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The Norman Connors produced Aquarian Dream first appeared in 1976 with their debut album on Buddah, featuring the extremely popular 'Phoenix' along with the club dancer 'East 6th Street'.

Both tracks were only released previously on 12" in the UK and quickly became a huge collector's item with the release averaging £50 on Discogs some 38 years later.

Fully remastered on limited edition 180 gram heavyweight vinyl,
officially reissued for the first time since its original release.

In Silent Series pools together four innovative tracks of deep, textural and explorative Techno Music from four of this era's most inventive Artists: Sigha, SNTS, Dadub and Positive Centre.

Mastered by Daniele Antezza @ Dadub Studios - Artwork by Maria Mendes
Positive Centre / In Silent Series Bio:
Positive Centre is the Experimental Techno alias of British born Artist Mike Jefford. Currently located in Lisbon after a long period of living and producing music in Berlin. Positive Centre combines analog machines with tape and effects processing to create hypnotic and textural techno music, with releases on Our Circula Sound, Stroboscopic Artefacts, SNTS, Pole Group and Leyla.
The first of three Positive Centre releases came in 2013 on Sigha's Our Circula Sound label concluding with his debut album In Silent Series, of which his label takes its name. Positive Centre established the In Silent Series label in 2017 to promote and cultivate releases that develop the potential of textural sounds that reflect sonic landscapes.
The First Release was Positive Centre's Reassembly EP - A Record made of reconstructed tracks from his Our Circula Sound back catalog that featured a remix of 'Hiding Knives' from SHXCXCHCXSH. This was followed by the 'Myths' EP by Mastering Engineer and one half of Techno Duo Dadub: Daniele Antezza under his Inner8 moniker.
With ISS003, Positive Centre draws on the Artists that have played a hand in his previous releases by bringing Sigha, SNTS and Dadub together onto this Various Artists EP.

The band project Drums Off Chaos was one of the central and on-going projects of the recently deceased drummer Jaki Liebezeit (who is normally associated first and foremost with the Cologne-based band CAN). In the early 1980s he had initiated an - at first - loose collective of drummers, who created a rhythmic concept on the basis of simple, strictly binding codes that enabled expansive improvisations.

Over the years the ensemble became smaller and refined its collaboration marked by repetitive patterns and their variation. You have to play monotonous,' a membr of the audience had already told Liebezeit in the 1960s. He took this to heart and there was hardly any other formation where he could bring this concept to life as regularly and with as much inspiration as in Drums Off Chaos.
During a development spanning more than three decades, this extra-ordinary band, which never saw itself as such, made numerous recordings but rarely any releases. However, in the last few months of his life Jaki Liebezeit, with colleagues Reiner Linke, Maf Retter and Manos Tsangaris, earmarked some tracks for imminent release on vinyl and CD - on different compilations. Liebezeit's death is all the more reason to go ahead with this plan.

If you're familiar with Public Release's sibling, FACE, a series of parties, you'll already know that Jee Day, né Dennis McNany, has been in the Bay Area label's orbit for some time; as half of the DFA act Museum of Love, he joined the inner circle years ago. Here, with Amot Herga Laxy, he makes his bold debut on Public Release itself.
The single begins with 'Crocodile Tears,' an abstract, impressionistic tapestry of African rhythms, meditative synth washes, Vangelis-esque horns and pads. It recedes and Jee Day plunges deeper into the jungle with 'Communication Masterbation,' a propulsive number built around a psychedelic, droney bass that's wrapped with gritty, distorted effects and layers of topline keyboard licks stacked high. A raw club track cut from transcendentalist cloth that'll lift you off the dance floor.
The B-side is a dub of 'Communication Masterbation,' with an emphasis being placed on pulling out, unraveling, extending the rhythmic elements and emphasizing the electronic veil the piece is shrouded in. A trancey, menacing sprawl that could be an extended Sonic Youth live jam if they swapped their stringed instruments for Roland and Korg gear—and dusted the whole thing in an unknown psychoactive slime.

The fourth release on Trevor Jacksons Pre- Label is by SKULL. A visceral journey into experimental noise and no wave avant grade beatscapes
The last SKULL release 'SNAPZ' appeared on Jacksons own Output Recordings label in 1999. A seminal collection of tracks that had previously featured on the first two legendary Mo wax 'Headz' compilations (also featuring Autechre, Beastie Boys, Air, and DJ Shadow) as well as tracks that had also appeared on Kevin 'The Bug' Martins notorious Macro Dub Infection albums during the mid 90's.
Reactionary sonic statements aimed at the coffee table world of Trip Hop, fuelled by his dissatisfaction and dissillustionment with Hip Hop of the time, Trevor pushed himself into uncomfortable and far more extreme areas than he had before, areas he felt unable to explore with his Underdog productions, which were mainly being utilised for major label remixes at the time.
Influenced as much by the industrial pioneers, post punk and new wave of the past as the burgeoning post rock scene in the mid 90's, This new set of previously unreleased recordings originally produced between 1996-2000 are equally as intense and visceral as the early releases. Dusty samples, raw beats, tape loops, and primitive effects combine to sound as relevant now as when they were initially created.

Les Shadoks (50th Anniversary Edition) - Collector's VINYL Edition (LP + 7"): High glossy gatefold sleeve, French + English liner notes / poster inlay with Shadok drawing by Robert Cohen-Solal, hype sticker

- Les Shadoks soundtrack by Robert Cohen-Solal available for the first time ever in its entirety, cut and mastered from the original reels, made in cooperation with the artist.
- For fans of musique concrète, electro-acoustic, psychedelic, early electronics, experimental, soundtrack, library, oddities, cartoons, 60s and 70s music, Prospective 21ème Siècle series, Bernard Parmegiani, Jean-Jacques Perrey, Luc Ferrari, Pierre Schaeffer, Pierre Henry, Bruno Spoerri, Groupe de recherches musicales (GRM).

WRWTFWW Records is delighted to announce the release of the complete soundtrack of cult French animated TV series Les Shadoks (1968-1974) by Robert Cohen-Solal, available for the first time ever in its entirety. Right in time to celebrate the 50th anniversary of Jacques Rouxel and René Borg's legendary television cartoon, this collector's item comes in two versions: a limited edition 12" + 7" vinyl album housed in a high glossy gatefold and with an exclusive Shadok drawing by Robert Cohen-Solal, and a digipack CD. Both versions are cut and mastered from the original reels under the supervision of the artist, and contain liner notes in French and English.

Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary - a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixing into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created!

A true literary, cultural and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee's La machine à gazouiller), left a lasting mark, making the term Shadok an often-used satirical expression to describe policies and attitudes considered to be absurd.

All that changed when Morrison received an email from Spacetalk Records two years ago, asking about the possibility of reissuing 'To See One Eagle Fly', the B-side to one of their 7' singles that has long been a favourite of label co-founder Danny McLewin. Once a deal had been done, Morrison mentioned that he had hours of unissued recordings in his loft; a treasure trove of ultra-rare multi-track master tapes that could be freshly mixed and mastered for release. When the Spacetalk Records' team finally got a chance to listen, they were astonished by the timeless quality of the songs. Put simply, they just had to be released.

The resultant album is a stunning set: an intoxicating glimpse into the world of two previously unheralded master songwriters whose musical vision encapsulates all that was good about Californian music during the late '60s and early '70s. Rooted in the American folk revival and folk-rock movement of the late '60s, the album's 15 thoughtful, heartfelt songs are laden with sly nods to the likes of Crosby, Stills, Nash & Young, Ned Doheny, Michael Deacon, Cy Timmons, Gene Clark and Buffalo Springfield. The tracks were recorded at various times between 1970 and '82 and gives a small glimpse of the duo's total body of unissued work. The release comes with extensive liner notes telling the remarkable story of two lifelong friends and musical collaborators who thought their moment had passed.

'The Layered Effect' by US rapper/producer Andy Cooper offers a punchy reminder of the creative fun to be had in digging for breaks, stringing up loops and layering up stratas of sound. Brimming full of delightful inflexions from the world of jazz, easy listening, film soundtracks and Hollywood voices, it's a perfectly stitched sound patchwork that pays loving hommage to the classic, funky days of early rap. A touching testimony to the joys of Hip-Hop then and now.

More than just the skinny white dude who's into old school beats, Andy Cooper has won his stripes after a twenty year stint with Hip-Hop trio Ugly Duckling, then a couple more hanging out with The Allergies, not to mention the recent release of eight 7" singles, an EP and now his second solo LP.What is utterly charming is how enamoured and respectful he is of how it was at the beginning AND of how it still should be.Far from being the "old timer/delusional revivalist" he describes in 'Last of the Dying Breed', Cooper cares not about colour or age, but that rap stays fresh, exciting, competitive, similar to a precious martial art.

For Andy, rap is a noble form. He's a wordsmith extraordinaire, snappy and audacious, tipping his hat "to all the microphoners who still bring that dedication and expertise to their craft" and choosing to work with equally rapid sparring partners like Blabbermouf and MC Abdominal. Ownership of the genre is a constant theme throughout the LP. Like a contact sport, you punch and fight your way to the mic and once there "no one can take it from me". Reverance is constantly being paid to the dons that went before, overtly Rick Rubin & the Def Jam crew, but covertly the reggae sound systems and jazzers of old.

Not a sloppy note or shabby rhyme here.It's an album that pops and fizzes with quirky beats and funky rhythms from start to finish. With production lines neater and sharper than a pair of sta press trousers, it's impossible not to be seduced by the sheer bouyancy of the lyrics, beats and intention. A refreshingly entire body of work with no low points, only head-nodding highs. It's good to stumble across a hip hop album that has you giggling, thinking, singing and wearing out the soles of your shoes all at once.

**INITIAL 400 LPs CONTAIN A BONUS 7" BY MEL-O-MADNEZZ**

IT'S TIME TO PAAAARTY! Why The Universe knows that Tramp is celebrating their 40th trip around the sun in 2018. And what about planet Earth Well... it is as blind as it is in so many other situations. Therefore, it is time to shine the light on Tramp for all of its unremitting efforts. As musical diversity is vanishing, especially in the field of African American music from the 1960s/70s, it is our duty to stop the extinction of threatened species of music in the same way an animal welfare activist would do anything to save a gorilla's life. Tramp Records keeps this beautiful heritage alive, every single day, again and again and again. So we are here wondering why Earth people and especially to those from our beloved home country, why why are you just sitting there, going about your life unaware of this historic event What a pity!

The announcement is especially striking when it comes to the prestigious "Movements" series. Like all its predecessors, this ninth volume contains Rare Groove nuggets recorded between the early 1960s and the late 1970s. The fact that only one of the songs appear anywhere else is a jaw-dropping phenomenon! The chronological track listing starts with two amazing cover versions: "Fever" by Gee Gee Shinn & the Boogie Kings and "I'm A Woman" by Connie Kaye Trio. Bus Brown, Earl Demus and Chuck Finney remain in the same direction although their contributions are slightly jazzier. Chick Willis' gut-wrenching "Sometime Soon" easily rivals James Brown's "It's A Man's World" and the recordings by Australia, J.R. and Joe Akens are beautiful examples of privately produced soul from the 1970s. The latin-soul of "Cho Cho San" by Hummingbird 4 heads the sound in another direction for the next three tunes, highlighted by one more stunning cover version, Oscar Brown Jr.'s "Brother, Where Are You". The album closes with some pre-disco tracks from the mid-to-late 1970s. Funk 7" collectors will freak out to finally get a chance to listen to Mel-O-Madnezz' superheavy "What You Getting High On" but will certainly also enjoy The Counts, Reunion and Hot Cakes' dance floor bomb cover of "Harlem Shuffle".

Over a hundred great unknown songs have been re-released on the first eight volumes in the "Movements" series, the majority of which can not be found elsewhere, and Vol. 9 is no exception. The work of Germany's tiniest but grooviest record label is still incomprehensibly underestimated. We know you diggers, collectors, mavens, aficionados, fanatics, completists, enthusiasts, and just plain record geeks know what's up and we heartily salute you! Without your support there would be no Tramp Records. But now it's time for a broader cultural shift for good music and a sweeping move to uphold the legacy of the unsung heroes of funk and soul. Therefore, we humbly petition you: in 2018, Don't keep all this glory to yourself! Turn your friends and neighbors on! Thank you!

- initial 400 LPs contain a bonus 7" by Mel-O-Madnezz ("What You Getting High On")

- the double vinyl LP comes with a full album download code

- deluxe double-gatefold LP with detailed liner notes, label scans & unseen photographs

- all but one song appear on vinyl-LP for the very first-time

Hot on the heels of the critically acclaimed 2017 LP Windswept - which soundtracked David Lynch's Twin Peaks, Digital Rain is Johnny Jewel's latest album. Jewel is known for his extensive collaborations with film makers David Lynch, Nicolas Winding Refn, and Ryan Gosling, as well as for his work with groundbreaking musical groups such as Chromatics, Glass Candy, and Desire.

The 19 movements of Digital Rain are three dimensional beds of analogue warmth encompassed in raw electronic moisture. The result is an expansive pallet of soft color amid canyons of jagged oscillations. According to Jewel, "Digital Rain is a mirror image of itself designed to play as a singular liquid movement."

"After living a few years in a desert climate, I realized I was nostalgic for the constant presence of precipitation from every city I once called home. The sound of hail ricocheting off my roof in Houston...The floods crashing in from the Gulf of Mexico that would destroy my mother's house three times...The constant kiss of drizzle on the streets of Portland, and the morning rain against the windshield of Trimet city bus number 15 that I would ride home after recording all night...The snow buried row houses of Montreal where my daughter was born, and the rhythmic feel of ice cracking under my boots for six months straight."

"The desert is constant, and I love this repetitious ritual of Los Angeles so much. As moisture and humid weather seem more and more like a dream I once had or a fading memory of the places I fell in love with...I wanted to make a record without drums, without lyrics, vague in form. Each track morphing and eclipsing the next like the ever-changing movement of clouds obscuring the moon."

Cut By The Legendary Bernie Grundman In Hollywood. Recorded in Joshua Tree / Mixed in Los Angeles.

Air Lows is the debut solo album by Silvia Kastel. The Italian artist has been a fixture of the underground since her precocious teens, clocking up many miles in Control Unit with Ninni Morgia ('It's like Catherine Deneuve dumped two cases of post-Repulsion psychiatric notes over Pere Ubu's Dub Housing, lit the fuse and, ahem, stood well back" - Julian Cope), including collaborations with the likes of Smegma, Factrix, Gary Smith, Aki Onda and Gate (Michael Morley of The Dead C). Both solo and in her work with others, Kastel has explored the outer limits and inner workings of no wave, industrial, dub, extreme electronics, free rock and improvisation. Air Lows is both her fullest and most refined offering to date, a work of vivid, isolationist electronics which draws deeply on her past experience but assuredly breaks new ground. Prompted by a late-flowering interest in techno and club music, Kastel sought to create something which combines a steady rhythmic pulse with the otherworldly sonorities of musique concrete, and avant-garde synth sounds inspired by Japanese minimalism and techno-pop (Haruomi Hosono's Philharmony being a particular favourite). The formal artifice of muzak / elevator music, the intros and outros of generic popular songs, the extreme light-heavy contrasts of jungle, the creative sampling of hardcore, and the very 'human' synths in the jazz of Herbie Hancock's Sextant and Sun Ra: all were touchstones for Air Lows' conception and composition, and all strains of music addressing - or complicating - the relationship between the human and the technological. By extension, visual inspirations also proved important: anime, and the avant-garde fashion of Rei Kawakubo. What does that shirt or dress sound like Though used sparingly, Kastel's voice remains her key instrument, whether subject to dissociative digital manipulations as on 'Bruell', delivering matter-of-fact spoken monologues, or providing splashes of pure tonal colour. Recorded between her expansive Italy studio and a more compact, ersatz set-up in Berlin, Air Lows gradually takes on some of the character of the German capital: you can hear the wide streets and uninhabited spaces, the seepage of never-ending nightlife, the loneliness. Air Lows is The Wizard of Oz in reverse: the glorious technicolour J-pop deconstructions of its first half leading inexorably to the icy noir of 'Spiderwebs' and 'Concrete Void'. These later tracks are reminiscent of 2015's magnificent 39 12', Kastel in the role of numbed, nihilistic chanteuse stalking dank, murky tunnels of reverb and sub-bass. But in fact there is contradiction and emotional ambiguity to Air Lows from the outset, and throughout - a sense of both infinite space and acute claustrophobia; energy and inertia; fluency and restraint.

Art pop meets Mongolian throat singing, Blade Runner meets Walter Carlos (Clockwork Orange), Tom Dissevelt and Kid Baltan (Bowie's favourite band) meet Tame Impala.

The fifth album from Marsmobil has been hailed by many as their best yet. With closer ties to Minx' (2006) than the last two albums, Fairytales Of The Supersurvivor' returns to Marsmobil's signature strength of wondrously brilliant songs ( And The Fishes In The Ocean', Shadows Of The Inner Light') that blend off-the-wall cinemascope sounds with dazzling beats and punchy, powerful hooks to create uniquely distinctive art pop anthems.
As always with Marsmobil, Roberto Di Gioia writes, plays, sings and programs everything himself. Here, as on Minx', he's brought in support from a fabulous singer - the very wonderful Amber Lin, who contributes vocals on four songs. All the cover illustrations are also by Di Gioia.

Multi-instrumentalist Roberto Di Gioia needs little introduction. The curious can explore his biography, discography and extensive lists of projects and collaborations as musician and songwriter (see below) for an impression of the hugely diverse achievements of this multi-talent and brilliant musician.
As a topical heads-up, Roberto Di Gioia is also the founder of the German jazz supergroup Web Web and released the album Oracle' in September 2017. The second Web Web album will follow in early 2018, hard on the heels of the fifth Marsmobil release. Di Gioia also wrote and produced Teufelswerk' for DJ Hell and contributed virtually all the songs on Hell's latest album, Zukunftsmusik'.

A first-ever collection of the highly sought after and largely previously unheard recordings of the one of Turkish pop and rocks best kept secrets - featuring the two rare has hen's teeth 1 Numara 7' singles (which fetch in excessive of £200 on certain internet auction sites) - including a previously unreleased extended version of Evren The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside Ilhan Mimaroglu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s - sending teenagers wild with his custom built guitars and back lines - helping charge the climate for the birth of Anatolian rock. Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey's first national television channel TRT 1. Despite having a modest discography of only four 7' singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture. Compiled with unparalleled access to his private studio vault, Finders Keepers proudly presents the first-ever collection of Gökçen Kaynatan's pioneering early electronic works. Featuring a selection of his experimental pop and rock recordings dating from as early as the 1968 it features both of the highly sought after 1 Numara singles - including a never before heard extended version of Evren - as well as previously unheard archive material and songs recorded for and broadcast exclusively on TRT 1 - most of them never to be repeated. In helping Gökçen end his self-imposed 44-year exile from the record industry we can now share with you the first of these important recordings from a genuine maverick who helped shape the face of modern Turkish music, as well as shedding some light on the rise of one of Anatolian rock and pops must fruitful and experimental periods that began with the arrival (and subsequent explosion) of domestic synthesisers on the Turkish scene.

Uun returns to his imprint Ego Death with an EP that showcases his progression in both sound design and atmosphere. The A side kicks things off with On The Concept Of Irony, a broken beat assault which serves as a mission statement with it's scattered snares and vocal samples. The Tangled Web continues this mood but with a more intense structure, heavy on hypnotic synths that weave in and out of the tracks percussive framework. Where as the A side is the logical extension of the first three Ego Death releases, the B side serves to showcase a deeper atmosphere while maintaining Uun's preference for dense arrangements. The Other features a haunting ethereal pad that floats above a broken kick pattern and a bed of clicks, pops, and field recordings. The closing track, Absurd Existence, forges all the elements of the artist's sound into perhaps his most melodic work to date. It is therefore senseless to think of complaining since nothing foreign has decided what we feel, what we live, or what we are.' - Jean-Paul Sartre

Granny13 opens with Nicola Ratti's 'Odd Doubt'. With the use of a modular system and tape loops, a broken rhythm is obtained by parallelism between single sound signals as LFO one or processed tapes.On the second side, Giovanni Lami's 'Johnny Leech' is made with a small bunch of equipment, just a chaotic hand-made synth (cacophonator) and a memoryman, working mainly on static electricity and leakage current in the synth used without any kind of power supply.

Reviews

The Wire
''Two Italian mucisians share a split single of glitchy fun and everyone goes some happy. Lami s piece uses a defective unplugged synthesizer to make huzzing chitters that have a kind of rhythm in spots. Ratti s contribution is a bit more structured it sounds like a record of accordion miniatures broken into pieces, then glued back together with little pieces of felt stuck onto it. Which would definitely be a pretty hep thing to hear.''

Textura
''Some releases qualify as art objects as much as musical collections, a case in point this recent seven-inch vinyl outing featuring material by Nicola Ratti on one side and Giovanni Lami on the other. That shouldn't be interpreted to mean that the musical content isn't worthy of one's time, as it assuredly is, but more to emphasize how striking the sleeve artwork by Opora is and how effectively it complements the musical content.Mastered by Giuseppe Ielasi and issued in an edition of 150 copies, the release opens with Odd Doubt, a concise experimental setting by the Milan-born Ratti, who's issued material on labels such as Anticipate, Preservation, Die Schachtel, and Entr'acte and who's presently working with Ielasi in the project Bellows, with Attila Faravelli as Faravelliratti, and with Enrico Malatesta and Faravelli in ~Tilde. Though Ratti started out as a guitar player, his current focus is more on beat-analog experimentation and sound installation. In Odd Doubt, Ratti's modular system and tape loops generate broken rhythms that varyingly call to mind dub-techno, even if dub-techno of an extremely wonky variety. Off-beat chords, crackle, and snare strikes add to the dubwise flavour of the material, though ultimately it registers as more of an experimental exploration than straight-up dub exercise.The flip side features Johnny Leech by Lami, a one-time photographer now known as both a field recordist and a musician focusing on soundscaping and sound-ecology. In his contribution to the seven-inch, Lami's chaotic hand-made synth (cacophonator) and memoryman give birth to blustery smears of static electricity that ultimately mutate into an Oval-like array of ripples and scratches. Johnny Leech is so removed from anything conventionally musical, it makes Odd Doubt sound like a Top 40 pop song. Like Ratti's piece, Lami's is short, so short, in fact, it gives the impression of being an excerpt from a larger sound art work. Here's a release where the abstract nature of the musical content matches its visual presentation.December 2014''

Vital Weekly 951
''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''

We are extremely happy to welcome Malouane to our roster for this third release. The atmosphere of Malouane is unique: raw, melodic and full of details with charm. "Long Way for the Homies" will recall artists like MCDE or Rick Wade, quite in the same vein: Jazzy, soul and house. The second, "Keep Yo Mama Clean" very catchy too: drums, beautiful basses and small samples interact with each other. These elements work perfectly, because Malouane has a real sense of musical arrangement, a real mastery of sampling. "This is supposed to be an Outro" is the last track of the original tracks: it is a little slower than the others but a great wealth: a real charm and a true personality emerges from this piece. The multitude of details and, again, the mastery of the sample make it a piece as much club as listening. Cody Currie has proposed his own vision. The young English producer made a great remix by putting his style and Clement's together. Finally, Times are ruff also offers their reinterpretation of Keep yo Mama Clean: softer and quite faithful to the atmosphere of this EP, with a small taste of Chaos in the CBD, the Dutch have done a remarkable job.

'Afro Rock Vol. 1' is one of the most important compilations of heavy original '70s Afro funk and soul to be released in recent years. Originally surfacing on Duncan Brooker's indie Kona label in early 2001, the album single-handedly kick-started the thirst among jazz, funk and soul fans and 'diggers' to rediscover lost music from Africa made during the '60s and '70s from a time when many countries were gaining independence and celebrating a Pan-African identity within their music. The album was one of the first to reach a far different audience to the traditional 'world music' market and spawned many further projects and labels in its wake. A year later, the 'Nigeria 70' compilation surfaced on Strut and labels like Soundway and Analog Africa would continue to unearth amazing lost gems from the Motherland.The album is testament to the determined work of Brooker following several research trips, especially to East Africa - Kenya and Zaire. It brought to light East Africa's finest funk band, Air Fiesta Matata, led by the recently deceased Steele Beautttah, 'The Nigerian James Brown' Geraldo Pino from Port Harcourt in Nigeria, and the storming Afro jam 'Yuda' by Dackin Dackino, a previously unreleased gem from Zaire discovered on a discarded reel. The album has remained influential since its release with tracks appearing on other Afro compilations and on TV and the big screen - Jingo's 'Fever' featured in Kevin McDonald's 2006 hit film, 'Last King Of Scotland'.Out of print since 2015, the album is being reissued on Strut in its original form with the extra dynamite unreleased psychedelic cut by Kenya's Ishmael Jingo, 'Keep On Holding On' taken from the original master tape. The package features the original sleeve notes by Duncan Brooker along with new additional notes providing further background to the album and tracks.

For a year, friends and producers Jean-Gabriel Becker and Susumu Muka have been meeting for collaborative recording sessions at Sounds And Sons studio in Shoreditch.

Susumu Mukai, originally from Kanagawa, Japan, has been involved in diverse projects such as Zongamin, Stalactite and Off World as producer and multi-instrumentalist. Mukai is also a member of bands including Fimber Bravo, Vanishing Twin and Floating Points. Jean-Gabriel Becker, originally from Paris, France, has been writing music under various names and in numerous projects, from Jeanga And George and Economy Wolf to Lux Prima to name only a few. He also composes extensively for films and television under his own name. The sessions for Eyes, their first EP together, unfolded as a musical dialogue between the duo - open-ended, discovering the sounds as they revealed themselves in an organic way. Although some influences can be heard, from acidhouse to krautrock, to jazz and psychedelia, the otherness of Eyes EP refuses to be categorised easily.

Around the time of this recording, Stanley Cowell had achieved a degree of prominence as the pianist for the advanced bop quartet Music Inc., which he co-led with trumpeter Charles Tolliver, as well as for unusual projects like his Piano Choir. With Regeneration he chose another path, essentially trying to produce a jazz-infused pop album with strong African roots, perhaps owing a little bit to Stevie Wonder. He assembled an extremely strong cast of musicians for the venture, including Marion Brown, Billy Higgins, and Ed Blackwell, as well as several African string and percussion masters and, by and large, succeeded conceptually if not commercially. A few songs use vocals in a fairly standard pop framework, and, while they are performed capably enough, the lyrical content leaves something to be desired in typical mid-'70s fashion. But much of the rest of the music makes up for this with, among other things, a delightful fife and drum piece by Brown and strong bass work by Bill Lee (Spike's dad). Regeneration is an interesting, often enjoyable album which, aside from its own small pleasures, provides a snapshot of some of the cross-fertilization in genres occurring at the time.

Absolutely stellar proto-disco jam from 1975 on the minute Shield label, Nassau County's Hokis Pokis may not be the most well known of funk / soul outfits but that doesn't mean they groove any less than any of the big guns!

'Nowhere' is a true underground classic, one for the real disco aficionados. One of those grooves that straddles the thin lines between rock, soul and funk. This is a proper club record and in the right hands will keep a dancefloor locked in and moving.
Speaking of 'right hands' this special 12" reissue sees NYC DJ and edit royalty Danny Krivit tastefully extend the original 3.32 7" A-side version into an extended club jam. Never one to utilise tired filters, loops, sweeps and so called laptop 'production methods' Danny turns in a fine extension that is subtle, effective and most of all - funky. A truly glorious slice of uplifting dance music 'Nowhere' is an essential purchase for those of you who dig the real deep stuff.
This reissue is a legit, licensed and proper release. Made by Above Board distribution in conjunction with Henry Stone music and the skills of the legendary Danny Krivit. 2018.

Optimo Music don't generally do limited edition releases but when The Golden Filter did these extra mixes of 'End Of Times',

the A1 track off their recent EP we thought they were too good to remain in the digital domain so have pressed up a small run of 12' singles aimed specifically at DJs.
The original single version is a future synth classic. These new dub versions take it to the dancefloor and have been tried and tested around the world over the last few months. They are considerably extended, dubbed out and add extra dynamics & ecstatic synth power with hints of the original vocal. There is a slo mo version at 103 bpm and a faster version at 118bpm which means the track should work any time from warm up to peak set. There is also a Drone-Apella version included too.

Muscle and Mind is the return of Oscar Mulero to long plays, after Grey fades to Green and Black Propaganda. 'Muscle' and 'mind' may seem antagonistic terms in real life, but in terms of music they make sense together, especially when talking about techno.

The coalition of introspection and abstraction is not incompatible with the rough and the percussive, and this
album is a good example of this. The underlying message behind the title refers to the reflection of mental states in the body, the genesis of emotions where body and mind are managed by the sense of hearing.

Throughout these twelve tracks, one can dive into the musical world of this producer whose discourse mutates in every album, always intricate, always meticulous. Darkness acts as a thread and repetition as hypnotic therapy. But now, he sets his usual hard sound aside and looks for a much more cared for and precise sound , where there is room even for a harmony and musicality that go hand in hand with danceability.

The combination of atmospheres and rhythms is constant throughout the album. Each of the cuts has been prepared with few sonic elements. He takes elements away one by one, and keeps exclusively the necessary.

A record that has been developed during endless hours in airports and travelling, absorbing influences from all over the planet. Made in solitude but surrounded by people who don't know what you are really doing on that computer. To close the circle, the album was mixed in professional studio using solid state technology, which gives this work a unique warmth that cannot be achieved in a domestic environment.

Muscle and Mind will be released on vinyl and CD. The digital version will include extra tracks which will also be published in an EP. This will precede the album with edited tracks from the album and remixes by Stanislav Tolkachev and SHXCXCHCXSH.

Muscle and Mind is the return of Oscar Mulero to long plays, after Grey fades to Green and Black Propaganda. 'Muscle' and 'mind' may seem antagonistic terms in real life, but in terms of music they make sense together, especially when talking about techno.

The coalition of introspection and abstraction is not incompatible with the rough and the percussive, and this
album is a good example of this. The underlying message behind the title refers to the reflection of mental states in the body, the genesis of emotions where body and mind are managed by the sense of hearing.

Throughout these twelve tracks, one can dive into the musical world of this producer whose discourse mutates in every album, always intricate, always meticulous. Darkness acts as a thread and repetition as hypnotic therapy. But now, he sets his usual hard sound aside and looks for a much more cared for and precise sound , where there is room even for a harmony and musicality that go hand in hand with danceability.

The combination of atmospheres and rhythms is constant throughout the album. Each of the cuts has been prepared with few sonic elements. He takes elements away one by one, and keeps exclusively the necessary.

A record that has been developed during endless hours in airports and travelling, absorbing influences from all over the planet. Made in solitude but surrounded by people who don't know what you are really doing on that computer. To close the circle, the album was mixed in professional studio using solid state technology, which gives this work a unique warmth that cannot be achieved in a domestic environment.

Muscle and Mind will be released on vinyl and CD. The digital version will include extra tracks which will also be published in an EP. This will precede the album with edited tracks from the album and remixes by Stanislav Tolkachev and SHXCXCHCXSH.

Actual extended play (a mini Lp of sorts)... Get into the mind of the cgn wizard. BIG TIP!

In the spirit of cultural pride, Rune Lindbaek provides the audio tour guide into the unexplored back streets of Norwegian Disco

His deep knowledge of Disco delicacies from the frozen north may be a revelation to those who've heard his more mediterranean outings,
however here we have an extended EP on untapped treats, leading with three hefty slabs of late seventies, matured Brunost on the A &
moving into more obscure territory on the flip, where the sought after I Dekning is followed by two more idiosyncratic jams, which possess the dancefloor heft of a well roasted reindeer shank

SUPER LIMITED !

New and unknown Sent In Sound gets into the trendy spirit of selecting choice tracks and committing them to a 12" piece of wax.
The tracks take on a sky ward direction on newly christened Point Loma (US).

If you're one of the extinct deejays who play 8 hour plus sets, start your journey before spreading your wings on the next booking with Doving on side A by Benaji Lattu. Settle into the booth, hit the loo and sequence the next movement while the lengthy and heavenly track serves its purpose, a convocation for the ceremony ahead, while blessing the entering congregation.

You'll have the perfect tune to bring the room back down gently to reality at night's end with Skylover Tea by Tinopiras on side B.
It's the fragrant sandalwood for the glowing sangha as it exits the guru temple also known as your party.

From Philadelphia beatmaker Knxwledge has been bubbling beneath the surface in the virtual world. Making his name via Myspace, global mixes spinning around the world and with a Mary Anne Hobbs mix & plays from Benji B already under his belt hes ready to step up to the plate in 2010 with his first solo release. 15 tracks here of varying rhythmic structures, lengths and speeds which go way further than mere beats and snippets. Sloppy, on beat and off its all thrown in the beat blender. Tip!

Swiss producer Honorée returns to Rekids with 'Marée Haute EP' this January, featuring two intelligently produced deep cuts with a remix from Perlon's Margaret Dygas.
Basel-based artist Honorée's inaugural release 'Marée Basse EP' appeared on Rekids earlier this year and demonstrated a musical understanding acquired from extensive DJ experience within Switzerland's club scene. 'Marée Haute EP' is Honorée's second outing on Rekids and includes a remix from renowned minimal DJ/producer and Panorama Bar regular Margaret Dygas.
'Dorian' delivers crisp drum grooves which underpin mesmerising chord progressions, haunting synthesizer motifs and spacey vocals before '208' provides infectious drum rhythms, glitched vocal cuts and hypnotic melodies which sit on top of a rumbling low-end. Margaret Dygas' take on 'Dorian' offers a pulsating bass hook and sharp percussion which lays the foundation for dubbed-out synths and ethereal atmospheres to close the release.

MISCHIEVOUS URGES EP' is an extract of the same-titled debut album of VELVET KILLS (self-released in digital and released in CD version by our partners in crime UNKNOWN PLEASURES RECORDS). Thanks to their outstanding debut Velvet Kills reached to be on important press windows with their unique blend of synth pop and alternative post-punk. 'MISCHIEVOUS URGES EP' arrives on SPECIAL EDITION presented on 12 EP format and produced in a ONE-OFF truly limited edition of 200 copies lacquered pressed on 180 gr. high quality solid white vinyl. All tracks have been specially mastered and remastered for LONG CUT vinyl by Eric Van Wonterghem.

It's no exaggeration to say that Geraldo Pino and his band the Heartbeats kickstarted the whole soul/funk/afrobeat scene in West Africa. Mixing highlife, funk and jazz, and using the latest equipment, they laid waste to all before them. In 1966 Fela Kuti was a jobbing musician, eeking out a living with highlife bands. When Gerlado Pino came to town, it changed his life. Pino tore up the scene,' he recalls in an interview with Carlos Moore. I knew I had to get my shit together. And fast!'. Produced by Odion Iruoje and engineered by Emmanual Odenusi, Let's Have A Party is Geraldo Pino's masterpiece. It's slick and heavy, tough and uncompromising, with musicianship that will blow your mind. It's all killer, no filler, with 'Heavy Heavy Heavy' and 'Let Them Talk' bonafide, nailed on funk classics. The Heartbeats are exactly that, a tight and efficient engine that keeps the groove moving. This is US-style funk, with an emphasis on extended percussion workouts and organ wigouts. You can't listen to 'Power To The People' without being impressed - or compelled to dance. The extended call out to each Heartbeat in 'Let's Have a Party' is well deserved. If my house caught on fire, this is the one album I'd rescue. After one listen, I reckon you'd do the same. - Peter Moore

Argentinian producer CementO delivers four uncompromising techno cuts on Norwegian label PLOINK this December.
Now based in Norway, the South American DJ has spent well over a decade honing his craft both on the dance floor, organising his own club nights and in the studio, producing records for the likes of Antarctic, Primitive State and Diligentia.
After the release of his first full length album on Faarikaal Records earlier this year, CementO now delivers an EP on Bergen-based imprint PLOINK.
'Fjordens Vei' provides noisy ambiences underpinned by a pulsating low-end and a series of arpeggiated synthesisers which evolve with the tracks sharp percussion before 'Trolls Reise' grips us with enticing chord progressions, gloomy atmospheres and crisp drum fills floating above a powerful and grooved bass line.
'Forekomsten' hits hard with a heavyweight kick, rolling hi-hats and thick dissonant drones whilst haunting motifs develop with dubbed out effects. Remixed by enigmatic producer Twinspeaker, the Speaker Extended Mix of 'Trolls Reise' demonstrates an intricate structure of intertwining melodies with acidic overtones to close out the release.

The 'industry' of dance music can be as soul-crushing as any other. Those thrills and spills of late, loud nights come with a best-before expiry date, after which even the most seasoned selector-producer-scenemaker begins to wrinkle their nose. To have experienced it all over 15+ years and seek to see it unfold again through fresh eyes, what sort of lunatic would willingly put themselves through that V would. So it's a new character, but who was the mysterious V in a past life Make your own conclusions. A little digging will lead you toward the origin story, but sometimes the pleasure comes from the unknowing. Opt to enjoy the Silence. Silence, however, is not the focal point for V. In fact, this new form is a way to discard baggage and revitalise the process of music making. Tremors had become to show up in recent years on record labels in Glasgow and London, flickers of subterranean volcanic activity. Yet what proved to be rising was no big bang, nor even a phoenix from the ashes - but closer perhaps to a Nautilus. A relic by some standards but a pretty point of curiosity to others, slowly bobbing to the surface. Something ever-present and familiar to thousands, yet with mysteries left to be revealed. But hey - what does V stand for anyhow For Vilnius By origin and by where the heart lies, yes, although V for Vedett is also an acceptable answer given the artist's transposed second home of Belgium; so too is V for Volkswagen, given the production work put in around Frankfurt as of late. For Vendetta Too strong, although V does bear a grudge match against hobbyists and dilettantes. If you're going to be a new name in town, you may as well be a new name in town with years of hidden history, right For Vishnu Perhaps this is the one. V's tangle of arms extend forward in many directions: some clutching 303s and LinnDrums; others pushing fingers i

Super deluxe lo fi 7" grape-colored vinyl housed in DIY low-budget sleeve, + includes "I love my VCR Sticker"

WRWTFWW Records is thrilled to announce the release of the long anticipated, always delayed, 30-years-in-the-making PSYCHOS IN LOVE Original Soundtrack, available at last and for the first time ever in a super deluxe low fidelity _7" grape-colored vinyl edition, housed in a DIY no-budget sleeve, and loaded with extras, including words from film director Gorman Bechard, lyrics of the theme song, a promotional postcard with a picture of the cast, a poster of a woman attacked in a bathroom, and the infamous as-seen-in-the-movie "I LOVE MY VCR" bumper sticker!

Filled with sleazy funk, macabre synths, homemade electronic kitsch, anti-grape propaganda, and rewind-worthy dialogue excerpts, Psychos In Love is the ultimate lo-fi horror-romcom soundtrack adventure with a theme song so memorable you'll find yourself humming it every morning. In Gorman Bechard's words, "For the Psychos In Love theme I purposefully wrote what I hoped were the worst lyrics of all time, giving them to Carmine Capobianco with one note, 'use them to write the worst song of all time.'"

The movie Psychos In Love (1986) is a trenchant, laugh-out-loud indictment of slasher films, romantic comedies, and grapes (that's right, pal, grapes), a true genre-defying post-modern cult classic that will wind its way into your heart as its characters work _their way through vats of gore. Packed tight with sly homages to - and parodies of the work of such cinema legends as Alfred Hitchcock, Woody Allen, Roger Corman, Groucho Marx, and Gerard Damiano, Psychos In Love foreshadows the grand guignol culinary delights of Silence of the Lambs, served up with a healthy portion of wry wit and all-American t&a.

Perc's third album 'Bitter Music' pushed his sound to further extremes than ever before when released in April of this year, winning widespread acclaim and launching a worldwide tour to support it. Now the album returns with two EPs of interpretations for a diverse selection of remixers most of whom are new to Perc Trax. This first EP of remixes takes in Head Front Panel's constantly building, pulsating version of deep album moment 'The Thought That Counts', Hodge's Bristol meets London meets Berlin stepping take on 'Chatter' and a screwfaced broken version of album opener 'Exit' by rising Blackest Ever Black star Pessimist.

Les Disques du Crepuscule present an extended double disc reissue of Shiver, the acclaimed debut album by seminal Swedish artist  Virna Lindt, originally released by The Compact Organization in 1983.

Written and produced by Virna Lindt and Tot Taylor, Shiver offers 12 slices of chic orchestrated pop informed by 'foreign film' soundtracks, movie composers John Barry and Ennio Morricone, Modernist musique concrete and Cold War spy thrillers. The album spawned three singles: Attention Stockholm, Intelligence and I Experienced Love. For the most part Lindt provides the voiceover for her own narratives, occasionally striking reflective poses amid orchestral swells and multi-layered atmospherics; a clear influence on later acts such as Pulp, St Etienne and Air.

This new edition of Shiver showcases acoustically-enhanced mixes prepared by Taylor and Lindt in 1997, augmented with non-album singles Model Agent and Young & Hip, and immaculate instrumental versions of key album tracks such as Underwater Boy and The Dossier on Virna Lindt. The extended tracklist also finds room for a leftfield cover of Windmills of Your Mind, originally written by Michel Legrand and Alan & Marilyn Bergman for The Thomas Crown Affair and recorded for the Crepuscule compilation album Moving Soundtracks.

Cover photography is by E.A. Janes. The 2xCD edition is housed in a 6 panel digipack with a 12 page booklet. The double vinyl set comes in a stylish gatefold sleeve and includes a free digital copy.

Praise for Shiver:  'Eurocentric Virna Lindt casts herself as a mysterious blonde in a loving pastiche of Continental movie music' (Sounds); 'I think of Shiver as Ingmar Bergman's All These Women cast as 50-odd minutes of musical dialogue. Tot Taylor's fantastic orchestrations cast a brilliant pale of modern love throughout' (Fond/Sound); 'Instead of mere cool styles, there's far more here than a restrictive stereotype' (All Music Guide);

It is a distinct honour and privilege to welcome the legendary musicianWally BadaroutoDiskotopiawithThe Unnamed Trilogy Vol.1, a collection of recent solo work presented for the first time as a limited-edition 12" and select digital EP,marking the first vinyl release of his solo music since 1989.The release has already gained a great deal of excitement following its announcement on FACT magazine, The Vinyl Factory, Resident Advisor and other media in early August.

Wally Badarou is a visionary musician who over the years has forged a history that is immensely storied, diverse and creatively rich. He has not only released timeless solo material such as the incredible Echoes LP in 1984 (part of which reached a new generation of music fans when the track Mambo was sampled for Massive Attack's Daydreaming), but has also recorded on classic albums with luminaries such as Grace Jones, Sly & Robbie, Mick Jagger, Fela Kuti, Robert Palmer, Jimmy Cliff, Black Uhuru and Talking Heads to name just a few. Both co-founders of Diskotopia have been huge fans of Mr. Badarou's work since before the label's inception and are elated to present The Unnamed Trilogy Vol.1 to the world at large.

Having been endorsed by Andrew Weatherall on his June 2017 NTS radio show, the band were inspired to release this four-track vinyl EP on their own label Big Shanty Records.

A heady mix of influences colour The Spellbinder Project sound, with elements of jazz, post punk, psych and funk in the blend. These tracks were produced by Malcom Catto, head instigator of the Heliocentrics and collaborator with DJ Shadow, together with Mike Burnham, who has worked extensively with Little Barrie.

The core band of Sean Pereira Summers (guitar), Michael Levison (bass) and Michael Rathbone (drums) are joined live by Lascelle Gordon from Vibration Black Finger on percussion and Chris Williams from Led Bib on saxophone.