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InFiné reissues Murcof`s seminal soundtrack for 'La Sangre Iluminada' in red-vinyl Version. The soundtrack produced by Murcof was originally released by Mexican label 'Intolerancia Records". This version by InFiné includes new editing of the original recordings, remastering by Rashad Becker. It features Murcof´s classic rework for Los Angeles Negro´s Como Quisiera Decirte. 'La Sangre Illuminada' is a feature film directed by Ivàn Dueñas in 2009 and inspired by Jose Carlos Becerra's poems. It tells the story of six characters who mutate into new bodies.

The late Deben Bhattacharya was a noted Bengali record producer, ethnomusicologist, poet, documentarian, radio producer, and all around renaissance man. Having moved from Northern India to London as a young man, Bhattacharya began working for the BBC as a radio producer. In 1955, having worked all possible angles to securing funding, Bhattacharya traveled to India to record musicians. The success of this trip allowed him to travel again soon after to the countries of the Middle East. With recordings from Turkey, Syria, Jordan, Iraq, Iran, and Afghanistan, as well as India and Pakistan, this LP is one of the best and earliest documents of the diverse and rich musical traditions of the Middle East. Subtitled 'A Sound Travelogue by Deben Bhattacharya', 'Music On The Desert Road' is exactly that, a beautiful and flowing document of the region's sound.

A classic Rasta Man song sung by Bunny Wailer, the most devoted Rastafarian out of all the Wailers. This unforgettable Rasta Man Anthem was released just before one of the most important roots reggae albums to date, Blackheart Man, dropped. Unlike the original release, this single take is backed with a dub cut.

*Limted to 300 copies worldwide* It all began in summer 2017 when Peter Broderick's former Efterklang bandmate Rasmus Stolberg invited him to perform at his new festival in Denmark, with the specific idea that Peter would play an entire set of Arthur Russell songs. As a long-time lover of Arthur's work, Peter immediately accepted the invitation and began to learn a collection of Russell songs. Stolberg put together a band of Danish musicians to join Broderick on stage, and the festival performance went off without a hitch.

Immediately after, Peter starting receiving invitations from other festivals, asking for the same thing — a full set of Arthur Russell songs. Even Arthur's long-time partner Tom Lee took notice of these performances of Arthur's work, and reached out to Peter personally. It wasn't long before Broderick was invited to examine some of Russell's archival work, and asked to do audio restoration work on the old tapes.

Peter's strong love for Arthur's work grew exponentially as he dove into the psyche of his hero, listening to hours and hours of unreleased material. He discovered that some of his favorite Russell songs have yet to be heard by the masses, and felt inspired to learn some of these tunes himself.

It was inevitable that Peter would record an album of his own renditions of Arthur's songs. And there was no better place to do it than the state of Maine, where most of Arthur's surviving family are based, and where Broderick himself was born back in 1987. With a large cast of friends and family, including Arthur's niece Rachel Henry and nephew Beau Lisy, Peter set out to capture his love for Arthur's music with a diverse collection of 10 songs, two of which have yet to be released in their original versions.

Its cover adorned with an original painting by Tom Lee, 'Peter Broderick & Friends Play Arthur Russell' is a vibrant and joyful tribute to one of Broderick's greatest heroes. Peter extends his deepest gratitude to all of Arthur's family, friends and fans who have so warmly welcomed his own versions of these tunes. It is hoped that these recordings will serve to honor the truly staggering legacy of Arthur Russell.

" I used to live in rue de Clignancourt, and remember as a kid going to the 14th of July West Indian ball organized by my father rue André Del Sartre in Montmartre every year. There I would meet, among others, saxophonist Robert Mavounzy. Sticking to the area, my older brother had a band and often played at the famous venue La Cigale, where even Henri Salvador joined him for a jam from time to time."Since childhood Serge Fabriano bathed in music, to-ing and fro-ing between his native Guadeloupe and Paris where he grew up. He attended the music conservatory, learnt how to play bass, met and played with many musicians and was ultimately angling for a career as a music teacher. But Serge had wanderlust; he lived to meet new people and was passionate about travel.Thus, it was in a squat located rue de Flandres in the 19th district of Paris that Serge Fabriano met by chance zarb player Djamchid Chemirami, one of Iran's greatest percussionists, who invited him to the Arts Festival of Shiraz-Persepolis. After a month-long motorcycle journey, he and his guitar teacher, Roger Bénichou, arrived in Tehran. Sadly their guitars didn't survive the journey. It was there that he met, among others, Woody Shaw, Max Roach and his wife Abbey Lincoln. Serge also formed a friendship with saxophonist Gary Bartz and stayed on a month playing with the cream of the musicians who'd attended to the Festival.During the mid-70's, he alternated between teaching classes and live gigs, and performed in Germany with a funk band comprised of ex-GIs from the US Army. He also met the members of Chick Corea's group, Return to Forever, and especially Stanley Clarke who became a great source of inspiration to him.From 1978 onwards, Serge Fabriano put aside teaching and devoted more time to music. He became a musician's musician, doing studio recordings with rock bands. He also played with members of the Caribbean diaspora, which included the great drummer Marcel Lollia (known as Velo), Patrick Jean-Marie, Guy Conquette, Winston Berkley, Mino CineluDuring the "Ayatollah Comédie" musical comedy tour organized by the Journal Liberation, Serge met actor Pierre Clémenti (Il Gattopardo, Belle De Jour, The Conformist). This was a game-changer : "I was trying to record my first record. Clémenti suggested the Studio Beaubourg in Paris. "The group Fabriano Fuzion - Fabriano Unit Zion - was born.The band brought together some of the Caribbean's most inspired musicians: Martinican-born Mario Canonge on the piano (his first appearance on an album), Alain-Jean Marie on the synthesizer, Edouard and Pierre Labor on saxophones, Claude Vamur (Kassav ') on the drums, singer/percussionists Marie-Reine Lamoureux and Marie-Céline Lafontaine, percussionists Roger Raspail, Sully Cally and Hector Ficadière (Tumblack, Vent Levé) on Ka percussions.It is precisely the Gwo Ka - this ancestral 'root' music deeply embedded in the heart of the Guadeloupe musician - which constitutes the rhythmic backbone of this first opus. The Gwo Ka, the jazz, the poetry and the spiritual vibe are gathered here to form a splendid album; one of the true masterpieces to emerge from the French West Indies.Rarely will a band have borne its name so well than Fabriano Fuzion - its music is a multiple and collective work in which each element brings its identity and its richness, conferring to this major work a truly fusional dimension.

Killer trip into unknown South-East Asian Melayu & Pinoy Funk -
Rare Groove - Deep Soul - Disco & AOR!

PAUL LABRECQUE (SUNBURNED HAND OF THE MAN) and GHAZI BARAKAT (PHAROAH CHROMIUM) present two epic cosmic, dystopian tracks where guitars, synths and traditional instruments blend into an anarchic sound system.

After excessive years in rock bands like THE GOLDEN SHOWERS or his solo project BOY FROM BRAZIL, time had come for the German-Palestinian artist GHAZI BARAKAT to develop a new aesthetic - the birth of his alias PHAROAH CHROMIUM where BARAKAT creates "meta-music for meta-people in a meta-world", or in other words:a mutoid blend of post-krautrock, psychedelism, free jazz, ancient rituals, science fiction and electronics. So far the Berlin based sonic performer released a couple of solo albums on labels like GRAUTAG or TAPEWORM and a triple LP with krautrock legend GÜNTER SCHICKERT. For his latest output he decided to simply use his civilian name BARAKAT, as does PAUL LaBRECQUE (SUNBURNED HAND OF THE MAN) who contributesguitar and synthesizer to the two side-long tracks. "Jajouka Pipe Dream" is a clear reference to the MASTER MUSICIANS OF JAJOUKA, with lots of flutes and percussion, a very rhythmical, ritualistic track, while "Planet R-101" turns out a spacey trip with elements of krautrock and Kosmische Musik / Berliner Schule.

What may sound contradictionary on paper functions perfectly on LP - freeform / free-floating music, absorbing and integrating a wide range of influences and inspirations, sounds and styles - and highly psychedelic!

Credits:

Ghazi Barakat: guembri, moog synthesizer, beats, Rauschpfeife

Paul LaBrecque: guitar, synthesizer

Mastered and cut by Rashad Becker at D&M, Berlin

Artwork + photography: Nicolas Moulin

The Conspiracy Hailed From Mount Pleasant, A College Town In The Center Of Michigan. Originally Formed As The Allusions, They Became Nino & The Nomads Before Changing Their Name To The Conspiracy In 1966. For The Next Few Years The Group Stayed Busy On The Live Circuit. "we Were Booked All Over The State," Remembers Singer Aquilino Soriano. "every Weekend We'd Be Somewhere. We Were About Two And A Half Hours From Detroit, So We'd Go Down South, We'd Go Up North, We'd Go Everywhere. There Was This Network Of Teen Clubs Where Kids Didn't Have To Be 21 And Everybody Could Go. It Was Fantastic." In 1967 The Group Had What Aquilino Describes As "probably Our Apex Moment". Kustom Amplifiers Sponsored A Statewide Battle Of The Bands Tournament, And The Conspiracy Battled Through Several Rounds Of Competition To Make It All The Way To The Finals In Saginaw. "it Was A Statewide Thing That Culminated There," Remembers Aquilino. "question Mark & The Mysterians And A Couple Of Others That Were Notables Were Also In It - And We Won It! We Got Our Award From Bob Seger." The Prize Was Thousands Of Dollars Worth Of Gigs And A Tuck And Roll Kustom Pa System, Which The Band Put To Use As They Moved Forward Into 1968, Brimming With Confidence. A Roving Capitol A&r Man Caught Their Show In Cadillac, Michigan, And Encouraged Them To Write Some Original Songs And Go Into The Studio. So In 1968 That's What They Did. `dream World' And `with You' Were Recorded At A Studio In Grand Rapids And The Session Turned Out Exceptionally Well. "it Just Floored Me That We Didn't Sit Down And Write Some More Songs," Says Aquilino, "because I Thought We Did A Pretty Good Job." `dream World' Is Particularly Great With A Soulful Lead Vocal, An Insistent Fuzz Guitar Line, Waves Of Hammond Organ, A Catchy, Harmonized Chorus And An Insistent Dance Groove. Shades Of The Doors, The Young Rascals, The Blues Magoos And Src. A Mixdown Of The Tape Was Forwarded To Their Contact At Capitol Records, But Ultimately No Deal Was Signed. "we Were Just Starting To Separate From High School," Remembers Aquilino. "it Was The Start Of That Transition. I Was Class Of '67, They Were Class Of `68. There Was The War In Vietnam. You Could Go To College To Avoid The Draft. It Was A Lot Of Decisions And I Guess What Happened Is Nothing Really Happened From Us Recording. I Mean They Liked It, They Made Us An Offer, But I Think That The Parents Weren't Really Happy With That. I Think That There Was Some Dissent In The Band Too." The Conspiracy Broke Up In Early 1969 And The Tape Of The Only Original Songs They Ever Played Remained Unreleased And Unheard Until 2018, When Soriano Brought The Original 1" 8-track Session Tape Into Earthling Studios In El Cajon, California, Where It Was Mixed And Mastered By Mike Kamoo For This Release. "getting This Out On Vinyl - It's What We Dreamed Of!" Aquilino Grins. "even If It Took Fifty Years To Happen!" Mike Stax

Rescued from a haze of drugs, alcohol and questionable women comes a potent blend of heavy Chicago Funk, Modern Soul & Psychedelia. Influential recordings from the group's sought-after Funk classics have been sampled by Beck, The Chemical Brothers, Jim Jones, Raekwon & Leaders of The New School.

Previously unreleased Rasputin's Stash from the forthcoming Stash album due out in April. 'Make Up Your Mind' is a contagious rhythm with Jimi Hendrix-style fuzzed out guitar riffs echoing sweet soul vocals and a brass section tight enough to please any Tower of Power fan. On the b-side is a slow-jam Soul-Steppers classic 'You Are My Everything'

Cut directly to vinyl from the recently found master tapes, this music presents material from the band at their artistic peak and the last recordings before Rasputin's Stash members went on to record Crystal Winds First Flight and Attitude, Belief & Determination

In September 2016 Chouk Bwa met the Brussels-based duo The Ångstromers. A traditional Haitian Mizik Rasin — roots music — band, Chouk Bwa, formerly Chouk Bwa Libète, realizes the source of a drum and dance style using percussion and call-and-response vocals that are infused with Haitian Vodou.

'Chouk Bwa' means 'Root' in Haitian Creole. Three percussionists and two dancers are led by composer Jean Claude 'Sambaton' Dorvil on vocals and the fer, an iron bar/bell that announces different rhythms employed to call up the spirits, assisted by Gomez 'Djopipi' Henris.

Chouk Bwa display the deep African heritage of Haiti, torn from Africa and secretly re-planted in a new land. The band members speak for Haiti, a nation that has seen the hardest of times and maintains a relentless spirit and strength through its culture.

The two tracks were selected from the first meeting with the Ångstromers at Café Central, Brussels, recorded live in September 2016. Modular synths and other vintage electronic instruments bring another dimension to Chouk Bwa's music.

Genre: Electronic, World (Arabic). 180gram vinyl includes 12'x24' art print poster + 320kbps DL card. RIYL: Matar Mohammad, Pauline Oliveros, Nadah El Shazly, Lucrecia Dalt, Chino Amobi, Sote, Arca, Fatima Al Qadiri, Tacita Dean, Stan Brakhage. Jerusalem In My Heart (JIMH) returns with Daqa'iq Tudaiq, the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If I f If If If (ye ar-end li sts at The Wire (#39), The Quietus (#24) and A C loser Listen (Top 10), among other accolades).
Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, Big Brave) and abetted by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa'i q Tudaiq translates as 'minutes that bother/oppress/harass'—which presumably needs no further explanation—and features two distinct album sides of music. Side One realizes a long-held dream of Moumneh's to record a modern orchestral version of the popular Egyptian classic 'Ya Garat Al Wadi' by the legendary composer Mohammad Abdel Wahab. JIMH assembled a 15-piece orchestra in Beirut, enlisting the celebrated Montréal-Cairo composer Sam Shalabi (Land Of Kush) as arranger and musical director for the session. Anchored by the stately hypnotic pace of mallet and percussion instruments (riq, santur, derbakeh, kanun), the piece unfolds with lush, languid, reverb-drenched manoeuvrings through virtuosic Maqam shifts (Oriental scales). Moumneh's melismatic lead vocals and electronic production sensibility pay homage to the genre's documented historical recording traditions, while pushing things subtly and respectfully into new territories of sonic distortion and noised, artefact-laden transmission.
The song's original title (with lyrics penned in 1928 by the poet Ahmad Shawqi) translates as 'Oh Neighbour Of The Valley', but JIMH takes a different line from the original lyric as the new title for its orchestral-electronic re-interpretation. 'Wa Ta'atalat Loughat Al Kalam' (' The Language Of Speech Has Broke Down') is an expression of wordless love and transcendent communication between two lovers' eyes in Shawqi's poem; JIMH re-titles the song with this line, exploding the sentiment with more complexity, tragedy and socio-political meaning - also prefiguring the formal aesthetic ruptures JIMH bring to the piece itself. Love in a time of politics, politics in a world conspiring against love, and the specificity of Arab diasporic experience in our brutish 21st century. Side Two comprises four tracks of non-ensemble 'solo' material by Moumneh which push rupture and decomposition/recomposition of tradition further into avant-garde territory - voice, buzuk and electronics take the lead on a suite of emotive and evocative songs, including the percussive loopdriven instrumental 'Bein Ithnein' ('Between Two' ) and the stunningly unsettling processed vocal track 'Thahab, Mish Roujou', Thahab' ('(The Act Of) Departing, Not Returning, Departing'). Daqa'iq Tudaiq is a masterful, mesmerizing artistic statement and confirms Jerusalem In My Heart as one of the most engaged and forward-looking avant-Arabic projects at work in contemporary music today. Thanks for listening.

Paul DeMarinis is a key figure in the history of electronic music since the 1970s. Collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. Black Truffle is thrilled to announce the release of a double-LP collection, selected in collaboration with the artist, focussing on DeMarinis's exploration of synthesized voice and the digital analysis and manipulation of speech sounds. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a revelatory look into DeMarinis's alternately accessible and uncompromising production between 1978 and 1995. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura playing of Anne Klingensmith with strings of letters spat out by a Speak n' Spell to the accompaniment of the randomised melodic patterns of DeMarinis's homebuilt electronic instrument 'The Pygmy Gamelan', the record then dispenses with the live human voice in favour of its recorded and synthetic doubles. We follow DeMarinis's restless probing of the possibilities of new technologies, from the hacked Speak n' Spell (which gives us the austere 'Et Tu, Klaatu' 1979, another duet with Klingensmith, this time on bowed psaltery, in which the toy's synthetic voice is stretched into an alien song) through to the use of digital audio samples manipulated with home computer technology in the early 1990s (including a remarkable dream-like collage piece that weaves a rare recording of Stalin's voice and bird-like electronic twittering derived from its formant-glides into a rich tapestry of samples reflective of the dictator's musical life). In between we get a rich sampling of DeMarinis's signature work with speech melodies - usually unnoticed melodic inflections that lie within speech patterns - which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of textual and vocal sources, which range from the hilarious to the menacing ('Cincinatti (1830-1850)' sets a detailed description of butchering techniques, for example) and an equally broad range of musical conceptions, combining elements as seemingly unlikely as Beethoven's Opus 31 pianos sonatas and the sounds of 80s synth pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterises his work with vocal synthesis, this is 'a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic'. Presented in a deluxe gatefold sleeve with archival images and liner notes by Paul DeMarinis. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Music Mania and Indica Dubs is proud to present the eighth release in their Mania Dub series. This happens to be the third LP, following the classic, 'Light Up Your Spliff' (MD003) and new album 'Dubplate Selection Volume 3 (MD006), comes another of the UK Dub scene's most popular producers; Vibronics, with one of their most significant and popular albums from 2000: Dub Italizer. Vibronics, the future sound of dub, have been vibrating the world with bass since 1997. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label.

The album consists of some of Vibronics most signature songs, including Jah Music, Positive Direction and On Jah Side! The artwork of the album cover and labels have been kept as close as possible to the original, with minor edits to remove some unneeded information. The master tracks have been provided by Steve Vibronics for us to ensure the original heavyweight sound!

After their highly acclaimed debut album »Decadent yet Depraved«, Berlin and LA-based producers Belief Defect invited a variety of artists to join their »Remixed« project. The following 12' EP is a first four-track release of this project. The original tracks of the album are only an approximate starting point for »Remixed«. In contrast to »Decadent yet Depraved«, largely conceived in song structures, this EP is about transferring the pieces back into abstract space, and each remixer does it in his very own way. Alessandro Cortini's one-take live recording is a lesson in classical ambient music. Telefon Tel Aviv's remix is timelessly modern and extremely delicate sound design. Rather opposite concepts are coming from Surachai's brutal pattern design and Kangding Ray's expressive and analogously saturated repetitions for the dance floor.

'Listen To The Music' is the fourth star-studded 'Songs Around The World' album and video series from the world-renowned Playing For Change organization. It features audio recordings of hit rock and world-beat songs, along with a compelling series of performance videos in which Playing For Change's unique recording process is documented to great effect. each song is multi-track recorded and videotaped in multiple picturesque locations around the world by visionary producer and hilanthropist Mark Johnson. The full 12 song project features more than 200 Artists and was recorded in 25 different countries. Featured stars include The Doobie Brothers, Ellis Hall, Jack Johnson, Dr. John, Warren Haynes, Cyril and Ivan Neville, John Cruz, Preservation Hall Jazz Band (New Orleans), TP OK Jazz Band from Congo
(Kinshasa), John Densmore, Bombino, Buddy Guy, Waddy Wachtel, Roots Gospel Voices of Mississippi, James Gadson, Reggie McBride, Karl Denson,Roberto Carcasses, Mamadou Diabate, Lee Oskar,Anders Osborne and Pancho Amat.
Now available on vinyl.

Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theatre. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterised by subtly surreal humour and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann's alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Key selling points: - Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released in 1995, the album utilises an enormous array of instruments to craft a work of singular compositional vision.

- Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison.

- Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements are complemented by entirely different material, ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time.

- Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

- Galerie Randolph is presented in a deluxe gatefold sleeve with gorgeous archival images by the composer with design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Originally out in 1983, Love Power is co-produced by Fabian Cooke (from Itopia) and Lloyd Bullwackie Barnes, with assistance from Prince Douglas. Cooke plays most of the instruments himself, with his drumming centre-stage, though Ras Menelik puts in a brilliant shift on congas, and backing vocals are by Sugar Minott and the Love Joys. Cooke's own well-crafted compositions are joined by covers of Irene Cara and the Four Tops, infectiously bridging roots, lovers and synthy, soulful eighties boogie.
Betrayed is solid-gold, signature Wackies. He's My God is a tasty sip of low-slung, grooving gospel-reggae. Evoking Michael Jackson, the jamming album-closer Drums is top-notch disco-reggae, opportunely poised for revival.
Terrific stuff, full of personality, charm and in-ting hybridity.

By This Compilation In A Beautiful Hardcover As A 33 Rpm Exclusive
We Celebrate 10 Years Of Dock Records !
Shout Outs To All Our Supporters /music Lovers And Involved Artists
Over The Years....
As Stated Before: We Don´t Care Much About Trends And Hypes.

"Torino" is SONAR's sophomore album. Once again music was produced by Lukasz Stachurko, pianist Artur Boguslawski and drummer Rafal Dutkiewicz with beautiful vocal from Lena Osinska. With this4
album SONAR would like to make you dance.

It's been just a year and a half since the release of SONAR's debut 'Petle'. The band returns with an album of 11 premiere songs! Among which you can hear Lena singing in English for the first time. SONAR's collaboration with US-based singer Miles Bonny and rapper from Chicago - Squair Blaq presents that distance is not an obstacle to
create good music.

Several people are responsible for the lyrics -Mateusz Holak, Wanda Berger, Arek Sitarz (Ras) and Lena.
Michal "Eprom" Baj was responsible for mix and mastering. Karolina Zajaczkowska designed the cover and made all the photos. Album also features incredible hand-painted artwork from Zbiok Czajkowski.

CD and digital verison was released on March 2018 and received great response:

SONAR "Hidden Garden" (official video http://youtu.be/KCg8bkQ0bHE more than 590k views)

SONAR "Face The Sun" (official video http://youtu.be/ji9x1rxlhi4 more than 660k views)

The vinyl version was released on 180g black vinyl with printed inner sleeve. 300 copies only.

PLEASURE ZONE proudly presents on the 30th edition Funk E! We'are very happy about the "Sound & Silence EP"

The infamously velvet tones of Jon Lucien get a much welcomed official remastered, reissue - with the original 'Rashida' 7' e.p., that contained four of Lucien's tracks, now split into two 7's for a louder, more refined pressing of each song.

First up, 'Lady Love', with it's bossa nova inspired style, drawing every last drop of emotion from Lucien's infamously voluptuous voice. Once dubbed by Herbie Hancock as 'the man with the golden throat', it's easy to see why - Lucien's rich baritone evoking dreams of summer sunsets, glistening blue seas whilst wrapping you up in a blanket of warmth and tenderness that few can rival.

On the B side - 'Love Everlasting', another of Jon Lucien's bossa nova leaning tracks, swells with jazz flutes, plucked acoustic guitars and a soul drenched string section to compliment Lucien's beautifully calming tones.

With the original Rashida 7' exchanging hands for over £150 on Discogs, here's a chance to get Jon Lucien's golden-throated voice in the collection without raiding the savings.

Double Sider Of Uptempo Vintage Mpb Samba Jazz From Carlos Sodré, Originally Released As A 33rpm 'compacto' 7' Single On Copacabana In 1965.

'Cohesion' is the third full album from Anchorsong - AKA Tokyo-born, London-based electronic artist Masaaki Yoshida. Taking inspiration from Classical Indian Percussion, and '70s and /80s Bollywood film soundtracks

Anchorsong creates a journey of psychedelic, danceable and free-spirited compositions that blur the boundary between rhythm and melody. It was whilst extensively touring his previous album, 'Ceremonial', that Masaaki

became deeply fascinated with percussion, and shifted his attention away from the African drums present on his last record to the music of the Middle East, South East Asia, and then more specifically to the sounds of India. 'The Indian

percussion was the one I was most fascinated with, so I began to dig into that genre deeper, I started with classics like Ravi Shankar, and the more classical Indian musicians. But then I began to explore the world of Bollywood and movie

soundtracks which is another world and the more I listened to composers like Sapan Jagmohan, Rajesh Roshan and Kalyanji Anandji, the more the concept of the new record began to form.

Choosing to work with traditional Indian instruments like the tabla and dholak, Yoshida wanted to use instruments that possessed melodic qualities, and could be tuned to work in the context of electronic music. He found that when Indian

percussions mixed with other instruments they began to sound like a melody that blurred the border between rhythm and melody. The concept of bringing together contrasting elements and cultures is evident from the album's title,

'Cohesion'. Here Anchorsong has brought together musical traditions and sounds from across borders, forging a truly unique body of work. Having reached new heights with 'Ceremonial' through accolades such as BBC 6Music's #5 Album

Of The Year, 'Cohesion' looks to build on such successes through the coupling of a comprehensive European tour kicking off around the release of the album.

In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.

Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.

'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'

Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.

Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.

Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Amaro Freitas - Piano

Hugo Medeiros - Drums & Percussion

Jean Elton - Double Bass

Henrique Albino - Baritone Sax, Flutes & Clarinet

All compositions by Amaro Freitas

Produced by Amaro Freitas

Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil

Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil

Executive producer and management: Laercio Costa

Welcome to JANX Records' first release. The debut EP features Kevin Over, Sarp Yilmaz, Frag Maddin and Boj Angler. Four friends and four cuts of naughty sample-based house music. All tracks recorded with love in Berlin, Istanbul, Essen and Ibiza. Available as digital release as well as strictly limited vinyl with silk screen cover art, hand-printed and packaged by the artists themselves. Vital Sales Points: Various Artists EP featuring Sarp Yilmaz (Istanbul) with former releases on Apparel Music, Swink Music Kevin Over (Essen) with former releases on e.g. Madhouse Records, 4Lux, Rough Recordings Frag Maddin (Berlin) with former releases on e.g. Madhouse Records, Upon.You, Kakudo Records, etc. Boj Angler (Ibiza) with former releases on Esance

CYBERSPEAK, Milan multidisciplinary collective appears on the internet as a language of objectivity and truth, as the computer is, challenging the existing order in electronic music.
'V1' is the first physical episode coming from duo TRAIN TO ELTANIN showing their skills with 5 tracks that embody the musical accelerations of the label.
Hi-Speed Electrofunk with some energetic stop and go that makes it a sure killer dancefloor weapon, atmospherical and evocative club sounds, classicism jazzy school driven by computer sequencers, jungle assaults and broken electronics. The message is clear: Keep on Programming!

2018 was the hottest summer on record...so let's see if we can cool things down while still keeping it warm all over (and over). Enter Kool Customer: a new collab from LA's beatsmith B.Bravo and the Bay's croon daddy Rojai, coming out September 21 on Bastard Jazz. The vibe: think West Coast Boogie Funk A la Dam-Funk, thrown in Styrofoam cup with some 80s synth steez, then escorted to the strip club (at 3AM) dressed head to toe in a white tux lined with gold chains.

The LP's kick-off "Play" is an ode to bed springs, as is the grand finale "Tonight's the Night"— but what happens in between the sheets Prepare yourself for the smooth basslines and raspy bars of "Sweet Tea," the creamy licks and buttery synths of "Pure Delight," and the heads down r&b of "Rain on My Window." You can also envision yourself cruising in a low-rider when throwing on the breezy "Blackberry (Somebody Told Me)," or surfing (slash exhaling) a cloud above the city on the woozy "Nice Touch." Expertly produced beats are nestled up to warm vocals and crafty lyricism about life and love and lust in 2018 a plenty here.


Metaphors aside, the debut from Kool Customer finds two talented musicians doing what they do best: chilling you out while making you move, in perfect unison. Also, keep an eye out for the super-special deluxe pack, that might just come in handy when you need it most. Ooh La La.

»sichten« refers both to »opinions« as well as the »examination of material«. in lose sequence, we will invite friends and colleagues, but especially music lovers to share their opinions on music with us or to look through their collected materials in order to present music that tends to be out of the focus of current media channels. as a label for electronic music our focus is on examining exactly this genre. but in the context of the series, we are rather looking for more hidden, unknown, perhaps forgotten music. we want to present the yet undiscovered, and also offer a platform for other cultural environments with different musical approaches. each issue will be supervised and compiled by a curator. an introductory text shall explain the ar- tistic approach of the respective curator. in this sense, the format of a double lp can only provide a first insight and wants to invite to a more in-depth research. for the first issue of the series, »sichten 1«, we asked frank bretschneider to compile his own, very personal selection of current electronic music. his choice fell on six artists, whose different styles me- ander between accessible music on the one hand and very abstract compositions on the other hand.

"sichten" bezieht sich sowohl auf "Meinungen" als auch auf die "Auseinandersetzung mit dem Material". In loser Folge laden wir Freunde und Kollegen, vor allem aber Musikliebhaber ein, ihre Meinung zur Musik mit uns zu teilen oder ihre gesammelten Materialien durchzusehen, um Musik zu präsentieren, die nicht im Fokus der aktuellen Medienkanäle steht. als label für elektronische musik liegt unser schwerpunkt auf der untersuchung genau dieses genres. im rahmen der serie suchen wir aber eher nach verborgener, unbekannter, vielleicht vergessener musik. wir wollen das noch unentdeckte präsentieren und auch eine plattform für andere kulturelle umgebungen mit unterschiedlichen musikalischen ansätzen bieten. Jede Ausgabe wird von einem Kurator betreut und zusammengestellt. Ein einleitender Text soll den künstlerischen Ansatz des jeweiligen Kurators erläutern. In diesem Sinne kann das Format einer Doppel-LP nur einen ersten Einblick geben und will zu einer vertieften Recherche einladen. für die erste ausgabe der serie "sichten 1" haben wir frank bretschneider gebeten, seine eigene, sehr persönliche auswahl aktueller elektronischer musik zusammenzustellen. seine auswahl fiel auf sechs künstler, deren unterschiedliche stilrichtungen ich zwischen zugänglicher musik einerseits und sehr abstrakten kompositionen andererseits unterscheiden.

GIULIO ALDINUCCI is an Italian sound artist working in the fields of experimental electroacoustic music, field recording and ambient soundscape. Born 1981 in Siena, his catalogue comprises four solo albums on labels like DRONARIVM (CHIHEI HATAKEYAMA, AIDAN BAKER),TIME RELEASED SOUND or HOME NORMAL plus EPs and collaborative albums (a.o. with PLEQ). Furthermore , he wrote music for theatre, video art, documentaries and short movies and was awarded with an honourable mention at the 18th International Electroacoustic Composition Competition Música Viva 2017 for his composition "Mute Sirens". Together with ATTILIO NOVELLINO, ALDINUCCI launched the project "Postcards From Italy" which consists of an album published by OAK EDITIONS, live events (the first one took place at Cafe OTO, London) and an installation by AIPS collective & GIANMARCO DEL RE.
"Borders And Ruins", his first album for KARLRECORDS, is a reflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turns into a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory. It is also a sonic diary: a constantly mutating soundscape where electronic sounds and field recordings (taken during several travels around the continent) blend into an ambient masterpiece of sublime beauty and sacral majesty.

Mastered by Alexandr Vatagin
Vinyl cut by Rashad Becker at D&M, Berlin
Artwork by Joe Gilmore

Music Mania and Indica Dubs is proud to present the fourth release in their Mania Dub series. Following the classics 'Almighty Dub' (MD001), 'Rastafari' (MD002), 'Light Up Your Spliff' (MD003), comes another of the UK Dub scene's most popular producers; Vibronics, with two of their most popular anthems from the early 2000s: Red, Gold & Green / Terror. Both of these killers were previous released on different labels, and we have collated both songs into one giant release! Vibronics, the future sound of dub, have been vibrating the world with bass since 1997. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label.

'Red, Gold and Green was the first time I worked with Horns - all played by Stevie Splitz - and now I've been working with him ever since... Terror was made with using the most basic equipment, set up in a temporary studio at home just to build some of raw exclusive dubplates that were never meant for release - they have gone on to be some true Vibronics anthems.'

The master tracks have been provided by Steve Vibronics for us to ensure the original heavyweight sound!

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others.

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others

The 8 track album features new collaborations with DJ Phil, Gantman, DJ Paypal, and Sirr Tmo, and a previously unreleased classic from 2013, co-written with DJ Rashad. WFM will be available in Vinyl and digital formats on September 7th 2018. Listening to WFM, the first thing that jumps out at you is Heavee's masterful use of synthesizers and sound design. You get the sense that these elements have been lovingly crafted during countless hours of sonic experimentation and invention in the studio. As Heavee explains, the primary focus on synths represents a departure from his usual creative process: 'Usually in my method of production, synths or sounds come somewhat close to last, likely after I find structure or rhythm. Basically, it's not something I particularly go for first, but this time around they became the building blocks'. Heavee has made a conscious decision to challenge himself, adopting a different approach to his past productions. In doing so, he moves away from the familiar sampling techniques which characterised his earlier work: 'I am a child of the last days of ghetto house culture as it shifted into juke/footwork. My parents, aunties, and uncles played house and ghetto house music at family functions, BBQs and house parties. That's my roots and where I came from. However, on this record, I chose to stray away from vocal samples, to give myself room to grow in different areas.' Heavee finds his voice in emphatic fashion on Cloud Ride feat. DJ Phil. His lyrical content and flow are on point as the track flips seamlessly from hip hop to footwork and back again. DJ Phil features on 3 tracks in total, a reflection of Heavee and Phil's close friendship and musical connection. As Heavee explains: 'Phil's studio is a safe space for me. Whether he is in the room or not, I don't feel weird about trying something that might be silly, taking it to the next level, or coming from a place of pure inspiration. Phil has historical, musical and cultural knowledge relevant to Chicago. He shares a lot of invaluable knowledge with me' WFM features It's Wack a classic collaboration with DJ Rashad that still sounds fresh today. Heavee remembers how Rashad would always stay connected, even during his relentless touring schedule: 'We'd get calls no matter where he was. We would talk about everything! He ALWAYS had new info; what new music was popping, scenes that were really accepting or supportive of what we were doing, blends that made the party go off, sites, adventures and just fuel us with support from him and give us living proof of the global support that was to come and the journey that was ahead of us.' Although Heavee makes music with the dancefloor firmly in mind, the sheer quality of his music transcends that space. So sit back and enjoy the next chapter in the Teklife story. All that remains is for Heavee to sign out with a message for the worldwide Teklife family: 'First, Thank you to everyone who supports what I do as an Individual, and Teklife Music as an entirety. You don't understand how much your support means to us, it literally keeps us moving. The takeover is far from over! Second, thank you to everyone involved in this project, I couldn't have made it without you. This process taught me so much about what it takes to become the person you want to be. It starts inside of you, and you have to really work for it, you can't wait and wonder. I feel beyond blessed to present this gift to the world, walking this journey of self -discovery through music with you!!!

Single cut of the epic "Grounation" - lively piece gathering peace and love backed with the flute lead instrumental "Ethiopian Serenade" also a single only version.

Shortly before the turn of the year 2017/18, my friend Jan Müller wrote me an e-mail: »Dear Martin, I'll send you the new album of my band ›Dirty Dishes‹ now. The album is titled ›Kabinett Von Papen‹. It is a concept album, which has the third-last government cabinet of the Weimar Republic as a subject. So, please tell me how you see it - whatever your verdict, I'll use it as an incentive to put my mind and body in the service of global pop culture even more so in the future«.

Dirty Dishes is founded in 2005 by Jan »Rasmus Engler« Müller (Tocotronic) and Rasmus »Jan Müller« Engler (MHerrenmagazin, Little Whirls, Ludger) when the two are bored during recording sessions for the second album of their group Das Bierbeben. Immediately, they write two pieces of music (»Bon Giorno«, which has alcohol and drug abuse as a subject, as well as »Drink a Coke«, a Brigitte-Mira-dedicated anthem for the caffeine-containing soft drink), which are released in the same year as a single under the title »Hurra...! Endlich Ferien!« on the label K.i.N.d.V. Two years later, the duo releases their debut album »Tea Is Not Our Cup of Coffee«. Here one can hear the first experimental and more conceptual works such as »Dirty Dishes as Goofy as Asterix«. The following albums (»Mit uns nicht!«, 2009, and »Von der raffinierten Kunst, jemanden in einen Tümpel zu stoßen«, 2013) juxtapose song and experiment. The first pure concept album, including now-permanent members ALEXANDER (Schrottgrenze, Station 17), Guido vom Flockenberg (Back On The Road), Isabella Stellmann (pedagogue) and Zopfus (ByteFM), is »Der Egel vom Tegel - Die kleine Rock-Operette der Dirty Dishes« (2010), followed by »Round about Ignaz Kiechle«(2013). The latter brings together songs that deal with significant events in the life of former Agriculture Minister Kiechle and were recorded freely improvised in just one recording session.

On the now-available »Kabinett Von Papen«, composed in monastic retreat, each piece is named after a minister from Papen's presidential cabinet (1.6.1932-3.12.1932) and represents them tonally and/or lyrically succinct.

Planet Mu Are Very Happy To Be Releasing 'vicious Circles', The Debut Ep By Sinjin Hawke And Zora Jones, Who Aside From Producing Music Also Run The Audio-visual Production Unit 'fractal Fantasy'. Zora Released Several Collaborations On Last Year's 'visceral Minds 2' Including 'dark Matter' With Planet Mu's Jlin, While Sinjin Has Collaborated With Dj Rashad, Just Blaze And Mikeq, And Also Produced Music For Monoliths Like Kanye West And Frank Ocean. Remarkably, Given The Breadth Of Their Work, 'vicious Circles' Is Their First Collaborative Ep, And The First Time Either Have Released A Vinyl Record Too. The Ep Is A Great Showcase For The Duo's Emotional, Maximalist Chimeras Of Abstract Pounding Beats. From The Punchy, Circular, Grandiose Build-ups Of Opener 'vicious Circles', To The Unyielding Melancholy Of 'god' With Its Sinister Bulgarian Choir Sample Against A Peak Timbaland-era Rhythm, The Record's Potent Synths And Manipulated Vocals Are Both Simultaneously Fierce And Friendly. 'source Of Conflict' Is A Poised Dance Between Pulsing Ambient Textures And Drilling Beats, While 'lurk 101' Pits A Volley Of Abstracted Juke Toms Up Against A Hammering Drumline. 'babyboysosa' Feels Like Drum-less Drill, Manipulating Vocals Into Strange Alien Shapes Over A Bassline Before Spiraling Toms And Hi-hats Start To Form A Forceful March. The Ep Concludes On The Love Anthem 'and You Were One' With A Chipmunked Vocal Running Through Its Wonky Chorus Of Bent Notes And Chords.

'A love project' from the heart and mind of UK broken beat stalwart and iconic keyboard maestro Kaidi Tatham, alongside an outstanding group of Danish musicians led by percussionist Peter Stenbæk.

12 Senses debuts with the Movement EP, a record drawing on jazz-funk, broken beat and disco, laced with the distinctive melodic progressions and boogie touches Kaidi Tatham is known for. Recorded over an intensely productive three-day session, which produced 20 plus songs, this EP is a first taste of what's to come from this creative gathering.

With recent records on First Word, Sound Signature and 2000Black, plus a brand new solo album 'It's A World Before You' it appears there is no letup in Kaidi Tatham's prolific output spanning a 2 decade long career, that has seen him work with artists such as Bugz In The Attic, 4Hero, Slum Village, Jazzy Jeff & Will Smith, Amy Winehouse, Leroy Burgess, Moonchild, Soull II Soul, Amp Fiddler, Mr Scruff and Dego, to name but a few.
Touch starts with the heavily syncopated rhythms of drummer Anders Meinhardt, accompanied by a bed of airy Rhodes, synths and guitar on top of a ruthless, disco-tinged bassline. Life evolves on a spiritual and hypnotic tip with a driving lick that just keeps on building, sprinkled with beautiful intertwining organ, piano and synth solos by Kaidi and pianist Poul Reimann. Movement slows the mood to a soul-tinged stepper with soothing choir and deft touches from the trumpet of Rasmus Juel. Kaidi changes up the pace on his remix with a smooth boom bap vibe before hitting the halfway point and switching up to his signature, breakneck latin bruk funk.12 Senses evolved from yearly marathon concerts at the Copenhagen Jazz Festival, arranged by percussionist Peter Stenbæk, who simply e-met Kaidi Tatham and insisted on him coming to Denmark to share the festival stage. Over the course of five years the friendship and musicianship between the two has gone from strength to strength, reinforced by the skilled musicians around them; drummer Anders Meinhardt, guitarist David Rosenkilde, bassist Andreas Hatholt, trumpeter Rasmus Juel and pianist Poul Reimann. The record was brought to life by Morten Trust (aka. Soulmagic), who kindly contributed his heart, studio and mixing skills to Movement.

Lucrecia Dalt's Anticlines is a volume of bodily and geological substrates within poetic theory and sound. It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres.

A former geotechnical engineer from Colombia currently residing in Berlin, Dalt's concern with boundaries and edges shape the lyrics and music of Anticlines, her sixth album. Paying careful attention to pace, breath, and texture, Dalt microtonally shifts the distance between speech and song while using traditional South American rhythms to support her contemporary electronic composition.

Lucrecia arrived at the atmosphere of Anticlines after several months of studying and creating new patches for the Clavia Nord Modular, forming a rhythmic feedback flow with it, a Moogerfooger MuRF, and her voice. The overall effect of cavernous space backdroping Dalt's intimate vocal phrasing rewards contemplation, supported in the physical formats of Anticlines by a lyric booklet documenting Lucrecia's collaboration with Australian artist Henry Andersen.

The album opens with Edge,' bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away. Tar' ponders human dependence on earth at the boundary of the heliopause, where to inhale might be like breathing tar. Dalt's distant and obscured vocals end with, we touched only as atmospheres touch.'

The sonic rise and fall of Analogue Mountains' is inspired by martian traces found in Antarctica embedded by meteorite ALH84001, suggesting that we might well be living in mountains transferred from Mars.' The steadily winding music on Concentric Nothings' descends with the lyrical exercise of dissolution let my touch be indistinct and instinctive.'

Interspersed with the lyrical pieces of Anticlines are instrumental interstitials that demonstrate preceding concepts — as if to say, this is what antiforms sound like, and this is what the universe's indifference sounds like.' Dalt's ongoing experiments with visual artist Regina de Miguel support these ideas, their practice allowing the objects of their attention to slip in and out of being.

Mystic of matter, Lucrecia Dalt has previously performed and worked with Julia Holter and Gudrun Gut, her slippery spoken word and performative nature recalling the work of Laurie Anderson, Robert Ashley, Asmus Tietchens, or Lena Platonos. While touching stones, The Thing by Dylan Trigg, Cascade Experiment by Alice Fulton, and Wretched of the Screen by Hito Steyerl are but a few formative scripts that support Dalt's exploration of the betwixt and between.

In preparing a live set for Anticlines, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for gestures that create tensions with non-existent objects.' Dalt intends to provide meaning and a place for the listener to meditate or relate to the concerns and ideas' she presents.

- Lucrecia Dalt is a Colombian recording artist, songwriter, and producer.
- After studying civil engineering in Colombia, Dalt worked at a geo-technical company for two years and has since lived in Barcelona and Berlin, where she currently resides.
- She has released five solo albums and has collaborated with musicians Julia Holter, Laurel Halo and Rashad Becker, to name a few.
- Dalt has composed for sound design installations and performance pieces for institutions such as the Santa Monica Art Centre, Reina Sofia Museum and the Maisterravalbuena gallery of Madrid, in collaboration with visual artist Regina de Miguel.
- Anticlines is Dalt's sixth solo record, and her first on RVNG Intl., following the release of 2015's Ou.
- Anticlines explores the boundaries and limitations of human consciousness. The album's poetic lyrics were written collaboratively between Dalt and Henry Andersen during a weekend in Brussels, Belgium.

1954 is the fifth vinyl release on the Modern Cathedrals label by recent Detroit export Altstadt Echo. Staying true to the themes of the the 'year series' that began with the 1913 EP and was followed by the 1905 EP, the artist continues to explore somber, broken beat techno with an eroded, highly-textured percussive focus.

In the previous two EPs from this series, Altstadt Echo was joined by Varg, Abdulla Rashim, Stave, and Evigt Morker on remix duty. For the 1954 EP, he's commissioned UK artist Szare, who delivers a highly danceable revision that combines the ghostly vocals of the original with highly frenetic percussive injections.

The artwork of the EP is aligned with the label's greyscale documentation of Detroit, this time featuring the stunning architecture of the New Center district of the city. The photos were taken by the artist prior to his move to Berlin in Fall 2017.