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"it Sounded All Right Through Two Walls, So What's The Problem" The Final Words Of 'two Walls', The Fast And Very Catchy Leading Track Of Dj Marcelle's New Record, Sum Up An Aesthetic Almost Lost In Today's Musical Climate, Where Often A Pleasing Attitude And Overproduced Music Sadly Rule, Even In So-called 'alternative' Circles.The Quote Comes From The Late Mark E. Smith (1957 - 2018), Legendary Frontman Of The Fall, And Is Taken From Some Of The Conversations Marcelle Had With Smith Over The Years. Smith Is Referring To A Recording Process But For Marcelle His Words Stand For Something Bigger.Although The Fall Have Been With Marcelle During Her Whole Musical Life (which More Or Less Started In 1977 During The Punk Wars) And She Has A Deep Love For Their Music, It Was Especially Smith's Attitude That Inspired Marcelle.Smith Was An Iconoclast, A Surrealist Dadaist Breaker Of Conventions In Music And Art More Generally. A Magically Creative Individual, A Brain-twisting Wordsmith. An Attacker Of The Pretentious And Dishonest Elements In Society And Music Scenes. An Autodidact Whose Singular Vision, Fired By Both Humour And Sharp Observation, Found A Voice In A Body Of Work Unlike Anything Else.The Day After Marcelle Heard Of Smith's Passing She Created A New Track, Lauding Smith, Whose Name Was An Institution In Itself: Mark E. Smith! Therefore, The Repetitious Use Of A John Peel Sample Pronouncing Smith's Name Celebrates The Life Of This Totally Unique Artist.This Track Opens With Another Smith Quote: "you're Probably Right, Marcelle". And Indeed, The Dutch Producer / Dj Shares Many Of Smith's Attitudes In That She Tries To Stay True To Herself, Doesn't Think Too Much About Audience Expectations And Always Tries To Stay Ahead Of The Public. 'punky' Energy Combined With The Avant-garde And Always Going Forward With Fresh Productions And Dj Sets. To Make And Play Music Which Reflects The Present And Doesn't Rest In The Comfort Zone Of One Dimensional Party Music.There Are Five More Versions Of 'two Walls' On This Ep, But They Differ So Much From The Original That You Can Count Them As Different Tracks. 'dubai Muezzin Dub' Was Partly Recorded In The United Emirates When Marcelle Played There Earlier In 2018. 'problematic Dub' Is Pure Industrial Techno Torn Apart By The Wildest Dub Effects, Its Coming And Going Of Sounds Equals A Ride In A Calypso. 'studio Door Dub' Celebrates The Repetition Of The Fall And The 'emerson, Lake & Palmer Symphony Dub' Is Both Pure Avant-garde And Hilarious Fun. And Belp, Who Owns The Jahmoni Label, Comes With A Wicked Abstract Noise Remix. The 'for' Ep Is The Fourth (get It) Vinyl Release Of Marcelle On The Munich Label Jahmoni Since 2016. As Always, Sleeve And Label Are Very Colourful. Both Labels Show Special Photos: On One Side We See An Old Picture Of Smith Embracing Marcelle, The Other Side Depicts The Label Of A 1985 The Fall Test Pressing That Once Belonged To John Peel But Which Was Stolen Out Of His Car In Amsterdam. Later Marcelle Found The Record On A Flea Market, Recognising Peel's Handwriting. "when I'm Dead And Gone" Smith Sang In The 1979 Song 'psychik Dancehall', "my Vibrations Will Live On, In Vibes On Vinyl Through The Years. People Will Dance To My Waves."Now We Can Listen And Dance To A Vinyl 'for' The Incomparable Mes, Made With Total Commitment And Which - Like The Fall - Defies Comparison.

Iberian Juke Is Extremely Proud To Present 'take Me Back To The South', Sophomore Album By Label Founders Bsn Posse And Our First Ever 12" Vinyl Release. After Their Debut Lp 'forever' For British Label Slime Recordings 2015, The Duo From Málaga Has Been On Quite A Strong Form With A Handful Of Powerful Releases Including Several Eps For Iberian Juke, Modern Ruin Records, Below Music And Breaking Bass, The B-sides, Bootlegs And Remixes Project 'summer Madness Series', And Incursions For Label Imprints Sequel One Records, Hyperboloid Records Or Vandal Records.

With This Album Bsn Posse Want To Reflect Their Love, Respect And Passion For The Footwork Culture In General And For The City Of Chicago In Particular, With Its Guetto Suburbs Being The Origin And Starting Point Of The Juke And Footwork Movement. 'take Me Back To The South' Combines Masterfully In Eight Tracks Elements Of Jungle, Drum & Bass, Soul And Funk With The Classic Juke And Footwork Take At 160bpms.

The Lp Is A Sincere 'thank You' From The Duo To All The Humble Artists That Work Extremely Hard To Put Footwork Into The International Electronic Music Scene. Thanks To This Culture We Have Travelled To Incredible Places And Meet New People With The Only Aim Of Sharing Our Passion For The 160bpms.

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PVS is an artist who is known for his solid productions on his own label H.omevvork (just to remind you of his masterpiece of four years 'fuckin' society') and on the prestigious M_Rec Ltd label of Max_M who sadly passed away (R.I.P.), and KEY Vinyl.

After years of experience in his private life and professional life that involved travelling around Europe, he took a moment of break from the scene. Now he's back and will release this own musical journey where he deeply expresses his personal musical maturity.

PVS developed an album where nothing has been produced randomly. The album can definitely be defined as a 'techno album', as is the general concept of KEY Vinyl - records that can be heard on the dance floor, but that can also be listened to at home.

Enjoy this album that shows 360 degrees techno by PVS.

Joe Powers is from Edinburgh, far outside the network of the Grime capital of London. His caffeinated productions as Proc Fiskal are faster than usual, with many clocking in at 160bpm. 'The Highland Mob', his 2017 debut EP, opened up his music to open-eared footwork and drum'n'bass fans as well as the grime crowd. After following that up with a jungle-inflected EP on Cosmic Bridge, 'Insula' switches the feel and intention towards a personal, and melodic music with one foot in Grime, infused with often comic, often wistful recorded moments from his environment. He says 'I wanted to be aware of where the music is coming from, referencing things I'm presently experiencing, like making Grime, my Radar radio show, phone addiction, alcohol, my surroundings, girls, depression, positivity, being unemployed, being employed and hating it, my friends etc. Trying to be true to myself instead of relying on other peoples' nostalgia, and focusing on now.'

The record is a huge leap in vision, with delicate, pointillist melodies and intricate edits reminiscent of Grime producers such as Terror Danjah. It also resonates with Japanese video game music like that recently explored on the 'Diggin' In The Carts' compilation.

'I think I probably make tunes to get out emotions I don't express in day-to-day life. I used clips of my friends talking, drunk folk, and general Scottish life to preserve and represent what my experience is like right now, like a time capsule. Social media notification sounds are designed to release serotonin, which is what I'd like my music to do, to make me, and other people happy, and in using these manipulative noises in a positive way, I like to think I'm taking back the power of the manipulation.'

Proc Fiskal is adventurous and thoughtful as a producer, and at the young age of 21, his debut album is very advanced in its ideas and execution.

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

Reissue of the very first Birds Of Passage album from 2010. Minimalistic Lo-Fi Shoegaze meets experimental pop with drone influences.

For someone who thinks it's difficult to describe music in general, it's even more difficult to describe the soundscapes of BIRDS OF PASSAGE. The influences of Alicia Merz - the girl behind BIRDS OF PASSAGE - are her memories, breathless-inspiring cold winds, the smell and atmosphere of a spring day, smoking cigarettes, sunshine and shadows. As a mixture of all these elements plus a minimalistic experimental instrumentation you as well can describe her music: sometimes shy, sometimes more energetic ( fantastic frown') but always intensely and extremly private. Listening to her debut record "Without The World" is like sharing one long day with Alicia and her thoughts in the diverse landscapes of her home country New Zealand.

Alicia doesn't need the orotund spectacle of a band to evoke emotions - with the help of different, in a minimalistic way, used instruments combined with field recordings, she doesn't create specific songs - she builds up a mood. There's no typical song structure, there's no melody to chase after - but there's a development which absorbs you and which makes you start to think about elements you block out in your everyday life.

After the soft landing of Banoffee Pies Records latest sub label venture OTAKU, the imprint continues following the theme of subtle compositions with the second edition, this time from Swedish born Vilhelm with 'Mermaid Porn'. A five tracker starting with an aquatic feeling on the title track 'Mermaid Porn' with bubbling effects rolling into the A2. entitled 'Kirchner' with more with positive and patient melodies. Standing to attention in the spaceships cafeteria, the A side comes to a close with 'Always In Costume'. The B side opens with 'Saturday Bossa' - drums inspired by the Brazilian music wave of Bossa Jazz with a slight twist. The B2. track, 'Skopje' blends off beat percussions with a cutting snare and a more electronic 4/4 direction. The general expression being, Music For Home. With love from Banoffee Pies. x

Named after the tenor saxophone, actually, Jimi Tenor is not just Jimi Tenor - he's as well Jimi Keys, Jimi Flute, Jimi Vox and Jimi Composer. Yeah, he is, as a multi-instrumentalist and music master in general, all of this! But wait: Active since the mid-80's he's also Jimi Legend. And if you overlook his whole oeuvre then finally you will find out that on top of all of this he's Jimi Genius.


Quantum Connection is Jimi's contribution to the recent Kraut-Life craze of the Berlin underground. Kraut-Life is the brand-new hybrid of Ghanaian Highlife and German - here extended to Northern Europe, as Finnish kitchen is also kraut-based - romantic melancholy. A heavy and driving Highlife beat (yeah, it's not Afro-Beat), screaming psychedelic sound-fragments and a sung desire for a subatomic love affair makes the song another undoubted original by Jimi.

My Mind Will Travel (Teen Party Edit) is a heavily danceable edit of the epic eight minutes version of that piece, which you can hear on Jimi's upcoming full-length album Order Of Nothingness, released on Philophon this June. For Jimi, the physical world seems to be limited: but he is confident that his mind can dive deeply and boarder less in the mystery of our micro- and macro-cosmo.

After kicking off the year with releases by Wheelman and General Ludd, we're very pleased to announce that Naum Gabo completes our recent trilogy of releases from Glasgow based artists. Alongside Ivan Smagghe, it's no secret that Optimo have been a huge influence around these parts and having released Ivan's Smagghe & Cross project on Belters last year, it's a huge honour to work with Naum Gabo - the production partnership of Jonnie Wilkes (JG Wikes of Optimo) and James Savage (Mastering Engineer for Optimo Music).Fittingly enough, Naum Gabo played live at the first ever Optimo related parties we attended at the Sub Club back in 2005 and Jonnie's influential and supportive presence has been felt over the years as we started to become more involved in the Glasgow scene and as the label developed.
So it didn't require much thought to do this release before we had even heard these new Naum Gabo tracks...they are absolute slammers of the highest order! Really big release, bringing to our minds the likes of Errorsmith.Belters is a new club-focussed label brought to you by Huntleys + Palmers.

There are some records that manage to sound both of a time and utterly timeless and Bon Voyage Organisation's Jungle Quelle Jungle (a nod to Supertramp's Crisis What Crisis) is one of those albums. Its silken-smooth production, irresistible grooves, funk-tinged guitars, lush soundscapes and general glowing presence could easily lead one to believe that have dug up a lost disco gem from the 1970s. However, behind the disco-pop gleam lies eerie dystopian sci-fi ruminations of a futuristic bent and tones that can often feel as French as they do Asian or African.

This sort of cross-continental exploration is an expansion on BVO's previous two EPs, the man behind the Organisation, Adrien Durand, says. 'I tried to continue the musical expedition between dystopian Science-Fiction Haunted Africa - plus Haitian Vaudou on 'Soleil Dieu' - and futuristic Asia. Addressing, in a double entendre manner, some of the political issues that I am sensitive to.' In fact the jungle in question in the album's title is a metaphorical one and one that creates a vast series of environments for Durand to explore such subjects as world trade, utopian ideals and themes of idols, as well as of time and communication. However, one will need to speak French to decipher such explorations, as well as shake off the natural impulse to move with every glorious beat on its 13 tracks, of which are moved along by Maud Nadal and Agathe Bonitzer's golden vocals.

Durand is a full-time producer based in Paris, working with the likes of Amadou & Mariam, so it makes sense that this record would absolutely sparkle in this department. Durand feeds off the variety of musicians coming and going during recording sessions as well as the rotating members and numbers of people involved with the band but fundamentally he writes all songs on piano first before bringing them to record live. 'We recorded a rhythm section of five - drums, percussion, guitar and myself on bass/synth bass and keyboards - at La Frette which is a studio located in a mansion outside of Paris and fitted with a beautiful 1973 NEVE desk. We only used analogue gear, by taste really, and found it a pretty reliable way of doing things. This simply consists of putting good players together in a room and waiting for the right take to happen.' Two four-day sessions and a 'cooling off' period (to let the recordings settle) soon followed before Durand picked the material back up to give it a final polish.

The resulting album is one loaded with intricacies and idiosyncrasies, something that Durand puts down to his own unique approach. 'I don't consider myself much of a songwriter but I love arranging rhythm sections and I'm pretty proud of the ones on this record.' This applies when it comes to working with such musicians as Inor Sotolongo Zapata, who with Durand used traditional Cuban percussive instruments and explored Haitian rhythms. When Durand expands on some of the ideas and influences that were funnelled into the record, you begin to get a sense of the vastness of the sounds that fill his world, from Trevor Horn's production work on ABC's Lexicon of Love, to the literary work of JG Ballard to the visual flair of the original Blade Runner and even the Tuareg sounds of Tinariwen, due to the fact that his studio neighbours their manager's and he would hear their rhythms bleeding through the walls. You therefore end up with an album that offers tracks such as 'GOMA' that fuses Chinese and African rhythms as well as 'SI D'Adventure' a piece of pop music that is dazzlingly hook-laden.

As a result of this cooking pot of sounds, influences, thoughts and creations, Durand has more of a gumbo approach to making this music than a set-out scientific formula. 'There is no definite recipe for me to like the production of a record,' he says. 'Of course it really sticks out that my work is really influenced by the 1978-1983 period, the golden age and last stand of analogue studios and session musicians.' Whilst Durand adores the traditional and conventional music, he really views this as something bigger and wider. 'I have a taste for the otherworldly vibe from records coming from less sought-after musical scenes, particularly Poland, Haiti, Ethiopia, Somalia, Congo and early Cantonese pop. Languages and the rapport of the people involved in the making of those records really inspires me. I particularly hate the use of the word 'World Music' as a potpourri for everything that doesn't sound quite western enough.'

Exclusive edition imprint, very different from the general style of the TochnoTechno label but still in a techno acid way and includes 4 names of the biggest producers coming from Eastern Europe. We are calling it "Acid Era" in present days so why don't we put out something provocative. We are excited about Tripmastaz' debut on the label who has absolute support by Josh Wink, Dj Sneak, Ricardo Villalobos and many more... Oleg Mass real techno star of Fachwerk Berlin and Koett, rhythm composer and genius from South of Russia who makes the most underground and cool party XoXo. Yulia Niko is dropping last track of her album she has done in 2016 at Brooklyn before moving to Berlin.

We've been big fans of General Ludd from the start and are delighted to finally release something from them. These three tracks were made specifically to be played live during their Panorama Bar debut and it's pretty easy to imagine them rocking the joint!

Superb dark and trippy groovers destined to go straight in the bag of Craig Richards and Ricardo.

Here To Hell is an Australian label project conceived by The Presets' Kim Moyes, and Revolver resident DJ Mike Callander.
Inspired by a Johnny Cash song, by the record industry' in general, and by the spirit of commercial suicide, Here To Hell celebrates the pointlessness of everything: It's the perfect reason to do only what feels good.
Together Kim and Mike also record and remix as Zero Percent, and along for the ride they've invited Aussie musicians and remixers from all over to celebrate techno, electro, Aussie rock, ambient and whatever they think sounds good on repeat in your headphones.
The label's first release sees legendary Aussie band The Drones being remixed for the first time. Their song Boredom' from the album Feelin' Kinda Free' has been twisted into two dancefloor interpretations (plus a dub of each): Side A is by K.I.M, who takes the original's Aussie Rock to the disco, and Side B is by HTH label bosses Zero Percent, it's their first official published work and explores the darkness of the original instrumentation that underpins Gareth Liddiard's exceptional vocals.

1973s brilliant Celestial Ocean, by the legendary Swiss krautrock band BRAINTICKET, is a concept album that details an ancient pharoahs journey into the afterlife (substitute the word "journey" for "trip" and youll get what they were driving at). However, Brainticket were not mere products of their time, they explored some truly compelling musical territory and produced a superlative blanket of sound-featuring a pioneering mix of early synthesizers, flute, zither, sitar, and male / female stream-of-consciousness spoken word vocals-that ebbs and flows in the same general cosmos as classic Gong. This reissue is fully remastered from the original master tapes.

Belgium's favourite underground house DJ Red D celebrates the 10 year anniversary of his We Play House Recordings label with 6 vinyl samplers containing new tracks and some very wanted gems from the catalogue. Artists featured are San Soda, Fabrice Lig, FCL (featuring Lady Linn), Kiani & His Legion, krewcial, Reggie Dokes, Raoul Lambert & Nacho Marco, Art Of Tones and many more. Voices Near The Hypocentre
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About We Play House Recordings

We Play House Recordings - WPH - is the work of Belgian DJ & producer Red D. Started 10 years ago to release the music of his friend san Soda, the label had (and has) the aim to release house music in all its shapes and forms. WPH's house ethics date back to the days where house was just a name for music that was played in clubs. There is no such thing as tech house, no such thing as deep house or minimal, there is simply (house) music, good or bad.

We Play House Recordings is lovingly led by Red D (real name Bart Van Neste), one of Belgium's leading underground music figures. Be it in his role as DJ, A&R, promoter, music panel host or general nitelife instigator, Red D does things with passion, humor and a healthy dose of keeping-both-feet-firmly-on-the-ground...with a twist...

WPH was started in 2007, so it takes no math genius to know that in 2017 the label is celebrating its 10 years anniversary. Running from the spring till winter 2017 this anniversary will be celebrated with special vinyl releases, a triple CD, a digital compilation, a Spotify playlist and a series of label nights all over Belgium and beyond. True to form the compilation will have WPH classics but also a BIG bunch of new material from core artists of the label like Locked Groove, San Soda, Kiani & His Legion, Fabrice Lig and many more.

As founding member of Uran GBG, with a past in cult bands such as Lava, and appearing on stage and in studio with some of Gothenburg's more prominent acts, makes Jerker Jarold one of the cornerstones in the city's psychedelic scene. By the name of Vastlanken, Jarold is now making his first release as a solo artist on Hoga Nord Rekords.

The music on the tracks Autobaba and Moebel, is a mixture of dub, ambient and techno where few but tasteful components builds the sound. Vastlankens transcendent qualities lies in Jarolds ability to limit himself in matter of recording techniques and instrumentation; one synthesiser , one delay pedal and one mobile studio is all he need to make delicate dub.

Activate your pineal gland and meditate yourself free from general angst with Gothenburg's last shaman!

Jerome Derradji + Still Music are proud to present Let's Dance Records - Mike Macharello & Duane Thamm Jr. Chicago 1983-85. The origin of house music, at least in a commercial sense, is generally associated with young African American producers from Chicago's South Side, but one of the first Chicago house music labels was started by a young, white, gay DJ from the far west suburbs.
The Let's Dance story will take you back to the beginnings of Mike Macherello and Duane Thamm Jr. when Chicago's house music was in its infancy.
Back then, after starting as young roller disco Dj in the late seventies, Mike Macherello gradually made its way to the best radio station in 1981 - WBMX - and started a movement that still ripples through the city today. Let's Dance's founder, Mike Macharello, was a DJ who bridged diverse music scenes, from rock clubs to discos. The Let's Dance record label helped establish Chicago's dance music industry between 1983 and 1985, before becoming Play House Records (which will be reissued by Still Music in an upcoming set). Macharello's pal, DJ Duane Thamm Jr., also from the 'burbs, became the label's main producer and one of house music's most important studio engineers and producers. Mike and Duane went on to release a few legendary singles for Let's Dance that are still to this day considered to be the earliest House music records coming from Chicago.The 12' pack includes faithful reissues of Selenia's 'Single Girl', Duane Thamm Jr. 'Jump Trax', the insane Knight Action 'R-Trax/D-Rail' 12's along with a 5 tracks 12' compilation and an accompanying poster insert including rare pictures and artifacts with the story of the label.

This 12' begins with Collocutor ripping into Miles Davis' 'Black Satin', from the benchmark On The Corner LP, and owning it from the off. A respectful homage is paid to the original with sensational improvised parts being added with a hip groove from the percussive wonders of Magnus Mehta (Magnus P.I.), Maurizio Ravalico and bassist Suman Joshi. The sparks fly as guitarist Marco Piccioni channels the spirits of late '60s psychedelic fires. The melodic riff of Miles' classic is stripped down by Simon 'Shwaa' Finch and Mike Lesirge who subtly encapsulate the original's atmosphere.

The A-side is completed with the label's latest signing, DJ Khalab delivering a sharp, warped assault on Collocutor's 'The Search', just in time for the LP's repress.

On the flip is a live version of 'The Search' recorded during the 'Live at the Fish Factory' Session in 2016 which, have so far resulted in two collector's edition dubplates that are as rare as hen's teeth. The invigorated far out sound has been mixed on this recording by producer Sam Jones who has entrenched himself with the On the Corner approach and brought his 'Sam Jones Construct' vision to the label. Marco Piccioni sold his soul at a highway crossroads on the way to the recording. There are spirits riding on the backs of the ensemble guiding this version of 'The Search' out into cosmic oceans.

The 12' ends with bassist Ruth Goller (Melt Yourself Down, Let Spin, Gufo and Bug Prentice) stewarding her virtuosic groove sensibilities into the twilight zone with this brooding off -kilter abstraction of 'Everywhere'. The stripped backbones of the tracks rhythm are punctuated by a dialogue and mantra summoned by Goller that moves menacingly over a synth bass augmented b-line.

As label founder Pete OntheCorner describes the release: 'This EP ushers in a string of releases that embody the label's vision. The futuristic concept first realised by Miles Davis with On The Corner and more generally during his electric period is at the heart of our collaborative, genre-less burning chalice. Analogue genius being mutated with a charge into something other, a vanishing point of ethereal musical feeling where the space for fresh narratives can be formed beyond genre and out On the Corner.

Victoria's artwork is always stunning and for this series of works she has already conquered the sublime with the sleeve for Black Satin".

Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself an EMS VCS3 and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. By the time of his second LP, Moebius 256 301, issued also on Polydor in 1977, Zanov had already gathered a small collection of gear, including an ARP 2600 and an ARP sequencer, his old VCS3, an RMI Harmonic and a PS 3300. Again under the influence of both first and second generation of Berlin school musicians the LP will appeal to fans of Klaus Schulze or Tangerine Dream, but they will also find a big deal of Zanov's own personal sound on it, since as the musician himself reckons he had little contact with other peers of his generation, so besides a general love for the electronic gear used and the sounds you could make out of them the creative ideas behind his works were all his own. On his second album a richer sound is found, not only due to the use of the new gear, since some of its tracks where recorded using only his old EMS, but also due to his won experience after having taken his works to the life stages in the Golf Drouot boite, the Lase Olympia venue (on the basement of the famous Olympia), the Paris Planetarium or those for planned one month tour (of which in the end only four dates were accomplished).

Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

Carl Gari is a group of three from Munich: Jonas Yamer, Till Funke and Jonas Friedlich. They released their well received and idiosyncratic debut (NPR mentioned it as one of the 50 best albums in 2016) on The Trilogy Tapes, for which they collaborated with Egyptian singer and spoken word artist Abdullah Miniawy. For the second release on Permanent Vacation they perfected their unique blend of psychedelic ingredients, dubbed out drums, drony sounds and a general hazyness. The mystic chants of Abdullah, who is also featured on two tracks, weave themselves into the band's lively sound texture. Apart from that Carl Gari showcase the diversity of their analogue driven and melodic approach to electronic music through four beautifully detailed tracks.

"I'm going to try not to gush too much about the fact that 'Me Me Me' has Raj Pannu's first ever record, but you have to understand that he's DJ royalty to someone from where I come from.
From his residencies in Newcastle in the Early 90s, touring all over Europe, playing with the likes of Gilles Peterson, Jazzanova and James Lavelle to his move into turntablism in the late 90s playing one on one with DJ Craze, A-Trak and Q-Bert.
All the way up to the last decade and his time spent touring the world for 5 years as part of Coldcut, working with institutions like the BBC and Ninja Tune, and just generally being an absolutely mind bending DJ playing with people from all over the spectrum, such as Richie Hawtin, DJ Kentaro, Jamie Lidell, Kode9 and more....
and now he's decided to release his first record... With Us!
As you can imagine for someone with such a varied musical background, FSOP is hard to pin down. I played it to a friend and they said it sounded like Photek covering Pink Floyd, which is the closest approximation I've heard of it, I guess.
It's techno, but steppy, and super musical, and dark, but uplifting. Above all, it's just really special.I couldn't not give the record a full side to itself, and for the remix we've found the perfect pairing with an interpretation from Cosmin TRG (who I met at a festival, and who I instantly hit it off with after finding our shared love of Guiness and Sarcasm).
Cosmin chokes out all of the light with a cut of raw, skittering Paranoid Techno. Providing the ideal balance for both sides of the record.
Raj has also provided us with a Dub Mix which we're releasing as a digital exclusive.
The dub narrows the dancefloor focus, without losing the drama of the OG.
Reading this, you can probably tell how excited I am about this record."

'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.

Acid web...

Here is another best kept secret from The Netherlands: Garçon Taupe... This musician has been around for quite some time but released only a few tracks yet... mostly on Dutch label Narrominded... and these released tracks are quite elektro orientated... this 4 track EP is all about acid... techno and elektro beats go hand in hand to make up party music pur sang... this is simply a great piece of acid music which will appeal to fans of Ceephax Acid Crew and acid trax in general...

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.

"After a concert of Kenyan singer Ogoya Nengo in Berlin in 2015 in a pleasant conversation Guillermo Lares told me about his father, Oswaldo Lares, a studied architect who, parallel with his professional activity, began to make field recordings of the traditional and indigenous Venezuelan music from the early 1960s onwards up until today.

His search and fascination for finding the musical roots of his country led Oswaldo Lares to visit the rural villages outside Caracas, investigating the many and varied musical cultures of the region and the complex relationship between Venezuelan folk music and its various origins, including the African (mu´sica afrodescendiente).

The vast amount of music documents in the form of sound recordings, photographs and videos accompanied by notes and studies reflect the scope of this entirely self- taught sound engineer's work and represent a passionate documentary, making his work today one of the most comprehensive and systematic that has ever been assembled by a single person in Venezuela. Oswaldo Lares as an ethnomusicologist remained an amateur in the most direct meaning of the word: amare. Whereas most studied ethnomusicologists travel around the world to explore far away continents and foreign cultures, Oswaldo began to devote much of his spare time to the generally overlooked folk traditions that existed right in his very neighbourhood.

Currently Guillermo Lares has started to promote his father's work through the Achivolares Foundation, turning it into a living archive that preserves an essential part of Venezuelan musical memory. It is a pleasure and honor of our label TAL to support the invaluable work of Oswaldo and Guillermo Lares with this album."

The Diabolical Liberties return with a new 5-track EP titled All Out For Love' touching on poetry, dissonance, dub, dance and Jazz wave. Nyasha (aka Nubya Garcia) guests on flute and sax and General Rubbish contributes additional words. Strictly limited edition 12' in a hand-stamped and hand-numbered sleeve. The preceding drops - Dancefloors Of England' and Omar's Deliverance' both sold out so don't sleep!!

'Your Satisfaction' first appeared on a mysterious CDr back in 1996. Produced by a well known Belgian band interested in experimenting with electronic sounds, it became part of Moneymax' first and only album called 'Analog Beats For General Use'. The track remained a well kept club secret that didn't get much play outside of Belgium, though on home turf its forward thinking aesthetic ensured a fair few spins on Sven Van Hees' legendary 'Liaisons Dangereuses' radio show. More than 20 years later, 'Your Satisfaction' finally finds its way onto vinyl. Belgian dj Gratts' sleazy extended treatment, remastered and cut loud and clear, will satisfy any adventurous slow motion dance floor. Flip the record for a whole other universe dreamed up by Gratts and partner in crime Eluize. Inspired by the original, the pair turn Moneymax into Ca$hminus to deliver two tracks born in a place where Belgian new beat, EBM and early rave sounds meet. The result is club monster 'No Satisfaction', which comes in two incarnations: the original vocal version plus an even meaner acid dub for those anxious strobo moments.

Rotterdam based duo ARKVS release ''Oppression EP'' through the PRRUK black series. The result is an exciting package of futuristic techno sounds and searing drums. The duo has managed to find a perfectly executed trip throughout the different sides of ARKVS. While the general tone is darkish throughout, there are some uplifting atmospheres and hints of hope to be found in this package. While the title track is a thumping piece of dancefloor techno, the cinematic voyage ''Our Deepest Fear'' is a stand-out production of adventurous electronics. On the B-side we find ''Chose To Defy'', which is a tough work of dark techno and the somewhat more mellow ''Nonviolence'' on which an intrusive bassline is combined with some beautiful synth sounds.

Musique par Andrew Chalk & Timo van Luijk

avec:

Tom James Scott - piano

Jean-Noël Rebilly - clarinette

Daniel Morris - guitare pedal steel

Mastered & cut by Rashad Becker at Dubplates & Mastering, Berlin 0417.

Having been entranced by both Andrew Chalk's work with MIRROR (and back to his solo works as FERIAL CONFINE, plus multiple collaborations with David Jackman, The New Blockaders, Daisuke Suzuki, etc ) and Timo van Luijk (as Af Ursin, In Camera, La Poupée Vivante, and collaborations with Kris Vanderstraeten and others) for many years, I was naturally intrigued to hear about and hear their duo project ELODIE. The project formed in 2010, and has spanned eleven beautiful albums already, to date.

"Vieux Silence" for Ideologic Organ is their first release presented outside of their own record publishing nook, Faraway Press & La Scie Dorée. However this is not the first encounter between Ideologic Organ & ELODIE, they performed at a night in London I curated in February 2012, alongside Jessika Kenney & Eyvind Kang. Elodie's performance was among the most delicately engaging and savant I have witnessed... so very quiet, with snow falling in London outside Cafe Oto's windows, the audience palpably entered a high intensity listening focus. The impression of this vivid memory is striking, considering how spare each of the individual elements present that night were.

"Vieux Silence", and ELODIE in general provoke a visual imagination in an instant, perhaps filtered through aged watercolour, tape grain, antique lenses, forgotten levels of listening and observational patience. On this gorgeous album Chalk & van Luijk also collaborate with piano, pedal steel and clarinet (played by , Tom James Scott, Daniel Morris and Jean-Noel Rebilly, respectively).

Each detail carefully considered and colouring step by step, like an impressionist watercolour.

- Stephen O'Malley, Les Lilas 2017

REPRESSED !
1970's "Osmium" was Parliament's debut album and possibly the first real indicator of where George Clinton and his notorious band of psychedelic funksters might be headed. The ground zero of P-Funk if you will. Existing since the late 50's as a doo-wop group it was the bands later offerings that sculpted their unique, mildly warped idea of what the FUNK should sound like. Initially they cut a couple of 45's for Detroit Soul label Invictus in 1970 (both of which appear on the LP) then embarked on recording more music for the project, their first full length offering on the label. The group also released the debut Funkadelic LP in the same year with both albums feature the same personnel. The conditions under which "Osmium" was realised have since passed off into mythical status with colourful anecdotes involving marathon LSD consuming sessions in isolation in their Toronto studio and a general air of hallucinatory, intense mental psychosis prevailing throughout. It's under this druggy haze that Parliament honed their own sound, a raucous, blown out, tripping stew of R&B, Blues, Soul and Funk replete with early P-Funk trappings.
"Osmium" is a fascinating ride, wild, rampaging heaviness of the most soulful kind. A glimpse into what was to come from one of the most enduring and colourful groups of the last 5 decades. Often a very difficult LP to track down it has always been sought after and extremely expensive to buy. Appealing to fans of Black music, Rock and psychedelia equally it's contents have shocked, entertained and grooved open minded music lovers since it's release over 40 years ago.
This is the first time the record has been reissued in over a decade, complete with original artwork. Remastered, reissued and fully licensed with the full permission and involvement of Invictus Records, Detroit.

This is the debut album of Swedish producer Daniel Andréasson, an artist that has both a sonically and artistic resemblance to the Skudge family of labels and artists.

Pushing his eighth year of releasing records, Andréasson has accomplished the task of creating a debut album that seem to tie together the sound of his previous EP's. Andréasson's sound is in line with a more outsider approach, but with a dance floor focus. A sound that he has been pushing since the beginning.

This approach shines through at the most on the tracks such as 'Mc35I# Rushup', 'Stay' and 'Dreams' as these specific tracks shows Andréassons more accomplished style. In between, the album keeps a perfect concept throughout. Taking breathers with its interludes and in general "shorter" tracks that hints of a ambient leaning urge to express himself, he never loses focus. A masterful debut album from a artist to keep your eye on!

Quartet Series is back with the Bodybuilder Series after Scott Franka's popped the new offshoot's cherry in the spring. For this sophomore release, Nachtbraker sourced some serious production talent from Eindhoven, The Netherlands. While it's the Portamento Boys' first ever release, they have the chutzpah to go full-frontal Italo and pull it off with great panache with a moody and energetic EP. The record is characterized by catchy melodies, quirky vibes and warm analog grooves. Connoisseurs will instantly recognize the TR-606 and 707, SH-101, Ensoniq Esq1 and a Casio CZ-3000. The Italo express jets off and takes no prisoners with 'Been There Come Back", a banging workout paying homage to the glorious 80's. Shoulder-pad boogie anyone 'Portamento 101 feels like you're playing the 1986 version of Outrun on your Sega. On the flip 'Final Dinner' serves up some fine Asian-Italian fusion Cuisine, and finally the P Boys drop 'Eighty Ain't", acknowledging that even though the tracks are clearly inspired by the 80s, they didn't just emulate, but innovate instead. Now let's introduce the Portamento Boys. Some say it al began when the first episode of 'Jacques, zo is het wel weer genoeg geweest' was aired on the Dutch box back in the second half of 1988. Others say it was the respect he got for robbing the local Albert Heijn with the famous saying, 'Hallo, Jumbo' that made him end up in solitary confinement. His colleagues say he never let go of Piet, his last undercover assignment. But the only one to help him in these times of mental distress, identity crises and general psychosomatic turmoil was Koos. After all these years there is a mantra to find in Piet's life that keeps him going.

REPRESSED !!
Growing Bin Records is incredibly happy to bring you the vinyl edition of Moon B's Lifeworld - previously released on tape by the Vancouver based cassette label 1080p.
Chopped, grainy subcontinental film aural motifs paired with other slankness on Moon B's latest. After a brief
pause since his PPU releases, Wes Gray returns with a remapped take on his distinctly dusty and groovy samplefocused
synth funk.Gray has worked towards his particular sweet spot of retrofuturism, and Lifeworld's segues between antiquity
and contemporary g-funk benefit from extremely rich, filmic moods and a general knack for basking in warmth and sincerity rather than obscurity.

Inner8 is Daniele Antezza, a multi-faceted thinker and electronic music producer, member of Dadub duo, co-founder of Artefacts Mastering Studio, Dadub Studio owner and Holotone label manager, whose regular invocation of the term praxis begins to hint at his creative aims: a primary synthesis of contemplation and action that, in turn, encourages a secondary and entirely unpredictable set of syntheses dependent upon the listener's unique interpretation. Though the Inner8 moniker has been in existence for several years as a private nickname for, as Antezza puts it, his 'experimental anarchist sounds,' his recent releases are just now surfacing which will reveal just how much this project has to communicate.

Like many transplants to Berlin's pulsating sonic underground (Antezza moved there from Italy in 2009), his past work seems to communicate traces of the ecstatic with the argot of technical precision and / or scientific rigour. However, Antezza is not what one would call a 'Berlin artist' despite sharing these traits in common with the city's most visionary producers: his work gives off an impression of restless nomadism that has little to do with representing a localized scene. Rather than carrying on the territorial / parochial projects of reinforcing an arts scene's geographic boundaries (or even redefining the boundaries of a musical genre), Inner8 is more concerned with a holistic 'deconstructive approach' through which 'it's possible to reveal the paradoxes of the dominant thought, the paradoxes behind the status quo.' His fascination with concepts as diverse as asymptotes and particle physics, though often trendy among those looking for a seat at the table of the avant-garde, is a heartfelt fascination - moreover, these interests merge perfectly with his relentless theoretical questing.

Antezza's relationship with that city's Stroboscopic Artefacts techno label has been a particularly fruitful one, to the point where his sound work prior to Inner8 is almost synonymous with SA's own development. As one half of the psychonaut duo Dadub along with Marco Donnarumma, Antezza has sculpted deep and immense tracks that mesmerize with their harmonious interplay of force and ambiguity. After having co-founded and managed for years Artefacts Mastering Studio, he recently launched his brand new audio postproduction Studio (Dadub Studio), where Antezza lends his sonic signature to an eclectic variety of electronic recordings. That signature can be identified by its hyperreal sense of presence and immediacy, qualities that have become crucial to the presentation of a music that generally relies on only a few sonic elements per track to communicate its message.

Antezza also takes pride in the ritualistic quality of Inner8's live sets; a mobile laboratory of dynamic tension in which his theories manifest as massive physical vibrations (here we can also see / hear / feel just how well Daniele has absorbed the lessons of the dub 'sound system' aesthetic).

After two years of silence and two tracks surreptitiously posed on the canvas, it is with the four captivating titles of the Ep 'Bleu Nuit' that the group finally confirms its talent to the general public. Sure of the direction to borrow, they take the time it takes to carry these four pieces to maturity. Recorded in more than a year between Paris and Normandy, this ep poses its singular and vaporous borrowing, floating somewhere between the spirit of the Pink Floyd and Brian Eno.

We eroded pre-existent structures constructing an open heterotopic space, a horizontal and vertical thinking found its way through physical- and cyberspace, Here, nothing manifested instantly - flippancy left space for any kind of interaction and appropriation. Within (or well beyond) economic pressure points which diluted production, this was our opportunity to try out different potentials with no restrictions to the public, while simultaneously scrutinising the general framework of institutions and human behaviours.

Tropical Odds is the second album by White Sea, the solo alias adopted by gifted American singer, songwriter and producer Morgan Kibby of M83
Born in Alaska, and now a resident of Los Angeles, Morgan fronted The Romanovs before joining acclaimed electronic music group M83 in 2007, co-writing, arranging and playing keyboards on the albums Saturdays = Youth and Hurry Up, We're Dreaming, as well as completing several world tours.
As White Sea, her first solo album In Cold Blood arrived in 2014, a dramatic debut praised by Billboard for its 'canyon-sized hooks, knowingly grandiose melodies and succulent vocals' and judged 'pop's newest break-up classic' by Flavourwire.  
Outside of M83 Morgan has also collaborated with artists such as Greg Kurstin, Panic! at the Disco, Mark Ronson and School of Seven Bells, remixed Ellie Goulding and Britney Spears, and composed the award winning soundtrack to Eva Husson's provocative 2016 movie Bang Gang (une histoire d'amour moderne).
New album Tropical Odds stems from an interactive project launched via White Sea's website featuring digital singles and videos released at regular intervals throughout 2015 and 2016. Explains Morgan: 'Generally being able to create and mix and master my solo material within days has given me the direct freedom to share songs I want people to hear. In short, if I write something that I like, I put it out!'
Now gathered together in album form, the musical moods on Tropical Odds range from the sombre reflections of Gangster No. 1 and Yesterday to the hedonistic rush of Stay Young, Get Stoned and Never a Woman, high drama on Bloodline and Arcadia, and heartbreaking balladry on Secret, One Bad Eye and Lessons.

ll Camille, LA hip hop's female perspective.

Ill Camille has been a vital member of the LA music scene for some years. Kendrick Lamar used her vocals prominently for the 'good kid, m.A.A.d city' track 'Sing about me', she has been working with other TDE artists occasionally and spend a lot of time writing for different projects Terrance Martin was involved with.

At the same time Camille was developing her own material with her fellow peers such as MNDSGN, Iman Omari, DJ Battlecat, Like (Pac Div) Georgia Anne Muldrow & SIR who are all featured on her album 'Heirloom' just like TDE co-president Punch. 'Heirloom' productions range from smooth, g-funk esque west coast beats to live & organic soulful beats, working as the perfect backdrop for Camille's powerful, intelligent and thought thru lyrics

The album is deeply personal revolving around the issues that mater in her life from friends and family, her role as a woman and the heirloom of her and her surrounding: 'I feel like everyone are heirlooms of our mothers and fathers. An heirloom is just something that's passed down through a family. We get heirlooms in the form of game, encouragement or wise words. I know everyone has an aunt or uncle that's given them some bars about life in general. I have a village around me that have given me heirlooms in the form of conversations'.

For the fourth release Shaw Cuts lines up five shaolin commanders who created their own interpretations of Farron's Death Duel EP: Marco Zenker, Russian duo Poima, Roger 23 and Simo Cell. These heavies form the Shelter Clan whose mission is to cover Ah Chi's back wherever he goes.
Marco Zenker gives 'We Don't Make No Sense' his signature machine funk that decimates challengers in one swing. Ah Chi can always count on Marco's sword.
Poima from Moscow rival with sabers, severing those who dare to cross their path. Their version of 'Tangency' is lead by a dirty break-beat drum combo blazoned by cosmic synth melodies and warm machine derangement.
'Centro' on the B-Side gets heavily grimed by veteran Roger 23 whose axe is as heavy as his remix style in general. Beware of Roger!
Armed with tonfas, Simo Cell layers 'Par 2' with a complex and fresh-sounding groove, causing lethal devastation to enemy combatants.
Ah Chi is well-shielded by his companions and still unbeaten to this day. Trust in the Shelter Clan!

Kool Keith, is an American rapper from The Bronx known for his surreal, abstract and often profane or incomprehensible lyrics. Kool Keith has recorded prolifically both as a solo artist and in group collaborations. After being part of the legendary hip hop formation Ultramagnetic MC's he debuted in 1996 as a profound solo artist. He is generally considered to be one of hip-hop's most eccentric and unusual personalities.

By the big audience Kool Keith is mostly known as the voice of the number Smack My Bitch Up' by the Prodigy, a fragment used without his consent.

Black Elvis/Lost in Space is the fourth studio album by mc Kool Keith, but recorded under the alias of Black Elvis. This is the first album performed under this alias.

Kool Keith uses very complex rhymes on various subject matters from Black Elvis' viewpoint on half of the album and on the other half elaborates on space travel and being lost in space. This is the first album for which Keith handled all of the production, although drum programming was done by Kutmasta Kurt and Marc Live.