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orwegian techno institution Ploink launches annual series entitled Affinity with its debut release featuring names like Skatebård, HndS, Roeglin, Fraunhofer, and Priq. Based in Bergen, Ploink has been flying the flag for Norwegian techno for well over two decades, organising some of the country’s best events and festivals. Co-founded by Thomas Urv and Miss Mostly, the label was born five years ago and has since released music from an array of home-grown talent including Mental Overdrive, KSMISK, Prins Thomas, +plattform, Joaquin Ruiz, Christian Tilt, and more.

Launching the label’s new Affinity series, Berlina Für Techno’s Roeglin is first with “Norm” which opens with glitched stabs, vocals and a tight drum pattern. Picking up the pace, Fraunhofer- formerly known as Dortmund -returns to the label bringing a shuffling rhythm, crunchy cymbals and spacy synths in “Saturn”. Bergen dance music royalty Skatebård remixes “Wake Up” by London-based Scandinavian duo HndS, maintaining the energy with thumping bass and bouncing chords. Tying it all together, Norwegian producer and drummer Priq’s “Area” sweeps in with decayed keys, pulsing percussion and a gripping atmosphere.

There Existed An Addiction To Blood" ist das insgesamt vierte Album von Clipping und ihr drittes für Sub Pop. Es ist der Nachfolger des von Kritikern und Publikum gleichermaßen gefeiertes Album ,Splendor And Misery" aus dem Jahr 2016. ,There Existed An Addiction To Blood" enthält die Singles ,Nothing Is Safe", ,Blood Of The Fang" und ,La Mala Ordina" (Feat. Benny The Butcher, Elcamino, The Rita), die von Clipping produziert, von Steve Kaplan gemischt und von Dave Cooley bei Elysium Masters in Los Angeles gemastert wurden. Das Album enthält auch Gastbeiträge von Ed Balloon, La Chat, Counterfeit Madison und Pedestrian Deposit. ,There Existed An Addiction To Blood" ist Clippings Interpretation eines neuen Rap-Splitter-Genres unter Zuhilfenahme ihrer einzigartigen Lupe. Clipping wenden sich auf dem neuen Werk intensiv dem Horrorcore zu, eines bewusst absurden und kreativ bedeutsamen Subgenres, das Mitte der 90er Jahre blühte. Einige der bemerkenswertesten Pioniere hießen Brotha Lynch Hung und Gravediggaz, aber es umfasst auch bahnbrechende Werke der Geto Boys, Bone Thugs-N-Harmony und die nahezu vollständigen Veröffentlichungen des klassischen ,Memphis cassette tape rap". Der wahrscheinlich subversivste und experimentellste Rap hat sich oft als ,Alternative" zu konventionellen Sounds präsentiert, aber Clipping verzerren das Ganze respektvoll in neue Konstellationen. ,There Existed An Addiction To Blood" absorbiert die hyper-gewaltigen Horror-Symboliken der Murder Dog-Ära, stellt sie aber in einem neuen Licht dar: immer noch dunkel getönt und düster, aber in einem seltsameren und lebendigeren Farbton. Wenn der traditionelle Horrorcore mit ,Blacula", dem populären Blaxploitationsfilm-Klassiker aus den frühen 70er Jahren, verwandt war, so ist das neue Output von Clipping analog zu ,Ganja & Hess", dem blutrünstigen Kultklassiker von 1973, der als unbesungenes Wahrzeichen des schwarzen Independent-Kinos gilt, dessen Score von Sam Waymon, Clipping als Inspiration zum Titel des Albums diente und auch Samples auf dem Track ,Blood Of The Fang" lieferte.ENG The science-fiction visionary Octavia Butler once declared that "there is nothing new under the sun, but there are new suns." The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping's transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an "alternative" to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang's Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with "Piano Burning," a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band's career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018's critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping's last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork's Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single "The Deep" became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards - a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It's horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.

PLR is proud to host a variety of talented producers from around the hemisphere, from Berlin to Montréal to San Francisco. The label is a brainchild of independent artist Experimental Housewife and was kicked off by prolific producer Roche (100% Silk, Jacktone, Hobocamp) and his breath-taker A Genuine Effort To Make You Comfortable. Soon after, the spring saw italo-sprinkled dance floor beats followed by slamming techno and weirdo-tronica, a non-genre made of intriguing sounds that play tricks on DJs. In closing, the roster will be opening ears up with a wonderful miniseries of ambient releases before the final EP: arpeggiated pop from conceptual two-man band Star Service .

Premiere producers like Lily Ackerman (As You Like It, Mioli Music), CMD (Jacktone, basic_sounds), Golden Diskó Ship (Monika Enterprise, Spezialmaterial, Klangbad), BLEIE (B.O.D.I.E.S., 3am Devices), Mo Kudeki (Noctuary, Public Works), and Tape Ghost (Asterisk, Night Sea) have all signed up to the roster, releasing fierce and excitable works that they have had for a while but hitherto were not able to release to the public.

Reverenced names like Ryan Merry (now Elexos Park but formerly Ghosts On Tape), Roy England (Make Mistakes, Communikey), Caltrop (In The Dark Again), Loren Steele (Wolf + Lamb, Jacktone), and Philadelphia warriors Sean Thomas (Drumsong, Sound Between Movement) as well as bpmf (Schmer, Serotonin, Prototype 909) have all offered exclusive productions.

Mysterious and up-and-coming producers like Emmett Perlman (Wage Slave, Make Mistakes), Bad Person , gayphextwin (Jacktone), BIlagáana (VODER), and Atlas Of Nothing can be explored in the catalog alongside new names like Memeshift, The Hug , and Jaclyn Kendall .

Our spotlight mastering engineers for digital releases include David Last, Abe Duque, Dark Star Audio, David Tatasciore, and Helen Heß. Our resident and extremely generous/talented engineer for the year has been the one and only Roy England.

“More secret edit weapons from the vaults of DJs like Manfredas, Iñigo Vontier, Simple Symmetry, Dreems and Thomas Von Party, aka the Multi Culti Family. New wave Latino body music, peak power extended space disco and wiggly electro funk combine for definitive dance floor approval and chin-stroking trainspottery.”

Philippe Cam is the Thomas Pynchon of the electronic music world. Little is known about him and only a couple of pictures have been put online since he emerged on this planet to write his first and only album18 years ago. We know he worked as a sailor and that’s it. If you dig deeper you might find out that he worked as a DJ in the beginning of the 90ies in Brussels and began to study electronic music there and also began to write music for theaters and ballets.

The American distributor Forced Exposure once wrote that about him: „Philipe Cam is a star in his own field. He is among the few people who have succeeded to write hypnotic dance music without a conventional beat still conveying a thrilling, dramatic feel. Cam has developed an accurate, intense and complex formula of modulation-techno. Starting with music similar to Pan Sonic in 1996, his music turned towards a more elegant form of minimal music. Abstract soundtracks lead to an organic form of music, which was equally influenced by modern techno as Wolfgang Voigt's Studio 1/Gas or Basic Channel/Maurizio. Cam's music corresponds heavily to the Cologne scene, where his music is appreciated and played throughout the clubs by the likes of Michael Mayer, Tobias Thomas and various other DJs as well as experimental djs from the A-musik corner.“

So what’s new with his music? Basically the art of filtering is still his passion. Maybe he can be less associated with techno and the themes of his new tracks emerge in a more distinctive pattern? Well that’s hard to say, we would comment the energy of his early techno days in Brussels have returned here in a fierce way with some oft he tracks. The rhythmic movements are classy and stick with you. Whereas other tracks look for a distinctive relaxation of some kind.

We are releasing the album as a double clear vinyl with cover art by Yvette Klein who also designed the cover for his Philippe Cam’s album 18 years ago. Graphics for "Rotterdam" come from Cologne designer Daniela Thiel. We also would like to thank the cultural department of Cologne for supporting us to finance the album and to see the artistic value in this piece of minimalism.

The album kicks off with the mellow and soothing "Cocoa Beach". A Gentle beat that moves like bodies swaying in the hot summer sun. The clock moves a step forward and then a step backward as evolution takes a rest.

"Manga" feels like an acceleration to the moon, the contemplative moments come in spurts and hide in the intervals of the chords which are on the loose. Philippe Cam is the most energetic person in the world when it comes to core activity, this is head banging stuff for the ambient lounge.

"Short Summer" is a heavy and violent recognition. As intensive as it is it knows when to stop and disappear. In the ear and brain of the listeners it leaves an indisputable echo which lingers on for minutes. We suggest not to make a pause but jump directly into "Vermillions Sands".

What can be said about into "Vermillions Sands"? Be prepared some Terry Riley might lure around the corner to offer you some oranges on a silver plate, but don’t eat them. This is luring and beautiful at the same time. Maybe the best ambient track ever written and yet who can ever venture to say that without making a fool of himself. "Vermillions Sands" comes in waves and they could be longer we think.

"Rotterdam" the home of Philippe Cam for a long time but not anymore. He moved away. So that changes the perspective. But when was the track written? "Rotterdam" seems mechanical and rusty and spooky and divided. This arrangement is very different to all the other tracks so far and is almost dub in style but way more fractured. A steady stop and go emerges. But the longer it runs the better it gets. At minute 6 the brain resets itself and tries to grasp what has happened so far, reconstruction as a result of its own phantasmic imagination and hardly true at all, wonderful. Applause included!

Here comes "Bis", a short episode of a track and before we can comment on it, it is already over.

"The Game" is a mule of a track. It has a quiet stubborn sequence that bites and kicks you in the back without any change in near sight. We can hear a voice whispering, which sounds like a miniature vocoder featuring the voice of a child calling out - never stopping. This is treadmill to some extend but starts to breathe towards the middle of the track and slowly changes perspective. In fact there are some changes taking place here which go beyond a sound design that works heavily on the stereo image. Stick with it and the experience will be a great one.

"Ultimate Fly For Halloway" somehow orchestrates how you might feel after you climbed a 8000 meter high mountain and reached the top. A rejoicing off a special kind. Lava for the ears. No cheerleader murder plot sorry.

"Last Track" is a perfect example of a true minimalistic pice of music that manages to make contact with other genres and does this with elegance, determination and a lot of soul.

key selling points: The key selling point is the fact that Philippe Cam once was referred to as one of the main protagonists of the minimal music scene along with Wolfgang Voigt's Studio 1/Gas and Basic Channel/Maurizio. A true artist with a vision which is very rare.

Philippe Cam has picked up the sound he was famous for but has developed it further without selling out to any genre and expectation that rules our daily business.

Exactly this is the strength of the album to create a vivid world of impressions by using instruments in a whole different way than all software developers would suggest.

"Rotterdam" is a piece of art that can set off a firework when you listen to it and it owes nothing to anyone.

A local Detroiter who knows Classics!!

Nils Frahm veröffentlicht heute seine brandneue 5-Track-EP Encores 1.Nils Frahm hat die letzten zwei Jahre damit verbracht, sich sein neues Studio im Funkhaus Berlin zu bauen und dort Aufnahmen zu machen: In diesem Rahmen entstand nicht nur sein zuletzt veröffentlichtes, international gefeiertes siebtes Album All Melody, sondern obendrein etliche weitere Tracks, von denen fünf ab heute als - erste Zugabe erscheinen: die EP Encores 1.

Aus insgesamt 60 ersten Ideen und Songskizzen habe er schließlich jene 12 ausgewählt, die auf dem Album All Melody versammelt sind, was bedeutet, dass ein Vierfaches davon zunächst in der Schublade bleiben sollte: - Die Idee zu den Encores hatten wir dabei genau genommen schon vor All Melody: Nämlich drei Veröffentlichungen zu machen, von denen jede ihren eigenen musikalischen Stil hat und ihr eigenes Thema. Wir dachten dabei zunächst an ein Triple-Album.

Doch dann wurde All Melody immer größer und verdrängte diese ersten Konzeptideen , so Frahm. Als eine Art begleitender Anhang zu All Melody gedacht, wobei sich zum Beispiel das Stück - The Dane auf der aktuellen Welttournee bereits als absolutes Live-Highlight entpuppt hat, konzentriert sich Encores 1 durchweg auf akustische Aufnahmen mit zwei Instrumenten: (Solo-)Klavier und Harmonium. -

Ich glaube, man kann die Idee der Encores mit klanglichen Inseln vergleichen, die All Melody erweitern , sagt Nils Frahm weiter - und deutet damit an, dass die Geschichte von All Melody womöglich noch längst nicht zu Ende erzählt ist ...

It's a welcome change to see the dance music industry shift from a sausage fest to a decidedly more diverse scene of artists and DJs, one where challenging and marginalized voices can be heard.

MISS REPRESENTED has such a voice, raw and fearless, an educated woman of experience, who has lived her life on the dark side of Scotland's acid house scene, where she has found plenty of food for thought.

Co-produced by Thomas Von Party of Multi Culti, who enlisted the talents of Kris Baha and Matt Karmil to mix, and brought in the elusive UK-underground legend Johnny Aux to rough up the already rugged Crack That Habit into an extended house banger.

If there's one thing dance music is guilty of, it's escapism. A refusal to confront reality. None of that here. Calling out a culture of lies, empowering female sexuality, facing the perils of addiction, and speaking of the resilience of the human mind, this is heady stuff for the rawest of parties.

"Summer", the third of four parts in our vinyl retrospective series Perfect Collection, is available for preorder now. The careful curation and narrational compiling really starts to show its poignancy with this one, and, besides, three is always a turning point. The 12" showcases several dance floor makers + movers from Montreal's CMD, Philadelphia's Sean Thomas and bpmf, to one of San Francisco's best kept secret, Atlas Of Nothing. We also have a quintessential summer track from the esteemed Roy England along with a dazzling intro track by beloved electronica duo Star Service. Comes with watery fuchsia looks by Josh Ivy and transformative remastering by Dietrich Schoenemann.

Following the mighty rendition of "I Want You", Soul Sugar (a.k.a. Guillaume 'Gee'
Metenier) is back with another massive Soul-Reggae version, this time taking on Luther
Vandross' "Never Too Much".
Fearlessly taking on such timeless classics is serious business, and Leo Carmichael
delivers, once again, with a maximum dosage of finesse and feeling. Seductively delicate
backing vocals from Carl Lee Sharshmidt and Karene Brown keep it as warm and
intimate as one would hope, while Thomas Naim's tasteful guitar licks and Gee's minimal
production allow the song to breathe and flow steadily on its own.
Recorded in Paris, Kingston, Miami and London, the resulting blend of Soul and Reggae
riddims has rarely felt so natural. On the A-side, Gee's "Discomix" dubs a generous dose of
the sultry backing vocals over a minimal, bassy groove that dips, dives and flows on into the
sunset. UK producer Adam Prescott lets loose with an infectious 90's dancehall rerub,
aiming straight for the dancefloor... ladies' choice! Finally rhythm legends Sly & Robbie
drop the BASS with a heavy dancehall treatment, taking it low, letting it ride, while the
vocals float on... Never Too Much!

Hard-to-obtain, vintage highlife from three true giants of the sound; Ebo Taylor, Pat Thomas & Uhuru Yenzu. Originally released in 1982.
In 'Hitsville Re-Visited', the mighty trio add a dose of uptempo funk into traditional highlife grooves.
The legendary Ebo Taylor was involved in many funk and highlife records to emerge from Ghana in the 70's and 80's. He worked with bands such as Apagya Show Band, C.K. Mann as well as Pat Thomas, on this, and several other records.
Taylor recorded another album with Uhuru Yenzu in 1980 – 'Conflict' – which is also available on Mr Bongo.
Pat Thomas career began in 1969 with the ‘Broadway Dance Band’, leaving a year later to join the ‘Uhuru Dance Band’. He then played with Ebo Taylor’s ‘Blue Monks’ and finally formed the ‘Sweet Beans’ in 1973 where he really made his name.
Thomas and Taylor's careers span more than 50 years now and they both still tour to play around the world.

After a long Pause Full Pupp are finally back - and with New Oslo Talent Supreme.
Jaeger Club´s resident Ivaylo returns here to Prins Thomas' always on-point Full Pupp label for a release defined by its imaginative take on contemporary house and techno. Featuring three peak-time dance floor tracks, Syklon is a release that speaks to discerning dance floor connoisseurs in emphatic fashion.

Thomas Lea Clarke returns to the wider Optimo Music family with his third offering as MR TC for us and his first on Against Fascism Trax. This collection of five tracks (4 on the vinyl release + 1 digital exclusive) were recorded over the past couple of years in Clarke’s home studio and sees him diving deeper into the psychedelic dance explorations that you heard on ‘Soundtrack For Strangers’ and ‘Surf & Destroy’.

AF Trax’s message is very simple. The far right ultimately wish for the destruction of our way of life and indeed the lives of many of the people we love. The message is love. The message is solidarity. The message is No Pasaran – They shall not pass. It is a call to stand together, it is a call to stand up, it is a call to ACT. Individually we may be powerless, but together we are strong.

If you’re not outraged, you’re not paying attention!

Sometimes, - despite today's high-octane, fast-track and hyper-hysteric music business - you come across things that seem so pure, perfect and poetic that it almost hurts. "Socialo Blanco" is one of these objects.

It appears understated at a first listen, startling at the second and totally enamouring by the third run. To lay it all out on the table: it sounds like a Music from Memory re-issue, looks like a Growing Bins Records discovery and feels like a flea-market-hippie-uncle-record-collection find.

Based on the language (coincidences and misbehaviour included) and direction of the classic EMS Synthi AKS and recorded by hand and directly to tape (no midi, no sync, no computer), it is at once out of time and out of touch with current sound aesthetics, but that only makes it even more contemporary (vintage) - like a great piece of furniture.

Unsurprising, if you know that Feater is helmed by Daniel Meuzard. Hailing from Vienna and having made a name for himself as a trustworthy and skilled studio equipment dealer and working closely with producer and studio engineer Sam Irl, the man has a knack for turning yesterday into today.

Already is his project's second album, "Socialo Blanco" is the result of all of this and some magical and effortless sessions. The voice of Vilja Larjosto from Finland and Ghana's Eric Owusu (Pat Thomas, Ebo Taylor) on percussion, spontaneously invited to the recording sessions by fellow Viennese Giuseppe Leonardi, are the icing on the cake. All of that and especially the non-conformist pop song "Time Million" symbolizes the heart and soul of an album that deserves to be billed as such. And that is no mean feat.

Smalltown Supersound Präsentiert Unveröffentlichte Aufnahmen Des Heute 58-jährigen, Norwegischen Ambient-meisters Erik Wollo Aus Der Zeit Zwischen 1986-1992. Inspiriert Von Jon Hassell, Brian Eno, Harold Budd Und Klaus Schulze, Fing Wollo Damals An, Mit Moderner Midi-technik Spacig-kosmische Klangkulissen Zu Erzeugen, Die Später Einen Massgeblichen Einfluss Auf Den Cosmic-sound Norwegischer Produzenten Wie Lindstrom, Björn Torske Und Prins Thomas Haben Sollten. Die Aufnahmen Auf "sources" Wurden Von Helge Sten (deathprod) Auf Basis Der Originaltapes In Seinem Audio Virus Lab Gemastered.

Production duo Computa Games take the most slamming synth bass, the crispest drum machine hits, and the overall classic vibes of 80's dance-funk tunes to new aural heights. Sculpted using the best modern studio techniques, the 'Cosmic Dispatch' EP fuses funk, disco, soul and electro to various combinations, fitting the feel of the classiest nightclub or the grittiest backyard party. Each individual tune on the EP pairs with a unique vocalist or collaborator, as the project features guests Lovechild, B Bravo, Jackie Rain, NATALITA, and E. Live. There is something killer and personalized on this EP for every type of dancer, funkster, and headnodder around.

The Computa Games project is the product of the combined efforts of Martin Arceneaux and Chris Arenas. Joining their deep roots of live funk, electronic/live production and DJing, they formed in the fall of 2012, and quickly released two singles on the Supermart Produce label. The two debuted their live set at Monarch in San Francisco, with follow up performances at SXSW in Austin, and Tipitina's New Orleans. The group's third single "Rock Creek (Revenge)" was released exclusively on Beatport, where it was a featured track on the site's Funk/R&B page and stayed in the Funk/R&B Top100 for nearly 2 months, peaking in the top15. The group then released the "Grand Design" EP in September 2013 on Super Mart Records, followed quickly by a remix of The Pendletons single "Let Me Turn You On" featuring K-Maxx, and then a remix of New Orleans based funk band Galactic's "Heart Of Steel', featuring the legendary Irma Thomas. In October of 2015 Computa Games released their first vinyl 7' on ABC records with 'Do Your Thing' featuring K-Maxx b/w 'Feel Right 2Nite' which promptly established them in the burgeoning modern funk scene. Their follow up 7' was released in January 2017 with the single 'Computer Rock' b/w 'Computer Rock (West Coast Remix) on the New Orleans label Super Jock Records. Computer Rock garnered the duo more accolades with critics and fans alike.

Nyami Nyami Records present a lost piece of Zimbabwean musical history: the only album from local legends the New Tutenkhamen, combining Jazz, Soul, Folk and Township rhythms. There are only 2 known copies of the original LP - this reissues make the music available again for the first time in over 40 years.

The New Tutenkhamen included many stars of Zimbabwean township music: Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano's long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher 'Chex' Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen's most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax.I WISH YOU WERE MINE was recorded at Teal Records and was produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic 'Skokiaan', and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the heavyweight producing talents of Matema and the writing chops of Josamu, the New Tutenkhamen band created an album showcasing various musical styles popular at the time.

From the afro-jazz jam session aesthetics of 'Tutenkhamen Theme', 'Big Brother Malcom' and 'Forever Together', to the almost Van Morrison-sounding 'Sunday Morning'; from the upbeat rock ballad 'True Love', to the funk-infused dance song 'Togetherness'; from the bouncy jazz exhortations to work hard in 'Ane Nungo', to the brassy, raunchy foot-stomper 'Me & Dolly'. The title track 'I Wish You Were Mine' is a ska-infused ballad that wouldn't be out of place in post-war Birmingham, while the star of the show is 'Joburg Bound', itself a fast-paced rock piece with Motown undertones and funky guitar lines.

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 750 NUMBERED
COPIES ON ORANGE VINYL

Primarily released to showcase the sublime talents of one of Jamaica's most celebrated vocal trios, The Heptones, the aptly titled Heptones & Their Friends album features a selection of superior reggae sides by the group alongside hugely popular works from the three of reggae's biggest stars of the period: Judy Mowatt, Nicky Thomas and Peter Tosh of The Wailers.

Backed by top session crew, the Now Generation, the Joe Gibbsproduced selection is of a predictably high standard throughout, with highlights including Be The One', a pitch-perfect slice of classic roots, a gloriously cheesy pop cover of the Drfters' Save The Last Dance', the strident Freedom To The People' and one of the biggest Jamaican hits of the early 1970s, Hypocrite'.

Tårne Spirer is blood too heavy for circulation, hope is a naïve but natural attitude, deprivation is everything...

Tårne Spirer's 'Varm Blod', their first EP for Instruments Of Discipline is a result of their love for cold, non-danceable techno, power-electronics and Hölderlin.

Tårne Spirer is Kelvin Brorson Thomasen and Jesper Bagger Hviid; starting in 2015, their debut cassette was a result of their mutual love for hardware synths, drum machines and soundtracks.
Through the last years the duo has mainly been collaborating with, recording and producing underground metal bands, their devotion to the deep realms of the Danish metal underground has led them down a darkened path.

'1929 - Das Jahr Babylon" marks Thomas Fehlmann's third full length release of 2018 and presents what appears to be a creative peak in his career that spans beyond his solo career to his early days in Palais Schaumburg, collaborating with Moritz von Oswald as 3MB to his long time work with The Orb. Having left The Orb in late 2017 has set free unforeseen energies in Fehlmann's studio.

A departure from his recent dance floor-friendly album "Los Lagos" (KOM388, KOMCD148) released in September on Kompakt, Thomas Fehlmann's '1929 - Das Jahr Babylon" is a film soundtrack from the documentary that aired on ARD network on September 30, 2018 and is now available as a podcast series.

To compliment the internationally lauded TV series "Berlin Babylon", German director Volker Heise has created a documentary about 1929, the fateful year during Germany's "Weimarer Republik" in which "Berlin Babylon" is settled. Heise's stirring documentary portrays Germany's sizzling capital that is faced with radical changes by the dark forces whom are about to toss the world into the abyss we know as World War II.

This marks the second time that Fehlmann is partnering up with Volker Heise after 2010's marathon documentary "24 Stunden Berlin" which was released as "Gute Luft" (KOM211, KOMCD81) in the same year. Fehlmann's composition for "1929" consists of sample material taken from the era and thwarts the exaggerated lust for life with threatening undertones that anticipate the dawn of mankind's darkest chapter so far. Although all the sounds breathe yesterday's atmosphere this soundtrack bursts with modernity. Fehlmann accomplished the daring feat to musically render the unsettling resemblance between the political situation 90 years ago and our current time.

We at KOMPAKT feel that Fehlmann's score has turned out spectacular enough to give it proper release on limited vinyl and CD as well as on all digital platforms.

Mit '1929 - Das Jahr Babylon" legt Thomas Fehlmann schon seinen zweiter Longplayer innerhalb eines halben Jahres vor und dokumentiert damit eine kreative Hochphase seiner überaus stattlichen Musikerkarriere. Die Trennung von The Orb scheint bei ihm ungeahnte Energien freizusetzen.

Anders als auf dem cluborientierten "Los Lagos" tritt Thomas Fehlmann auf "1929" musikalisch einen Schritt zur Seite. Und das aus gutem Grund: Analog zur international gefeierten Fernsehserie "Babylon Berlin" entstand unter der Regie von Volker Heise der Dokumentarfilm "1929 - Das Jahr Babylon" - ein ergreifendes Sittengemäde Berlins während des Schicksalsjahrs der Weimarer Republik. Wie schon zu Volker Heises vorangegangener Berlin-Doku "24 Stunden Berlin" (2010 erschienen als das Album "Gute Luft" auf KOMPAKT) hat Thomas Fehlmann auch diesmal den kongenialen Soundtrack beigesteuert. Basierend auf Klangmaterial des Jahres 1929 hat Fehlmann eine beeindruckende Musik geschaffen, in der manchmal die übertriebene Lebensfreude und Dekandenz jener Zeit aufflackert. Eine Musik, deren Stimmung jedoch unterwandert ist von den bedrohlichen Strömungen, die Deutschland kurz darauf in seine dunkelste Epoche stossen werden.

Thomas Fehlmann ist damit ein wahres Kunststück gelungen. So sehr die Produktion den Geist einer vergangenen Zeit atmet, so modern mutet sie an. "1929 - Original Filmmusik" klingt somit wie die zu Musik geronnene Erkenntnis, dass sich Gestern und Heute auf erschreckende Weise ähneln.

Wir bei Kompakt sind der Ansicht, dass Thomas Fehlmanns Filmmusik zu "1929 - Das Jahr Babylon' so spektakulär geraten ist, dass wir sie nun als limitierte CD und Vinyl-Auflage, sowie auf allen digitalen Plattformen verfügbar machen.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Boum Boum Boum! 25 years of KOMPAKT. When a record label still thrives after a quarter of a century thanks to a focus of what was expected to be a short lived music phenomenon called TECHNO, then it stands to prove two things; that it techno has taken its place amongst serious, multilayered musical genres like rock'n'roll, pop and folk music. And that KOMPAKT has never been only for techno, but KOMPAKT stands as a broad-minded, genre-defying entity that has set out to cross-pollinate all kinds of musical inventions within the realm of electronic music. Through its course, KOMPAKT has sent 'Around The World', all kinds of sub-genres, concept series and crossover adventures based on the non- negotiable 4/4 beat. And back again.

Without a doubt, the 100% kickdrum-free POP AMBIENT series is the most endearing and enduring concept that I have had the pleasure to curate. From the start, I felt there was a strong need to add a certain pop- elegance - ensouled by discourse as much as hedonism - to a sound that was recognized as 'Chill Out' music that could be heard in seedy techno club back rooms and forgotten festival areas. Over the years, I like to imagine that POP AMBIENT has crystallized into a highly recognizable trademark sound and a multi-facetted musical universe of its own.

So once again, I had the pleasure to put together this year's edition by plowing through an ocean of sonic jewelry that had been submitted from all over the world by new and old friends. The task was clear: for this special edition, I must create a homogenous listening experience that would both appeal to our trusting followers, to continue our tradition while integrating new micro facets , variations and influences from neighboring musical universes as possible. Obligatory while being innovative. Conspirative while being cosmopolitan. Albeit the headline 'Ambient' might sound a little too humble for a compilation that encompasses aspects of neo classic, atonal music and the most beautiful aural kitsch imaginable, it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland's abstract-floral cover design that keeps on pleasing our sore eyes year after year.

Although each and every POP AMBIENT edition doesn't shy away from diving into the relevant question of 'What is contemporary discourse music' - in the end it all boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. POP AMBIENT is sacral music for non-believers.

Wolfgang Voigt Cologne, October 2018

Bum Bum Bum. 25 Jahre KOMPAKT. Wenn ein Musiklabel, das seine inhaltliche Ausrichtung im Wesentlichen auf den anfangs als schnelllebig und vor allem kurzlebig apostrophierten - hype' Techno setzt, nach 25 Jahren in jeder Beziehung immer noch voll im Saft steht, dann zeigt das zwei Dinge: Das erstens mittlerweile jeder bemerkt haben du¨rfte, dass Techno eben kein kurzftristiger hype ist, sondern vielmehr ein vielschichtiges, ernstzunehmendes Genre, das sich ebenso wie Rock'n'Roll oder Schlager fest in der Musikgeschichte etabliert hat.

Und zweitens, dass KOMPAKT nie nur ein reines Technolabel war und ist, sondern ein nach vielen Seiten aufgeschlossenes Experimentierfeld, das sich von Anfang an der Grenzu¨berschreitung und dem musikalischen Erfindungsreichtum verschrieben hat. U¨ber die Jahre wurden unter dem KOMPAKT-Signet etliche Subgenres, Konzeptreihen und Crossoverwagnisse auf Basis der unverhandelbaren geraden Bassdrum - around the world' und wieder zuru¨ck geschickt.

Eine der wohl scho¨nsten und nachhaltigsten Konzeptreihen du¨rfte wohl die bassdrumfreie POP AMBIENT-Serie sein, die ich als KOMPAKT-- Altvorderer' nach wie vor die ja¨hrliche Freude habe, zu kompilieren. Dabei hat sich u¨ber die Jahre aus dem anfa¨nglichen Bedu¨rfnis der seit den fru¨hen 90er Jahren in den sogenannten - Chilloutrooms ' grossra¨umiger Technoclubs, - Lounges' und - Muzakkneipen' entstandenen - Entspannungsmusik' etwas entgegenzusetzen, eine eher von Pop-Eleganz, Diskurs und Hedonismus beseelte, eigene Spielart ambienter Musik, eine vielschichtige programmatische Musik mit hohem Widererkennungswert entwickelt.

So hatte ich auch im Jubila¨umsjahr einmal mehr die Qual der Wahl, aus den aus aller Welt kommenden, grossartigen Klangpreziosen guter alter sowie neuer Freunde die subjektiv besten zu einem homogenen Ho¨rerlebnis zusammenzufu¨hren. Dabei ist mir immer sehr wichtig, einerseits den Erwartungen der treuen Ho¨rerschaft im Bezug auf Traditionsverpflichtung gerecht zu werden und andererseits auch immer mo¨glichst viele Mikrofacetten, Varianten und Einflu¨sse angrenzender Stile und Universen aufzugreifen. Innovativ und verbindlich. Konspirativ und weltoffen. Auch wenn der U¨berbegriff Ambient, fu¨r eine Kompilation die sowohl Aspekte von Neuer Klassik, Atonalita¨t und Kunstmusik mit den allerscho¨nsten Seelenkitschklangwelten zu vereinen sucht, zu eng gefasst ist, so hilft er doch bei der notwendigen Orientierung im besten Sinne. Ebenso wie die Tradition gewordenen, wunderscho¨n abstrakt-floralen Kunstblumenwelten der von Veronika Unland gestalteten Cover, die ein ums andere Jahr auch die Augen in Verzu¨ckung versetzten.

Auch wenn jede Kompilation sich aufs Neue an den relevanten Fragen zeitgema¨sser Diskursmusik abarbeitet, so ist der erhabene Moment am Ende doch der, in dem sich alles zu Gunsten eines - ho¨heren, kosmischen' Ho¨rerlebnisses, im wahrsten Sinne des Wortes in ambiente Luft auflo¨st.

POP AMBIENT ist die sakrale Musik der Ungla¨ubigen.

Wolfgang Voigt / September 2018

Goners ist das fünfte Studioalbum der Songwriterin und Multiinstrumentalistin Laura Gibson. Ihre Sprache hat sich nie lebendiger angefühlt, ihre Geschichtenerzählung ist schärfer, ihre Vorstellungskraft lockerer. Für das neue Album engagierte Gibson eine Vielzahl befreundeter Musiker, darunter Death Cab For Cutie Gitarrist Dave Depper, Schlagzeuger und Perkussionist Dan Hunt (Neko Case) und Stand-up-Bassist Nate Query (The Decemberists); dazu bauten sie Horn- und Holzbläser-Arrangements mit Kelly Pratt (St. Vincent und David Byrne, Pater John Misty) und fantasievolle Streicherparts mit Kyleen King (Stephen Malkmus, Case/Lang/Veirs). Das Album wurde gemeinsam mit Engineer und Freund John Askew in seinem Studio in Portland, OR, produziert, Askew und Gibson haben bereits auf ihrem 2016er Album Empire Builder zusammengearbeitet. Für etwa die Hälfte der Songs legte sie ihre Gitarre zur Seite und spielte stattdessen Klavier und Wurlitzer. Produktausstattung der UIN Version: dunkelgrünes Vinyl, Poster, DL-Code

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.'

Odd Beholder, the project of Zurich-based musician Daniela Weinmann, releases the full-length debut album "All Reality Is Virtual" this fall.

"All Reality Is Virtual" is an intelligent, tenderly flowing and weird pop album, colourful, assertive. It deals with the strange temptations of our time: from tinder to AI, from offline loneliness to obsessive self-marketing. "I noticed that the main temptation of a digitalized life is the idea that everything can be measured, recorded and therefore known." says Weinmann. "But I yearn for surprise, for wonder. The unknown, the uncontrollable is appealing to me."

Odd Beholder have released two highly acclaimed EPs already, "Lighting" and "Atlas". Followed by the "Remixes" EP. Those remixes have been contributed by friends made along the way and artists Odd Beholder became fans of: The/Das, Fejká, Hundreds, Alessandro Giannelli, Kalipo, Thomas Atzmann. After having played tours in China, Germany, Switzerland and Italy, Daniela Weinmann teamed up with swiss musician and producer Martin Schenker to finish producing Odd Beholder's debut album. "All Reality Is Virtual" will be out Oct. 19th, 2018 on Sinnbus and Mouthwatering Records.

Switched-on Eugene Documents The Eugene Electronic Music Collective And Some Of The Many Synthed-out Figures In And Around Oregon's Iconic Hippie Stronghold During The 1980s. Whether Connected By Membership, Geography, Or The Tape Trading Scene, The Artists In And Around The Eemc Shared Compelling Visions Of The Future We Now Inhabit, Vividly Captured On Home-recorded Tapes And Distributed Via Zines, Classifieds, And Local Radio. Switched-on Eugene Is A Deep Dive Into A Heretofore Forgotten Sonic Microcosm Unlike Any Other.

Odd Beholder, Das Projekt Der In Zürich Lebenden Musikerin Daniela Weinmann, Veröffentlicht Das Debüt-album "all Reality Is Virtual".

"all Reality Is Virtual" Ist Ein Intelligentes, Fließendes Und Sonderbares Pop-album, Bunt Und Bestimmt. Es Setzt Sich Mit Den Seltsamen Versuchungen Unserer Zeit Auseinander: Von Ki Bis Tinder, Von Der Offline-einsamkeit Bis Zum Obsessiven Selbstmarketing. "mir Ist Aufgefallen, Dass Die Versuchung Eines Digitalisierten Lebens Vor Allem Darin Besteht, Dass Alles Gemessen, Aufgezeichnet Werden Kann Und Damit Bekannt Ist", Sagt Weinmann. "aber Ich Sehne Mich Nach Überraschung, Nach Verwunderung Und Zufall. Mir Gefällt Das Unbekannte, Das Unkontrollierbare."
Odd Beholder Haben Mit "lighting" Und "atlas" Bereits Zwei Tolle Eps Veröffentlicht. Darüber Hinaus Erschien Im Frühjahr 2018 Mit "remixes" Eine Fein Säuberlich Zusammengestellte Ep Mit Ausgewählten Bearbeitungen Von Freund_innen, Die Odd Beholder Unterwegs Gefunden Haben Oder Von Denen Sie Fans Geworden Sind: The/das, Fejká, Hundreds, Alessandro Giannelli, Kalipo, Thomas Atzmann. Nach Touren In China, Italien, Deutschland Und Der Schweiz, Hat Daniela Weinmann In Zusammenarbeit Mit Dem Schweizer Musiker Und Produzenten Martin Schenker Das Debütalbum Aufgenommen. "all Reality Is Virtual" Von Odd Beholder Erscheint Am Im Oktober 2018 Als Lp, Cd Und Digital Auf Sinnbus Und Mouthwatering Records.

This is a long overdue collaboration and we couldn't be more excited to present a brand new EP from our man, Jena's mad scientist funk freak himself, Metaboman. A stalwart veteran of the legendary Musik Krause camp, which has been a kindred spiritual sister label of sorts of ours since the millennium-turn heydays, being fellow purveyors of bold and raw dance floor music, still brimming with new ideas galore and bucket loads of soul. Here with the Wireless Dancer EP we have Metaboman in top form offering nothing less than his finest work: 'Doppeldenk' starts things off with some classic Krause bump that brings to mind the heights of the Duo at their peak but updated, like an STL banger turned up to 11 with sinewy melodic lines and that special Thuringen twist. 'Hanno' follows up with a guest spot by jazz saxophone master Thomas Prestin, and guarantees to bring down the house with a storm of swinging stabs, rough riffs, and fresh-as-it-gets drum work. On the flip, 'Splitit' does exactly that, whether referring to wigs, legs, or that last drink ticket - where dusty blues vox chops and a rolling percussive smack down will revive any fading floor faces. And finally, 'EchterG' rounds it all out nicely with the illest of atonal trips and subsonic bass tones that the finer sound systems out there will fully indulge. Much love from Jena & Paris to the World!

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco: Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.

Freshly Re-pressed

Auf Einer Unscheinbaren Kassette, Die Nur Mit 'robert Rental' Beschriftet Ist, Liegen Diese Demos Seit Jahren Ungehört In Den Kostbaren Besitztümern Seiner Familie. Gepflegte Artefakte Eines Viel Zu Früh Geendeten Lebens.
Diese Lieder, Die Robert 1980 In Seiner Wohnung In Battersea Aufgenommen Hat, Geben Einen Verlockenden Einblick In Seine Allzu Seltene Soloarbeit. Meistens Arbeitete Robert Mit Thomas Leer, Daniel Miller Oder Anderen Musikern Zusammen. Es Handelt Sich Um Rohe Aufnahmen Auf Denen Seine Kreativität Durch Die Dunkelheit Scheint Wie Ein Ungeschliffener Diamant.
Mit Diesen Aufnahmen Scheint Sich Robert In Richtung Mehr In Richtung Songstrukturen Zu Bewegen Als Auf Seinen Früheren Arbeiten, Die Wild & Experimentell Waren Und Oft Direkt Aus Dem Fernsehen Aufgenommene Samples Beinhalteten.
Wir Kennen 2 Dieser Tracks Von Ihrer Späteren Neuaufnahme Für Die Mute Records Single'double Heart' Ende 1980. Robert Sprach Mit Freunden Über Seine Frustration, Seinen Sound In Einem Kommerziellen Studio Nicht Reproduzieren Zu Können - Es War Der Sound Dieser Demos, Den Er Nachbilden Wollte. Manchmal Kann Der Zugang Zu Den Rudimentärsten Geräten Das Kreative Talent Zu Etwas Schärferem Und Konzentrierterem Verfeinern.

Almost three decades after he put out his first record as one half of Tummy Touch twosome Tutto Matto, Paulo Guigliemino continues to produce effortlessly brilliant music that joins the dots between vintage disco, boogie, proto-house and sun-kissed Balearica. For proof, just check the heavyweight dancefloor sunshine that is 'Bella Topa', his first release on Leng Records.

Slow, sensual and blessed with all manner of delay-laden drum machine percussion hits, the track fixes the producer's usual colourful, boogie-era synth flourishes and ear-pleasing instrumentation (think fluid electric pianos, fluttering flutes, eyes-closed jazz guitar solos, lilting saxophones and spacey electronic chords) to a chugging, head-in-the-clouds groove reminiscent of Lindstrom and Prins Thomas's early collaborative work. 'Bella Topa' cleverly shifts shape several times throughout, utilising jazzier rhythms and bolder melodies to light up key moments.

Remixes come from Guigliemino's old pal Federico Marton, a producer best known for being one half of sometime Get Physical, Superfiction and Snatch Recordings artists Italoboyz. He lays down two distinctive revisions, starting with a 'Slow' club reconstruction that adds additional percussive heaviness and sparkling electronics to Super Paolo's twinkling, sun-baked original.

His other version, a 'Fast' club reconstruction, drags Guigliemino's track towards peak-time dancefloors kicking and screaming. Making the most of his friend's killer groove and finding sufficient time and space for each life-affirming musical element to sparkle, his mix bobs, weaves and eventually soars for 12 mesmerizing minutes. The mix, like his slow version, makes use of additional percussion and wisely gives more prominence to the A-side's spacey electronics and boogie-influenced synthesizer flourishes. The results are little less than breathtaking.

Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .

Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.

Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.

- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.

Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).

Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.

Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.

Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Feedback - Web Web - oracle :

"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de

"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org

"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul

"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle

"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder

Thomas Fehlmann steps away as co-member of The Orb following two acclaimed full lengths on Kompakt (COW - 2016, Moonbuilding 2703 AD - 2015) and embarks back on his solo career with a career defining album 'Los Lagos' - from Detroit to Schaffel techno he conducts a broad spectrum of electronic music into a seamless flow.

Thomas Fehlmann has been active since the late 1970's from Palais Schaumburg, the Tresor defnining trio 3MB (with Moritz von Oswald and Juan Atkins), Ocean Club (together with Gudrun Gut) and of course The Orb.

Artwork direction and design by DESIGNERS REPUBLIC.

'Los Lagos' is Thomas Fehlmann's seventh solo full-length, his 4th for Kompakt following his Berlin inspired 2010 full length 'Gute Luft'. in the musician's own words it's about "checking the juice".

Establishing a picture of his current artistic condition, as suggested by the title - los lagos / die lage / the situation (literally translating to 'the lakes' but taking the meaning of 'wassup' in the context of a relaxed discussion between friends), the album refers to Fehlmann's "musical motivation, dreams and wishes" through the language of music exclusively: a way to "allow myself to techno" he says, "to techno as a means to deconstruct and rebuild again. Set up an area of tension, loose it in the flow of the grooves. Magnifying some detail out of proportion, regroup around that and slowly knit a texture. Expand."

"It was time to take a bend and head where the sun rises or sets, wherever my heart drives me." This is pretty much the kind of decision Thomas Fehlmann has made. 61 and shining, longstanding member of The Orb, multi-talented composer and boundless experimentalist, had to make in the twilight of his collaboration with Alex Paterson, eager to taste the flavours of the unknown on his own again. "It was the moment when felxibility would have become compromise'. Far from being the demise of their joint dream, this was bound to split it in two distinct, parallel fantasies - rich of their own singularity.

As goes with that essential love of his for the free-flowing nature of electronic music, a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, experimenting with an unpredictable outcome", 'Los Lagos' "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk". As he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective ; not afraid to leap from a deep, dubbed-out hypnotism ('Window', 'Morrislouis', 'Freiluft') to the playfulness of '90s-style bleepy schaffel ('Tempelhof' featuring Max Loderbauer), through out-there, muscle-flexing dancefloor cuts ('Triggerism') onto the calmness of ambient ('Geworden').

In need to keep his inner balance in check, Fehlmann committed himself to "switch off the control" and follow his intuition, which isn't so much of an easy process as he also wanted to incorporate the side disturbances experienced: "it's a complex process of search and destroy to bring out a new beauty trying to expand my vocabulary". With 'Los Lagos', Fehlmann looked at finding "the structure that's surprising, disturbing and rewarding". The artwork for the record, courtesy of contemporary artist and friend Albert Oehlen whom he shares lots of artistic ambitions with, echoes the producer's "funky use of shape and space, sludge and clarity" like a second skin. A search for light and harmony that Fehlmann sums up eloquently: "Does your inner musical voice respond", that is the question. Then "doors open up in unexpected corners, rays of light appear; you follow through and you're in - in your oasis."

Next up on Nang it is time for a slice of spot-on male vocal house and disco. Liverpool based Thomas Lang made some fine albums in the 80s and 90s with John Murphy (who went on to carve a highly successful career in movie tracks) and David Hughes. Somewhere in between that and a string of recent albums (Torch Songs and The German Alphabet) he also managed to buy one of the finest recording studios in North West England, Parr Street Studios (the "Abbey Road of the North").

We are pleased here at Nang to see a new avenue turned in Tom's life, his first foray into the dance world. "Scared" was written with late Liverpool songwriter John Uriel quite some time ago. It first emerged as a b-side to Tom's comeback single "August Day" in 2011. Here at Nang we always loved the smooth and sophisticated vocal and melody. When Tom suggested some remixes we were on board.

"Scared" is a peak time vocal house track, here presented with remix options.

The a-side sees fellow Liverpool DJ crew The Imposters taking the track on a dubbed out trip, before flipping over for their hypnotic, swing-house rework which highlight the layered vocals and smooth sax. Camanchi take us for some peak time House action.

A long time ago, in a Norway far far away in time, keyboardist Bugge Wesseltoft introduced his New Conception of Jazz to the world. We're talking about the late 90s, when Bugge's cosmopolitan blend of jazz, hiphop and techno beats was pretty much the coolest music coming out of Norway at that moment. That was a golden time for Norwegian music, in fact, when the rest of the world began to sit up and take notice that something was stirring up north, and realised the music was more than just glacial tones hurtled from icy mountaintops and frozen lakes. This was the sound of urban Scandinavia.

A few years later came the electronic dance genre 'space disco'. Along with Todd Terje, Bjørn Torske and Lindstrøm, Prins Thomas was at the epicentre of this next big wave to surge out of Norway. Now, the two generations have come together in this exclusive collaboration between Bugge and Prins Thomas on the Smalltown Supersound label. Jazz and electronics combine for that energising vitamin D shot of Nordic sunshine.

The Rainbow Studio in Oslo is a familiar name to anyone who follows the ECM label - many of its classic 1970s jazz albums were recorded there under the eye of resident producer Jan Erik Kongshaug. Bugge and Thomas booked a couple of sessions at the legendary space with Kongshaug at the controls, and improvised some tunes in the style and spirit of some of their favourite ECM moments, like the fresh, open sounds of Codona, Egberto Gismonti, Oregon and Kenny Wheeler. Bugge had previously done a remix of Thomas's 'Bobletekno' in 2015 but this is the first time they have worked together as active musicians. The results - also partly taped at Thomas's home studio - fuse programmed rhythms, live synths and percussion, all captured in a sumptuously spacious acoustic.

For an even more authentic touch they called up one of their all time local heroes and one of Norway's most famous jazz drummers, Jon Christensen, who's been the go-to guy for Jan Garbarek, Terje Rypdal, Keith Jarrett and many more. At 75 years he's still pretty spry behind the kit, as you'll hear on several tracks here.

Make no mistake, though, this is not retro pastiche but contemporary music, coasting on gently insistent programmed grooves and bubbling basslines. The whole thing feels not so much like a consciously hip fusion of DJ and jazz musician, more like two great musicians totally enjoying themselves. Which is exactly what it is.

Key facts:
Bugge Wesseltoft is one of Norway's leading jazz figures. He set up Jazzland Recordings in 1996. His solo Christmas LP It's Snowing On My Piano remains Norway's best selling jazz album!

Prins Thomas's real name is Thomas Hermansen. His label, Full Pupp, means 'full breast'. He's released several albums under his own name, as well as collaborations with Bjørn Torske and Lindström. Check out his amazing Paradise Goulash mixtapes.

To mark the 50th anniversary of Trojan Records comes 'Trojan Ska & Reggae Classics', a double vinyl album comprising 24 of the most celebratory Jamaican music hits from the iconic label's legendary catalogue.

Released in tandem with the TV advertised 3CD version of the same name, this joyous collection showcases the very best in classic Caribbean sounds, from rude boy ska to dancehall anthems, with the set featuring an incredible 22 Top 50 UK chartbusters, including 4 UK Number 1s and 13 Top 10s.

The perfect musical accompaniment for the summer of 2018 and beyond, this blistering 2LP vinyl collection compilation ably demonstrates just what makes Trojan so special and why it remains the world's greatest reggae label, half a century since its launch.

As an integral part of the Trojan 50 marketing campaign, the LP will be heavily promoted via the label's website, Facebook & Twitter pages, Instagram and YouTube channel.




















[T] D2 | Desmond Dekker - You Can Get It If You Really Want

We are happy to introduce a new release and a new project from Ben Vedren and Chez Damier; a new collaboration that has been in the making for some time now. Side AA1 presents a unique sound in its vibe, kind of a minimal track. The French discussion/vocal in the background adds another dimension. You don't need to speak the language to understand what's going on, but you must wonder at some point: Do I understand French or is it the music that made me understand them An "organ" sound intervenes towards the end bringing power and light to the hall. It's eleven minutes of pure music! While "AA" is composed of two different remixes of a different track, 'Berlin Nights in Paris' It can probably be called the House anthem. It starts strong with some acid sound and is filled with a lot of wonderful elements. Like a gourmet meal, you wonder if the track shouldn't have been at least three times longer to satisfy the gluttony of the listen. The Techno remixes of the track. It's a perfect example of Detroit meets House. Techno track can, with no doubt, feed and drive the dance floor. No need for more than five words to describe it - it's a serious Techno track.

CHIWAX welcomes Andre Red Hand to the Family!

Dubbed by Igloo Magazine as the 'Romanian Detroit electro/techno pioneer' and by the late Aaron Carl as 'the Romanian Underground Resistance himself', Andrew Red Hand from Romania's spiritual capital of lasi stands up as an unwavering militant of the underground, a true Detroit spirit possessed as Romanian humanoid!

From his early gigs throwing parties as one of the first generation DJs in lasi since 1997, ARH continues to break boundaries as part of the Romanian resistance scene and numerous time portals as they open around Europe. His blistering, mind-bending sets such as at Berlin's Tresor and Griessmuehle see the DJ with the red hand fuse pure Detroit electro and techno with the sounds of techno-bass, raw Chicago acid house, classics and futuristic beats. His mixes for Radio UR (Underground Resistance) and The Grid (Detroit Techno Militia) remain some of the best frequency transmissions to surface to air.

Armed with a Soviet Union reel to reel Majak 203, his scorching raw analogue and searing acid productions have been picked up by foundational Detroit labels such as Twilight 76, Matrix, Detroit Underground, Databass, Detroit Techno Militia, Cratesavers Intl, Visillusion as well as around the world from Holland's iconic M>O>S Recordings to 1Ø Pills Mate (Lobster Theremin), Bass Agenda and Land Of Dance. On his remix list includes work for Scan 7, Santonio Echois, Thomas Barnett, Sean Deason, Niko Marks, Six Foe, T.Linder and more while support from Anthony Shake Shakir, DJ Bone, Dave Clarke, DJ Godfather has been garnered for our sonic warrior... Beware of the Red Hand!

Everyone loves "Why Can't We Live Together" by Timmy Thomas: how could one resist such a strong music vibe coming with a message more relevant today than ever! It has been covered by the most creative artists more than a few times...

Recorded in Paris and Kingston, the Soul Sugar crew & Leonardo Carmichael make it their own with a sultry reggae groove. Jahno on drums and syndrums, Thomas Naim on guitar, and Guillaume "Gee" Metenier on keyboards and production duties, are delivering the classic hit in all its majesty, in the superior categories of both extended Discomix, and Dub version under the spell of Dubmaster extraordinaire Dennis Bovell!

What to say about the breathtaking interpretation of Leonardo Carmichael Growing up in Jamaica, Leonardo learnt many a song from his father Glendon Joseph McFarlane, who would sing to his mother Geraldine, who sang in a choir. Leonardo grew up as a drummer and a singer in churches. Through a mutual friend, he met Nastassja Hammond, daughter of Beres Hammond, with whom he started writing and releasing music for various artists including Courtney John and Kreesha Turner. Leonardo has a wide appreciation for diverse genres but keep an International Reggae and Dancehall feel at the core of his music. It can be said Leonardo has faith & soul to the bone...

Since its launch in 2013, Bright Sounds has established itself as a label bridging the gap between the dancefloor and more experimental sounds, releasing EPs by the likes of Shlomo, Tilliander, Burnt Friedman or more recently Conforce.
On its eleventh release, the label welcomes Ben Thomas aka BNJMN with 'Final Network EP', the UK producer based in Berlin and releasing on Tresor, Delsin, Counterchange or more recently on his newly founded imprint: Tiercel.

The EP opens up with 'Reticuli', an ambient techno journey into a forest of otherworldly sounds. 'Neurocity' comes next with its rattling sounds met by disorienting and spooky melodies. On the B-Side 'Cloaked' starts off with bare kick and congos before waves of drones add textures producing an eerie atmosphere. The title track closes this EP, slowly building to create an ecstatic floating mood, leaving you longing for more as it gently fades away.