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With such a raft of quality music coming across the Summer from NuNorthern Soul, we thought we would put together an EP of some of the tracks featuring across the upcoming months...

We have taken our favourite tracks from various digital releases and present them on one vinyl 12" EP On the A side we take Nick J Smith's 'Waves Take Hold' from the Waves Take Control EP'
'Waves Take Hold', is a kaleidoscopic, life-affirming exercise in late 1980's style Italian Dream House, that's so warm and rush-inducing that it's likely to get the hairs on the back of your neck standing to attention.
Full of ricocheting drum machine hits, sun-bright lead lines, elongated chords and rich bass, it sounds like it was tailor-made to soundtrack sunrise in Rimini...

Bonnie & Klein 'Ocean Leap' taken from the Ocean Leap EP
There's a deeper and dreamier feel to the 'Ocean Leap' track, whose bubbly melodic motifs and synthesizer panpipe flourishes offer subtle nods towards 1980's Greek new age electronic composers such as Vangelis Katsoulis amd Dimitris Petsatakis.
Bonnie & Klein's synthesizer-heavy melodiousness comes accompanied by dub disco strength bass and undulating, off-kilter drums, but retains the rush-inducing bliss associated with the pioneering work of their Greek predecessors.

AA is given up to the 10 minute + track from Mirage: 'Endless Ocean' taken from their Reflections of the Sun EP.

'Endless Ocean' is a slowly building masterpiece. After a hushed, atmospheric opening, the track bubbles away on waves of hazy bongo beats, lapping water sounds and seductive chords before rushing skywards in a swarming swirl of trance-style synthesizer lead lines, echoing electronics and picturesque piano motifs.

Winner of the 2018 BASCA British Composer Award for Solo or Duo

"Bloody hell that was good" Tim McKinney, BBC Radio 3

Dominic Murcott – The Harmonic Canon

A music project featuring a specifically design half-tonne double bell, an array of rare percussion and two highly virtuosic percussionists.

Dominic Murcott is a composer, percussionist, curator and educator based in London. Much of his work combines acoustic instruments with computers, film and other media. He has a continuing interest in work that is personalised for specific performers and has created acoustic/electronic pieces for trumpeter Noel Langley, percussionist Joby Burgess, clarinetist Joan Enric Lluna, harpist Sioned Williams and the Elysian String Quartet among many others. He has taken an unusual path to his current position, starting out as a self taught musician, his early career included playing drums with no-wave pioneers 'Blurt' and composing for the highly successful V-Tol Dance Company throughout their ten-year history. Changing from drums to vibraphone he became a member of art-pop band The High Llamas and has played on records by many influential artists including Stereolab and Pavement.

Created in collaboration with sculptor Marcus Vergette, The Harmonic Canon is both the name of the piece and the double bell that was custom-made for it. Comprising of two bells tuned a semitone apart, the bell was created using Finite Element Analysis, a type of structural analysis that determines the vibration patterns of the bell, manipulating its harmonic series to create a complex series of frequencies that make up a note. Part One is made up of rapid, high energy, virtuosic passages, articulated with the ominous striking of the bell while the second part contrasts with a single resonant tone that evolves and shifts over time. This is part of nonclassical's 21 Minutes series, a new project commissioning 21-minute pieces.

The piece won the BASCA British Composer Award for Solo or Duo. Premiered in 2018, the piece has had radio play on BBC Radio 3, broadcast from Huddersfield Contemporary Music Festival.

Led by Saxophonist Rob Mitchell, Abstract Orchestra have been a consistent presence on the u.k. music scene, touring constantly in the promotion of their debut LP "Dilla" and follow up 45 "New Day feat. Illa J", steadily building a loyal and supportive fanbase. Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures, breathing new life into familiar material.

The band itself is based on the classic jazz big band instrumentation of saxes, trumpets, and trombones and features the cream of the north of England's jazz scene who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

"Madvillain Vol. 2" follows on from the 2018 release "Madvillain vol. 1" and further explores the jazz, TV soundtrack and film score aspect of the original work, combining it with classic big band writing and a focus on improvisation. As with vol 1. there is a strong influence of Quincy Jones, Lalo Schifrin and David Shire(Composer of the soundtrack to The Taking of Pelham 123) on the album, and the arranger Rob Mitchell crafts his own sound that inhabits the space between Madlib's production and Quincy Jones' writing.

As a bonus track to the album, Abstract reworks Dabrye's 'Air' and have included the original vocal of MF DOOM. Dabrye's original is heavily soaked in synths and drum machines, with an almost sci-fi, Blade Runner or Tron-esque sound . Mitchell explores this further and is influenced by Bob Brookmeyer's late work 'Electricity', which explores synths and jazz orchestration.

Madvillain Vol. 2 will build on the success of vol. 1 which received enormous support from Gilles Peterson & Huey Morgan on BBC6 Music as well as numerous airplay on Worlwide FM and Jazz FM, and reviews from soulbag in France and ukvibe, qwest.tv, and vinyl district online.

“Le Lisse et le Strié is a new work by french composer François J. Bonnet, released under his project name Kassel Jaeger. Based in Paris, Bonnet is the Director of INA GRM. He is also a writer and theoretician (The Order of Sounds, a sonorous Archipelago and The Infra-World have been published in english by Urbanomic). As a musician, Bonnet has been collaborating with artists such as Stephen O’Malley, Oren Ambarchi or Jim O’Rourke and most of his recent work has been published by Editions Mego.

Le Lisse et le Strié has been conceived as an exploration of the two antagonist concepts of “smooth” and “striated”, applied to the realm of electroacoustic sounds. If the “smooth” is linked to “nomos” as an open space of organic distribution, the “striated”, on the contrary, is associated to “logos”, as an enclosed space defined by a grid.

Elaborating a dialogue between these aspects, Kassel Jaeger draws here an intermediary space where pulsations become textures and layers, and where rhythmic elements are found in the qualities and bodies of sounds instead of being functionnalised, pre-determined sound objects, abstracted and frozen onto a temporal grid. The concept of “striated” is made audible only through the sonic landscape it inhabits, like the stripes of the camouflage fur of wild animals only exist as such in the woods and long grass, disappearing into a potentially uselessness in a desert plain.”

Cochemea Gastelum is coming home to connect with his roots. After nearly 15 years of touring the world with Sharon Jones and The Dap-Kings, the saxophonist offers a deeply personal album of jazz and indigenous-influenced rhythms. All My Relations¸ out February 22 on Daptone Records, is 10 tracks of mesmerizing and spiritually ascendant instrumentation. The first single 'All My Relations' is available now.

'All My Relations is a way for me to explore my roots through music. Some of it is a memory that is imagined from a time and place I've never been ('Sonora') or a musical impression of ritual ('Mitote'),' Cochemea says. 'I felt compelled to add the way I feel when I go to ceremony, when I feel connected with my ancestors, to the musical narrative.'

A California native with Yaqui and Mescalero Apache Indian ancestry, Cochemea grew up surrounded by music but without knowing much about his heritage. Both his parents were musicians, and they gave their son a heavy name meaning 'they were all killed asleep.' Cochemea has spent much of his diverse musical career - as a soloist, musical director, composer and ensemble player - exploring and iterating on roots music, and All My Relations is a capstone meditation on his own ancestry.

Originally conceived during Sharon Jones and The Dap-Kings' final year of touring, Cochemea and Daptone's Gabe Roth cast a varied but familial set of New York musicians to bring All My Relations to life. A large portion of the album was created through improvisation and collective writing, where its 10 musicians created a melodic, percussive conversation. 'It was a beautiful experience - people would start playing and we'd work up these arrangements on the spot, then record it.'

'In a sense, this record is a prayer for unity, love and the recognition that we are all part of a web, and everything we do effects everything else,' Cochemea says. 'These days there's so many lines being drawn, I wanted to focus on what unites us.'

Cochemea has a long history of uniting multiple genres with his powerful polyrhythmic sensibilities. His roots in jazz, Latin, funk and rock led to multiple tours with funk-jazz organist Robert Walter's 20th Congress, and connected him with Sharon Jones & the Dap-Kings for their 2005 Naturally tour. Cochemea also played tenor sax with The Budos Band and Antibalas, and Baritone sax on the Amy Winehouse sessions, before becoming a full-time Dap-King in 2009.

In between marathon tours, Cochemea recorded a critically acclaimed solo album of soul, funk, and afro-Latin jazz, The Electric Sound of Johnny Arrow, all while doing session work for the likes of Mark Ronson, Rick Rubin and Quincy Jones. He's performed alongside Archie Shepp, Beck, David Byrne, Public Enemy and The Roots. Cochemea was also a featured soloist in the award-winning Broadway play Fela!, which led to historic performances in Lagos, Nigeria.

The HARP EP is to be released on PRAH Recordings and offers a balance of movement and feeling. ‘Banshee’ and ‘Feeler’ are both dance tracks intended for the dancefloor, whereas ‘Why Can’t I Remember Your Name’ and ‘Heart’ are two tracks meant for times of contemplation.

Inspired by the time when hardware was the only real option for making dance music, applying the same limitation and tactile approach lead to the creation of these tunes from a technical perspective. The equipment used was primarily analog and outboard, with the utilisation of tape for recording ‘Banshee’.

London via Margate composer, producer and multi-instrumentalist Raven has collaborated with many well-respected artists including Kate Tempest, Paul Weller, Mica Levi, Kwes and Bullion. His music upholds a balance between the orchestral and electronic, abstract and conventional. Parallels can be drawn to the artist Arthur Russell,
in terms of their diversity, creating tracks you can dance to, but also songs and music for reflection.

All tracks are taken from the results of the second week of Raven’s PRAH residency in Margate which has seen the likes of Kelsey Lu, Adult Jazz, Ben Vince, Lone Taxidermist, James Greenwood, Deep Throat Choir, Flamingods Lung Dart & London Contemporary Orchestra. Each have spent time writing and recording in the studios
as part of a free artist residency program offered by PRAH Recordings’ arts wing the PRAH Foundation.

180g Limited

Life is but an Empty Dream is the seventh full length from long-form ambient composer OKADA.
By pressing play, Gregory Pappas, the man behind the moniker, requires your full attention. Waves of crashing sound swirl around viscus beats and cavernous staccato piano. Sound becomes broken to be reconstructed many times over. This is not the lovesick nor heartbroken OKADA we've witnessed before. This is a cathartic, disillusioned, OKADA, out the other side, worse for wear but building anew.
The proximal six-minute opening to the album expounds destruction and disintegration, chaos and rebirth. The eye of this storm then disseminates wide allowing a female vocal breath to imply "again." Have these destructive waves ultimately lead to pleasure? Or moments of rage that have eventually lead to acceptance? It is evident that there is a need, a yearning, an ache, that percolates to the surface on Life is but an Empty Dream. This, mind you, has all happened in the first ten minutes of the album.
Pappas, as with all OKADA albums, has put every fiber of his being into the creative process. Such focus and shroud that hangs over the album lead us to assume Pappas' is in an antithetical state than the one apparent on 2016's ode to the blossom- ing relationship Love Telepathic.
Life is but an Empty Dream features four long from tracks that effortlessly progress through extended vignettes encompassing ambient, post-industrial, chillwave and even IDM. Life is but an Empty Dream also has the distinction of being the first OKADA album to be pressed to vinyl and will be available on May 24th

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1
Breach One
9' 36''
2
Interlude One
3' 26''
3
Breach Two
7' 05''
4
Breach Three
9' 32''
5
Interlude Two
2' 29''
6
Breach Four
7' 34''
Breach dives into chaotic systems and reflects on the recent events of protests and riots in the world, exploring the build up and release of tension and energy in a new form of pitch black metal electronics and polyrhythmic structures.

Zeno van den Broek is a Dutch-born, Copenhagen-based composer and artist. Van den Broek works in a multi-sensory way to research and express physical, social and acoustic notions. He utilises audiovisual means to create site and concept specific works. This trans-disciplinary method has a strong conceptual foundation, originating from a background in architecture, which enables Zeno to comprehend and reveal the richness and complexity of spatial, visceral and physical perception. He works with a characteristic artistic language based on minimalist and fundamental elements such as sine waves, lines, noise and grids.

Athens based composer Akis Daoutis (Akis) remixed by Tolouse Low Trax, Bartosz Kruczyński, Benoit B and K100 Signal.

Anadol is a psychedelic synth folk project by Gözen Atila, a Turkish sound artist and photographer based in Berlin. Her third album Uzun Havalar is based on collective improvisations of middle eastern folk songs called „uzun hava“. They turn out as rich, atmospheric synth ballads. A diverse roster of improvising musicians creates their fascinating complexity. Anadol recorded them during extensive sessions in Istanbul. You can hear drummers laughing and playing guitars, composers howling, announcements in French and screams in no language, record collectors playing oscillators, and trumpets through spacious echoes. Anadol represents Gözen Atila’s liberation from a rather academic approach to electronic composition which she pursued during her music technology studies in Istanbul. She calls her education the „darkness of serious music“ where she first tried to belong, then to break free with the help of lo-fi synth pop. As a producer of radio plays and an expert field recording artist she has developed a distinct sense of timing, editing and sound design. Her Anadol project walks in the footsteps of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, pushing the boundaries of minimal equipment. On Uzun Havalar she translates her experimental background into these floating folk ballads. The album was originally released on tape via Kinship in 2018.

WYLLOWE is Anna Sheard and Rory More – a nascent writing duo with a shared enjoyment of all things folky and groovy (think early '70s Sergio Mendes, '60s sunshine pop and modal jazz versions of Scarborough Fair). The new 7-inch release Fortunate Fool is a rolling and loping affair with a lilting melody accompanied by a chiming 12-string Fender, electric piano and Lowrey organ; its soaring lament and understated groove is an open-road elbows-in-the-wind driving song.

The B side, Berwick Street Blue, brings to the fore Anna's alluring lyricism and Rory's oscillant motifs calling to mind the compositions of continental soundtrack composers and the sonorous femme-fronted productions of the late 1960s. Lush choral harmonies, layered guitars and resonant piano and organ ebb and flow over a soulfully intoned lyrical paean to a part of London lost and changed forever.

Eagerly awaited debut album from oft-cited UK's most out-there band, features in the works with The Quietus and Wire already.

180GM PRESSING - 500 COPIES ONLY.

Difficult times required difficult music, my Yarns, that's why we had Guttersnipe; with its own sort of energy-kind there then.Reiner: A singular yield, a singular yield now.Barns: A whot
Reiner: A singular yield mate! Rich guitar strang, flow motive pounding underneath.Vox like Death come winding through the fields. Barns:  Hell of a way to describe a vocal style.
Me: Nah but for real my Donny, Have you read a presser 1 sheet lately It's the most

They say the PR era, circa late 80's killed the golden age of music journalism:
They say Guttersnipe have continuously melted all the forms that they come up against. They are right.  Because Guttersnipe is not part of a tradition we know well. You will identify the departure from it though, immediately, upon hearing My Mother The Vent. This LP, the promotional version of which, likely sits in your hands (disk, whatever). The innovation here is a FIRM commitment to the flowmotive polyrhythm underwriting the seared, nay fried, tonal rainbow and de-reasoned vox.

Not Nate Nelson, nor John the masseuse dude from Sightings but TIPULA CONFUSA.  Don't want to put the captain obvious pants on so tight I can't jump around the yard because why waste a good yard hang. I'll put on my blighty nighty instead. UROCERAS GIGAS has bridged so many gaps, finally unlocked the AxeWeld CODE and is really playing the thing. Not to mention bringing forth a world-view so utterly unique.  Good luck finding anything like it.

Finally some REAL disjunction in the music; clear and intended. In an age when most computer music composers use stochastic systems and still manage to drop some linear pathground shit, the brawler drums and slanky guitar constructions on My Mother The Vent are a genuine treat.  I've spent too much of my adult life so far hearing too much of this shit to not recognize REAL GAME. And here it crawls out of the grey shadows of ol' BLIGHTY.

Our post-music age: after the fine human endeavour known as music, the result of letting the cybernetic run ITS horrible game on us. I'm not waxing confusingly in a rarefied tone here. Nor running the boring sci-fi script. I really think that is were we is.  We left the human-music-on-a-human-scale behind and much to our detriment. Here we sit in our crumbling reality. But Guttersnipe come paleo, like the rhapsodes with long ass memories rattling off Homeric verse well into the age of manuscript culture, but here, with future tones.  Luckily. Otherwise, me and the record label here wouldn't be wasting our time and yours with a 1 sheet for My Mother The Vent.

So a proper first time on wax for these amazing creatures is a welcome addition to the world of things.  These drums and these guit-lines are so cranké, as they say here in my odd neighborhood.  These voices are so utterly expressive without even the damn language at hand ; like the great horns. We'll rinse this record out, I'll put on my old blighty nighty and go dance in the street.  Alex Moskos, Montreal, August 2018Guttersnipe is:UROCERAS GIGAS - Guitar, Analog Synth, VoxTIPULA CONFUSA - Drums, Drum Synth, Vox

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the Mouches it is now time to set free another Black Beast amongst discerning listeners.

Transcendence was not only Alice Coltrane's last studio album for Warner Bros., it would also be her last studio work for nearly three decades. While Eternity and Radha-Krsna Nama Sankirtana followed the composer's muse through an exciting range of musical styles and influences, Transcendence is perhaps the most fully realized of the three LPs, synthesizing the best elements of each into a monumental whole.

Side one consists of intimate compositions with Alice's pointillist harp enhanced by intricate string arrangements. At times, the emotional climaxes in "Radhe Shyam" and the title track sound like the score to an epic film. This would be the closest Coltrane ever came to chamber music, yet rendered with her uniquely spiritual tint.

Side two moves into celestial territory with uplifting chants, light handclaps and bluesy organ. These call-and-response chants, featuring members from her Ashram, completely embody both African-American gospel and Hindu devotional traditions, an uncanny fusion that is transformed through Alice's pure spirit.

What runs through the album's two musical halves is a powerful sense of devotion and discovery. At this point in her life, Coltrane was on a journey toward truth through sound, and Transcendence gives the listener a front row seat to this quest.

Considering He Was A Self Taught Pianist, Brian Auger's Progress Into The Heart Of The British Modern Jazz Scene Of The Late 1950's And Early 60's Was Particularly Impressive. He Gained Invaluable Experience The Hard Way, Paying His Dues At The Cottage Club, And The Original Ronnie Scotts On Gerrard Street, Working With Renowned Saxophonists Tommy Whittle, Dick Morrisey And Jimmy Skidmore - And Sessions In Smoky East End Pubs With His Friend, Arguably Britain's Greatest Jazz Saxophonist Tubby Hayes.

The Inclusion Of Several Of His Rare, Early 60's Piano Trio Tracks On Both Volumes Of 'back To The Beginning - The Brian Auger Anthology' Brought Long Overdue Attention To Brian's Early Jazz Career, Which Many Were Simply Unaware Of Prior To Their Release. The Enthusiastic Reaction To Those Tracks That Stuck In Brian's Mind, And Later, Fate Intervened, As He Himself Explains, "a Couple Of Years Later, Ken Greene, The Music Director Of Bogie's, Called And Told Me That He Was Starting A Project, To Whit, A Week At Bogie's With A Different Jazz Piano Trio Each Night".

The Material Brian Decided To Play Features Tracks From A Selection Of His Musical Influences, Heroes And Friends Including 'chelsea Bridge' By One Of His Favourite Composers, The Great Billy Strayhorn, Freddie Hubbard's Ever Green 'little Sunflower', The Much Loved Standard 'there Is No Greater Love' Which Brian Used To Play In His Original Early 60's Piano Trio, And His Own Composition Victor's Delight He Wrote A Tribute To The Great English Jazz Musician Victor Feldman Who He First Discovered Via His Tenure With The Cannonball Adderley Quintet.

Surprisingly, This Is Brian's Very First Jazz Piano Album Of His Illustrious And Award Winning Career, And Marks A Return To The Instrument And The Music That First Entranced And Enthralled Him As A Young Boy. His Musical Journey, Which Began In Austere Post War London, And On Which He Absorbed So Many Varied Styles Of Music, And Literally Took Him Around The World, Enrapturing Audiences Worldwide, Has Indeed Come Full Circle.

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.

Previously Unreleased Cinematic Jazz-Funk for Film & Television by Arranger/Composer J.J. Johnson

21 tracks featuring music from Across 110th Street, Top Of The Heap, The Fuzz Brothers, The Bold Ones.Funky Moog modulations, car chases, moody library cues and a righteous soul sister preaching universal truths all revealed in these recently discovered recordings.Masterful arranging and lush orchestration by one of the giants of the Jazz & Soul/Funk Genres.Cut direct to vinyl from the reference tapes.

For the label's second release, Amsterdam imprint yeyeh has brought together two musicians from vastly different backgrounds to celebrate the far-sighted musical potential of the Theremin on the 100-year anniversary of the instrument's invention.

'Waves' is the product of two weeks of studio collaborations between award-winning composer and Theremin soloist Carolina Eyck and Eversines, an electronic music producer who has previously released music on yeyeh's sister label ninih. It builds on Eyck's work composing for 'Theremin & Voice', with both artists playing a part in processing, modulating, layering and arranging vocal and Theremin sounds to create six breathtaking electronic compositions.

Varied in tone and execution, the album's six tracks are arguably closer to instrumental pop than academic electronic music. Some tracks bear comparison to the cyclical melodic movements associated with the greats of American minimalism, while others recall the alien, otherworldly futurism of the Radiophonic Workshop, classic ambient music and the sun-bright bliss of early '90s IDM. Yet despite these possible perceived parallels, 'Waves' sits on its own as a stunning work crafted from the simplest of musical elements.

After The First Wave Of Artists That Have Broken The Ice With Their Way Of Combining Contemporary Symphonic Music With Electronica And Jazz On The European Side (olafur Arnalds, Nils Frahm, Max Richter) - Now There Is A New Generation Of Young Musician Breaking Boundaries On A New Level. Especially In Germany There Is A New Wave Of Artists That Bring The Thing On A Whole New Level. These 20 - 25 Year Old People Don't Just Imitate What The Bigger Names In The Scene (the Fathers) Have Done But Develop The Style To A Totally Different Level And Add New Ideas Instead Of Just Copying What The Older Guys Did. This New Wave Of Artists Have A Huge Musical Knowledge, Have Studied At The Best Music Academies, Learned To Play "classical" Instruments And Know How To Improvise On A Very High Level. They Have Been Raised In 2 Different World: Studied The History Of (contemporary) Classical Music And Also Been Influenced By What's Happening In Electronica Evolution Of The Last 25 Years. Ralph Heidel Is One Of These New Kids In The German Scene. Coming From Munich, The 25 Year Old Extremely Talented Musician Studied Saxophone And Composition At The Munich Academy Of Music (known For Being The Best Music School In Germany. Think Julliard Or Berklee). He Graduated In 2018.leering Everything About The Music Of 20th Century Composers (charles Ives, Alfred Schnittke, Giöyrgi Ligeti Etc). At The Same Time He Grow Up With The Music Of Electronic Producers Like Alvo Noto, Boards Of Canada, Jon Hopkins, Jan Jelinek, Four Tet Since Early Days. And: He Comes From A Jazz Musicians Family And Has Grown Up By Listening To The Jazz Collection Of His Father. Studied Saxophone Since Age Of 12 With A Big Passion For The More Advanced Jazz. In His Own Music All This Comes Together. "moments Of Resonance" Are Seven Compositions Full Of Brilliant Little Ideas, Harmonic Complexity, Unheard Music Surprises, Clever Citations, Dramatic Evolutions, Big Explosive Moments, Meditative Moments And Euphoric High Points. This Album Is An Extremely Emotional Work Of Art For Strings, Saxophone, Drums, Bass And Electronics. Ralph Heidel And His 7 Piece Ensemble Homo Ludens Connect Contemporary Chamber Music With Electronica, Ambient, Post Rock And Avant-garde Jazz. On A Highest Possible Musical Level - Without Getting Too Abstract And Incomprehensible. Everything Is Composed And Improvised. Nothing Is Sampled. You Find Wild Punk-jazz Parts That Recall John Zorn Or Mahavishnu Orchestra And Romantic Passages That Make You Think About European Impressionistic Composers Like Ravel Or Debussy. But Nothing Is Imitated, Everything Gets Broken Up Through An Expressive New Way Of Using Harmonization And Melodic Composing. Sometimes The Band Flies Through An Ambient And Drone Universe But One Moment Later The Music Evolves Into An Explosive, Impossible To Describe Musical Moment. One Of Heidel's Biggest Ability Is To Melt Electronic And Organic Elements Into A New Unheard Sound.

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.

In 2019, the World is shaking... our man Too Smooth Christ, prolific & sensitive composer invite to expand your body and mind beyond with its new release Emogreen Thoughts EP. Bringing you a good dose of Acid on one side, featuring two bangers flirting generously with Chicago House vibes and Detroit Electro gems, keeping the floor filled and your senses in orbit on the other side with two trippy, cosmic ambient sound scapes, perfect for creative excursions. The FUEGO 004 will come in a limited number of 300 copies, watch out!

From Winding Synths To Percussive Flurries, Abale Is A Club-oriented Project That Combines Traditional Instrumentation With Electronic Flavours, Resulting In A Syncopated, Colourful Mix. Abale Is The Fruit Of A Long Collaboration Between Two Brothers, Who Are Both Composers And Producers In Their Own Right, Who Grew Up Together Listening To Bass Music, Idm And Various Styles Of Folk.

supplications', Released On Mantic, Is Abale's First E.p. On This Record, The Two Musicians Reap The Benefits Of Their Long Collaboration By Drawing Out, Track After Track, The Invocation Of Their Common Musicality And The Hope Awakened By It. The Tunes Are Steeped In The Brothers' Shared Musical Subjectivity, Clearly Pulling On Their Shared Taste For Varied Traditional Folk Music And A Refined Dance-music Esthetic.
The Result, A Clearly Dancefloor Oriented Release, Is A Record Driven By Powerful Percussions In Which Are Intertwined Wild Voice Samples And Shifting Synth Melodies.

Always driven by his search for balance, Crayon delivers here his most personal work.
«Post Blue» presents a digital soul, both contemplative and rousing, where acoustic and electronic sounds mingle. This taste of paradox is essential from the beginning, and remains throughout all the EP. One feels at once relaxed and anguished, optimistic and melancholic.

Creatively, the approach is, again, both instinctive and purposeful. The instrumentation is thought like a traditional group, but never at the detriment of the possibilities o ered by cur- rent technologies.
Beyond the work of introspection, the Parisian composer ex- plores new sound and emotional horizons throughout a love story, rst banal, but nevertheless rich and complex.

Véronique Sanson is one of the most famous French pop oriented female
singer, songwriter, and composer of the 80s. She began her career in the 70s,
and was the girlfriend of genius composer Michel Berger. Her world turnt
upside down when she met Stephen Stills of Crossby Stills & Nash. One Day,
during a recording session in Paris, she left the studio pretending to go buy
cigarettes, but never came back... She flew overnight to the USA, where she
married Stephen Stills. In LA, she records new music with superstar
composers such as Ray Parker JR and Harvey Mason. "On m'attend là-bas",
produced in 1974, was one of the single of the album Le Maudit.
Funky French League is an intergenerational collective (based in Paris)
formed by Young Pulse (Gamm) , Dabeull (Roche Musique), Arthur Chaps,
Woody Braun (Malka Family), Mr Willy, DJ Asko et Uncle T (Groove
Deluxe). All coming from different universe from hip-hop, to electronic music,
but united by their love for the groove and the funk.

moogmemory is the latest album from multi-award winning pianist and composer Matthew Bourne, who has turned his considerable talents to the world of analogue synthesizers.

Very much in demand as a collaborator and co-conspirator, Bourne has his fingerprints on a huge number of projects, having worked with artists as diverse as John Zorn, Annette Peacock, Nils Frahm, Nostalgia 77, Amon Tobin and Broadway Project.

Growing from spontaneous improvised live performances, the album took shape in the studio as Bourne explored and moulded the vast sonic possibilities of voltage-controlled oscillators, creating beautiful, brooding landscapes of thick impasto and translucent sunbursts.

The seed for this project was planted when Bourne acquired an uncooperative 1982 Memorymoog, having it painstakingly modified and upgraded by Rudi Linhard in Germany .

Created without the use of computers or sequencers,Moogmemory is the first album to be recorded using only the Lintronics Advanced Memorymoog.

Bourne will tour moogmemory in collaboration with brilliant visual artist Michael England, who has worked with Autechre, Bola, Leila, Demdike Stare and many more.

The album will be available on CD and as a limited edition LP (with CD) in an intricate embossed sleeve designed by England.

Album press release written by Bourne fan Graham Massey (808 State).

The album follows the critical success of Radioland: Radio-Activity Revisited, a visceral live audio/visual experience created to mark the 40th anniversary of Kraftwerk's seminal album, with Franck Vigroux and video artist Antoine Schmitt.

Bourne's first solo studio album, Montauk Variations (The Sunday Times' Leftfield Album of the Year in 2012), was celebrated for its sense of stillness and serenity, marking an important musical turning point in his career and the beginning of a new creative direction.

Tracks from Montauk Variations have appeared on compilations by Bonobo and Needwant.

First Terrace Records is thrilled to announce that Justin Wright - the Montreal cellist & composer hand-picked for support duties by luminaries such as Colin Stetson, Hauschka,  Bing & Ruth, and the late great Jóhann Jóhannsson - is gliding calmly into the spotlight with his debut long player.

With an assembled quartet of violin, viola, cello and double bass, the record was tracked in Rolston Hall at the Banff Centre, in the Canadian Rocky Mountains, and carries in its sound the location's stately beauty.

Over the duration of Music For Staying Warm, nine experimental compositions and improvisations are unwound for the listeners pleasure, each with its own gentle patience, as Justin invites you to 'relinquish your sense of anticipation' and enjoy the drift.

Announcing itself like sunshine on frost, Harmonic Loops opens the record and begins to thaw the path ahead. Throughout the album, woollen strings swell at their unforced pace and combine to swaddle the brain's pleasure sensors in frequent moments of pure hygge.

serenitatem, the fifteenth installment of FRKWYS, RVNG Intl.'s collaboration series pairing intergenerational artists in creative conversation, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, two trailblazers of the Japanese avantgarde music and visual arts scenes of the 1980s and 90s.

Yoshio Ojima began his career as a composer of environmental and ambient music, with a particular interest, and optimism, in the possibilities of generative software. His compositional pursuit of human synthesis with computerized forms was realized in its fullest potential alongside Satsuki Shibano, a pianist renowned for her interpretations of Erik Satie and Claude Debussy. Together, they were among a handful of influential Japanese artists whose innovations still resonate, if not more vibrantly than ever, well beyond the tightly-knit scene's original core. In the early 90s, Ojima was among the programmers of the influential satellite radio experiment St. Giga, a constantly-evolving sonic landscape that combined field recordings and sound collage with occasional readings of Japanese poetry. Satsuki was a regular reader for the station. This musical terrarium bloomed out of sight in a small Tokyo studio, a greenhouse of sound with no set start or finish time that audiences could tune into, absorb, and immerse.

The perpetual flow state of St. Giga — recordings of which Ojima shared with Visible Cloaks — would be highly influential to serenitatem's constitution. As Visible Cloaks, the Portland, Oregon duo of Spencer Doran and Ryan Carlile have developed their own set of creative strategies that form an aesthetic fuse point between human intention, aleatoric composition, and improvisation.

These are notions most recently reflected in 2017's Reassemblage and Lex, a respective album and EP in which the duo combined generative software and virtual representations of global instruments into lacy, interlocking patterns. Long time admirers of Ojima's work on albums like 1988's Une Collection Des Chainons, Doran and Carlile discovered after an online introduction that they shared with Yoshio and Satsuki an abiding interest in pre-classical composers, the Lovely Music, Ltd. label, and the British avant-garde, as well as a mutual respect for one another's techniques and processes.

The four musicians met in Tokyo, Japan at Sounduno Studios in December 2017, at the tail end of Visible Cloaks' first Japanese tour, to commence work on serenitatem. Leading up to the studio sessions, Doran and Carlile sent Ojima processed sound sketches recorded while on a European tour, which Yoshio would add to and return. Visible Cloaks would then fold Yoshio's edits back into the original compositions, which Doran and Carlile brought to the exploratory recording session. During that week together in Tokyo, the quartet made use of a number of creative strategies — 'echoing sound together,' as Yoshio puts it. Among the strategies, MIDI randomization gave the quartet melodic lines and what Doran calls 'randomized clouds,' or 'tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.' Carlile would also feed Ojima and Satsuki's text into Wotja, a generative music software which produced a MIDI language around which the quartet expanded their compositions.

'The aim,' Doran says of serenitatem, 'was to make a work that was not specifically ambient (or environmental), but something more multi-hued, weaving these deconstructive concepts into an album that has a deeper architecture underpinning it.' Accordingly, serenitatem is a marvelously sharp record, its sutures between human and machine virtually impossible to find but suggested everywhere you turn. The collaboration among Ojima, Satsuki, and Visible Cloaks is both musically and conceptually inseparable from the technology that made it possible. Throughout the album, Shibano's playing resonates like Satie's, her rhythms cascading like drops from leaves an hour after the rain. Overtones are stretched and warped like modeling clay, then spun around and shown off from multiple angles.

A single soaring note might seem to be suddenly plunged underwater, its richness of sound made shallow and its sharp edges blunted. Pittering chimes and rapidly warping vocal samples hang in the luxuriously glossy space, water trickles from ear-toear, familiar melodies rise from nothing and dissolve before they can be traced. With the depth of its emotional charge, serenitatem burns away the easy cynicism of the day, presenting itself as the kind of delocalized work of art the internet promised us decades ago — a synthesis of artistic visions, technological sophistication, futurist ambition, and, occasionally, ancient polyphony. Listening to it can feel a bit like tuning in to a 21st Century version of St. Giga: It's a place where the future still grows.

Visible Cloaks, Yoshio Ojima, and Satsuki Shibano's serenitatem, FRKWYS Vol. 15, will be available across LP, CD, and digital formats on April 5, 2019. The quartet will perform select live shows throughout 2019.

Available on vinyl for the first time in 40 years, Outernational Sounds is proud to present a masterpiece from the Los Angeles jazz underground - Horace Tapscott's burning, spiritualised 1978 set, The Call.

One of the unsung giants of jazz music, the composer, bandleader, arranger, pianist and community activist Horace Tapscott was the undisputed keystone in the grassroots Los Angeles jazz scene. Throughout the 1960s and 1970s, his radical community arts and music formations the UGMA (Underground Musicians Association, later changed to UGMAA - Union of God's Musicians and Artists Ascension), and his protean big band, the Pan Afrikan Peoples Arkestra, were at the epicentre of music, culture and politics in the Los Angeles area.

From their 1960s base at the Watt's Happening Coffee House on 103rd St, to their decade-plus- long 1970s residency at the Immanuel United Church of Christ on 85thE St and Holmes Ave, Tapscott's groups were the beating heart of underground music in LA. Hundreds of musicians passed through and played their part. Major figures in LA jazz such as Arthur Blythe, Azar Lawrence, Jimmy Woods, John Carter, Bobby Bradford, Sonny Criss, Ndugu Chancler and dozens of others all paid dues or just got down with Tapscott, not to mention the core Arkestra regulars who have since become celebrated names - Nate Morgan, Jesse Sharps, Adele Sebastian, Dadisi Komolafe, Gary Bias, to mention only a few.

Tapscott and the Arkestra were down on the ground - playing fundraisers in park and street, organising teach-ins and workshops for young and old, mixing it with radical theatre groups, firebrand poets, political radicals, Black separatists, community groups and churches. They lived communally, and built an ark for the Black arts in the heart of the city. But as a result of this grassroots community focus and Tapscott's antipathy to the music industry, the Arkestra didn't record for nearly two decades. That only changed when long-time jazz fan Tom Albach started Nimbus Records. The label was initiated specifically in order to document Tapscott and his circle, and the first three records showcased Horace and the Arkestra.

The Call was put together from two studio sessions in April 1978, one at Hollywood Sage and Sound, one at United Western - the latter session had the addition of a string section, who can be heard on the moody Cal Massey composition 'Nakatini Suite' and Jesse Sharps' swinging modal trip, 'Peyote Song No. III', with its swirling soprano solo. In keeping with the communal nature of the Arkestra, the other two compositions, 'The Call' and 'Quagmire Manor at Five A.M.' are also by Arkestra members. But at the centre of the music is the builder of the Ark, the visionary whose original call to action started a movement whose legacy continues to this day - Horace Tapscott.
Heed The Call!

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

I cannot exactly remember when the idea of this album was born in my mind. What I am sure of is that I always wanted to complete such a project, which was to realize the dream of a vibraphone and marimba tribute to the music of my favorite musician composer, Frank Zappa. I met Marco Pacassoni about six years ago. I called him because we were looking for a vibraphonist for a tour with the artist Bungaro. We immediately developed a real friendship and when I told him about my idea and my fascination with Ruth Underwood, explaining that for me the best Zappa albums were the ones on which she played, he admitted that he knew only a part of that music, but that he would love to learn more. So I began to feed him tunes to listen to, sharing with him an imaginary track list. When Marco decided to really go for it (about two years ago), his first statement was that it was impossible not to include Peaches en Regalia and The Black Page on the album. That made me very happy because those are two of my favorites, and there was no better way to acknowledge the technical challenges behind this adventure. Marco studied Ionisation by Edgard Varese when he was in Conservatorio Rossini of Pesaro, even before he graduated in percussion at Berklee. It was strange for me that he could know more about Varese than about Zappa! I liked his idea of playing The Black Page alone at the marimba, just adding the beat, as if hearing the footsteps of an imaginary listener turning around. Who could it be My very first wish was to include Pink Napkins with Zappa's guitar solo played at the vibraphone.

* Second Album From La Stampa, The Six-piece Band From Berlin, Hamburg & Geneva.
* Includes A Bespoke, Full Colour, Fold-out Poster
* Artwork By The Acclaimed Artist, Shirana Shahbazi.
* Design By Manuel Krebs From Norm.
* Edition Of 500

Closely Working With Legendary Producer Tobias Levin From Hamburg, The Band Have Developed And Recorded The Ten Songs Over The Course Of Two Years. Picture Northern Creatures Sweating Out Their Melancholy In The Southern Sun. As The Wind Carries The Beats From The Beach Disco Across The Bay, Chopin, Vodka Shot In Hand, Imagines Writing Music Based On The Build Of Crystals. To The Side Of The Composer, The Rhythm Section Gets Restless. The Thrum Of Eastern European Electronics Pulsates In Their Brains. 'don't Work Yourselves To Death', One Of Them Shouts, 'it's Not Our Fate. Let's Go Dancing, Everything Must Change', Adds Another, And 'sun Screen's On The House!' This Is A Glimpse Of The World Bonjour

Blitzzega is the electronic project of Bjorn Eriksson. Bjorn is a famous Antwerp composer, guitar player and lead member of bands like Maxon Blewiitt, Eriksson Delcroix (together with his wife Nathalie Delcroix, better known from female folk group Laïs) and The Broken Circle Breakdown Bluegrass Band (responsible for the mighty soundtrack for the highly acclaimed movie 'The Broken Circle Breakdown"). Although Eriksson grew up with country & western he - like many others of his generation here in Belgium - fell in love with electronic music thanks to the NEW-BEAT mania in the late 80s. Chavalo, Blitzzega's very first vinyl maxi, is a groovy sing-along electro bomb. It features the fantastic voice of Nathalie Delcroix and comes in 4 variations: Original version, a remix by Bjorn Eriksson himself, a remix by Milan W (JJ Funhouse, Ekster) and a remix by acid overlord Freddie Fresh (Analog, USA).

On March 15th Erased Tapes presents the invigorating and powerful debut solo album Lines of Sight by Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne. Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles - effectively capturing what the birth (or death) of a planet might sound like.

In Daniel's own words, 'Thematically, this music was inspired by birds-eye aerial images and the idea of perspective - how something incredibly complex like a river or the surface of the ocean is reduced to a simple line or shape when viewed from the heavens. The line between natural and man-made becomes increasingly blurred.'

Every strand is fresh, vital and purposeful. The description 'seamless' might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical, a touch of jazz and traces of Wyatt-style contemporary folk come together, each occupying their own space while acquiescing with the whole.

'Several compositions are derived from ratios and processes, and are highly calculated, while others evolved in a much more organic way. I wanted to create music that blurred lines between acoustic and electronic, organic and synthetic, composition and improvisation.
I've long been a fan of studio-based composition, but have always found the infinite possibilities on offer daunting and, often, a stumbling block. To get around this I set myself a challenge of limiting myself to the physical instruments in my possession - a few different saxophones and a bass synth, with no more than four tracks to record them,' he adds.

Lines of Sight follows Thorne's work as artistic director of the acclaimed, collaboration-focussed group Immix Ensemble. Together with experimental electronic artist Vessel, he co-wrote Transition released on Erased Tapes in 2016, described by BBC Radio 6's Mary Anne Hobbs as 'a remarkable new piece of music'. More recently, he worked with acclaimed modular synth wizard Luke Abbott, to create a four-part suite, which was premiered live in June 2017. Immix Ensemble have also performed special live commissions with Kelly Lee Owens, Dialect, Jane Weaver and Bill Ryder-Jones, among others.

Prior to leaving Australia, Daniel was fortunate to work with some of the country's leading new music ensembles as both a composer and performer, receiving commissions from the TURA New Music Festival and the Australia Council, as well as being appointed as Composer in Residence at the Western Australian Academy of Performing Arts. In the UK he was the recipient of the prestigious Dankworth Prize for Jazz Composition, and also undertook a residency at Metal Liverpool, which provided him with the time and space to create Immix.

As the first track under Thorne's own name, 'Iroise' was recorded for the Erased Tapes 10th anniversary release 1+1=X, alongside works by Nils Frahm, Penguin Cafe, A Winged Victory For The Sullen and Rival Consoles. He also recently remixed Manu Delago, known as the live percussionist for Björk and Ólafur Arnalds. After a first solo performance at Sea Change Festival 2018, the new year will see Daniel tour across Europe, promoting the forthcoming release of Lines of Sight.

Recorded Between The Release Of Sand (1977) And Lost Secrets(1981), Symphonic Songs Is A Formerly Unreleased Work That Chronicles The Dynamic Shift And Development In Experimental Swedish Composer Ragnar Grippe's Canon.

Following His Seminal Release Sandin 1977, Swedish Experimental Composer Ragnar Grippe Worked On Various Art And Performance Commissions, Often Returning To Stockholm During The Summer Months To Focus His Efforts On His Compositional Practice. It Was There At The Famed Ems Studioswhere He Began Employing The Buchla Synthesizer And The Facilities Multi-tracking Capabilities As New Instruments To Map His Mining Of Sound And Movement.

During The Late 1970's, Grippe Formed A Creative Collaboration With Choreographer Susan Buirge, Specifically Writing Compositions For Her Works restes And tamis, Thus Pushing Grippe To Start Working In A More Intricate Studio Environment. These Passages Inspired Grippe Into A More Complex Layering Process That Focused More On Placement And Structure, Rather Than The Aural Floods And Flourishes Of His Previous Sand Album, Eventually Germinating In His First Full 24-track Composition Entitled orchestra.

After Debuting orchestra In 1980 At The Electronic Music Festival In Stockholm, Grippe Holed Up At Ems Studios With Those Lessons And The Fussy Buchla Synthesizer, In Which Grippe Affectionately Recalls needed To Be Tuned And Calibrated Every 20-30 Minutes. He Emerged With A New Commission For Susan Buirge Later Formally Titled Symphonic Songs And Used In Her Avant-garde Theater Piece ci-déla Which Debuted In Paris In 1981.symphonic Songsshowcased Grippe's Sound Au Courant, Pushing Dense Against Sparse, Calm Into Cacophonous, Using Each Track As Its Own Intersecting Plane. Using The Machinations Of Studio And Structure To Drive Symphonic Songs' Voice, Grippe Culled A Haunting, Often Cinematic Electronic Work That Dots And Darts Into Unexpected Corners With Curious Aplomb.

Listen To The Words, Both Terms Have Their Root In Classical Music, But Not In Its Form But Because Now I Had So Many More Stems Or Voices That Could Be Played Simultaneously Compared To My Earlier Pieces. Coming From A Classical Background, But With Big Nostrils For Pop And Jazz Music, I Can Now See A Thread In Which Classical Got A New Costume, Dressed Up In Buchla Synthesizer And Real Bass Sounds Grippe Says. Since Its Live Theater Debut Over 37 Years Ago, Dais Records Releases For The First Time Symphonic Songs, One Of Grippe's Most Ambitious Compositions, As A Deluxe Double Vinyl Lp (with Limited Edition Color Variants) And On Digital Formats. Artwork Packaging By Artist J.s. Aurelius (ascetic House) With Reflective Linear Notes By Ragnar Grippe.

DJ Shadow has shared the artwork for his anticipated live album and film, Live In Manchester: The Mountain Has Fallen Tour.  Recorded at a sold out Albert Hall in Manchester, England, the release (out 13th July on Mass Appeal Records) is now on vinyl, CD, and digitally.  

Live In Manchester: The Mountain Has Fallen Tour, documents DJ Shadow's most ambitious, extensive worldwide tour yet - surrounded by stunning visuals, he blasts through classics and more obscure cuts from his discography.  Watch the trailer here.    

The release will be available on gatefold 12' vinyl, CD / DVD double pack, digital audio and digital video formats.  

The news follows the recent announcement of DJ Shadow's podcast, DJ Shadow Presents Find, Share, Rewind, broadcast on Manchester-based radio station and music platform, MCR Live. Episodes are online here, and the first instalment hit number 1 in Apple's music podcasts chart. 

Bay Area producer DJ Shadow (Josh Davis) was catapulted to prominence thanks to his landmark debut album, Endtroducing, acknowledged by Guinness World Records as the first LP created entirely from samples.  Since then, Shadow has continually moved forward releasing innovative albums and collaborating with the likes of Thom Yorke, Massive Attack, Jason Newsted (Metallica), Mike D (Beastie Boys), Zack de la Rocha and several others.  Live In Manchester: The Mountain Has Fallen Tour continues an exceptional couple of years for the producer: in 2016 he unleashed innovate new album The Mountain Will Fall, which birthed his biggest single yet, Nobody Speak featuring Run The Jewels; a massive worldwide tour followed - The Mountain Has Fallen Tour - plus an EP featuring collaborations with Oscar-winning film composer Steven Price, rap maverick Danny Brown and hip-hop hero Nas. 

In 2011 composer Ramin Djawadi was first asked to score a new TV series called Game of Thrones. In its first season much of the music was written for a small string ensemble, and filled out with synthetic pads and percussion. Over the course of the next six seasons the music budget got bigger and bigger to match the ever-increasing viewing figures the show was enjoying. This release celebrates the rich tapestry of music over the six series with the full firepower of an 80-piece symphony orchestra and choir.

Game of Thrones really is a television phenomenon. HBO's epic small screen adaptation of George R.R. Martin's series of fantasy tomes continues to draw in record audiences around the world and shows no signs of slowing down. Indeed some 8.9m people tuned in to the Season Six finale in the US and with repeats, recordings and on-demand viewings taken into consideration, it is estimated that Game of Thrones enjoys an average of 23m viewers per instalment. With a whopping thirty-eight Emmy Awards (and counting), this series remains the darling of prime-time pay TV.

With so much music created for the sixty episodes so far broadcast, this album can of course only take in so much. The particular cues and themes it does highlight, though, lend themselves beautifully to this symphonic re-imagining.

Glacial Industries return for 2019 with a club focused 12' from Cork born, Berlin based composer ELLLL. ELLLL follows up outings on Art For Blind and First Second Label with 'CONFECTIONARY', a trio of technoid mutations. 'PEPSI' + 'SKITTLES' provide club ammo with their pulsing hard drums, whilst the eerie, off-kilter 'JAWBREAKER' rounds off the release. 'CONFECTIONARY' releases worldwide on Glacial Industries digitally and with a limited edition, full colour sleeved white 12'.

Véronique Sanson is one of the most famous French pop oriented female singer, songwriter, and composer of the 80s. She began her career in the 70s, and was the girlfriend of genius composer Michel Berger. Her world turnt upside down when she met Stephen Stills of Crossby Stills & Nash. One Day, during a recording session in Paris, she left the studio pretending to go buy
cigarettes, but never came back... She flew overnight to the USA, where she married Stephen Stills. In LA, she records new music with superstar composers such as Ray Parker JR and Harvey Mason. "Bernard's Song", produced in 1976, was the first single of the double gold album Hollywood.Funky French League is an intergenerational collective (based in Paris) formed by Young Pulse (Gamm) , Dabeull (Roche Musique), Arthur Chaps,
Woody Braun (Malka Family), Mr Willy, DJ Asko et Uncle T (Groove Deluxe). All coming from different universe from hip-hop, to electronic music, but united by their love for the groove and the funk

Rian Treanor will release his anticipated debut album 'ATAXIA' on Planet Mu this March. The striking full-length follows singles for The Death Of Rave and Warp's Arcola imprint as well as live sets at Boilerroom x Genelec, Nyege Nyege festival, tours in India and various high profile EU shows.

The title 'ATAXIA' means 'the loss of full control of bodily movements' and relates to Rian's music which is 'intended to make people's bodies move in unpredictable ways.' He adds 'the angles in the letters, the phonetics seem to mirror the geometry and idiosyncratic patterns in the music.' Rian explains that components of the tracks were made by generating a series of irregular events and re-structuring them, or by destabilising a pattern that is constant.

When asked how the album compares with his previous releases, he says 'My earlier EPs share a similar interest in angular and asymmetrical rhythms that are designed for club sound systems,' adding 'they were more improvised, focusing on sequencing and pattern modulation, using standard drum sounds and synthesiser patches. ATAXIA is more focused and stricter, it's more co-ordinated in terms of the track selection and the rhythmic structures. I spent more time refining the synthesis and sound design, pushing it further than the previous releases.' He expresses an interest in exploring opposites in his music: 'fluidity and syncopation,' 'systematic and unpredictability,' 'reduction and extremity,' 'irregular symmetry,' 'easy listening and brutal'.
There's clear a conceptual backdrop, but the music itself is not overthought. There's an immediate joy to much of the album - check out ATAXIA_D3 with its wonderful cut-ups and modulations of the phrase 'people don't understand people.'

The roots of Rian's playful sound are directly linked to his love of the music he grew up with. Coming from Sheffield, you can hear elements of industrial, synth-pop, bleep, extreme computer music and speed garage at play. From Cabaret Voltaire to Warp and beyond; the sound of his city has been, and is, an integral part of his musical development and is still a direct influence.

Last year, he noted in an interview that "I'm not a computer programmer, I'm not an articulate person in that kind of way. I'm a visual artist." Now he elaborates 'I meant more that I'm a visual thinker.' Drawing and visual art have been a fundamental part of his life 'since I was a child. I got really into graffiti as a teenager and around the same time I got into mixing and these both developed together.' You can sense the mind of a visual artist at work in his music which is also reflected in the artwork he created for this project.

As well as his visual art, installations and multichannel sound works he is involved in numerous collaborations such as with composer Nakul Krishnamurthy exploring the common ground between Indian classical music and electronic music and his work with improv saxophonist Karl D'Silva, plus his time studying with Lupo at Dubplates and Mastering in Berlin (who taught him the 'importance of reduction') have all helped shape and push his sound into other unique and adventurous zones. Treanor is developing on different levels and in different forms all at the same time, re-imagining the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of fractured and interlocking components.

This was Charles Tolliver's first album as a leader. The setting is unique only because his second Freedom-Black Lion album 'The Ringer' and all of his subsequent albums on Strata-East featured his quartet Music Inc. with pianist Stanley Cowell. Here he is surrounded in quartet and quintet formats with a truly stellar cast of the leading players on the New York jazz scene.

Charles plays the role of leader, composer and trumpeter. But it is surely that last role that deserves the most attention. The trumpet is a brass instrument that leans toward a hard sound and staccato phrasing. Yet Tolliver is the quintessence of fluidity. While it may be undeniable that he has learned from his musical heritage and past trumpet masters, a trumpeter of such flow, tone, control, lyricism and creativity is, by definition, a major musician.

Charles Tolliver first came to the professional jazz scene in the mid-sixties, when he first met Jackie McLean. Under McLean's leadership, he played on a number of Blue Note record sessions, some of which have yet to be released. He contributed original tunes to many of those sessions.

Within a couple of years, Tolliver was a well known figure in New York circles, playing and/or recording with Booker Ervin, Archie Shepp, Andrew Hill, Roy Ayers, Art Blakey, Sonny Rollins, Willie Bobo, Gerald Wilson, McCoy Tyner, Hank Mobley, and many others. His compositions were getting recorded by many artists. He gained his greatest recognition during a two year stint with the Max Roach quintet that also included Gary Bartz and Stanley Cowell.

There is also a previously unreleased bonus track of the song, "Repetition", recorded by Charles for this LP which will be included on this new release of the album. This song was originally made famous by Charlie Parker's LP With Strings.

This album is certainly an important and lasting document in light of the musicians involved and in light of its unique context for Charles Tolliver. But basically, it is just a great album to listen to. Michael Cuscuna