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larry Jon Wilson He Can Break Your Heart With A Voice Like A Cannonball.' - Kris Kristofferson. Larry Jon Wilson Came To The Party Late. When He Arrived In Nashville, Country Soul Pioneer Tony Joe White Had Already Made Six Albums. Townes Van Zandt Had Made Seven, Mickey Newbury Eight. Kristofferson, The Accepted High Priest Of The New Nashville, Had Made Five. Larry Jon, By The Time He Arrived, Had Spent Ten Years In Corporate America. He Did Not Start Playing Guitar Until The Age Of 30, But Five Years Later He Released His Debut, New Beginnings (1975) And Followed It Just A Year Later With Let Me Sing My Song To You, Both On Monument Records. A Revelation Among The Hipsters And Critics Of Nashville, The Lps Ensured Larry Jon Was Immediately Embraced As Part Of The Mid-70s outlaw Country Movement' That Eschewed Slick Production In Favour Of A Raw, Gritty Approach. When A Film Crew Came To Document This Burgeoning Sound, They Made Straight For Larry Jon's Door. The Legendary Heartworn Highways (1981) Featured His Mesmerising Performance Of ohoopee River Bottomland', A Boogaloo Funk Monster. He Was A Singer And Writer Of Intensely Private, Painfully Moving Tales Of Southern Life. With His Deep, Papa-bear Voice, Funky Southern Groove, And Richly Evocative Narratives Of Rural Georgia, Larry Jon Was A Unique Stylist But His Gutsy, Greasy Sound Did Not Translate Into Sales.

As co-founder of Fuck Buttons; the highly-influential noise-electronic duo, Andrew Hung has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman Festivals, been featured on the

2012 Olympics opening ceremony and all three albums have featured as Best New Music on Pitchfork Media. His production work has included Zun Zun Egui's 'Shackles Gift' and cowriting/

co-producing the critically acclaimed 'Kidsticks' by Beth Orton. In 2016 he soundtracked the multiple-award winning film 'The Greasy Strangler ', and was nominated for Best Soundtrack at the Empire Awards. His debut solo

album, Realisationship was released via Lex records in October 2017. An Evening With Beverly Luff Linn is the soundtrack to Jim Hosking's directorial follow up to The Greasy Strangler and stars Aubrey Plaza, Jemaine Clement,

Emile Hirsch, Craig Robinson and Matt Berry.

Nicetraxuk hand over the production reins totally to Li'l Mark (Classic, MFF, Apollo) on this 12" and digital release. The ep starts off with 'Inevitable' which builds slowly with plenty of synth work over a tight driving beat. At its crescendoAthe deep bass synths take over and away we go! Driving synths and padsAweave through this track from start to end with syncopated class.'Be afraid' follows, starting out with a spacey vibe over a bouncing beat which drops outAto introduce a snippet of vocal and a huge, vibrating stretched bassline this track has it all-spacey, deep and driving with diverse and crafted sounds swirling around keeping the dance floor constantly engaged. Flip the 12"A over to find 'F IT',A another bass driven tech track with a great vocal stab. Mark really turns it up a notch here to create an enormous sounding track, using all his years of knowledge and production to pull all the elements together to work together perfectly. This track has been causing serious damage on the dance floor when tested out! TheA12" isAconcluded in old school fashion with an acappella (or as he calls it Itapella) for the true DJs out there! The perfect way to round off this brilliant EP

D-Leria returns to the scene more than a year after debuting on Berlin-based label Delirio, releasing a collection of work produced between 2014 and 2018; ten tracks which mark a new beginning for this young Italian producer, sweeping between heavy ambient excursions to hypnotic/ tribal techno, modernized and polished off in his own way.'Driving to Nowhere' is the summation of an extended journey; a year-long hiatus due to unforeseen health concerns allowed time to meditate and consider his past experiences in Italy's various underground electronic music scenes, and the potential directions inspired by thriving Berlin.
From 2014 to 2017 he released several EP's, each developing upon this new style, until joining the young label Delirio as both a musician and a manager. With Delirio he has hosted artists such as Stanislav Tolkackev, Roberto Bosco, Plaster, Retina.it and more, with a unique agenda to record precisely produced music live, instead of laboring in the studio to achieve over-polished audio. His first album inaugurates the beginning of the new DLP catalog, which will be dedicated to LPs, albums and other projects released on 12-inch vinyl. Through these 10 tracks D-Leria experiments with various production methods, as in 'Makumba' where he precisely combines the kick drum with a tight bass line in a 12-step sequence, making the track fluid and never predictable. 'Reborn' is an even more ambitious undertaking, initially recorded on tape before being sent back to the mixer via Hi Fi stereo, D-Leria modulated the cassette coil with a bic pen to create a unique 'detune' effect. 'From the Ground' and 'Driving to Nowhere', both made through the same setup, combine tribal voices and moans, combining an ethereal ambience with drums and analog percussion, connecting the rhythm directly to the soul. The opening track 'Libero' is dedicated to himself, while 'Her Smile' and 'Uragano' are both dedicated to the person that was closest to him in his last period of stop and realization of the album, where he expresses his most deep moments in the first, and more difficult in the second.
Just like in most of the EP already released on Delirio, Giuseppe Tillieci aka Neel took care of the mastering of the tracks, while the artist has taken care of the smallest details from the production, to the mixing, to the graphics and also to the titles of the tracks, which refer to personal thoughts and events that happened during this long journey to nowhere.

Fresh out of the OdD archives Tapes of Old 3 is enveloped an air of antiquity. Cut straight from the tape reel, A1 'Oops' is charged with reams of static percussion and low frequency oscillation. B1 'Abhorrent SNIP' captures a galactic essence where waves of bass meet synth in a beckoning symphony of creation. B2 'I'm Complete' marches in to close the EP with tight snares cutting into the undulating it's flow and grounded with smooth session of kicks. This postmodern production is pure energy in motion, constructed with an otherworldly soundscape and a purpose for mindful mysticism.

International Deejay Gigolo proudly present the homecoming of the South-American Gigolo Queen Romina Cohn. After her 'I Want U' remix production from label boss Dj Hell last year, she presents now her 3 own 3 track EP called 'Let It Go". All three tracks combine an eclectic and powerful vibe with playful attitude and a homage to classic techno & rave sounds.

4 track ep from Alex Gloor's edit archives, obscure dance music with no additional production
just cut and paste which keeps the original sound intact

Following on from Comfy Bella's Konkahs EP earlier this year, Released's second vinyl instalment comes courtesy of the Berlin-based production duo Horsemen, who mark their debut into the world of wax with the aptly titled 'Unknown EP'. Freshly faced and full of vigour, Horsemen deliver two unique cuts of engaging electronic music which are accompanied by a remix from Released's very own Jorgie.

The title track 'Unknown', features the delicate vocals of close friend Nomoko, atop a robust combination of thick kick drums, energetic percussion and a pulsating bass line. 'Motor Jungle' harks back to the early sounds of Detroit, assuming a 4/4 drum pattern which is laden with a rowdy bass arrangement accompanied by Hip Hop-esque vocal snippets. The EP is rounded off, and mellowed out, with Jorgie's hazy interpretation of the title track - a 110bpm ethereal excursion that takes the listener deeper into the unknown...

The 2nd HOMOAGENT EP 'We Are Here To Ruin Your Life' continues the exploration of this city's various basements. A fictional work of excess, doused in amyl and fuelled by the Trve Basque Speed, greased gloved strangers in decaying mansions meets Hellraiser but in real. Triames & Maiovvi return to Instruments Of Discipline with four new productions of their trademark glassed out, hi-fi night fantasies where sweat and leather meet 18 or more consenting adults.

'Cala Bassa' oozes nostalgia with a nod to the Balearic sound of Ibiza. Those piano keys, combined with the faint female vocal bring that perfect House sound. On the B-side, 'Girl' from Sirkea - The perfect track to compliment 'Cala Bassa', making for more easy listening. Capturing the laid-back side of Nu Disco, with soft piano keys and broken vocal, this is some seriously stunning production skills and a must for every vinyl enthusiast.

Following his incredible debut album 'Talisman', Whiney has stepped back into the lab to cook all manner of big, beefy dancefloor beasts. The 'Waystone' LP boasts his most widespread set of influences yet with drum & bass fusions of trip-hop, grime, UK hip hop and ambient across 14 outstanding tracks.

Album highlights include the tumbling jungle rumbler 'The Capital' that scatters down with snappy amens in a perfect storm. Plus the unmissable 'Triple Duppy Demon'; a menacing tribal stalker rearing its head in a display of raw beats and bars from Manchester's own Levelz crew member Truthos Mufasa, alongside a production pairing with Hugh Hardie.

'Waystone' also sees the triumphant return of the dream-team-supreme! Hospital's wordsmith Inja joins forces with Whiney on 'Mission'. This certified heater is a grisly tirade of dancefloor chaos, a worthy successor to fan favourites 'Flashlight' and 'She Just Wanna Dance'.

Of course Whiney's second long-player is also packed with showstopping solo productions such as 'Dismissed', 'Slingshot' and half-time triphop switch up 'Darkest Night'

Jonny Rock is somewhat of a sorcerer, an omnipresent eye that gathers secret ingredients from far and wide—old school House oddities, hypnotic melodies of the Orient, the furthest reaches of Disco, the easy pace of Turkish psychedelic funk—fusing it all into his own shrouded code, a string of immaterial messages, both subliminal and lucid, that highlight his eccentric sense of storytelling and nuance. He imbues a sense of familiarity in his music, implying history that might not be studied but still feels learned, a quality inherent to productions born from a vast catalog of influence (and the inseparable sample material). Jonny conjures euphoric acid flashbacks, herds of crowds through Istanbul alleys, the misty morning residue from raves of yore, orchestral winds blown across the Aegean riviera, and he manages to concentrate their essence into singular details such as a snare drum. Both sides of his eternally-awaited ESP debut lean toward his dark arts—'Tye Die Techno' drives a relentless hard-edged drum kit that could throw an otherwise self-respecting Goth into a heated breakdance battle, while the title track and theme, 'Ode To A Happening On Earth,' plays with the imagery of ritual, fantasy and role-playing—but throughout this malevolent stew, there is a sustained hint of the artist's playful nature. No matter how murky the trip becomes, Jonny is always there, a light at the end of the tunnel, with a big hug to reassure that everyone will be OK. He is one clever bastard—if you know, you know.

* 13 tracks featuring the likes of DRS, Serum, Riya, Cleveland Watikiss, Lorna King, L-Side, MC Fats, T.R.A.C and Sofi Mari.and many more.

* Colourful, effervescent, and energetic, the Brazilian drum & bass scene has given us some of the most distinctive production voices in the game. Including São Paulo's Level 2 and DJ Chap or, as they're known collectively, Alibi.

* 'In each of the songs, we expressed our feelings and each song carries a unique message. The album itself talks about life. We all go through times where we fall and get hurt. Then we get up and we recycle. In every single situation: we learn.' - Alibi

* Alibi signed exclusively to V Recordings at the end of 2015, and this LP shares the characteristics held dearly by both the duo and the label. Weaving together threads from the duo's shared funk, soul, reggae, and hip-hop influences with the drum 'n' bass tutelage of shared heroes like S.P.Y., Calibre, D-Bridge and the late Marcus Intalex, this is set to be the most complete statement of their musical vision so far.

* Each track from the album stands as an example of their impeccable production, starting with 'Debris' which is filled with cinematic textures and a sub-low reese typical to their sound. The album plays home to a handful of other lighter atmospheric pieces, including 'Recycle', 'Destiny', and 3 other tracks with Riya, Cleveland Watkiss and Lorna King, all gracing the booth with their vocals. The duo can effortlessly skip between sub-genres, shown by the tracks on the LP that would be more suited in a dark club at 5am, such as 'Smash Through The City' with Serum, L-Side & T.R.A.C., as well as the floor shaking 'Scuffed' - there's a style to cater to everybody.

* With V Recordings celebrating their 25th anniversary, there really is no better time for Alibi to cement themselves as one of the crown jewels of the label and the scene as a whole.

The 'Vista' EP caps off an intensely busy year for Geoff Kirkwood, otherwise known as Man Power. The British DJ/producer has become quite the 'tour de force' in 2018, with releases and remixes for Futureboogie, DFA, Correspondant, Exotic Series, Skint Records, and his very own Me Me Me imprint. So it seems quite fitting to seal a productive 12 months with a release on Richy Ahmed's Four Thirty Two, a label that itself has been firing out big releases this year from EJECA, Jansons & Senzala and Ahmed himself. And joining this big end of year party, enter stage left, Roman Flu¨gel, who delivers an absolutely stellar remix of 'Vista'. Meaty synths and clattering 909 drums are doused in futuristic Italo disco vibes for
'Outrider', whilst a winning combo of breakbeats and acid affected bass provide the backbone of the simply gargantuan 'Vista'. Roman Flu¨gel's interpretation of the title track brings the break to the fore, playfully teasing out the acidic sounds and surging strings for another truly memorable remix that we've come to expect from Mr. Flu¨gel. Closing the EP, 'Poly Pop' delivers a vivid and bright burst of melody over clanking
percussion and sturdy beats, filled with 'end of the night' optimism that's become Man Power's forte.

It is with great honour that Emotional Rescue comes back to the music of Jaki Whitren & John Cartwright for a special 7" of two previously unreleased songs on to vinyl for the first time in That Will Be That and This Time. Originally part of the International Times reissue project (ERC004) in 2013, the songs have previously only been available on CD and digital formats as 'out-takes'. However, all that time the plan was to release the songs as a stand-alone vinyl release at some point.
Discussion with John continued over the years and the plan was for a release as part of the label's fifth anniversary, until sadly the project was put on hold due to the untimely loss of both Jaki and John in late 2016. The recent repress of their masterpiece that is their privately pressed album, International Times, led to these songs being revisited for the first time since and so here at last are both available together, as much in homage to these two wonderful musicians. More than studio-plus recordings, That Will Be That actually appeared in rerecorded form on the couple's Rhythm Hymn album of 1983. Here though is the original (and superior) version, with all the hallmarks of classic Whitren and Cartwright song writing craft, musicianship and production skill. Again remastered by their son (and at the time, teenage drummer) Joby Baker, the song drips with a confidence of masters of their instruments, full heartfelt, righteous and as relevant today as then lyrics, all backed with some deep white funk and enough soul to move mountains. This is accompanied by one of their greatest compositions in the spine-tingling This Time. Only ever known on this live recording from Glastonbury Hall, Jaki's vocals and light accompaniment from John's keys let the song shine. If the sheer power of her voice and words don't move you, then something is missing in life. A pure, sad, joyous way to thank and remember this wonderful music and people.

"AutoKinetic (Mike McClure) returns to Analog Records with an aural expedition through atmospheric synthscapes and elastic acid basslines. ""In Search Of"" is a nod to the 1970's TV show dedicated to exploring mysterious and unexplained phenomena. Forged in the Minneapolis electronic music scene of the 1990's, AutoKinetic's myriad productions have thrilled dark warehouses and club dance floors worldwide for over 25 years."

Eglo Records are proud to present the second official solo album by the forward facing producer and vocalist Steve Spacek. The album, entitled 'Natural Sci-Fi' originally began production in 2005, shortly after the release of the now classic 'Spaceshift' album (which included the J-Dilla collaboration 'Dollar'), but was never completed. Over the last few years Steve has added a some tweaks and changes - including a new song and guests vocalists Oddisee and Natalie Slade - eventually finalising the project and readying it for its release in 2018. The album continues the post Spaceshift vibration of Steve's signature production style and effortless vocal delivery. Swinging spaciuosly from past to present, packed with soul, sounding as fresh and relevant today as it did when it began back in 2005.
Since the albums inception Steve has released projects with Mark Pritchard as one half of Africa Hitech on Warp, an instrumental LP as Black Pocket for his brother D-Bridge's Exit Records and a concept LP as Beat Spacek for Ninja Tune. Following a string of EP releases for Eglo over the last two years we are thrilled to finally be able to bring to you a full length release from one of the UK's most unique and talented artists.

For this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall's product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting its inscribed template.

The result is a true third act,in McDowall's career, that has seen him peregrinate from the late-70s art-punk of the trio Poems to his work with Psychic TV and Coil throughout the 80s and 90s, into his current home of New York City, where he has composed with CSD, Compound Eye, as well his solo work. That triangulation is central to The Third Helix, as it begins with his dive into the existence of a sensory toolkit unique to McDowall before twisting faculties and reconfiguring consciousness by honoring inherent power, cognizant of memory yet agnostic of context.

With the tenet that journey is rarely linear, but rather an omnipresent oscillation of matter, sound is stripped to salient and primal, propelled by McDowall's boring into the core of memory and impulse, suturing together the silent awareness of excogitating experience.

Featuring eight new tracks of McDowall's dark, experimental electronics, including the opener "Rhizome", The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process.

Unnerving, trancelike anthems for nervous meditation and anxious relaxation, fans of Coil will immediately connect and immerse, while the complex compositions welcome listen for drone and ambient enthusiasts.

Packaged within a thick sturdy matte sleeve jacket featuring artwork/design by artist J.S. Aurelius (Ascetic House/Marshstepper).

Cat.no.: DAIS 122 LP

Tracklisting

For this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall's product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting its inscribed template.

The result is a true third act,in McDowall's career, that has seen him peregrinate from the late-70s art-punk of the trio Poems to his work with Psychic TV and Coil throughout the 80s and 90s, into his current home of New York City, where he has composed with CSD, Compound Eye, as well his solo work. That triangulation is central to The Third Helix, as it begins with his dive into the existence of a sensory toolkit unique to McDowall before twisting faculties and reconfiguring consciousness by honoring inherent power, cognizant of memory yet agnostic of context.

With the tenet that journey is rarely linear, but rather an omnipresent oscillation of matter, sound is stripped to salient and primal, propelled by McDowall's boring into the core of memory and impulse, suturing together the silent awareness of excogitating experience.

Featuring eight new tracks of McDowall's dark, experimental electronics, including the opener "Rhizome", The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process.

Unnerving, trancelike anthems for nervous meditation and anxious relaxation, fans of Coil will immediately connect and immerse, while the complex compositions welcome listen for drone and ambient enthusiasts.

Young Cosmonaut Having Decided To Fill The Silence Of Space With Ethereal And Dreamlike Of House Music, His Productions Resonate Throughout The Cosmos.
Very Young, He Dreams Of Interstellar Travel Through The Broader Electronic Music. He Left The High Reliefs Of The Alps To Prepare For New York And Began Producing Hip-hop Under The Pseudonym Kayloo. Quickly Recognized In The Industry But Initially Inspired By Producers Such As Pepe Bradock,
Janeret, Hugo Lx, Kink, He Does Not Forget His Dreams Of Stellar Conquest And Now Comes Back To The
House Music.
His First Space Mission Will Take The Shape Of A Self-produced Ep In Vinyl Format To Be Released At The
Parisian Distro, Syncrophone.

Look! Ultra rare and super dope Disco-Boogie reissue alert!

That's right, Distinction's 1982 jammer 'That's the way I like it' is back! Fully licensed in conjunction with the rights holders and remastered for 2018 by Above Board distribution. This one's long been at the top of the wants lists of DJ's and dancers for ages, a masterclass in UK Boogie flavour brought to you by the production and writing prowess of Roy Carter who was a member of the UK's legendary Soul and Funk legends Heatwave and who worked extensively with Central Line, Junior Giscombe, Dee C. Lee and many many more throughout his long career. Pretty much all of Distinction's output is tough to find with the majority appearing on tiny labels, and second hand prices for these gems are always on the high side with this particular 12" being one of the most sought after. This is a proper and full reproduction of the original Hansa 12" from 1982 with the added bonus of the 7" mixes being included of both 'That's the way I like it' and b-side winner 'Looking for love'. This one has been booted before with severely lacking quality control, but we are proud to say this reissue has been fully licensed and made using the original tapes with all remastering handled lovingly by Optimum Mastering, Bristol, UK. This is an unmissable reissue if you dig this sound, don't miss out! Pure fire.

Bristol-based producer Drone finally makes his bow for Coyote Records with the release of new four-track EP, 'Light Speed'. Written over the first six months of 2018, 'Light Speed' forms Drone's most accomplished and absorbing release to date, bringing new textures, layers and depth to his music and to the club - a space where his beats have been a mainstay in the sets of producers like Kahn & Neek since debuting on Hear Other Sounds in early 2017. A regular at Coyote's Bristol parties over the course of 2016 and 2017 and inspired by the clinical, freeze-dried grime of label contemporaries like Last Japan, as well as Sector 7 bosses Boofy and Lemzly Dale, Drone has probed, honed and developed his sound to marry the raw impact of his early beats with detailed, widescreen scope. There are nods to the soundsystem culture of his new home city of Bristol on the coarse textures and booming, dubby low-end of 'Narroways' for example, while title-track 'Light Speed' captures the icy, shimmering Coyote sound aesthetic in full view. B-side tracks 'Probiscus' and 'Fangz' continue this theme apace, bleeding into one another like patchwork to showcase a grime sound moulded by the club, but finessed away from it. Born in Hastings, Drone has spent the last three years studying Music Production in Bristol, during which time he's guested on Rinse FM, released on London's Hear Other Sounds and Boofy and Lemzly Dale's influential Sector 7 imprint, as well as self-releasing a limited edition USB - comprised of a slew of unreleased beats - in February 2018.

john Yancey' Is The Second Album Illa J Will Release On Jakarta Records, Following The Successful
Release Of Home Last Year. The Project Is The Second Collaboration With Los Angeles
Based Producer Calvin Valentine, Who Once Again Contributed All Of The Production For The Long
Player. While home' Was Largely Inspired By Illa's Native City Of Detroit, john Yancey' Now
Focuses On His Time In California.
(this Album Is) Definitely More Personal Than All Of My Projects, Nothing Specific, But I Basically
Talk About About The Ups And Downs Of All My Relationships Over The Past 10 Years, Still Grieving
About My Bro, Etc. This One Is Trippy Because The First Single Comes Out A Day Before My 32nd
Birthday And The Original Title Was 32 Because This Is A Special Year To Me Because My Brother Died
At That Age So It Had A Lot Of Meaning. But It Makes Sense That It Ended Up Being Called John
Yancey Because For So Long In My Career I Felt Like I Was Tryna Be Me And My Brother, And I'm Finally
At Peace, Like I'm Not J Dilla's Younger Brother Illa J, I'm James Younger Brother John.'
While The Story Of The Album Might Have Changed, There Are Certain Continuities As Well, Built
Around The Strong Foundation Of The Combination Of Illa's Voice And Calvin Valentine's Soulful
Sample Based Production. The Previous Album Already Saw Illa J Incorporate More Singing Into
His Raps And He Goes Down This Path Even Further: i Wanted To Emphasize The Singing But Use
More Of My Natural Singing Voice, As Well As Rap More Than On Home.' In Regards To The Music,
Calvin Wanted To Make The Project Sound a Bit More Polished Where Home Was Purposely
Rough Around The Edges.' Still, The Production Remains Soulful And Rich With Layers To Leave Things
Interesting For The Listener, The More Spins You Give The Record.
The Cover Was Created By Robert Winter, A Cologne Based Photographer Who Was Also Behind The
Visual Appearance Of Home.

New label MIC launches with some previously unreleased and unheard material from UK DIY jazz funk maverick, Mike Collins, better known as the brains behind the spacey Loft classic, Sun Palace - 'Rude Movements'. MIC presents a small archive of Collins' material (recorded around the time of 'Rude Movements') and reveals the more experimental side of Collins' production. Five tracks that explore early, proto-house music, electro, and fascinating drum machine observation. Essential issue!

We are excited to release a 6-track EP from San Francisco based DJ, producer, and remixer Sepehr Alimagham. The San Jose native has been a fixture in the Bay Area house and techno scene for quite awhile now — on the dance-floor, behind the decks, in the studio, or all of the above. Early influences like Boards of Canada, Aphex Twin and post-hardcore bands later in high school started his affinity for off-kilter, underground music. In 2017 he began performing live PA sets, utilizing his immense production backlog to perform vivid and electric sets, from potent dance music to psychedelic and esoteric soundscapes.

"Body Mechanics" is six tracks of acid drenched dance music that ebb and flow from floor filling club thumpers to more cerebral soundscapes. Inspired by the new wave of the acid sound as well as nostalgia from his formative years in the San Francisco music scene, 'Body Mechanics' takes a functional, yet psychedelic approach to 303 styled techno and electronica. Attention demanding basslines, indiosyncratic structures and hallucinatory atmospheres provide an effective framework for Sepehr's vision. The themes of the track titles take root from a series of dreams Sepehr had with a common atmosphere of strange characters and textures, akin to scenes from David Lynch's 'Twin Peaks'. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket featuring a dark and inviting cyborg hand holding a rose designed by Nicole Ginelli.

Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing "Liquid Love", a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive's heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your "Magic Polaroid" as proof that this wasn't an impossible Project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat's Butterama studio, a haven of analog hardware hidden in a remote part of Berlin's Neukölln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an "Afro-Funk Quintet" or merely described as a lively tribute to the artists which have influenced them: their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances.
And no one will be disappointed as soon as the first bars of "The Trumpets Of Denmark" stomp on stage like a boisterous fanfare, with Johannes Schleiermacher's impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo's powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of Onomatopoeia, it soon becomes clear that she's laying down her manifesto for a nostalgic Space-Age yet to come, with a few key words serving as Mantra (Focus, patience, tears and creation): an invitation to drive off the Information Superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us.

The arrival of Marvin Parks on today's musical scene is a perfect addition to the renaissance of the Afro-American Jazz Crooner panorama, deeply rooted in the Black Music tradition. Having his roots in Gospel and in the '50s and '60s jazz singers by the likes of Nat King Cole, Johnny Hartman and Joe Williams, Marvin Parks yet remains by all means an artist of today. In his debut Marvin shapes his light baritone colors within the sound of a well-established group of musicians under the direction and production of Nicola Conte, giving a different light to well-known standards and some originals.

Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

Keysound Recordings are proud to announce the unearthing and release of a collection of lost deep tech dubs from Hugo Massien. After releases on labels such as XL Recordings, E-Beamz, Tectonic and Audio Rehab comes a 12' of tracks that date from 2014 -2016. Dark, percussive yet catchy, the productions originate from the peak years of London's underground deep tech scene, at a time where the movement bubbled with an abundance of energy and creative possibilities. Massien was one

Lixo - The Production Alias Of Alex Hislop, Founder Of Influential London Party Collective, Getme! - Returns To The Crew's Label Arm With New Ep 'cicada'.

The Follow-up To 2016's 'writer's Block'single Feat Trim And 2017's "ida" Ep In Collaboration With Quays.the "cicada" Ep Sees Lixo Explore The Gamut Of Electronic Music With Washed Out Vocal Sampling, Warm, Tribal Bass Sounds And Fluttery, Dreamscape Melodies That Tug At The More Experimental, Exploratory Corners Of London's Club Music Landscape.

With A Back Catalogue Already Spanning 19 Records - Including Key Releases From The Likes Of Lil Jabba , Slime, Trim And Dam Mantle - The London Party-come-label Getme! Have Established Themselves As One Of The City's Key Electronic Hubs Over The Last 10 Years. Formed By Alex Hislop (lixo) In 2006, The Brand Now Spans Events, Radio And Their Aforementioned Label Arm.

Russian producer Nocow returns to Rekids with an enthralling full-length album entitled 'Atoner' this November.

Real name Aleksei Nikitin, Nocow is known for his versatility, producing a large body of genre spanning work on labels like Clone Royal Oak, Figure, Fauxpas Musik, Gost Zvuk and Styrax. The St. Petersburg-based producer debuted on Rekids last year with his 'Samaya Dolgaya Noch' EP, a mellow release complete with vocal driven cuts as well as 2-step rhythms, and now returns with a myriad of productions in a fourteen track album entitled 'Atoner'.

'Atoner' opens with an eponymous track that gently unravels with soaring synths and subtle percussion before Nocow's voice emerges alongside twinkling atmospherics in 'Complie'. Throughout the long player are also intricately produced short tracks sitting between the two and three-minute mark such as looping vocal number 'Dancerecter', the melodic and rattling 'Leto' and ominous 'Delore'.

Ostanovitsa' is a murky offering featuring a meandering organ riff, leading into the pitter-patter drums and serene chords of 'Starveme (feat. Tayut Ogni)'. 'Come Along' is a crystalline and otherworldly experience from start to finish, whilst 'Melting Lights' is comprised of echoing, subterranean sounds, making way for reverberating snares and metallic stabs in 'Standalone'.

Husky murmurs and soothing notes then make up 'Neva', moving into the syncopated beat and idyllic chord sequences in 'Can't Get Enough' ahead of 'Stonecold' and its icy aesthetic. Finally, the album reaches a mesmerising conclusion with the spellbinding 'Footer'.

A-Sim, born Simon Hamelin, is a fresh electronic music producer from France. His productions wind up somewhere between UK bass, electro and techno with a focus on the rivalry between the dark and sweet side of all textures coming from electronic instruments. He released stuffs on R&S, Eddy Larkin and Rawax.

Ghost of Skye glides between lost innocence and joyful tears. It shines like a blurring star, like the glowing glass of your last drink on a late night.
My Opinion (even if you don't care) is the rotating, meditative call to prayer pumped on detroit electro steroids. Take my hand and dive into oblivion.
Unpeaceful Mind re ects our apocalyptic erra. The neverstopping dark and anxious pressure of society. The need of relief. Of escape. Of freedom.

All tracks mastered by Pole at Scape Mastering in Berlin.

When I found myself on the main dance floor of ://about blank during Berlin's most beloved party, Buttons, I was immersed by the sounds of Shingo Suwa. He has honed his skills as a resident DJ and producer for many years. In this record, you will hear how his experiences have heavily influenced his productions. We are excited to release Shingo's debut album and the first album released by Acid Camp Records. The album includes a bonus remix from Mixmaster Eric Cloutier.

The 2nd album from French pop act Yelle gets a long-awaited reissue, the first one since the initial release in 2011! Following her first album 'Pop-Up' (2007) and an unexpected international success which brought Yelle on tour with Katy Perry, 'Safari Disco Club' is an explosive cocktail of rich pop melodies and tribal rythms filled with the peculiar childish energy of singer Julie Budet (aka 'Yelle'). The release of the album was followed by an international tour which included a second appearance at Coachella. This deluxe edition includes the original album featuring productions from Yelle's long-time partners in crime Jean-François Perrier (aka 'Grand Marnier') and Tanguy Destable (aka 'Tepr') and also from German producer Siriusmo. It also includes an additional vinyl compiling on vinyl for the very first time remixes from Madeon, Lo-Fi-Fnk, The Shoes and Logo, among others.

This is a long overdue reissue of a fantastic album! Here we find a pure disco classic from the US scene of the late 70s. The original copies retail at plus $300, that's only if you can find one at all! So those who love to spin good music, but are unwilling or unable to lay down too much money can now lend an ear to this fine vinyl! The opening track is 6.5 minutes long and consists of ongoing grooves with a hint of rock thanks to the melodic lead guitar. The driving rhythms are irresistible with soulful and strong female lead vocals that capture you right away. This reminds me strongly of the lengthy Donna summer dance classic, released during the same period 'Better than walking out' which became a dance floor sweeper. There is nothing complicated here, just sheer groove interwoven with catchy melodies. 'Lovin' you is so easy' follows and is a mid-paced soul anthem that comes as clean, slick and close to pop music a tune can come, but the melody of the chorus will stick to your mind. The arrangements are tight revealing several layers of instrumentation on second take. The lead singer's expressive voice matches with the best of its genre. A grand dame of soul familiar to a wide audience. While we ruminate about the different stylistic ingredients of this album we reach ''Woman', an entire instrumental with a straight groovy beat paired by cool funky rhythm guitar that lies beneath a soundscape made by the electric piano. Both seem to interact tightly and communicate with another. This tune just moves you physically with ease. Lushly orchestrated ''Our love is special' turns out to be a wonderful soul pop anthem of the kind that stays with you when you have only enjoyed it once. I'm almost certain that most fans of the late 70's soulful dance and pop will spin this record over and over again. This is what the DISCO LADIES are made for. Their music has this certain disco feeling but the classic 60s Motown Soul roots are so obvious and keep the whole collection of songs so grounded, that the music will go straight to the heart, nestling there for a long time. ''I second that emotion' is again a mid-paced groover that has this fluttering beat with great instrumental figures build upon this footing. One might hear elements of reggae, gospel and funk melting into an utterly joyful soul pop tune that eventually would become an evergreen in the clubs. Last but not least we are treated to ''Woman', again the arrangements of lead and backing vocals are amazing! These are footed by equally amazing strings and horns. These melodies, soulful, expressive, intense and full of joy! The last tune is a vocal version of 'Woman'. Definitely being the highlight of the entire album and a worthy finale for a record that sticks out of the masses of disco music productions of it's era! All this makes a wonderful and delightful reissue ! worthy of joining every black music aficionado of the 1970s.

Recorded already in 1983/84, these soulful songs still show a relation to 1970s soul pop with lush
arrangements that work with real instruments and have a vibrant atmosphere. An all in all memorable songwriting
and the incredible vocals of Mavis Staples from The Staple Singers make the album stand the test of time, even 35
years after the initial recording sessions and 25 years past its first CD/MC release. Licensed by legendary BRIAN
HOLLAND and for the first time on vinyl now by EVERLAND!

Mavis Staples has come to fame and fortune as member of the family vocal group THE STAPLES
SINGERS from the late 50s onward to the mid 80s and she has released a fair amount of solo albums as well,
many of them in recent years. - Love gone bad' is a solo effort from 1993, originally titled - Mavis Staples' and only
released on CD and cassette back in the days. So EVERLAND have now done the right thing and put out the first
ever vinyl of this gem. And a real gem can be found here. Soul music in a down tempo with a slick production and
lush arrangements that still have this vivid expression making it real music by real musicians. The songs contained
on this album all date back to the early 80s, from a session not released until 1993. The melodies and the way the
compositions flow go back to a mid to late 70s soul pop style that incorporates elements of funk and dance music
but in a moderate pace. You can easily float upon the dancefloor and drift away in silky dreams. Some tunes have
a synthesized beat with a typical 80s sound, but these are compositions that stand the test of time and 25 years
after their initial release and 35 years after these recording sessions they shine on as diamonds of black soul pop
and R'n'B music (not to be confused with Rhythm & Blues). Mavis sings like a grand lady of soul with a timeless
quality that makes her stand out from the crowd of similar crooners. Even in the most gentle moments here the
tunes have an irresistible groove that moves the listener. But you can also sit and listen and explore piece by piece
digging deeper into the arrangements to unearth great bass and guitar lines. You will sing these vocal melodies
over and over again in the days to come until you throw this onto your turntable once again. I wonder why this did
not see a regular release back in the 80s as it would have led Mavis Staples to the top positions of the charts, Pop,
Black Music and Billboard. She was meant to make an impact and although she was already in her mid 40s when
she recorded this collection of soul nuggets, she brought a lightfooted youthful spirit in, which gives so much life to
her songs. A must have for all aficionados of female fronted soul pop.

For the third chapter of Refined Productions Aleksandra Grünholz aka We Will Fail delivers her third full length album entitled Dancing on her recently launched label with Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressings. Here she tells the story:

'Taking a break from rationality, my first thoughts about the theme of this album were about the night, when our sight is limited and thoughts are corrupted by fatigue. I don't dance anymore, I don't party, I don't let myself go. Some time ago that part of life slipped away from me. This album is like silently entering into a place you shouldn't be in. A lot of rave inspired sounds were used on the album, dreamy pads, arpeggios, simple melodic structures; but this album is not easy and simple.

As head of a graphic design studio in Warsaw, last year was very hard for me, the amount of work started to overwhelm me; I started to feel stupid and possessed by the work, this is how the tracks 'Very Urgent' and 'Economic Maladies' were born. While the track 'Reason' is about losing rationality and how easy it is to do.

'Put Your Hands Up in the Air' encompasses the rave. It's also a kind of question, can music itself tell a story Very often in EDM or trance music there is a story and I like to call it catharsis. A moment, when the beat slows down and melody/pads become solo. I tried to extract this moment, without adding drops and aggressive rhythms.

'So Who's the Man' is about regaining the power, slowly but consequently. This album is a about feeling bold, monstrous and strong. Like looking insolently into someones eyes. You have to be patient with this one, because it builds up slowly. If you listen only for a fragment you miss the whole idea.

'Beasts from the East' was inspired by the thought of being a small peace loving person in a chaotic world that is dominated by stupidity.

The track '2018' epitomises the rave, but more complicated. Each of the layers are a but simplistic and could construct a dance track, but as there are so many sounds simultaneously, it can become disturbing in the perfect way.

'Diving in Plastic' was fit for the last track, I didn't want the album to have a perfect conclusion, I wanted to leave the listener hanging and ready for more.'

'Snakedressed' is the fourth studio album by most active Dirk Ivens's incarnation. It was released in 1997 by Daft Records and had once again the collaboration of Ivan Iusco of Minus Habens Records and Nightmare Lodge fame. A well produced and arranged work with the usual noise infused, yet dance oriented tracks full of harsh bass lines overlayed with intricately woven and noisy synth patches. An album that catapulted Dive as a cult act and one of the strongest influences for lot of artists. For the first time available on vinyl record with all original tracks plus some extras from 1996 including songs from the split EP's with Kirlian Camera and Controlled Bleeding and a couple of tracks from the compilation '2/3' (Hands Productions).

The new album from Danish electronic trio System is a special kind of collaborative effort with piano magician Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically intriguing as they are touching. Ranging from the mellow bliss of the title track to echoes of 90's and 2000's electronica and ambient sequences frequented by mesmerizing movements and sounds. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.

Thomas Knak met Nils Frahm at one of his concerts in Copenhagen. They stayed in touch, exchanging thoughts and ideas. Two years later, Anders Remmer was also introduced to Nils. From then serious ideas for a collaboration formed. As Nils was a fan of System's self-titled debut album (released in 2002 via Pole's Scape label) their talks centred around Dub and minimalism, elements that constitute most of System's music as well as their side and solo projects. This in mind, System began producing sketches and brought them to Nils´ Durton Studio in Berlin in December 2015, where they recorded ten hours of him playing keys and effects to their drafts. Back in Copenhagen, they decided to change direction. - As Nils had told us about his fascination with our debut album, we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction.'

So they started building new pieces from the Durton recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) always relied on steady beats or rhythmic material, so the productions of 'Plus' with their focus on acoustic and melodic elements, ambient layers and cinematic moods, sees them pushing forward into new areas.

This way, the trio avoided copying what they had already done years ago, when they built a reputation as Denmark's prime originators within electronic music in the 90's and 2000's. 'Plus' is a triumphant example of collaborative experimentation and may be the dawn of a new era for System: - For us it was really satisfying to focus more on actual sound rather than rhythmic aspects. There is a lot of potential in this field, so it would only be natural for us to pursue this, maybe as a series of collaborations with other people who's music we admire.'

A brand new tune in a collaboration style between two of the UK's most formidable dub / reggae labels.
* Featuring Ojah from Alchemy Dubs and Liam from Partial Records, with the former on production and mixing duties and the latter laying down some tasteful guitar licks.
* `Forward' is an instrumental that has one toe in the 90's UK dub style but has its footprint firmly in the present time.
* Backed with a compulsory dub mix.