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For Rhye’s Michael Milosh, the home is the center of creativity and community. It transcends conventional understandings of walls, stairs and hardwood floors. A culmination of a wayfarer’s journey, the home is a balm for a restless spirit — a place to simply be.

For much of his life, the Canadian singer, songwriter and multi-instrumentalist has wandered, decamping in Toronto, Montreal, Thailand, the Netherlands, Germany and Los Angeles at varying times. Since the meteoric rise of Rhye’s 2013 debut Woman, he’s mostly lived on the road—playing between 50 and one hundred shows a year. But over the last couple of years something changed. On the heels of some major life changes, including a new relationship, Milosh yearned for a more permanent space. “It's this idea of creating a safe place that's not just conducive to creativity, but one that’s truly an anchor point from which to make art and be creative,” he says.

That longing was fulfilled in August of 2019 when Milosh and his partner Genevieve happened upon the perfect place in Topanga. It had been on and off the market for two years as the owner sought the perfect buyer, one who would carry on its creative tradition. “She did this ceremony somewhere on the property where she was trying to call in the right people, and apparently we came the next day,” Milosh explained. “The right kind of home presented itself to us, and we presented ourselves to it. It was like a union between us and the home.”

Written throughout 2019 and early 2020, recorded at Milosh’s home studio, United Recording Studios and Revival at The Complex, and mixed by Alan Moulder (Nine Inch Nails, Interpol, My Bloody Valentine, U2, The Killers), Home is familiar in its synthesis of propulsive beats, orchestral flourishes, piano ruminations and sultry, gender-nonconforming vocals, but never have they sounded more cohesive or alive.

“I'm always trying to always accomplish musical goals that are connected to the way I listened to and interact with music as a child,” Milosh says. The sentiment also underscores a broader, less obvious, but no less important theme echoed through his new record: No matter where life takes us, we can always go home.

From Tromso to Oyafestivalen, to Roskilde Festival, moving to Oslo and now with new label Fysisk Format onboard, Heave Blood & Die is ready to follow up their 2018 effort "Vol. II", with "Post People". A mournful panoramic rock piece that brings to mind the inward explosions of The Cure, Smashing Pumpkins and Killing Joke. Given life through the mix by Graham Walsh (Holy Fuck, METZ, Viet Cong) and master by Paul Gold (Angel Olsen, Preoccupations, Beach House). Post People started as a concept we talked about together as a group, the more we discussed the topic, the more it turned out to it could possibly be so many different things: A fictional universe deprived of an established society, a post-apocalyptic universe of sorts, which the concept Post People very much is. It would be humankind as a whole transcending modern society, leaving capitalism behind, laying waste to non-justified authority, achieving the climate neutral goal, equality for all and ending the war on drugs. Post People is very much an activist piece of art, a critical view on how things are, and always has been, put into rhythm and sounds sequenced in an order that makes melodies that some find pleasant.

Goat Girl’s new album ‘On All Fours’ was produced by Dan Carey (Kae Tempest, Black Midi, Franz Ferdinand) in South London in early 2020. This new record sees the band veer away from the confrontational lyricism of their debut and indicates Goat Girl’s maturing perspectives in discussing the world’s injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful wellbeing.
Throughout ‘On All Fours’, Goat Girl’s frequent use of sci-fi synthesisers, off-beat chord progressions, analogue drum machines, diverse vocal styles and distinct, gritty guitars fuses a musical language that expresses both former characteristics and newer developments of the band’s sound and vision.

COLOURED EDITION

Ever since his early teenager days Kareem El Morr has been working on tracks in the studio. Techno was and has always been the basis. Dirty, raw and in a positive way escalating are his sets, which he has been playing since the mid of the noughties. Not being limited when playing in the clubs or producing in the studio makes him undisputedly one of the most versatile artists in Munich. How multi-faceted he is, is now being shown on his latest RFR release.

“Supersonic” throws the gate open wide to electroid sceneries. Not a few will be reminded of I-F’s “Playstation” by the first sounds of the decently wobbeling bassline. Sick bassline variations, breaky drum parts and a pinch of Neo-Goa – any questions? „Quake“ portrays Morr’s infinite and unconditional love to Techno. Reminiscences of Detroit’s High Tech Jazz are floating relentlessly through widely varied rooms, which we absolutely adore since the Basic Channel era.
On the flip Morr expands his driving functionality by a melodic component. “Blaze” kicks in with a lot of delay, distorted bells and Highspeed drums. This ain’t no dance, this is a ceremony! „Trance with Benefits“ marks the ending of the “Supersonic EP”. Pictures of wafts of mist, whose intensity is being ruptured by the first rays of sunlight penetrating the club on an early Sunday morning. Happy people lying in each other’s arms, unified by the principle that Techno would be nothing without Trance.

The Tipping Scale is a gorgeously sung cycle of songs that mix deeply personal lyrics with universal themes; Kinlaw is a smart, conceptual writer, one not afraid to explore deep emotions like loss, regret, and confusion, alongside strength, identity, and change. She explains that The Tipping Scale is an ideal metaphor for the record, the idea of an ever-present slipping in and out of change, and an acceptance of this kind of change. On it, she unravels intimate memories and tries to learn from them. As you listen to her songs and decode her words, you realize she's not just building songs, she's also creating a home_where painful thoughts of the past can exist within the present_as well as an entirely new, unflinching universe. This universe she created is not metaphorical_it's, in fact, very real. Kinlaw, who often works with gesture and movement as a writing tool, found The Tipping Scale unifying her multidisciplinary practice. She found it by building a real world. As she wrote, with the goal of finding human entry points for storytelling that felt authentic and honest to her practice, she often saw the music relating to motion. "I would start with a gesture and let it build into something until a memory attached itself to it," She explains. "The memory would become a story and the story would reveal itself as something important that needed to be expressed in this album." This works, too, for the lyrical process, where harder and less smooth gestures would represent consonants, and smooth, flowing movements would become vowels. She found the same thing happening with melodic lines and key changes. This is a record that jolts between the corporeal and the psychological, drawn from a flailing body, anchored by inconvenient truths. RIYL: Choir Boy, Jenny Hval, Kate Bush, Boy Harsher, Caroline Polachek, Black marble, Julia Holter, Grouper

Manisdron is a side project of GOAT (JP) drummer, Takafumi Okada. A powerful force both live and in the studio - this is no nonsense gear that truly gets your heart pumping. TIP!

In unserer heutigen Kultur der permanenten öffentlichen Entblößung ist es selten, dass Künstler sich dazu entschließen sich am Licht der Öffentlichkeit vorbeizuschleichen. Das maskierte, schwedische Psych-Kollektiv GOAT ist da eine Ausnahme und wohl eines der großartigsten Popkultur-Mysterien der Welt. Ihr neues Album "Requiem" wirft dabei mehr Fragen auf als dass es sie beantwortet. Die einzige Erklärung, die die Band zu ihrem neuen Album abgibt ist, dass es sich dabei um ein "Folk-Album" handele und es sich mehr auf idyllischen Ritualismus als auf Acid-Freakouts konzentriere. Songs wie "Try My Robe" beschwören wieder einmal das heißblütige Pulsieren herauf, das uns schon 2012 mit "World Music" und 2014 mit "Commune" verführt hat.

Second album release on Columbia Records from US hip hop/drill/rapper/singer/songwriter/producer. A 16 track double LP set on black vinyl. Collaborators include Juice WRLD and Lil' Baby. Specialist promo/marketing activity across all media outlets. The album reached #2 in the US Billboard charts when released earlier this year.

"It is time for man to set a goal for himself. It is time for man to plant the seed of his highest hope. His soil is still rich enough for it. But that soil will one day be poor and exhausted, and no lofty tree will any longer be able to grow on it. Alas. There will come a time when man will no longer launch the arrow of his longing beyond man - and the string of his bow will have unlearned to whir! I say to you: one must still have chaos in oneself to give birth to a dancing star. I say to you: you still have chaos in yourself. Alas. There will come a time when man can no longer give birth to any star. Alas. There will come the time of the most despicable man, who can no longer despise himself."

This excerpt of Nietzsche's "Thus Spoke Zarathustra" sets the mood for the latest album of Sardinian sound researcher Eugenio Caria. "In Origine: The Field of Repentance" is a concept album dealing with the origin of man and its impact on the cycle of creation and destruction which drives the evolution of the universe. This time Caria invited one of the world's major trumpeters, prolific Sardinian jazz artist Paolo Fresu to collaborate on the album. Fresu's unique trumpet sound is recognized as one of the most distinctive in the contemporary jazz scene and on this album Caria and Fresu succeed in perfectly merging their contributions into a coherent entity. Fresu is not accompanying Caria and Caria is not accompanying Fresu. Instead they both drive each others plays, building and rebuilding, forming and reforming meticulous pieces of analogue-electronic music that invoke the feeling of a pure timelessness.

Despite current circumstances, Speedy have had a busy year. The London-based label run by producer Dan Carey alongside Alexis Smith and Pierre Hall were recently coveted with the Best Small Label Award by AIM after being nominated for the second year in a row. Carey also picked up UK Producer Of The Year earlier in the year at the prestigious Music Producer Guild Awards. He also produced the critically acclaimed sophomore album ‘A Hero’s Death’ by Fontaines D.C. which landed a welldocumented No. 2 position in the official album charts.
Speedy Wunderground released their fastest ever selling 7” - The Lounge Society’s timely tour de force ‘Generation Game’, the second band to be signed to the label for a forthcoming EP release following Squid’s ‘Town Centre’ EP in 2019. They also announced the label’s first ever full album release - Tiña’s ‘Positive Mental Health Music’, with recent single ‘Golden Rope’ having just come off the A-list at 6 Music.
Bringing bands into the studio wasn’t an option so the label started an ongoing project called ‘The Quarantine Series’ in which Carey under his Savage Gary techno/electronic alter ego collaborated with artists and friends, old and new over the internet and then uploaded them to the label’s Soundcloud/socials with little or no fanfare - no PR-ing or radio pluggers, just let the bands do their own thing, organically.
The common thread throughout all is Carey, whether it be in his regular name or his Savage Gary guise. However, collaborators in the series so far have included a wide range of people: Kae Tempest, PVA, Willy Mason, Heartworms, Warmduscher, Charlotte Spiral, Boxed In, Stephen Fretwell, Goat Girl and more.
“We chose two tracks/artists that I think we really wanted to shed some more light on” says label co-runner Pierre Hall. “Two that we really didn’t want to go under the radar - and in our opinion reflect this parallel strand of the label that’s forming - with new artists we’re really excited about - and that will hopefully draw people in to explore the series as a whole.”
First on the release is ‘Wait & See’ from rising Bajan artist RoRo. A hypnotic masterful flow which meanders seamlessly around Carey’s pulsating electronics. It’s bursting with attitude and originality. “I saw Dan Carey play with Kate Tempest on one of my first few times ever being out in London” she says, “it was such an amazing show. I was extremely excited to then get the chance to work with him. I’d been trying to do so while in London, but it didn't quite work out that way. We did manage to make it happen remotely whilst I was back in Barbados though, and we knocked it out!”
Second is ‘Cigarettes Pt. 2’ from the enigmatic Londoner youngblackmale AKA Rutare Savage: “It’s a poem, transformed into a song by the ever amazing Dan Carey. It touches (lightly) upon the topics of fear of the police, drug and alcohol abuse, family, and pulling oneself out of a nihilistic worldview driven by a newfound lust for life. This is me trying to reason with the void.”

Killer tape from YPY, group A, Kohhei Matsuda(Bo Ningen), Kenichi Iwasa + Tot Onyx(group A).

group A's charity compilation series "NO Recording" spotlights on over 1000 unreleased tracks, improv sessions and random recordings from our past. In order to act fast to emergency campaigns, fundraisings and people who are in need of help, the strict "no additional recordings" rule is set and instead we challenge ourselves to cook with what we have in our fridge. Rough edges and unfinishedness are left partially unintentionally; most of the demos and jam sessions were recorded direct to stereo, hence the mixing is limited, and partially intentionally as a part of the process of chance operations (we also just like it rough). This method allows us to break our own preconceptions and discover new comprehensions.

Vol.2 features YPY(goat), Kohhei Matsuda(Bo Ningen), Kenichi Iwasa, Tot Onyx(group A) and group A. This time all of us naturally took a more bricolage way of composing, which gave us a lot of new inspirations and comprehensions. It's going to be limited to 150 cassettes with hand-made covers (incl. digital DL code). This release celebrates 75years anniversary of Hiroshima and Nagasaki atomic bombing and we will donate all the proceeds to ICAN, The International Campaign to Abolish Nuclear Weapons.

About "NO Recording"

We started this charity compilation series this year in order to keep donating to communities in need of help, while we ourselves are having a financially difficult time due to the cancelation of tours and shows. We don't have money to spare but instead plenty of time. Vol.1 was self-released digitally on our Bandcamp page on Juneteenth, all the proceeds were/are donated to NAACP. Vol.1

Named after the geographic formations of the seismically volatile Cascadian coastal mountains, the coast/range/arc// reissue features new artwork and an additional track.
Remastered by James Plotkin and available on vinyl for the first time.

Hardcore techno, Tracker style. Banging high textures and Strange structures in order to provide a Core-Music accident ! Badass !

Our first release, VA001, is a compilation of artists that have previously played at our venue Colour! Our primary goal with this record was to showcase the diverse range of sounds that make the venue so special to us- from jazz to fusion to early morning trance. Additionally, we're trying to raise money to keep the venue afloat and get artists paid while they can't perform.

On the orange side, you'll get the late-night live music style we push upstairs, and the blue side would be the early morning dance music, plus more experimental electronic music takes. Every element of the club, in one stunning 12" liquorice pizza!

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

Birthed from a radio show and event series with iconic Los Angeles radio station DUBLAB, SOS MUSIC’s goal is to provide a platform for diverse and forward-thinking electronic music, with a keen emphasis on womxn talent from around the world. In conjunction with Berlin-based !K7, the label’s debut release, SOS MUSIC Vol. 1 is a 14-track eclectic compilation showcasing dance music from some of the best producers working at the moment including rRoxymore, Violet, Nightwave, Umfang, LCY & Minimal Violence - lovingly curated to uplift and celebrate the global electronic community in a time of deep uncertainty in the music industry. SOS MUSIC Vol. 1 is international to its core, drawing on in?uences from the artists’ respective backgrounds including the UK, US, Serbia, Spain, Japan, Slovenia, Portugal, Germany & Canada.

SOS MUSIC was founded in Los Angeles by Maddy Maia (UK) and Tottie (Spain via the UK). Maddy has a long history in independent music, and is currently VP A&R in the US for famed British indie label Ninja Tune. Tottie is director of events and special projects at DUBLAB, and curates music, art and cultural programming that re?ects the diverse landscape of the city and beyond.

A shared love of underground music and culture, Maia and Tottie’s bond started strong via throwing events and later with hosting a monthly radio show; The SOS Music imprint is a natural next step in the pair’s progression as curators and its goal will continue early principles the duo stuck to- to seek out diverse underground talent and amplify their voice or community, whilst championing diversity on all sides of the industry. Maddy and Tottie’s music in?uences and styles span wide across the spectrum of experimental dance music, ranging from left?eld house, orchestral ambient sounds, not forgetting a nod to their youth growing up in the UK rave scene.

Traditionally the liner notes of an album take on a kind of third-party address, where a writer is delivering their thoughts about how an album makes them feel without breaching that space where they are representing themselves or the moment in time directly to the reader. The goal is typically a kind of timelessness, but as we live in unprecedented times, unconventional methods take on new life, and hopefully importance. In the spirit of that idea... man, is this the kind of album we all need right now. So many of us feel like we're constantly walking a tightrope, are feeling like we can't unwind, are in genuine need of a few moments of respite. Every so often an album emerges from an artist that most likely did not realize when they were composing how timely the results would be, and Lofi Dimensions is exactly that kind of record. It doesn't really matter why it's coming when it is, what's important is that it's here, offering peace to the perturbed and inspiration for the downcast. The American Dollar have long been one of those artists operating in a kind of middle ground, a band with a long history of creating moving instrumental rock that has somehow avoided ever becoming synonymous with modern American post-rock acts. They retain a sort of autonomy in a valued position just outside the boundaries of classification. Blending electronic textures with moving guitar and keyboard melodies, their music has always traveled somewhere in the spaces between trip-hop, electronic, post-rock and ambient, and this inability to be defined is ultimately what sets them apart from the trappings of genre, allowing them to be whatever they want The American Dollar to be in a given moment, always on their terms.

Available on vinyl for the very first time: the 1992 album "Apocalypse Across The Sky" by the legendary MASTER MUSICIANS OF JAJOUKA. Produced by BILL LASWELL, remastered for vinyl by HELMUT ERLER at D&M Berlin and according to Songlines one of the essential recordings of the ensemble.

No matter if you consider the MASTER MUSICIANS OF JAJOUKA a "4,000 year-old rock'n'roll band" (WILLIAM S. BURROUGHS) or even "6,000 years old" (ORNETTE COLEMAN) – without doubt, the music of the ensemble in all its incarnations over the centuries is deeply rooted in Sufi mysticism, paganism and the cult of the goat-god Boujeloud. According to a myth, many centuries ago Boujeloud appeared to a shepherd called Attar, an ancestor of today's ensemble leader BACHIR ATTAR, and till today every year at the end of Ramadan a fire in honour of the goat-god is ignited. This pagan root aside, the music performed in several hour long rituals on traditional instruments like tebel and tariyya (drums), ghaita (a woodwind instrument), lira (flute) and gimbri (stringed instrument) reveals hypnotic, trance-inducing qualities and is considered to have magical and healing properties.

In the 1950's, BRION GYSIN along with PAUL BOWLES were among the first westerners to witness such a ceremony, and it was GYSIN who invited the MASTER MUSICINS OF JAJOUKA to play in his restaurant in Tanger, and who later (in 1967) brought BRIAN JONES to the small village of Jajouka where the ROLLING STONES guitarist recorded the ensemble for what became the first "world music album" and that raised interest in the MASTER MUSICIANS OF JAJOUKA in the western world. Since those days, a wide number of creative minds like WILLIAM S. BURROUGHS, ORNETTE COLEMAN,MARC RIBOT, FLEA, TALVIN SINGH or the ROLLING STONES have worked with THE MASTER MUSICIANS OF JAJOUKA who are now performing regularly outside Morocco.

In 1991, iconic producer BILL LASWELL also embarked on a trip to the small village of just 800 inhabitants in the Rif mountains to record the group for his AXIOM label - "Apocalypse Across The Sky" is, unlike other LASWELL projects that bring together different cultures and genres, a pure document of the ensemble, raw and unpolished but exquisitely recorded, and ranks according to the world music magazine Songlines among the essential recordings of the legendary MASTER MUSICIANS OF JAJOUKA and is now available on vinyl for the very first time!

- 2020 black vinyl repress / comes in Flatlife sleeve -

This is the 2nd in the Acid Compilation Vinyl Series. Fat Acid only! On this compilations; Jack Wax is presenting 4 different styles of Acid Techno on 1 vinyl.

The first track is an excellent pounding London UK acid techno track of Austin Corrosive that is well-known from his Corrosive Records label. The 2nd one is a deep acid track of Android (Cluster / Apex) & Shainsky. The 3rd is from Jack Wax; acid techno trance that brings you back to the early 90's scene! Mr. Gasmask from Belgium brings this release to the top with this tekno goa-ish acid track!! One of Flatlife finest releases!! 200 copies repressed on black vinyl specially for the acid heads!!

Along with its sister imprint Fluid Electronics - dedicated to all things more muscularly 4x4 oriented, from house to techno via ambient, Fluid Funk will offer a platform of choice for creators and lovers of soulful house, hip-hop, jazz, funk, disco et al. The goal of the label is to bring a community of like-minded people together, cleared from the complexities that sometimes hamper the good course of the label-artist relationship.

First to grace Fluid Funk's dance floor-ready grooves is Rotterdam-based emerging talent Beau Zwart. Fresh off a choice inaugural sortie on INI Movements that hit the streets a few weeks ago, Beau steps in with his debut 12", "Beyond Two Souls" - an infectiously smooth and solarpowered six-track platter featuring Dutch duo Fouk on remix duty.

Expect lavishly orchestrated cascades of ankle-twisting breaks, prismatic synthwork and summer-flavoured melodies to wrap your ears around as your feet and body give in to the power of that funky bass. Brewing elements of fuzzy pop, pixelated soul and tropicalised rhythms, Beau Zwarts sound takes us on a wildly enjoyable ride across luxuriantly flowered scapes and fluttering cosmic house horizons. Interlaced with sugary Rhodes stabs and 8-bit harmonics a la "Floating Points", Sykes' warm vox intonations shows us the way into a pulsating heart of wonky, bop-infused boogie.

Expanding to further out-there, club-optimised bravura, Fouk's take on the title-track is the kind of track that'll make an impact in the sweatbox as well as in a more cabaret-like setting. Pulling out the weirdo harmonics and left-of-centre jazz aerobatics, "Ixodus" lets its free spirited sense of playfulness take over completely. Flip sides and here's "Marble Book" unbolts the spacious pads and whirling alien riffs as a sturdy sub-bass and gut-churning kicks beat time onto further estranged
dimensions.

A slightly more muscular but thoroughly sensuous workout, "Bustin Out" fuses classical two-step-indebted breaks with lascivious "P-Funk" tropes into one compelling club heater, before the EP's sluggish closer "Illustrate My Way" sends us into orbit for good with its slowed down romanticism and otherworldly piano fantasy.

The debut release from Detroit native DJ Holographic and Detroit transplant Alex Wilcox, Parallel Shiftingstrives to changeour thoughts so that we can breakfree fromnegative psychological programming. This feel-good EP aimsto reprogram the mind to be fresh and new. You may experience dimensionalshifts in your mind and reality as you defy space and time. Side effects of this may includereduced mental chatter and a better future selfand society.

A powerful and lofty goal such as this deserves a strong beat, and A-side “Parallel Shifting” delivers this in spades. Featured in DJ Holographic’s 2020 Mixmag Lab set, Holographic and Alex found themselves inspired by Thomos and Derrick Carter when crafting the track. “Parallel Shifting” is about shifting the gears in our minds and hearts, and allowing ourselves to be open to changes in how we perceive reality.

With “My Feels,” Holographic expresses her current attitude towards the connections between all of us. “Our feelings control our surroundings and reality more than we give them credit for. When we feel abundant, abundant things happen to us. However, if you feel empty, then you bring about empty situations. As a DJ, I do my best to be mindful of the feelings I project into a room, while also being mindful of everyone in the room with me. Everyone is coming in with different experiences, but when I play I want people to feel high vibrations.”

“Because Of Detroit” taps into the rich history of Detroit, which has informed Holographic and Alex’s own musical DNA. The seeds that we are all given in life are a product of our heritage. In order to bloom properly, it's important to know your full story and what kind of seed you are in this world’s vast garden. If you know how to properly nurture your seed, then you can take care of yourself and others. Knowing their roots helps both producers to grow stronger than their ancestors.

Hitchhiker is an independent record label out of Detroit that delivers a diverse range of sounds, and strings them together into a story that reflects where the artist has been, is presently, and where the future is taking them.

Ryan Lee West aka Rival Consoles announces details of his highly anticipated new album Articulation, released on Erased Tapes on 31 July 2020.
‘Articulation’, the lead track and album centrepiece, links the record back to the analogue fluidity and colour of 2016’s Night Melody. The division of varying time signatures, intertwined with a complex structure of notes, creates an expression of a moving structure and conjures a dreamy motorik energy. Ryan Lee West explains, "The title track is about articulation and playfulness with shape and time. Its structure is very machine-like, but I was really interested in how melody and sense of story could develop out of this, and it became an exploration of mathematical structures - patterns and shapes having a conversation. I love that something on paper can appear rigid and calculated, but then take on new meaning based on the context that surrounds it, or how it changes over time."
Articulation (which follows 2018’s Persona) was conceived with a very visual way of thinking, unusual for the London musician and producer. During the writing process Ryan drew structures, shapes and patterns by hand to try and find new ways of thinking about music, giving himself a way to problem-solve away from the computer. The album title references a piece by the avant-garde contemporary composer Györgi Ligeti, though not for its music, but for the non-traditional graphic score that accompanied it.
“I find electronic music is often battling to say something with integrity because technology and production can easily get in the way. I think the goal of a lot of electronic composers is to find a balance between the vision of the idea and the power of possibilities on the computer. With a pen and paper sketch you can compose and rethink ideas without technology getting in the way, so for me it acts as a very helpful tool to refresh the process.” - Ryan Lee West
The idea of using analogue drawings and tools to bolster digital creations can be heard in the structure of the pieces that make up Articulation from the broody techno opener ‘Vibrations on a String’ all the way to the album’s boundless closer ‘Sudden Awareness of Now’. While the anthemic rise and fall of ‘Still Here’ and the beatless ambient meditation ‘Melodica’ evoke a certain nostalgia, ‘Forwardism’ achieves the very opposite by burying its melody within the fast-paced rhythm of its pulsating synths.
Rising out of birdsong heard from his studio window, ‘Sudden Awareness of Now’ has a particular urgency about it and seems to perfectly capture a longing for escape. Built around a simple and repetitive melodic theme, expanding and retracting over the course of its seven-minute odyssey, Lee West explains; “I like the fact that if you say something over and over again in music, then over time it can become something else, something reflective.”
Since the release of Persona, Ryan Lee West has taken his captivating live A/V set to all corners of the world. Last seen live on stage with 17 players of the London Contemporary Orchestra for a sold-out orchestral performance at Southbank Centre’s Queen Elizabeth Hall in January 2020.
Meanwhile Lee West has kept busy. After contributing an exclusive track titled ‘Them Is Us’ to Adult Swim’s coveted Singles series, he recently shared the beautifully textured solo piano piece Winter’s Lament on this year’s Piano Day. He has also been in high demand as a composer, scoring Charlie Brooker’s much talked about Black Mirror episode Striking Vipers, composing original music for Secret Cinema presents Stranger Things as well as renowned choreographer Alexander’s Whitley’s groundbreaking new work Overflow which was set to premiere at London’s Sadler’s Wells Theatre this spring.
Articulation will be available worldwide on 31 July, with live activities to be announced as soon as the situation allows safe event planning

After three years of throwing parties, we’re thrilled to announce something we’ve been
dreaming of for a while now, the launch of our label and the first Awkwardly Social record
release.

Similar to our events and mix series, it is our goal to use the label as a platform for exciting, up
and coming artists from within our community and beyond. Working together with our friend,
the very talented Greek-born, Berlin-based DJ and producer Aroent therefore has been a real
pleasure and something that felt natural from the get go. We hope you enjoy this wicked set of
forward thinking club tracks as much as we do!

Early plays by Ben UFO, Bonebrokk, E-Unity, Gramrcy, Opium Hum, Natureboy Gold, Yushh
and more. Big ups to everyone supporting the record so far!
Artwork by VOJD
Mastering by Andreas Lupo Lubich

Dievegge emerges again in the darkest hours for the second
instalment. Ouvrijster returns with three soulful house tracks
on the Amsterdam based label and comes back with a definite
improvement in production skills. The first track “Make Me
Move” is a deep disco groover that levitates you with vocals
longing for body movement. The deeper sounds empower the
desire to escape everyday life. “Konkelfoezen” then funks
things up with a groovy baseline and rich sounding stabs. It
yearns for bringing back the modern take on the 70’s sound
into the clubs of today. The slow burner “Sleazy Saints” rounds
up the record with an ode to the sleazy sounds, pleading for
the return of these saints. By its slower pace and unfolding
atmosphere it moves away from the easy heaters and
enriches the messages of these tracks. This second Dievegge
Recordings vinyl only release shows again the goal of this
project and the sound that Dievegge cherishes.

Kohib is an important member of the Tromsø electronic music scene, equally as a club organizer, DJ, and producer. His debut was on the Prima Norsk 3 compilation in 2005, followed by an album, a remix-album, and a string of highly regarded EPs and singles. Kohib has had success both with his electronica-style releases (the track "Hear This" from his debut album was licensed to the Buddha Bar XIV compilation) as well as his dance floor releases for Beatservice, Sprechen, Cibicaldi, and SpinSpin NYC.

In Mountains is a desire to seek horizon. The album was written and recorded in November, December and January. A time when the sun is absent in Tromsø. However, the origin of lots of the rhythms in the music, are harvested during summer, from the same area. Sound samples are taken from Kohib's surroundings, from creaking in worn-out doors, to ambient silence along the coast. An electronic album, yes. But all the rhythms and instrumentation are analog. The goal has been to give leeway to all elements, by limiting the amount of information. So, if it follows a dogma with this album, it has been to limit the number of tracks to each song to the bare minimum. A sound weighs the most when alone.

The album will be promoted in UK / worldwide by Shine PR (UK) + social media marketing by Beatservice Records.

Volker.live ’s debut and final release
“My Love Will Set You Free” Final release? We see the question mark popping up over your head. Well yes, these four tracks are a time capsule, a historic cache which takes you back to one hot summer of 2019. When this care-free boy band formed and made it their goal to climb up the world’s stages to play an all-hardware live set & have f.u.n. while doing so. This endeavor went swimmingly. Festival gigs were pocketed and crowds intrigued. The stand-out track of their gigs was always “My Love Will Set You Free”, an acid-house stomper with uplifting, yet melancholic vocals from their friend ÆN.
Friends and neighbors were quick to re-interpret the song and the idea of a record took shape.
Lehult’s Lucky Charmz propels the listener into the void by upping the acidity. Closing in on a playtime of 10 minutes, we’re readily giving up our sense for time and space. Whirring drum hits meet feedbacking tape delay while riding the rock solid bass line.
Erobique liked the song so much, he quickly drew up two versions of his own. His “Disko Mix” oozes that saccharine, danceable magic mélange of days past. Warm keys, hand claps, and Aen’s intimate voice are stirred into an exquisite cocktail. You know that Carsten Meyer would never forget the umbrella on top. He’ll keep the cherry though.
The “Black Velvet Mix” closes the curtains for a slow dance. This is personal, it’s just between you and the song. Sub rosa.
In the meantime, Volker.live decided to follow separate paths of their adventure, but everyone agreed to release these songs into the world. May they serve as a reminder of what can be created out of care-free energy that’s driven by a deep connection to music. Please check out their other musical undertakings as Echoel and Goodmemory.live .

Kristian Craig Robinson, aka Capitol K, is a multi-instrumentalist and record producer with a long history in London’s most interesting under-the-radar music places and spaces. With a musical story like his, you can expect side streams. New record ‘Birdtrapper’ is “the sound of an initiation rave in a utopian hidden village”, and his latest exploration of Mediterranean audio mythos following from ’Goatherder’ (2018). The six track mini-album was similarly formed from ritualistic improvisations performed in Malta (where Capitol K was born), using home-made flutes, reed pipe, bamboo percussion, drum machine, bass guitar, but this time features a wider use of synthesizers, with the alternative dance floor in mind. Where ‘Goatherder’ was an awakening of genetic primitivism, ‘Birdtrapper’ is an evocation of sonic bird callers, proto-rave abandon, ambient resonance and an ecstatic captive state, along with the previous work's visions of hunters, temples and scrub land music
‘Goatherder’ caused a quiet kind of quake and was beloved by The Quietus, BBCR3 and 6Music. Vinyl Factory described it as “like a series of manipulated field recordings that have an ancient, ritualistic quality … Goatherder shimmers with Balearic strangeness, rooted in an earthy outer-national dance music tradition”. For the last seven years K has been behind the consoles at the heavily influential Total Refreshment Centre, recording and mixing records with the likes of Trash Kit, The Comet Is Coming, Rozi Plain, Alabaster DePlume, Dry Cleaning, Flamingods Cykada, Ibibio Sound Machine, BAS JAN and John Johanna. It’s not just recording. He’s also become an influential if understated mentor to a new wave of producers and bands. His experience in studio environments is long and storied, including stints at Studio Plateaux on an island in the middle of the Thames and in the Royal Symphonia’s squatted rehearsal rooms. Capitol K has released seven albums and the 'Birdtapper EP' follows a legacy of influential releases on early 2000s electronica labels including Planet Mu and XL. Aside this he also runs the record label Faith & Industry. It’s a friends and family, love not money affair and he has released music by Champagne Dub, John Johanna, Super Best Friends Club, Blue House & Clémentine March.

hree years on from their debut collaborative album “Passive Aggressive“, Jonny Nash and Suzanne Kraft return with "Knife", the lead single from their forthcoming album, “A Heart So White”.

The single comes with an exclusive bonus digital track, "Processing The Negative", which will not appear on the full album.

“A Heart So White” represents a continuation of the working philosophy adopted during the recording of their debut; immersion in an unfamiliar recording environment with a limited set of tools and the goal of exploring the possibilities that lie within these limitations.

The album was written and recorded in the Willem Twee Concertzaal, a converted synagogue in Den Bosch, Holland. Whilst “Passive Agressive” explored virtual instruments and environments, “A Heart So White” shifts the focus to acoustic instrumentation, breath, air and physical space. Using the hall’s mechanical drawer organ and Steinway piano, the pair craft a delicately balanced suite of compositions, stripping things back to reveal the bare essence of their shared musical language.

Killer 13-track compilation of 70's music from Mauritius that evolved from the original sega genre - the music of the slaves as well as their descendants, sung to protest against injustices in Mauritian society.

Created at the crossroads of Afro-Malagasy, the 70s strain fused Western and Indian cultures, pop, soul and funk arrangements, syncopated polyrhythms, saturated guitars, psychedelic organs and Creole vocals. Although the exact origins of sega remain unknown, it contains vocal and percussive practices that originated from Madagascar, Mozambique and East Africa. A social escape and a space for improvisation, satire and verbal jousting, it transcended everyday life and made room for the expression of conflicts and the transgression of taboos.

The main instrument of sega is the ravanne, a large tambourine-like drum made of a large wooden frame and goat skin. It is accompanied by the maravanne, a rectangular rattle filled with seeds, and other homemade forms of percussion. Eric Nelson a solo guitarist and arranger, set up the band Features Of Life which, in the mid 70’s, gave birth to a new sound. Fuzzy distorted guitars and funky beats invite each other to play over the unbridled beats created by fabulous drummer Raoul Lacariate.

The band accompanied a new wave of singers, including the atypical Joseph Roland Fatime aka Ti L’Afrique, a hyperbolic and hyperactive character, a fan of blues and James Brown who launched an explosive raw, and funky style of sega.

**LP FORMAT IS VERY LIMITED - PLEASE BE AWARE THAT UNFORTUNATELY THERE MAY BE CUTS TO ORDERS**

For Los Angeles' The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as 'a haunting exploration of the darker side of pop music'). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander (a tech member for Nine Inch Nails, Ke$ha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fansof each other's work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn't quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. 'We've got a pretty weird cross section,' Puciato says of the band's musical chemistry. 'We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell's Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It's all over the place and unusually far reaching,and there's a lot of passion for discovery.'After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato's main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv monikerfor the first time since his former bandmate Charles Cooper died in 2009. Thetrio's storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band's icy R&B instincts more sharply pronounced; they've also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages
that create a wide-screen backdrop for Puciato's eerie, tortured vocals. 'I think this album is actually hookier, but more insidious in that it reveals itself over time,' Puciato says about Infinite Games. His choice of words says something about the album's creeping, pitch-black approach to pop music.With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centricapproach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen's own creative endeavors and collaborations with otherartists. In a way, Federal Prisoner solidifies TBQ's commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, 'It's just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It's as much an act of refusal as it is a statement of intent.'Infinite Games, the second album from experimental Los Angeles synth-pop trio The Black Queen, comes out on September 28th

Stag-O-Lee präsentiert hier Teil 5 und 6 der usserst erfolgreichen Trashcan Records Serie, die sich obskuren und vergessenen Vinyl Schätzen aus den 50er und frühen 60er Jahren widmet. Die originalen 45er stammen aus der stattlichen Sammlung von Fedor, einem Sammler und Jäger aus Amsterdam, der sich in den letzten 25 Jahren durch tausende von Kisten mit Gebrauchtvinyl auf Flohmärkten der holländischen Metropole wühlte. Die Veröffentlichungen sind thematisch gegliedert - Vol. 5: Cha Cha compiliert 12 Tracks mit "an all-female beatnik extravaganza: the first vinyl compilation of its kind! From the bohemian misfit girl with her goateed boyfriend to the espresso sipping art school chick reading Kerouac..." . Vol. 6: The Natives Are Restless bietet 5 Tunes mit einem Dschungel-Thema auf der A-Seite und 5 luftige Exotica-Träume auf der B-Seite. Alle 24 Tracks sind "previously uncomped" und finden erstmals ihren Weg auf Großvinyl!!

Stag-O-Lee präsentiert hier Teil 5 und 6 der usserst erfolgreichen Trashcan Records Serie, die sich obskuren und vergessenen Vinyl Schätzen aus den 50er und frühen 60er Jahren widmet. Die originalen 45er stammen aus der stattlichen Sammlung von Fedor, einem Sammler und Jäger aus Amsterdam, der sich in den letzten 25 Jahren durch tausende von Kisten mit Gebrauchtvinyl auf Flohmärkten der holländischen Metropole wühlte. Die Veröffentlichungen sind thematisch gegliedert - Vol. 5: Cha Cha compiliert 12 Tracks mit "an all-female beatnik extravaganza: the first vinyl compilation of its kind! From the bohemian misfit girl with her goateed boyfriend to the espresso sipping art school chick reading Kerouac..." . Vol. 6: The Natives Are Restless bietet 5 Tunes mit einem Dschungel-Thema auf der A-Seite und 5 luftige Exotica-Träume auf der B-Seite. Alle 24 Tracks sind "previously uncomped" und finden erstmals ihren Weg auf Großvinyl!!!

LIMITED EDITION 300 ONLY WHITE VINYL

There was a terrible egregious shift in vibration the day the transmission arrived. It came to me in a dream, as was natural for these particular occurrences, and left no time for preparation. The sound was unmistakable, a low baritone that echoed wildly and reeked of ancient fumes. A deeply monumental and monolithic apparition stood before what appeared to be a crowd of hexagonal beings. The vibrations worked through them in an apparent communicatory way, though would be impossible to translate in any logical linguistic fashion. I don’t know how but I knew they were aware of me, though their disposition was imminent of their consciousness as being collective, rather than individual; and were largely unbothered by my presence.
 
Once the transmission had finished it was clear that there had been a tamper. The kind of which Id seen  before, and had resulted in definite yet undefinable change in the fabric of reality.
 
I initially stumbled upon the odd and highly dangerous musical practices of Perhaps while on an assignment in Bermuda. There had been rumors of a local tribesman partaking in occult practices, of which I knew was native strictly to the Goat Bleeding Bad Men of the Congolese jungle. These rumors intrigued my journalistic nature, so I took the afternoon off in the hopes to possibly glean something that would be an easy pitch to a tabloid back home.
 
Upon arrival it was clear there was a strange foreign intervention within the community of the tribe, which was largely uninhabited upon first glance. Much of the surrounding foliage had been strung with the entrails of various animals and there were several disturbing fixtures composed of bones and various organs lining the commune. I managed to track down the tribesman, who appeared to be in some deep trance and was entirely unable to communicate, though seemed to be fixated on a single task: the drawing of a peculiar symbol. My researching the symbol resulted in only one hit, a piece of musical literature by a band Perhaps, who I later found to be recording in the area just weeks before.
 
It didn’t take long for me to become fully fixated on Perhaps, who were anything but coy about their whereabouts and metaphysical practices. Wherever they went a small commune followed, which was typically composed of deranged acid freaks, occultists, and Norweigian dairy farmers who had sold all their assets to follow the band after “hearing their music speak from the mountains”. After managing to crack into one of their camps that was stationed in an abandoned motel, I spoke with Jim Haney of Perhaps regarding their cultish practices, who gave little in way of detail but claimed to be working towards a deconstruction of reality through a linguistic utilization of vibration.
 
My stint with the cosmic beings through the telekinetic transmission had lead to one conclusion; that Perhaps have been in the works on something new. It seems as if they may have landed on the result which Haney had mentioned years ago. Through my continued interest I’ve procured the names of other members of this current project, which include: Sean Mcdermott, Tom Weeks, Ricky Petraglia, David Khoshtinat, Ben Talmi, Makoto Kawabata, Lucas Brode, Isiah Mitchell, Olivia Kieffer, Tyler Skoglund, Chang Chang. Though I can’t say exactly what is to come, it seems as if the ideas that were proposed during my initial meet may have been surpassed. Perhaps’ plans have begun to surface, and we are all at risk, for whatever that means. The great column and the vibrational prismic beings have shifted their attention to earthly matters, it would be foolhardy to not heed their warning. Though, self-preservation may be an impossibility.
 
Sam Hailstone Dec 24/ 2019

Uzelli Kaset was established in 1971 by Muammer and Yavuz Uzelli in Frankfurt, Germany. Their music resonated not only with the longing that Gastarbeiter (guest workers) felt for the homelands and families they had left behind and the melancholy brought by their difficult living and working conditions in Germany, but also with the joy that welled up at village weddings on their days off, and the long car or train journeys home. Reaching the remotest corners of Germany as well as Turkey, Uzelli Kaset was soon more than just a music company; it became a companion to Turkish workers living far from home. Not counting the handful of 8-track tapes and 14 LPs released in the early days, the catalog consisted entirely of cassettes.

When they opened their Istanbul office in 1977, Uzelli moved beyond production and became successful in the areas of reproduction, distribution and marketing. Taking the catalogs of other production companies under its umbrella, it continued its rapid growth.

The 90s became the CD decade, and because Uzelli Kaset had not released its catalog in CD format, hundreds of albums remained unavailable to an entire new generation. Because the albums had not been released in LP form either, musical explorers ran into the same problem. Remaining active and serving in various areas of the music industry, Uzelli carefully preserved its visual, audio and document archives, ensuring their survival to the present day.

After an immense amount of work, this catalog, which had long awaited discovery by new generations, was finally released in digital format. For record collectors seeking the spirit of those times, we also began offering this special selection of compilation albums in vinyl format. As we created this series, our goal was to guide listeners toward new discoveries, and open new pages for music lovers to explore. Leaving our rich, multifaceted catalog to genuine musicians, curators and artists, our desire became to approach the recordings of that period from a different perspective.

We are overjoyed to know that our continuing meticulous work will bear fruits whose taste and aroma have been long forgotten.

Uzelli

Another win for the Glowing Pin as Müller & Wandt drop a fresh new age groover on a killer club dub tip. Elsewhere Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra remix the pscht out of their favourite tracks from ‘Instrumentalmusik..’. Expect Goan hits, cosmic trips, loved up rave and chilled out wave on this flawless five tracker.

Growing Bin becomes Glowing Pin for the most anticipated rematch of the century. Back at the beginning of 2018, Wolf Müller and Niklas Wandt went head to head for a box office smash, throwing a high school percussion tray, wall of hardware and voodoo skull into the ring for the tribal trip of ‘Instrumentalmusik Von Der Mitte Der World’. Now the multi-instrumental duo face off once again, but this time it’s a royal rumble with Phazer Boys, Suzanne Kraft, Phillip Otterbach and River Yarra all bringing the noise to the Glowing Pin.

Müller and Wandt dominate the action on the A1, playing loose with sampler vox, serene pads and future primitive rhythms on the unreleased ‘Fun Dub’ of the also unreleased ‘Dub Dub’. Imagine Ferris Bueller’s trampoline tumble trading Chicago to the Weissenhof and you’ll sense the mood of this New Age groove. Germany’s number one party dudes, those freaky Phazer Boys take a break from dropping killer Candomblé cuts to reach for the lasers on the A2, taking ‘Ahu’ to another dimension. Dripping in neon body paint and armed with fire poi, the Düsseldorf duo power up progressive house sequences, didgeridoo bass and thumping tribal house percussion for a wall-shaking, speaker-breaking remix.

The B1 belongs to synth whiz Suzanne Kraft who revels in glistening, gliding glory on an expansive remix of ‘Auflösung’. Sleek, serene and futuristic, the track shimmers like Fritz Lang’s Metropolis, free from inequality and rendered with the 5D(ub?) majesty of a DMT breakthrough.
B2 hears Salon associate and serious talent Philipp Otterbach take over on a stripped back and psychedelic post punk dub of ‘Expedition’. Angular bass by Süne Große and a stuttering rhythm underpin astral flourishes and the hazy vocals of Lucas Croon before the African elements begin to move to the forefront.
Last man standing is Australian outlier River Yarra, who leads us into the Krautback with a chugging dub of ‘Weltraumsandalen’. Lent a lysergic sparkle by a percolating one-note bassline, this slow motion stunner masters perpetual motion amid the eerie echoes of the bush, organic percussion and electronic animal cries fading into the night. Let the pins glow again.

Patrick Ryder

After his remarkable first EP “Planetary Love” out on Joe Clausell Label World Peace Music , we are very happy to welcome Fabrizio Fattore with 2 solid, deep and Afro house tracks for Visions Recordings 30th release .Fabrizio is a young Dj and producer coming from Naples in Italy and he’s part of the NEUHM camp/family/club with a group of super talented deejays and producers .On this ep Fabrizio achieved his goal once again to produce dope jams. On the A side, Ojibwa is an amazing journey into deepness with spacey sounds, pads, organ solo and percussions mixed around a groovy tech-soul bassline and transporting you into a groovy peak time trance. the B side Namid is a beautiful positive deep house track full of shimmering synthesizer layers and emotive components, composed with soft pads and synth leads on top of a subtle house beat and percussions. This ep is a really beautiful piece of music from a true master in the genre and we are happy to share it with you.

10” clear vinyl) Five years on since their last joint outing in Stroboscopic Artefacts Monad series, Speedy J and Lucy team up again as Zeitgeber on 'Seventeen Zero Four', a new three-tracker descending deep into the filthy, tenebrous outskirts of club music.

Five years on since their last joint outing in Stroboscopic Artefacts Monad series, Speedy J and Lucy team up again as Zeitgeber on 'Seventeen Zero Four', a new three-tracker descending deep into the filthy, tenebrous outskirts of club music. Torchbearers of techno as a life-affirming vehicle for human expression, as can be experienced through their multi-dimensional back catalogue of solo records and shared live performances at some of the finest clubs and events including Concrete, Goa Club and London’s E1, it's safe to say Jochem and Luca share a certain taste for taking things off the beaten path and into new perspectives. True to their bold approach towards production, 'Seventeen Zero Four' proudly continues the pair's tradition of chiselled floor-focused shifts and divagations outside the ringfenced domain of no-nonsense 4/4 mechanics initiated on their self-titled debut album in 2013.

Drawing first blood, the title-track 'Seventeen Zero Four' submerges us in a state of amniotic solitude as hell's all set to break loose around. Sonar bleeps drip and dissolve across invisible plateaux as thunder rumbles and roars in the distance, mirroring and shattering all linearity between the bars. 'One Zero Five' then implements a further straightforward groove, sequenced hats and kicks carving out a more familiar scenario for the dancers to appropriate, whilst maintaining that oddball, slightly off kind of minimal, dubbed-out blur. Rounding off the package, 'Twenty Zero Two' throws further jazz into the mix, letting its sine curves hula hoop into the upper layers of the outer-audio-space as a shrewdly engineered industrial swing drops the hammer for an epic last stretch.