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Yeketelale is the third album from Franco-Ethiopian group uKanDanz, combining a heady brew of rock energy, saxophone zigzags and Ethiopian melodies, all fronted by veteran singer Asnake Gebreyes grooving harder than ever.

In Ethiopia, sons follow fathers and, together, their names tell a story. Some discographies are the same way. After Yechelal (''It's Possible''), Awo (''Yes!''),here's Yeketelale (''It Continues''), the third album from Ukandanz.
The adventure that links Damien Cluzel (guitars) and Lionel Martin (tenor sax), the two founders of the group, with the Ethiopian singer Asnake Guebreyes continues and, with this album, takes on new colors and a new dimension. It is a polished synthesis that keeps the rock energy of their first recordings and gives even more space to the subtle vocal ornamentations that mark great Ethiopian singers. Add to that a groove that is more danceable than ever, carried by Adrien Spirti's synth bass and Yann Lemeunier's drums, and you have the magic formula of Yeketelale.

This came about slowly over the course of a dialogue that began in the early 2000s when Damien Cluzel, arriving with a circus in Ethiopia, met up with the occupant of the next room in their hotel. A stroke of luck: this was Francis Falceto, high priest of the Ethiopiques collection (Buda, 30 volumes to date) which had introduced to the West the treasures of swinging Addis, the capital that vibrates to the sound of big brass orchestras. With him, he dives into the capital's nightlife and meets a galaxy of musicians. The singer Asnake Guebreyes is among them.

Recruited by the famous Police Orchestra at the tender age of 16, he already had all the power, energy and class of his role model, Tlahoun Guessessé ''the Ethiopian James Brown''. He began his solo career at the beginning of the 1990s with several major successes, most famously an explosive duo with the singer Fekker Addis.

This experience made a big impact on the French guitarist. Having learned how to blend in with a uniquely Ethiopian groove, he was now ready to take it to other places and in other directions. In his old friend Lionel Martin, he found an ideal partner to engage in such experiences. But they needed a singer. The idea of Asnake Guebreyes was mentioned. Then Francis Falceto called and suggested going to see him at the Addis Music Festival. Ukandanz, a rock version of Ethiopian groove, was born.

Some pieces, like the disturbing Yene Hassab, call to mind Herbie Hancock's experiments in the seventies, as well as the Juju guitars of the Gulf of Guinea. Others, like the dark Fetsum Deng Ledj Nesh, allow Asnake's voice to soar above the synthetic waves, like a siren song for a freighter in distress. Dance and trance are not left out, with inspiration from the inexhaustible Ethiopian traditional repertoire. In a nod towards Asnaké's first album (Ahadu, also reissued by Buda) Ukandanz returns to its track Ajiré, transfigured by the guitar, claps and synthetic bass and takes us back to the glory days of breakdancing. Listening to the two versions gives the key to understanding the unique touch of Ukandanz and of the rich musical colours of Yeketelale (''It Goes On''), a fusion musical journey that brings the electric spark of the Frendj (Westerners) to Ethiopian lyricism.

A heavy new compilation from Brownswood shines a light on the independent underground in Melbourne, where a close-knit collection of artists have taken cues from soul, jazz and club culture to carve out a fresh Melbournian sound. Featuring nine different groups, many of them sharing members and studios, the record surveys the musical contours of this bubbling scene, nodding to house, broken beat, samba, p-funk and soul.



Recorded over a week at The Grove, a fabled house-cum-studio in the North Melbourne suburb of Coburg, it’s home to the record’s engineer, Nick Herrera, and two members of Hiatus Kaiyote, the city’s breakout gangster-soul dons with whom many of the record’s personnel have collaborated. Silentjay was musical director, the Rhythm Section-affiliated multi-instrumentalist and producer (who’s played with Joey Bada$$ and Flying Lotus) marshalling together the album’s different players, many of them part of influential collectives 30/70 and Mandarin Dreams.



Nurtured in the city’s collaborative, close-knit confines, the scene has been bubbling up under the radar of Australian music institutions, in the garages and makeshift studios of Melbourne’s suburban sprawl. Sunny Side Up is a colourful portrait of the scene’s potential, exploring the story behind this flourishing period and shining light on some of its most compelling figures.

Bastard Jazz is proud to present the new EP from Vancouver's AstroLogical, also known as one half of production duo Potatohead People. With a long list of collaborations outside of the group ranging from Pomo, Phife Dogg, Illa J and Chin Injeti - Astro's new EP "Private World" resides somewhere in between jazz, soul, ambient and future electronic vibes with it's lush keys, chunky breaks, and deep musicality.

Nate Drobner aka. AstroLogical is a multi-instrumentalist producer/composer based in Vancouver, B.C. Canada.
After releasing a number of solo instrumental hip-hop projects through the net label Jellyfish Recordings in the early 2010's under the AstroLogical alias, he had began focusing his energy on the producer duo Potatohead People; a collaborative project with his old friend Nick Wisdom, eventually getting noticed signed by Brooklyn-based record label Bastard Jazz in 2012 (with the help of Nightmares On Wax). Their 2018 full-length sophomore album 'Nick & Astro's Guide To The Galaxy' was released to great acclaim and led them to be invited to Jazzy Jeff's annual Playlist Retreat alongside such luminaries as Lord Finnese, Young Guru, and Pharaohe Monch.

Endlessly sampled across the board, for those dreamy guitar licks, killer Rhodes keys and luscious strings, Goody Goody ‘It Looks Like Love / Super Jock’ is a 1978 masterpiece of disco gold. Original copies of the Atlantic Promo 12” sell for upwards of £65 so it’s about time a remastered, officially reissue landed.

Produced by Vince Montana of MFSB and The Salsoul Orchestra fame, ‘It Looks Like Love’ was a Larry Levan / Paradise Garage classic and still commands dancefloors the world over. Flowing flutes, sultry vocals and xylophone twinkles open up proceedings, as those iconic, funk-flavoured staccato guitars and rising strings step up to the plate. Combined they produce a glistening groove that captures the feel-good factor of NYC’s disco apogee.

Delectable disco, fuelled by an undeniable funk that continues to be harnessed, chopped and sampled by some of house music’s biggest players from Nick Holder and Armando, to Tom Trago and Glenn Underground.

On the B side, soul-searching cosmic fluctuations via ‘Super Jock’, with interplanetary vocal refrains stretching out above a full-bodied bass, tight drumming and spacey Rhodes. Montana’s world class arrangement sees bongo-led percussive interludes and dancing keys solos take listeners to a mesmerising galaxy, far far away.

A double dose of that good stuff!

Not So Much return with a trip inducing two-tracker of electro-tinged, Gaunt workouts.

‘She’s Not Patsy’ opens up the EP with metallic hits, glitching crashes and cartoon styled sound effects interweaving to give a futuristic, constantly morphing state to this formidable track.

On the flip side, out come the cosmic canons for ‘Spacebirds’. Extra-terrestrial blasts, unearthly synths and spinning pulses surge around this far-away galaxy, tied together with a thumping beat and crashing percussion that will burst supernatural waves out across the dancefloor.

Any self-respecting scene can not do without a muse. Albeit a fragile one. Xen is a central figure in the (now not so) new Tel Aviv scene, having fluttered from projects to projects (with Red Axes, with Yovav Arzi or the soon to come Levantines), being herself kind of everywhere she goes, fragile yet strong, as if she was gaining gravity from both the little black hole inside of her and from the Garzen galaxy. These four tracks written and produced with Dori Sadovnik from Red Axes may be the epitaph to Xen are romantic underachiever, her chrysalis. Pere Adam has been a hit (whatever that means these days) with many luminaries such as Vladimir Ivkovic or Ivan Smagghe, pure angst in psychedelic dub. On Zel Meshugah, Xen & Dori amp the gothic, though more moon than beach, proving once more that all good songs are about heartbreaks. There is a certain sixties folk air to Ir Beton, some lofi sun shining through Xen's adolescent clouds. This new found positivity finds its expression in the flea market funk of Sugar & Wine, Xen shouting to the stars that life, even if bumpy, is now really worth living. -Words By Ivan Smagghe

After the success of their sophmore album "Nick & Astro's Guide To The Galaxy" last year, Potatohead People are back with a special remix of the first single "Morning Sun" off the album (featuring vocalist Nanna.B) on the album rom the legendary DJ Spinna.

Spinna gives "Morning Sun" his signature Galactic Funk flip, beefing up the drums into a cosmic shuffle, with an analog arpeggiating bassline, lifting strings and synth squelches. Also included is the instrumental on the flip. Cover art comes from Berlin's Rahel Susskind who revists the Guide To The Galaxy concept from inside the funky spaceship. Blast off!

The Orbitants run into galaxy exploring the unknown. Space ambient track from the electro soldier The Exaltics, explores the parallel worlds with his iconic sound. The electro duo Faceless Mind, straight outta North Europe kicked it with 'Viggen Formations': heavy bassline, highly evocative and hypnotic synth. Follow up the B1. Keep on going with the well-crafted formula DJ Vietnam and Haterparisi. Generated arpeggios by modular square-waves with syncopated beats reminding their techno background tells the experience of an alien abduction. Discover the raw surfaces of the B side which feels both organic and apocalyptic. 'Intergalacid' by Umwelt, a mix of acid-rave and electro to create some high impact sonic weaponry. Highly recommend for the strongest dancefloor!

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, its catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

High Voltage is one of the more familiar names in the P&P / Queen Constance galaxy. Led by Peter Brown and Patrick Adams right hand man and producer Michael Campbell who presided over some of the biggest and best sides the labels put out. This one is a must, essential, do not sleep business. 11.00 minutes of Disco fury! One is forgiven in thinking that this would've been huge had it have come out on one of the 'bigger' Disco labels, but that hasn't stopped 'Rock, spank, freak' becoming a true blue club anthem. Appearing in the playlists of DJ's and selectors as diverse as Larry Levan, Danny Krivit and Daniele Baldelli. Rough n'ready, unpolished but musically explosive the sounds contained on this here 12" are indeed High Voltage! As with a lot of these jams, this one's been badly bootlegged, so ignore those wack counterfeits that are out there and bag you a fully licensed reissue of this absolute bomb. Dope.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

The journey continues... deeper into the unknown universe, stretching the seams of time and space.

The maiden voyage for this new label out of Birmingham was a success. The second release is a collaborative effort from Nicky B (Simple Elements/HOG) and fellow Brummie, Anthony Ellis - working together as Koheziv Mindz.

The tracks are the result of years of tuning in to the sounds seeping out of the speakers in choice local clubs and buying the latest imports on vinyl from Europe, Chicago and Detroit.

The day-to-day living in Birmingham has certainly etched into their creative consciousness, the hustle, bustle and alien like chorus of a vibrant environment resonates through their work, from a city that never sleeps.

Emotive, incredibly lush and shot through with the kind of romanticism displayed in the work of second generation Detroit pioneers Kenny Larkin and Carl Craig. This is a glimpse through a keyhole, a snapshot of two producers taking steps into a bigger world, a whole galaxy.

There are two remixers on board, hand picked to see how the artists would interpret the originals - Darren Nye (Firescope/polarity) and Mihail P (Verdant Recordings/Distant Worlds)- both artists add weight to their already impressive back catalogue of work and display why they are hot and tipped for the top.

Submerge your mind into the rich celestial tapestry of sound, safe in the knowledge you're among good company.

For its next release, No.19 Music welcomes one of dance music's most celebrated contemporary artists in Ryan Crosson for a new single coming on vinyl and digital.

Crosson is a true techno tastemaker who hails from Detroit. He's released on long established labels like Minus, as well as going on to form Visionquest with Seth Troxler, Shaun Reeves and Lee Curtis, and the label of the same name where he also put out key EPs and LPs with Merveille. From headline sets at festivals round the world via club gigs at the most tasteful venues in the scene, he is a real giant of underground dance music with studio skills to match, as this standout three tracker proves.

Superb opener 'Comet Pills' is a deep and thoughtful track that encourages your mind to wander off into the cosmos. Slick drums and melancholic chords set the tone, while the bass fleshes things out and sci-fi details bring out a cinematic quality.

The brilliantly mysterious 'Roscoe' is expertly stripped back and reduced house music that takes you on a trip. It's quick and smooth, with watery sound design, soft hits and muffled vocals adding intrigue to a track that is both cerebral yet designed to make you move.

Last of all, 'Snake Oil' is another fully realised offering which journeys to the edges of the galaxy, with long lingering ambient pads suspending you in mid-air as squelchy synths and shuffling drums keep one foot on the dance floor.
These are three terrific cuts of seriously atmospheric house and techno.

If you're going to call your band audiobooks, you'd
better have some good stories to tell. Stories that
should move you and stories to make you move.
Stories about real life and surreal life and all that
weirdness that you just glimpsed out of the corner
of your eye. Luckily, audiobooks really do.
The London-based duo have developed a unique
ability to conjure up magical aural snapshots that
wallop you like bong hits.
Each of their discombobulating observations comes
stretched out over a series of discomfiting
oscillations, like messages from the spirit world or
pulp fictions found in a box at the end of your road
or a crackling pop broadcast from a far-away
galaxy.
'One to definitely get under the skin... a thing of
exotic beauty' - DJ Mag (8/10)

'The U.K. Singles Volume One: 1972-1978' presents ELO's early output of hits and b-sides as originally experienced by the band's fans in their native U.K. This collector's box set features 15 groundbreaking 45 RPM singles plus 1978's "The ELO EP," each fully recreated from their original releases more than four decades ago.

All of the music on 'The U.K. Singles Volume One: 1972-1978' was remastered from the analogue source tapes while each of the 16 7" vinyl discs in the collection features detailed reproductions of the original sleeves and labels from the 1970s. Nine of these singles - including "Roll Over Beethoven," "Evil Woman," "Livin' Thing," "Telephone Line" and "Mr. Blue Sky" - reached the Top 10 of the British charts and remain among the world's most enduring classic rock songs. On rock radio and beyond, ELO's hits continue to permeate pop culture. In 2017, "Livin' Thing" was featured in a widely-seen advertisement for Volkswagen while "Mr. Blue Sky" underscored a pivotal scene in the Marvel Studios blockbuster Guardians Of The Galaxy Vol. 2.

After years of working as a graphic artist, designer, and creative director, Pilar Zeta will release her debut album Moments of Reality on Ultramajic Records on October 5th, 2018.

Inspired by Japanese post-modern art from the 1980s and produced using synthesizers from the 1990s, the new age album of nine electronic pieces is ambient and cinematic with an off-world feeling.

Her sound draws on the style of bands like Art of Noise and Steve Roach that she was exposed to early in her life and evokes the work of Yasuaki Shimizu, Yello, and Laurie Anderson. Each of the nine tracks will feature a cover with different objects in absurdist settings. Much the same way Zetas visuals seem to be artifacts from a parallel universe, Zetas ethereal and melodic compositions sound like a coded language transmitting from a neighboring galaxy.

I feel privileged to be able to translate my visual world into sound, the unknown was the most fun and fascinating aspect of it

Fueled by a lifelong love of the paranormal, Zetas metaphysical iconography and music exist in futuristic, surreal, and elegant spaces. Her visual and sonic works function as a form of practical magic in a machine-centric world, connecting different mediums through a singular, transcendent vision.

Reissue of Eblen's fourth album, wonderful experimental music here. Tip!
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Mexican guitarist and ambient artist Eblen Macari's Música Para Planetarios (Music for Planetariums) was originally composed for weekly performances in the Luis Enrique Erro Planetarium in Mexico City to accompany a voyage through the galaxy. The album, released in 1987 was based around Macari's solo performances using Ensoniq ESQ-1, a Korg Poly 800, two guitars and pre-hispanic Ocarinas. The expanded arrangements recorded for the album include a full stable of pre-hispanic percussion and beautiful baroque harpsichord played by Macari's wife. This expansive interplanetary soliloquy is undoubtedly Macari's masterpiece. Remastered from the original master tapes.

Originally released in 1972, Lord Of Lords was Alice Coltrane's final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances - shining a vital light on the devotional path that she would follow for the rest of her career.

On the first two pieces, "Andromeda's Suffering" and "Sri Rama Ohnedaruth" (titled after the spiritual name for her late husband), Alice's dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer "Going Home." Coltrane's musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions.

This first-time vinyl reissue has been carefully remastered from the original master tapes.

From A Formidable Connection Between Pasadena (los Angeles, Usa) And Osaka (japan), Kay Bee & Kzyboost Bring Us The Funk In A New Wonderfull Way.
Talkbox, Voices, Synths, Leads, Guitars & Strong Groovy Bass Lines Under The Big Influence Of Modern Funk & P-funk.
With Exceptional Collaboration Of Dr. Evo On The Bass For The Song "feel Da Funk", This 7" Vinyl Is A Trip Into The Real Funk Galaxy.

Fresh on Francis Harris' Kingdoms imprint comes Rasmus Juncker's 'Ophold' - six tracks of sublime atmospheres and textures. The Danish musician, sound composer and DJ fits perfectly with the label's aesthetic, joining the dots between ambient, leftfield electronica and modern classical.

Juncker has a background in studying jazz drumming and has been playing improvised music within the jazz domain for many years. He also started to DJ at the age of 14 and was introduced to the world of electronic music production at the same time.

When Rasmus started to think about his debut album he spent several months trying to find his own way to combine his favourite musical influences, improvisation, electronics and classical music. 'Almost a year later', Juncker says, "I went to a sensory deprivation floating tank in Copenhagen while researching for another performance and while I was lying there, floating in the water, deprived from most of my senses, I got the idea to do something drastic in my musical process. Philosophers like Immanuel Kant describe this deprived state as a mental 'Cesura', which became some sort of guideline for the album."

So Juncker decided to start working on the album by leaving the process as well as the final result completely open. 'I wanted to create sounds and music that I had no idea what they would sound like, but would feel like a mental 'Cesura', an 'Ophold' (in Danish)' he states.

He invited musicians, one after the other, to his studio. "I had an electronic musician to improvise patterns and new interesting sounds based on my experience in the deprivation tank. I chose some of the takes and some weeks later I invited a jazz guitarist to listen and improvise on top of what he heard. Then a classical string quartet and a double bass player came to my studio months later, and finally I recorded myself on percussion and drums.

Throughout the recording process I've been experimenting with special microphones in various setups, used noises from the recordings and the room became absolutely essential for the pieces." Juncker states.

"The material I used was all first take improvision which I arranged, layered and edited into compositions. The final pieces were mixed by Andreas Pallisgaard with the same improvised and experimental approach of the recording and the production. None of the musician met each other, but their sounds developed into something completely fantastic I think. The presence of the acoustic instruments and the depth and complexity of the synthesized layers gave some kind of an indescribable sounding music from another galaxy.

Track by track:

'Norddrum' starts proceedings - ethereal, grainy sounds merge and disassociate, as a distant rhythm gradually finds its way to the fore.

The second track, 'Sora' , clocking in at under 2 minutes, is an interlude full of strings, pads, and percussive hits, rich in feeling. This strong sense of sound design and seemingly disparate sounds woven together into a whole carries through into 'Eksotisk Tirsdag' - the strings, plucked instruments and electronics harking back to 4th world adventurers like Jon Hassel and Brian Eno.

'Cyklus' dives into drone textures, pulsing and modulating to create an unearthly soundtrack.

'Havekunst' is another 2 minutes interlude, this time bringing a fully charged rhythmic barrage to the front.

'Cesura', the final track is in essence the EP's centerpiece - a sprawling 8 minute journey that traverses tense, fibrous sections and on into pulsing modular passages, before opening up into glorious moments of wonder and brightness. It's a hugely bold yet fragile endeavour, in line with the whole release.

Canadian production duo Potatohead People are back on Bastard Jazz with their 3rd single from their upcoming sophomore album.

"Do My Thing" features harmonized vocals from Kapok - out of Vancouver - and verses from frequent collaborator Illa J, over swelling chords and a funky bassline.

On the B-side, "Returning The Flavour" highlights the synth chops of Dutch producer Trian Kayhatu in a danceable, beat-heavy jazz instrumental.

'Nick & Astro's Guide To The Galaxy' will be released worldwide on May 11th on Bastard Jazz.

Joanne Forman's Cave Vaults of the Moon created in 1987 for an exhibit of sculptures in Taos, New Mexico is a mesmerizing score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects. The playful extra-terrestrial recording wafted through the exhibit every day for its duration and then lay dormant for nearly 30 years. Unearthed now, Cave Vaults of the Moon sounds prescient and timeless, as if Pep Llopis and Iasos scored a Wicker Man remake set on Mars. Restored, remastered and cut using DMM.
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We humans, the nascent beings that we are, still haven't quite figured out the full potential of music. Dancing, meditating, emoting, protesting, these are all pretty basic. But what if we communicated more complex ideas with music What if we codified all of our activities with music This idea came to composer Joanne Forman
when commissioned in 1987 to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in Taos, New Mexico. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose

Joanne Forman imagined that Earth's moon was a vacation spot for advanced beings from another galaxy. In her mind, the sculptures in the exhibit were the remnants of a deserted playground. Cave Vaults of the Moon became a collection of sonic texts describing the recreational activities that went on there, earth-viewing, collecting information, building and playing.

Drum Union ist eine neue Serie, die verschiedene Spielarten von Leftfield House dokumentiert. Tony Nwachukwu aka Attica Blues aka Wah-Chu-Ku aus London liefert ein deep broken dub techno monster. Manuel Fischer präsentiert ein ryhthmisch treibenden, disco-beeinflussten Track, um die Tanzflächen anzuzünden. Mitsubishi Galaxy, auch bekannt als Jack Pattern, nehmen uns mit auf einen wavy Trip in eine andere Dimension. Look Like runden das Paket ab mit afro-kubanischen Rhythmen mit modernen Electronica Klängen.
Ein Projekt, das weiter und deeper geht als der Großteil des üblichen 4/4 Businesses!

Esteban Adame cut his teeth DJing at the ditch parties and house parties of East LA in the 90s. He then moved to Detroit to apprentice with Mad Mike Banks, performing as part of Los Hermanos and Galaxy to Galaxy. More than twenty years on, he still lives and breathes music. This is his debut record for MisterSaturday Night Records, raw and joyful.

The latest release on Serotonin brings recently remastered versions of four classic Synapse tracks from the early years of the label together into the "Cosmic Freak Gas Bubble" EP

Side A features two tracks from SER004 "Get the Freaks and Get Some". Side B contains two tracks from SER-002, a split EP with Auto Kine c.

"Cosmic Connecton" is classic Synapse electro-chill, featured
back in the day on the infamous late night German television
series 'Space Night' and related compilatons. This track is a call
to intelligent extraterrestrial seekers of intergalactc FNK. Fse
this as your beacon, broadcastng across the galaxy and bringing the aliens to you.

"The Freak" is an undeniable body mover and was featured on the legendary DJ Assault mix CD "Straight Up Shit Detroit Vol 3". An homage to straight up Detroit funk is exactly what Synapse was going for and with 'The Freak' they clearly hit the target.

Back in the rave days 'Gas" was an electro/breaks cross-over 'hit" in the FSA, getng play in dirty warehouses across the naton in 996. A randomly

selected spoken Japanese vocal clip provides a repetetve, non-sensical hypnotc hook. The sample apparently has something to do with environmentalism and sounds cool. The hybrid style of "Gas" hits a lot of the Serotonin values, from funk to new wave melody to breakbeat rave energy.

Just when you think you've fgured out what Synapse is all about, 'Bubble" presents yet another hybrid. The hypnotc dub techno chords create a dream state in which to lose consciousness of the fact that the infectous beat already has you rocking.

The "Cosmic Freak Gas Bubble" EP from Synapse is one record to have when you need some funk to match any occasion.

- Printed Inner Sleeve and Heavy Weight Outer

The now legendary ' Abbey Road' version of 'the Isness' was the originally conceived version before last minute wholesale changes resulted in new tracks , different mixes and/or edits appearing in a wholly different order for the commercial release of 'the Isness '  in 2002 . The 'Abbey Rd 'version had been initially promo'd to ecstatic reviews, receiving an unprecedented 6/5 stars from Mixmag 'it's like a beam of white light from heaven'. 
This is the first time the Abbey Road version has been officially and commercially available .The band themselves ' the Amorphous Androgynous ' ( a psychedelic supergroup conceptualized and produced by the Future Sound Of London ) are said to have always regretted the last minute changes to the album ,the creation of which took five years from 1996-2001 post production of the FSOL album ' DEAD CITIES' and marks an important chapter in the production duos history and 5 year disappearance where rumours of madness and disbandment were rife among fans of the band only for them to finally appear with this radical new vision and what is now considered something of a psychedelic masterpiece which along with subsequent albums ' Alice In Ultraland ' ( on Harvest Records ) and their 'A Monstrous Psychedelic Bubble  ( Exploding In Your Mind )' Dj series ( which chronicle and redefine the history of psychedelia from the 60s to the present ) did much to activate a third wave of global psychedelic sonic revolution .
The Isness is a vast samplerdelic sonic galaxy where a huge range of instruments ( from sitars and numerous eastern instruments to flutes, banjos and conventional rock n roll instrumentation)  and countless musicians are employed ,collaged and twisted using the studio as instrument ( much in the tradition and lineage of the Beatles and other 60s exponents) to form a startling new vision of cosmic space music and to redefine the possibilities of what ' the song ' could be in the new millennia with its by turn : cosmic , wildly surreal , absurdist lyrics on epic songs such as ' the Galaxial Pharmaceutical ' ' the Mello Hippo Disco Show ' ' Divinity ' and many others ! 

DJ Katapila's Aroo EP is the latest addition to the iconoclastic producer's catalog of fast-paced, pan-West African-influenced dance music. From a young age, Ishmael Abbey was a beloved local DJ in Accra, Ghana's competitive and rapidly-evolving music galaxy. DJ Katapila's debut release with Awesome Tapes From Africa, 2016's reissue of Trotro, ignited international acclaim for the Ghanaian DJ and producer: The New York Times, Pitchfork, Resident Advisor and FACT heaped praise on his work. Katapila launched a touring career beyond his grueling schedule of all-night parties around Ghana's southern coast and neighboring countries, heading to Europe and the UK, where he performed at festivals and clubs the pasty two years. Katapila brought Ghana's street party culture to audiences overseas, a wave of joy and happy dancers were left in his wake. The song Aroo' uses his earlier song Cocoawra' as a jumping off point and expands upon its endearing quick-rhythmed interplay of vocal hiccups and percussive clinks. Katapila thinks of Aroo' as a simple math equation: Francophone rhythms plus techno equals so hot and danceable.' While traveling this past summer in Europe, he continued to work on the minimalist electronic music steeped in his hometown rhythms that has made him a growing and singular voice in West African music. Having never travelled outside his region before, the contemporary sounds of London impacted his sonic palette, triggering new song African Techno.' He explains, In Europe and the UK they like these techno songs and house music. They have songs that sound like African music, and we have songs that sound like house music and techno music.' Ghana Baby DJ' references his ongoing development of Ga dance music style gbe ohe. It also conjures his daughter's voice and inimitable vibe and blends it with the characteristic clave rhythm of this. The EP's final cut is a track released with a an eye-catching music video this summer called "Monkey." Following radio play in Ghana and demand from fans online, this track makes its debut on vinyl. Awesome Tapes From Africa is proud to present new music from this unmistakably original artist with an honesty and unpretentiousness that feels good at this current point in history.

With his new album 'Trail Of Intuition' Danish singer and songwriter Jacob Bellens once again is shimmering somewhere in-between electronically influenced songwriting and synthpop music, using his characteristic voice to reflect on his life's journey. Since the age of five, making music means creating a parallel universe to Jacob Bellens. It's his very own space, where he can be himself and always retreat to, no matter what happens. Out of this universe the Copenhagen based musician has released numerous songs and albums with his previous bands I Got You On Tape and Murder, with side projects and features as well as a solo artist. 'Trail Of Intuition' is his fourth solo album and the second one that's internationally signed with hfn music. Unlike the songs for his previous release 'Polyester Skin", which he wrote mostly on piano and guitar before sending them to producer Kasper Bjørke for final production, Bellens wrote all the songs for 'Trail Of Intuition' on his computer. You could see him sitting in front of his laptop in coffee shops across Copenhagen, with his headphones on, letting the basic programming and pre-production of the songs become an essential part of the writing process. The final production was made mostly by Rune Borup, who he knows back from the I Got You On Tape days and his friend Lars Iversen (The Asteroids Galaxy Tour), with whom Bellens also had the band project Goblins. The new album is a collection of snapshots of the whole range of feelings for which Bellens digs into the pool of his own experiences.

Munich's Martin Matiske started his recording career at fifteen with his stunning ep Stars & Galaxy for DJ Hell's Gigollo Records back in 2002. Here he dons 4 fresh tracks for the Vivod label with his trademark electro sound, somewhere between Dopplereffekt, classical & wave. Kicking off the ep is Die Nibelungen, a sort of speak & spell classical piece with an electro backing track. A2 - Bayerischer Wald is a chord heavy majestic bomb in a 5/4 time signature, maybe a stretch too far for the linear techno dj but that's what makes this ep so interesting. B2 - Virtuosic Mechanic harks back to his previous work on Gigollo Records, a more club orientated track which should do some effective damage on the floor. Rounding things off is Kammermusik, a subtle electro ballad. If you like your electro with a heavy classical influence then this is your ep.

This box contains all four solo albums by Bill Wyman, the first Rolling Stone to release a solo record. The first two (from 1974
and 1976, both issued on Rolling Stones Records) were made the help of a galaxy of musical friends like Lowell George, Dr John,
Joe Walsh, Van Morrison, the Pointer Sisters, Danny Kortchmar, Dallas Taylor, Leon Russell, Bob Welch and Nicky Hopkins.
- The eponymous third album was home to Bill's 1981 big hit single (Si Si) Je Suis Un Rock Star' as well as follow-up hits
Come Back Suzanne', A New Fashion' and Visions, while fourth album Stuff' appeared in 1992, originally in Japan only.
- The albums are now issued on vinyl for the first time since their original release (and 'Stuff' on vinyl for the first time ever),
gathered together in a beautiful rigid slipcase. The new inner sleeves feature all the lyrics and the musician credits.

Back in stock !

Michael Mayer is one of the leading German tastemakers in dance music and his DJ sets have influenced a generation (or two) of musicians and fans.As an artist, Mayer remains tirelessly motivated to DJing, in the studio or behind his desk at KOMPAKT, the label he co-owns. His recording career spans four albums, 23 EP's, nearly 170 remixes and the legendary DJ mixes for fabric and Immer. '&' is his third full-length, a passionate and personal album that speaks as broadly as his DJ sets - embracing his genre-busting love for music, rhythm and atmosphere - and the dancefloor in front of him. '&' is the rare manifest of an established artist who is willing to risk it all and challenge himself, and the world around him. 12 tracks, 12 single narratives coming from a group of very individual minds orchestrated by Michael Mayer - the DJ, artist, A&R but most importantly, obsessed music lover. Michael describes the process of curating and creating '&' as a constant battle between his three alter egos but 'the obsessed music lover has had the final say.' As diverse as they are, all the tracks that result from this long and winding road create a cohesive story and present the elasticity of Mayer's musical galaxy. Michael gladly leaves it to the rest of the scene to discuss the different grey shapes of club culture. For him there is only one club culture - a playful and open-minded one that's easy to comprehend after you hear ‚&'.

In the summer of 2014, producers Frankie Valentine and Thomas 'T-Ash' Sciurpa bumped into each other in a London shoe shop. Over a fine selection of brogues and loafers, the conversation drifted onto music. The duo quickly realized they had much in common, and a plan began to form: they would get together and make music as Vitruvians, using the alias as a vehicle for their collaborative work.
Some 18 months and numerous recording sessions in England and Italy later, the first Vitruvians record is ready for release. Dropping on Paul Murphy and Simon Purnell's Leng Records imprint, 'Spaghetti Saloon' is a banjo-pickin' hoedown at the last drinking hole in the Milky Way. Propelled forwards by a restless drum machine rhythm, the duo's original version expertly combines winding synthesizer melodies, wild honky-tonk piano solos, clanging 'closing time' bells, and the most loved-up banjo player in the galaxy. Ennio Morricone, eat your heart out.
The flipside of the 12' features a pair of tasty, DJ-friendly revisions. There's the chugging Banjo Dub, where delay-laden bells and undulating banjo lines rub shoulders with a throbbing, space disco groove, and the even more psychedelic and alluring Piano Dub. As the title suggests, this pushes the duo's distinctive keys work to the fore, stretching out the life affirming solos in a bid to incite even greater dancefloor abandon. Down a glass of bourbon, grab a partner, and get dancin

O.D.D., Modini and Casio Royale team up to wreck clubs across the galaxy! I glanced at the wrinkles on my hands as they worked the controls on landing pod. I'd aged considerably since we left Earth to track the alien. Taking an extremely dangerous short cut via the rim of a black hole allowed me to get to the outer regions of the universe before I turned geriatric and was too decrepit to navigate the ship. Now, as we approached Planet Simila, excitement burned within me. It wasn't just about meeting an extra-terrestrial, I was lonely. It had been many years since I'd spoken to anyone other than the ship's computer and here I was about to meet the first known life form outside our planet. I bumped the pod down on the terra firma as gracefully as I could. Intel confirmed Simila had an almost identical atmosphere to earth and that I'd be able to breathe on it unaided. However, precautious as always, I put the large dome shaped breathing apparatus over my head and pulled on the silver safety suit. I took my first step out of a spaceship in 14 years and there it was only yards away from me; a small green creature with large white goggle eyes on the end of two spindly antennas. If you'd asked a 5-year-old earthling to draw a spaceman it would have looked exactly like the thing stood before me. I had no idea whether it could comprehend English or not but nerves made me blurt out: 'Greetings from Planet Earth, I have travelled many light years to meet you, I...
'Here, never mind that pish, ya space helmet, you got the new DABJ Allstars Vol 3 on ya, it's got new stoaters fae O.D.D, Modini and Casio Royale. I've heard it's oot o' this world.'

The sixth release on Deep'a & Biri's Black Crow label welcomes another new name into the fold: Nico Campanella has been quietly building a stellar reputations for himself over the past few years, working under a variety of aliases to explore a sound that much like Deep'a & Biri draws deeply from techno's Detroit heritage as well as the propulsive dub techno of Basic Channel. With releases for several high quality under-the-radar European techno labels, including Construct Re-form, CLFT, Monnom Black and his own label Subosc, Campanelli's Kaelan and 2030 projects in particular have won him some ardent admirers & plenty of tips as a talent to keep an eye on. It's as 2030 that he joins Black Crow, for the Timeworm EP, which is completed by remixes from FXHE's Luke Hess and the label's Tel Aviv-based founders. The EP's original track are a pair of lushly-produced classic Detroit-influenced excursions, redolent of the cascading ambient textures and string melodies found within the work of the city's first wave pioneers. A1 cut 'In aeternum' could easily be mistaken for a lost early 90s classic in the best possible sense, while the title track also draws on a similarly timeless quality. With the original track ensuring the EP package will win other home listeners, it's the remixers who shape them for the dancefloor. Luke Hess's 'In aeturnum' remix is powerful dancefloor workout that retains a softer edge, recalling the producer's recent collaboration with OB Ignitt. On the B side, Deep'a & Biri offer two of their own interpretations of the title track, pulling the track across the dub techno galaxy with their trademark dexterity. Completing a truly exceptional package is beautiful hand drawn artwork by Israeli artist Avraham Guy Barchil.

QND Philosophy starts with a new project from veteran cosmic disco originator Daniele Baldelli and his long time partner in crime Marco Dionigi . The two Gents will take us into a spaced out galaxy of sounds. So Sit Back , Fasten your seat belts and enjoy the trip .... SALES POINTS: Daniele Baldelli (Baia Degli Angeli/Cosmic) Considered worldwide as a truly innovator for his 'cosmic style trademark' a mix of African music, disco, psychedelic rock, krautrock and dub, often played at the wrong speed, he's a very active dj and respected artist. Marco Dionigi Resident DJ of top italian club Alterego since '89. Besides being the Mastermind and founder of Quantistic Division/QND Philosophy labels. He is a popular dj and and experienced producer KEY RELEASES ' Baldelli & Dionigi Cosmic Disco !' Cosmic Rock!!!' (Eskimo Recordings) ' Baldelli & Dionigi The Units Remix High Pressure Days' (Opilec Music) ' Baldelli & Dionigi Adaptors The Music of Richard Bone' CD (Prismatikone Records/Word And Sound) ' Baldelli & Dionigi Phil Manzanera Caracas - Mental Remix ' ( LN/CC Recordings) ' Baldelli & Dionigi Museum Of Love Remixes (DFA Records)

Six years on from his debut album on Cadenza, Swiss DJ/producer Mirko Loko comes with the follow up to 2009's 'Seventynine' as he catapults us into the techno and electronica galaxy with 'Comet Plan'. 'Un voyage entre toute mes influences,' Mirko Loko shares, breaking into his mother tongue to describe the essence of his sophomore longplayer that was conceived in Berlin and later birthed in his hometown of Lausanne after a two-year gestation period. Literally translated as 'to travel between my influences', it's a fitting summation of an artist whose work has respectfully mined early inspiration from Detroit and Chicago that laid the foundations of the emotion-filled productions that we know of him from today. In addition to this, Mirko sees his connection with Luciano's Cadenza Music, a relationship that's been in existence since dot one and saw the likes of Ricardo Villalobos, Melchoir, Pedro and Rahdoo make up one of the most innovative crews in dance music, as leaving an indelible imprint on his musical DNA to this day. It's Mirko's strong sense of musical identity that is at the core of 'Comet Plan', a work that's equally informed by the artist's spiritual connection with the Motor City as his halcyon Cadenza roots. And one thing's for sure; he knows how to captivate: take 'Venus' whose trickles of melody and syncopated drum rhythms increases in intensity with each bar towards an eerie crescendo. Then there's 'U Special' that builds the kind of subtle party vibes you could imagine Luciano dropping to create one of those moments to a heaving blissed out dancefloor. 'Kolor' - the album's early single (also remixed by Carl Craig as part of an excellent EP package) is sprinkled with a dusting of xylophones, chimes and other bells as the melody is driven forward for a heady trip across the electronic galaxy.

Repress

Part 1 of Slam's Reverse Proceed Interpretations with reworks from Planetary Assault Systems, Flug, Edit Select & Slam themselves.

Confirmed Press & Promo:

Press - * DJ Mag, Mixmag, Tilllate, Raveline, Groove, Daily Record, Edinburgh Evening News, TopDJ Ua, Nightshade Mag, Nitebeat, Posivision, DJ Times, Time Out NY. Sound Effect Magazine

Radio - * Carl Cox Global, Laurent Garnier Radio, Kiss 100, Ministry of Sound, Galaxy Network, Radio Scotland, Dinamo FM, Acik Radio, BBC Radio Ulster, Future Radio, Reconwarriors, The Beat Delivery, Anton Banks, XM Satellite Radio, RTE. Dance Under The Blue Moon (Anja Schneider), WHCR, KVRX, Power FM, Dinamo FM, Rise, Pulse Radio, Proton Radio, BBC Radio Cardiff, The Radio Dept, Fresh FM (Holland), Mystic Vibes (NYC), Show B, An Taobh Tuathail, RTE RnaG, Untitled Music, Ibiza Sonica, 88.1FM WESU (USA), Sutil Sensations. Global Dance Sessions

Online - * Soundwall.IT, Ibiza Voice, Radio Magnetic, Mixxradio.fr, CHRY, WESU, Untitledmusic, Ibiza Global Radio, Paris_One Reverse, Doce Pulgadas Spain, Ibiza Sonica, Andres Aguirre - KVRX student radio, FACT, Little White Earbuds, mnml ssgs, Gridface.

Special Remarks: 12'' EP in 3mm spine sleeve with download card included.



1978 This EP is an extract from the Cosmic Machine LP compilation to be released on October, the 14th. The first track, Spirit, an Uncle O remix, originally released on Frederic Mercier's "Pacific" in 1978, synthesized on its own the whole concept of Cosmic Machine. Track 2, "Motel show" is a Pierre Bachelet remix (from the original soundtrack of "le dernier amant", also released in 1978). This mix is a dancefloor version by DJ Prins Thomas,famous space disco Prince from Norway (Lindström, Todd Terje...). The Cosmic Machine LP gathers stars (such as Cerrone, Juvet, Jarre, Marouani, Bachelet and even Gainsbourg with a rare proto techno track), talented pionneers (De Roubaix, Estardy, Massiera, Fèvre or Perrey) and even shooting stars (such as Rocket Men, Quartz, Chris Craft, Video Liszt, Milways...). Cosmic Machine combines all the major and inspired individualities that gave birth to the early 70's electro galaxy.

BNJMN pops up with another splendid and relevant EP.. featuring a remix from Legowelt/Xosar combo, Xamiga. TIP!
Artistic inspiration can come in many forms. On his latest 12' for Rush Hour - his third for the label since 2012 - BNJMN was inspired by one of the wonders of nature, namely the curious combination of speed and grace that is the humble hummingbird.

'I was really interested in how hummingbirds have much faster wing speeds to other birds, so they can hover and fly slowly,' he explains. 'This seemed to tie in with some ideas I'd been playing around with, to create tracks that are fast and accelerated, but could also sound slow.'

'Hummingbird', the title track of an impressive four-track EP that's noticeably cleaner, crisper and sharper than his most recent outing for Rush Hour, 2012's Unknown 2, captures this idea perfectly. Propelled forwards by a lone, 140 BPM kick drum, its waves of crystalline synthesizers and picturesque melodies seem to gracefully hover above the stripped-back rhythm. It's intoxicating, exciting and calming in equal measure, whilst retaining BNJMN's usual dancefloor punch.

'At a club recently someone came up to me after I'd played 'Hummingbird' and said he didn't realise how fast he was dancing till afterwards,' BNJMN says. 'I was really pleased with that, because I'm fascinated with how the energy and tempo of a track can feel different depending on the environment you're in, and how you're feeling.'

He took the same approach with the EP's other original tracks. 'Slow Wave', with its relentless sequenced arpeggio, tumbling melodies and sludgy groove, performs the same trick of the ear, thanks in no small part to clever combinations of fast and slow elements. The melancholic 'CRVD', with its mournful chords and darting, techno-influenced grooves, is similarly schizophrenic.

The EP concludes with its most straightforward dancefloor moment, an inspired remix from Xamiga (AKA Xosar and Legowelt). Decidedly cosmic - like layered, melody-driven analogue techno beamed down from a distant galaxy - it delivers a deeper, hazier alternative to BNJMN's pin-sharp original.