioshow, Adam Port who said "Finally something different..." and many others..
Then two vinyl release: first one on the great Barcelona based Kiara Records "Too Much Love Will Kill You", Julien Chaptal on remix, and second one on the New York based imprint Stranjjur Inc, on remix Kris Wadsworth and Baldo; "Close To You" placed 29th on RA Chart.
A great tune with the close friend Frank Naht alongside a remix for Fabio Monesi on friend's label Blackrose Records, and an EP on Espai Music to follow.
End of 2012 was good: EP come out on the Defected's sub label "Tenth Circle"
November 2012 was also time for releasing on Safari Numerique with David Labeji on remix, and the track "No Way" played by Richie Hawtin.
2013 full of work and innovation, with 2 remixes on italian Moan Rec for Meeph, and U.S. based Undulate Recordings for Frank Nath, a really deep EP on his new family Popcorn Records, and jacking mode on for the new release on Safari Numerique.
2014 starts with a vinyl only release on Popcorn Records Ltd, special collaboration with Peter JD and remixes from Amir Alexander and Franco Cinelli.

The path is long and Andrew's research is still long way to end...

Footjob is releasing its second various artists sampler called 'Footure Classics Vol.2'. The latest edition complies 5 tracks - traditionally genre-specific between house and disco. This time fresh names are presented besides the established suspects Sascha Ciminiera and Lukas Lehmann such as legendary Hans Nieswandt (Whirlpool Productions) as well as acclaimed DJ Friction from Benztown. Both debutants lend a helping foot in order to add two wonderful tunes. As if this would not be enough, the compilation is wrapped up with a very special trove from the archives of DJ Service.

Profit Prison is the solo work of Seattle-based Parker Lautenschlager, previously in the hardcore band Marrow, power electronics act Anteinferno, and black metal cult Bhereg. Conceived in 2016, Profit Prison explores lyrical themes of isolation, estrangement, deprivation and paranoia against an aural backdrop of synthpop, post-punk and abstract industrial music. Inspired by Franz Kafka as much as Kraftwerk, Profit Prison achieves a cold minimalism that speaks to the nightmarish dystopia in which it was created. The debut Myra was released on cassette by Dominick Fernow's Hospital Productions in 2017.

On March 29 Avant! will release the 12' vinyl debut Six Strange Passions. Six tracks where Hi-NRG disco beats and 70's throbbing synths melt with trembling, reverberated vocals and dark dungeon synth passages.

Limited edition of 300.

Artwork by Italian Noise legend Matteo Castro (Lettera 22, Kam Hassah, Second Sleep label)

It's easy to fall for a nostalgic approach to dance music, to cuddle oneself in the warm analogue sounds of late 1980's dance productions - especially with the heavy ongoing reissue trend going on. However, we have to stay focus: look out for contemporary sounds and means of production. Parisian producer Nathan Melja makes his debut on Antinote with an idiosyncratic three-tracker and our guess is that it sounds contemporary.

On the A-side: one tune: Deadrums. Both the name and the music speak for themselves. It's hard, it's efficient and at the same time, there's quite a lot going on, tiny bumps on the straightforward road to techno ecstasy. Nevertheless, Deadrums is a precise piece of machinery, an atmospheric banger, yes, but with deadly jaws made out of tempered steel to tear a dancefloor apart, piece-by-piece. On the B-side, Angels stands out as a perfect example of a song that has many dancefloor qualities but, like some of DJ Sprinkles' seminal recordings, turns out to be more of a late-night tale of urban wanderings on wet pavements (think Taxi Driver and its soundtrack by Bernard Hermann). Contemplative, melancholic and - let's say it - sad, its nagging melody can bring a little tear to the eyes of the most sensitive ones. Rounding up the 12' is Candy, a tune under the influence of bad boys like DJ Overdose, or Ghettotech legend DJ Assault - so that you can dry your tears.

It's Nathan Melja's first release on Antinote, but he's definitely not a newcomer. He's been around since Antinote exists, and we're glad to finally collaborate with him.

'Producer and multi-instrumentalist FRNT BZNZZ returns with the second installment in a six-part series of 45s from the Aloha State.

Just like the rst 45, the A-side 'Separation Anxiety' takes to the same raw electro boogie feel, this time with more layers. The 4-minute ride into the artist's complex, often haunting production is up before you know it.

The B-side opens new doors in the series with vocals - angsty, yearning, a little somber. 'Always Wanted' is a slow burner for those looking to alleviate heavy doses of straight-laced modern funk. Something about Aiea High School prom circa 1990s, and a feeling of being left out.'

Last year saw The Last Poets celebrate their 50-year anniversary with the righteous, politically-charged poetic record, "Understand What Black Is". Now to continue the party, Brighton production-maestro Prince Fatty has reworked the album with a fresh twist and blend of smooth, dub-delights. Set to land on the 29th March, the revolution marches on - this is "Understand What Dub Is".

After Prince Fatty's involvement in the production of the original project, he was the perfect person to help update the record with five decades of experience for a new audience to enjoy. The ten tracks of "Understand What Black Is" depict a relevant, historical philosophy of identity and race that has followed The Poets over the last 50 years. Since the origins of the civil rights movements back in the late 60's, Abiodun Oyewole and Umar Bin Hassan (two of the longest-standing group members) have provided social commentaries and a voice to African-American consciousness that has now been heard on a global scale.

Their raps, exploitations and insights quickly evolved into the origins of hip-hop in Harlem, New York back in 1968, and now in 2019 they continue to voice their dedication to the cause with the backing of slick rock-steady infused beats to keep things moving. Having had their work sampled by the likes of NWA, Dr Dre, Kanye West, Snoop Dogg and countless others is just a testament to the timeless sounds and prophecy they have created, and now Prince Fatty has stepped up to put his stamp on it.

Prince Fatty's ever-reliable work gives "Understand What Black Is" another lease of life as he maintains an undeniably slick groove throughout. Both therapeutic and warm, the soulful rhythms of "Understand What Dub Is" provide the perfect platform for The Last Poets to delve into everything from Trump's inauguration, nods to Biggie Smalls and respect to Prince. The calm, collective and downright thought-provoking words go hand-in-hand with the roots-driven reggae medleys with ease - this is dub in its rawest form.

Not only do these songs explore personal struggles and individual endeavours, they also represent a collective of deprived aspects of humanity and socialism, that perhaps now need to be pointed out more than ever. Although there is a variation of sound, the overlying topics remain a constant - it is time to "Understand What Black Is" once more.

Although Itta (Vocals, Harmonium) and Marqido (Analog Synthesizers) have been regular fixtures in Seoul's experimental music community for years, the vinyl release of Spiritual reflects the growing international recognition of their singular sound, described by The Wire as 'meditative synthesized vistas.' Spiritual certainly embodies the meditative element of their music, layering hypnotic modular synth with Indian harmonium drone and Itta's transcendental vocals. This is more than functional music for the metaphysically curious, however. Perhaps more than any of their previous releases, Spiritual offers an open accessibility, owing at least partly to the channeling of krautrock-influenced rhythms. Tracks like 'Luft' and 'Morgen Tempel' wouldn't sound out of place in any DJ set with kraut or psychedelic leanings, while 'Barabonda' and 'Dodeuri' dig deep into a more meditative place, serving as perfect expressions of the album's title and intent. Fans of Neu!, Kraftwerk, Laraaji or Klaus Schulze might find themselves in a comfortable yet unexplored place.

Spiritual was originally released in 2017 as a limited-edition cassette of 250 copies, produced in collaboration with Seendosi, an arts enterprise in Seoul Euljiro district, the city's heart of printing, packaging and electronics manufacturing. The cassette sold out within a year of its production, prompting Extra Noir, who had previously released Tengger's 'Breathe In, Breathe Out' on their Extra Noir Vol. 1 compilation, to propose reissuing Spiritual on vinyl. Working with Seendosi once again, the result is a beautifully produced piece of work. Closely attentive to the band's vision, the gatefold sleeve features rich landscape motifs that evoke Tengger's commitment to earthly travel and the less accessible places beyond. Pressed onto clear vinyl, the design of Spiritual has been carefully constructed to reflect the entirely unique music within: heavy ephemerality, dense transcendence and grounded wanderlust.

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

The famous Jamaican record producer Duke Reid founded record label Treasure Isle in the 1960s. Some of his best production skills can be found on the compilation album Here Comes The Duke. Showcasing the talents of some of the giants of the rock steady era, the recordings, all issued during the latter half of '68, demonstrate just why the Duke is widely regarded as the king of the rock steady sound. The grooves are thoughtful and the brass section adds the right attitude to the different songs.

Here Comes The Duke is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Dean Zepherin is truly a producer who has managed to find his lane and appeal.
Born and raised in London - a suitably eclectic city for a man of his musical persuasion - he is renowned for his consistently genre-pushing productions.
In other words, a perfect match for Local Talk, a label not afraid to go beyond the classic 4/4 sound and explore different styles within house music.

Opening track Blue Moon is an organic, warm and enveloping chunk of deep house bliss and there's no doubt that Dean loves his house served with with plenty of horns.
Next up is Flying High, a jazzy uptempo house cut smothered in expansive percussions, trading organ and trumpet solos over elastic synth lines.

Music that speaks to the senses

The only "lost track" from the same session as Lucky Brown's critically acclaimed "Mesquite Suite", "Sweet Tea (With My Sweetie)" reminds fans of Lucky Brown's trademark deepfunk sound that he and his crew can still ignite a dancefloor - and keep it lit for almost 8 minutes! "Sweet Tea (With My Sweetie)" is a cool, refreshing swig of sweet instrumental soul to enjoy while watching the sun set over the pecan trees of the Texas Hill Country with your lover.

Belly-up to the bar and gitcherself a couple tall frosty glasses of Lucky's trademark production/sound swirled with a heady shot of his backing band The S.G.'s. Your thirst for funk will be quenched by a solid deepfunk 2-sider complete with a Texas barbecued guitar feature up front, and jalapeño spiced trombone to take out side one. Then, on the flip: a smoked-out saxophone solo, some cornbread trumpet, some super sweet vintage organ treats, and finally building energy to a tasty drum and horn break - Lucky's brand of Sweet Tea is good to the last drop!

The Tramp team is extremely proud to have been working with such a genius for so many years and hopefully for many more to come! We want to thank all of you who have supported us in the past - thank you so much!

So, go ahead, mix up some "Sweet Tea" this summer! Your listeners will be bobbing their heads, smiling, and feeling good while they holler out for another tall cool glass of "More Sweet Tea".