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Changes, always changes! That is the path than an artist travels in his musical career. But road always as a goal. And Jesus Gonsev gives us one of them in his first album as an artist. Eight tracks for enjoy this long tour and see his influences on it. An album where different styles are played, Deep House, Breaks, Electro, Techno. But harmoniously converge with that characteristic Gonsev's touch. Now is the time to start this journey by placing the needle on the vinyl. Do you want to change your life? A new life...

The new album by Robert Piotrowicz does not fit any category. What this multicoloured electronic instrumentation aims to channel is the acoustic experience and energy of the performing musician. As a result of a wide range of creative means used, the narrative language of the compositions bursts withtension and mystery.

The album includes slow hypnotic passages of stone electronics (“To Fleh”), vigorous tempos and circular repetitions (“Euzo Found Gitar”), sprawling artificial soundscapes, back-to-origins ethnicity (ethnical subsoil and elements) liberated from any geographical identity (“Ocarina Wars”), as well as dreamlike minimalism with unpretentious cinematographic traits (“Flares Et Wasser Hole”). Some of these unusual melodic patterns may resemble the corporality of the animal throat rather than any human-created instrument (“Electros Spong”).

Although Euzebio was recorded with synths, the final shape of individual tracks and the album’s overall acoustic image go far beyond any electronic genre. The instruments have not become a goal in itself. They were merely a building block, a tool that helped achieve the album’s extended structure - a diverse whole with rich spatial features.

All sounds performed and recorded by Robert Piotrowicz on Buchla and Serge synthesizers at EMS Elektronmusikstudion in
Stockholm 2013/2014. composed, mixed and premastered by Robert Piotrowicz artwork and photos: Robert Piotrowicz design
and layout: Lasse Marhaug special thanks: Ocarina Jones and Tomasz Gil mastered and cut by Rashad Becker at D&M Berlin
Produced by Musica Genera

Hey peepz, we would like to present to you INEX009 - This time it's a remix EP of previous released tracks.

First we have a deeper version of head honcho Ben Mudi's Fantant by Kevin Over – a good friend and known artist of our repertoire.

The second one is a remix of Leo Woelfel by M.ono which comes in very dreamy and nearly fantasy kind of disguise.

Third there is DJ Normal 4's Oriental Dragon MixX – a remix which adopted the melody and adlibs from the original adding a spicy almost goaesque acidish synthline.

Last but not least we have have a remix by french house connaisseur Flabaire who runs th D.KO imprint out of Paris – soft and moody sound bubbles will flattering your ears.

Time to inhale - exhale!

Apzolut & MC Goatzak are two brothers with a pretty damn unique background. These viking brothers measure over 2 meters in height each and most women out there wish they had long hair as good as them. Meeting them for the first time we expected them to come from somewhere near the fjords of Norway, but this turned out to be seriously mistaken...

These metal heads grew up in the Caribbean island of Aruba and lived there till somewhere in their 20's before finally making the move to the Netherlands. With no real metal scene on that tropical island
and definitely no breakcore scene it's still a bit of a mystery to us what drove these guys to start producing and playing such extreme music - but we are happy as f*** that they did.

This brand new 5 track EP is one seriously brutal death/black metal breakcore rave mash up. Definitely not suitable for the top 40 radio listening weaklings out there. But if you're a wo(man) that has a hard spot for extreme out of the box music, then this one just might be something for you.

To keep the nostalgic memories alive and as sort of an ode to those dark times years ago - when for a lot of the youth trading and copying cassette tapes was the only way to even be able to find and enjoy underground music - we've decided to make this release physically available only on cassette tape and those are limited to just 75 copies!!

red & black marbled vinyl

Navigating between time and space, label head Foreign Material continues his historical journey with The Quest , a piece inspired by medieval legends.

Of Faith and Glory leads the way, an epic track which carries the knights' fervor and devotion through strong rhythmics and mystical eerie pads. American maestro Eric Cloutier provides a deep reverberating rework which brings us far underwater.

Of Flesh and Duty dives deeper into medieval madness with fierce rolling toms and hypnotic acid line. The track takes us along knights venturing deep into mysterious woods, accompanied by devastating celestial choirs into a glorious and deadly final. Deep techno craftsman A Sacred Geometry shares his vision with a strong remix that goes into battle frenzy with a powerful and mesmerizing reinterpretation.

At last, Of Fire and Fate (Digital Only Track) releases the rising tension and gives a relief after the storm with broken beats and shamanic vibes. This heroic conclusion underlines the impossibility of a far yet necessary goal leading only to death.

A bloody never-ending Quest...

Stroboscopic Artefacts releases ‘X – Ten Years Of Artefacts’, a 13-track album curated by Lucy, the nom de techno of Luca Mortellaro. It celebrates ten years of his label by boldly confirming its raison d’être: a continual redefinition of modern techno.

‘X – Ten Years Of Artefacts’ is a various artists album in which the label’s key artists respond to its tenth anniversary with fresh compositions. Artists with divergent perspectives and MOs are equally at home expressing themselves. These tracks’ timbres, tempos and moods differ greatly yet—somewhat improbably—they seem together, ideologically unified.

The album will be later complemented by a special remixes EP, with four new reworks of pivotal back catalogue material from the label (Donato Dozzy, Caterina Barbieri, Xhin and Klock). And from fall 2019, Lucy and an incredible cast of Stroboscopic Artefacts artists will begin an extended club tour to mark the anniversary.

On ‘X – Ten Years Of Artefacts’, Mortellaro features solo as Lucy, in collaboration with Rrose as Lotus Eater and together with Speedy J as Zeitgeber. (Rrose also appears alone with “The Myth of Purity.”) Shifted, Efdemin, L.B. Dub Corp (Luke Slater), James Ruskin, Denise Rabe, Adriana Lopez, Chevel, Alessandro Adriani and Serena Butler each feature, representing a group of singular artists whose relationships with the label range from years to months—Stroboscopic Artefacts’ past, present and future must exist simultaneously.

Back in September 2009, Lucy released “Why Don’t You Change/Dub Man Walking,” the first record from Stroboscopic Artefacts, which began a discography that, ten years later, is almost unparalleled in its ambition and vision. Put simply, Mortellaro wanted to create something that didn’t exist. Stroboscopic Artefacts would be respectful of, and indebted to, the great techno and electronic music artists of the past but would develop new paths forward for the label and the genre. The label refused to perpetuate the established dichotomies of electronic music — between the dance floor and home listening, between club music and experimental music, between the past and the future. It took risks knowing it wouldn’t always work. But within a year or so of the label’s inception, it was obvious Stroboscopic Artefacts’ approach had captured imaginations far beyond its Berlin base, showing us that the boundaries of techno are often constructs of limited imagination.

The label pursued constantly evolving methods of releasing music. It created concept-driven series like Monad, Stellate and Totem, establishing frameworks that would give freedom in limitation. Standout albums by Lucy, Xhin, Dadub, Zeitgeber, Chevel, Kangding Ray, Lotus Eater and Alessandro Adriani were deeply considered longform presentations.

With this new album, remix EP and tour, now is the moment for Stroboscopic Artefacts to look fondly at its past while drawing breath, reenergised, and hinting at new chapters.

It took Mr Raoul K more than three years of work inside and outside the studio to complete his first album for Compost Records. His first goal was to show all the musical influences he came across during his time in Ivory Coast. Ivorian music has incorporated musical traditions and instruments from East-Africa, West-Africa and from Central Africa – a real musical melting pot.

“This album will be part of the everlasting impact the Tribe collective had on our culture, on our hope and possibilities.” - Herb Boyd

Strut and Art Yard present the first compilation bringing together the modern era recordings of Tribe, Detroit’s acclaimed independent jazz collective.

Tribe began as a musical ensemble in 1971 co-founded by Saxophonist Wendell Harrison and trombonist Phil Ranelin that soon expanded into a broad amalgam including a live collective and independent record label. Ignored by the mainstream, many African American jazz artists in Detroit and across the US began creating their own small imprints and Tribe emerged alongside other cultural entities to express selfdetermination goals in the city: saxophonist Ernie Rodgers with his sessions at Rapa House; John and Leni Sinclair’s Artist Workshop; Bruce Millan’s Repertory Theater; the Hastings Jazz Experience and the Strata Corporation led by Kenny Cox. Harrison’s ideas of independence, self-determination and education were central to the Tribe ethos: “I might be possessed with a drive to get the knowledge out,” explained Harrison, “because I see this as sustaining the future of the jazz diaspora, the jazz tradition.” Tribe album releases like Harrison’s ‘An Evening With The Devil’ (1972) and Harrison and Ranelin’s ‘A Message From The Tribe’ (1973) became early ‘70s milestones in Detroit jazz.

In 1977, Harrison teamed up with pianist/composer Harold McKinney to form Rebirth Inc., aided by Detroit cultural warrior John Sinclair, a continuation of the Tribe community ethos. Musically, it formed a link with radio station WDET and began an outreach program to teach children and to publish Harrison’s jazz instruction books. Harrison continue to record extensively as a leader with his own labels, WenHa and Tribe, documenting the collective through sessions led by Phil Ranelin, Harold McKinney, Pamela Wise and more.

The ‘Hometown’ compilation places the spotlight on this later era of Tribe and Rebirth Inc., with rare and previously unreleased recordings from Harrison’s WenHa / Rebirth Studios and the SereNgeti Gallery And Cultural Center. Among many highlights, Harold McKinney and his “McKinfolk” family of musicians contribute the pulsing ‘Wide And Blue’ and dance celebration ‘Juba’; Phil Ranelin re-works his classic ‘He The One We All Knew’; Poet Mbiyu Chui (Williams Moore), pianist Pamela Wise and percussionist Djallo Djakate spark on the uncompromising ‘Ode To Black Mothers’ and the rallying cry of ‘Marcus Garvey’: “If we ever get together we will astound the world.” Harrison himself evokes the power and majesty of juju on ‘Conjure Man’.

‘Hometown’ comes as a 2LP gatefold and 1CD digipak fully remastered by Technology Works from the original session recordings. Both formats include exclusive sleeve notes by journalist Herb Boyd with rare photos from Wendell Harrison’s personal archive.

With a third album, ‘Return To Telepathic Heights’, released this year on Gerd Janson’s Running Back label, techno outlaw A Sagittariun returns to themes of a space western nature with a closing epilogue, ‘A Fistful of Bitcoins’.
An extended player that traverses Tucumcari, Vietnam’s Black River, and the ultimate, and final leg, of the journey; to Devils Tower in Wyoming.


Vital Sales Points:
- full picture sleeve, designed by Jonny O (Rocket Recordings/Goat)
- global PR and marketing campaign from Hype Filter
- last A Sagittairun album for Gerd Janson’s Running Back label received excellent reviews in Mixmag, DJ Mag, The Wire & more…


Selected DJ feedback:
Robag Whrume – Good one!
Shanti Celeste – love this!
Nick Höppner – Sounding great
Brendon Moeller – Dope AF!
Johanna Knutsson – Beautiful stuff
Ed Davenport – Some heavy stuff here, Road To Devils Tower is a special cut!
Bruce (Livity Sound) – Real digging the slow bits, proper gear!
John Osborn – The Sacred Chao is heaven!
Interstellar Funk – Really like ‘A Fistful Of Bitcoins’
Neil Barnes (Leftfield) – very nice and imaginative EP
Fabrice Lig – Really nice EP, love it
DJ Octopus – Great one!
Vincent Neumann – Ooh, so nice!
Ell Weston (Banoffe Pies) – Superb selection
Cormac – Black River is super nice
Cooper Saver – wow, love these
Bill Brewster – lot’s of nice gear on here, good work
96 Back (CPU) – wonderfully bleepy and dubby
Tensnake – lovely release
Kirsti (Null & Void) – So consistent, another great release from A Sagittariun

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.

'Mantra Moderne' is a stunning, contemporary masterpiece that fuses Anatolian Psychedelia, Brazilian Tropicalia, 60’s European pop and American jazz. A must for fans of Khruangbin, Portishead, Arthur Verocai, Goat, Caetano Veloso, Tom Zé, Os Mutantes, Cortex and co.

The duo is formed of Kit Martin, who lives between London and France and plays all instruments on the album, and Merve Erdem, vocalist and multi-disciplinary artist from Istanbul, now based in London. This is their debut album.
The album explores universal themes such as love, loss, decay, language and ideology, mixing three different languages: English, Turkish and French. Written and recorded by the duo - Kit composed all the songs and Merve wrote the lyrics - in rural France during 2018, each song was completed within a 12-hour window, pawning contemplation for spontaneity.
Dubbed by Kit and Merve as ‘lo-fi-hi-fi’ in reference to the high-end tube equipment that helped it find its way to 8-track cassette tape. The style owes its sound to narrow tape width, valve distortion, spring reverb, the mixture of high end gear with lo-fi equipment as well as a disregard to the norms of hi-fi studio techniques. All instruments were analogue and no samples were used. The instruments that are used range from tablas to darbukas, balalaikas to ouds, MS20 synths to Farfisa organs and a lot of cuica. The mixing techniques were done on-the-fly, tracking immediately to tape: compression, EQ, delay and reverb; meaning mixing could not be revisited!

This record contains: filters, singing, Polish railways samples, the right touch of big beat and melodies & it can help you clean the air of the club.

Solpara is an agile performer, both in sense of the nature of his live acts, background and tour schedule. Brutaż is also about nimbleness and acrobatics so it was only logical for their paths to cross. Both are connected with record dealing (Record Loft, Berlin and Halcyon, NY, respectively) and both are emotional and undergoing changes.

Contrary to his previous endeavours (incl. on Nicolas Jaar's Other People), Solpara's release does not quite want you to relax, it's fast and slow, it's emotional and rackety, it's fire and water. This Lebanese-American raconteur seem to have a similar goal to Polish complainers of Brutaż - records are not meant to wreak havoc, their purpose is to refresh the perimeter. Woda różana stands for "rose water" - it's about scent, touch & flavour.

When the Tramp Records crew read the internet-sweeping spam/story of Nigerian Astronaut and Air Force pilot Abacha Tunde, they knew that they had to spring into action to help this unfortunate fella out. Dr. Bakare Tunde, the cousin of Abacha Tunde explained the situation as follows: "My cousin was the first African in space when he made a secret flight to the Skylab Space Station in 1979, shortly before it crashed to Earth. 19 years later he was on his second spaceflight, this time to a secret Moon Base located on the far side of the Moon. In 1999 his crew members returned to earth, but his place was taken up by return cargo. There have been occasional supply flights to keep him going since that time. Although he is in good humor, he wants to come home, now, after 20 years in space."

After this hilarious story the idea of a compilation album was born - and "Trip To The Moon" is the result. The goal to raise three million dollars to cover the cost of Abacha Tunde's return flight may never be achieved. Nevertheless, a 41 year experience in the music business is the basis for a fantabulous track listing of 11 amazing and highly underrated Rare Grooves about the Moon!

The Swinging Astronauts open the set, followed by La La Wilson's equally great rhythm & blues rocker "The Moon Man Is Back". With The Moon-Dawgs, this album makes a slight turn into the 1960s garage rock era while Hase Cäsar (backed by none other than the famous Ingfried Hoffmann and his orchestra!) contributes one of two songs of german origin. Now it's time for some funk: Rev. Jamel & Bob Johnson's "Walking On The Moon (Men Are Starving)" criticizes the US government for spending millions of dollars for their space program instead of supporting their own people. "Mars in 75" is deepfunk at its best although some may lament the lack of production. Sidney Ownen's breakbeat-laden "Sputnik" is sought after in collector's circles and needs no justification as to why it is included on this album. Ernest & D.L. Rocco's "Moon Child" is our personal favourite, closely followed by the hypnotic groove of "Mondgesicht" by legendary german saxophonist Ambros Seelos. Scott Cunningham's name should ring a bell as he was featured on several Tramp compilations over the past few years. Finally, the album closes with a psychedelic folk track titled "Voyage To The Moon".

Tramp Records is absolutely convinced that this album will surely be the best way to shorten the wait for Abacha until a rescue space mission finally brings our African soul brother back home.

Key selling points:

- deluxe gatefold LP with detailed liner notes and unseen photographs
- the vinyl LP comes with a full album download code
- most of the songs appear on a 12" album for the very first-time

Together as AceMoMa for the first time, AceMo (Adrian Mojica) and MoMa Ready (Wyatt Stevens) have crafted a sound that captures the contrasting grit and shimmering new energy that can currently be found in New York City's electronic music scene. Booming drum & bass and four on the floor house beats are paired with airy synth leads and watery vocal samples, giving the tracks a sense of strong forward momentum as well as a softer, more introspective side. Their new four track EP sounds like what a long night out in NYC feels like in 2019.

Jenkem Recordings is the music imprint of Jenkem Magazine , a skateboarding and culture media outlet, based in the same neighborhood Mojica and Stevens are creating and performing their music. Jenkem Recordings’ main goal is to continue to push the strong connections between music and skateboarding by finding new artists to support who have a strong connection to both communities. The AceMoMa EP marks Jenkem Recordings second release, with many more to come in the future.

The 2 songs are remixed by south London-based artist Klein (Hyperdub), and Tokyo-based
experimental hiphop musician Killer Bong (Black Smoker Records)
Mastered by Bunsho Nishikawa, who is known for his works with goat and Tenniscoats,
among others.

The ominous clockwork nursery song “Kazega Fuitara Sayonara” (Goodbye When The
Wind Blows) was originally written by Koichi Yamanoha and released under the name of
Grimm Grimm via Kevin Shields (My Bloody Valentine) and Charlotte Marionneau (Le
Volume Courbe)’s Pickpocket Records / Honest Jons in 2014.
London-based Tokyo-born singer-songwriter experimentalist Koichi Yamanoha has been
operating under the guise of Grimm Grimm since 2013. The project is an outlet for his
fragile, haunted, otherworldly forays into baroque folk, futurist lyricism and electroacoustic
oddities. His debut album, “Hazy Eyes Maybe”, was released by ATP Recordings in 2015. A
track “Last Word Is Mine” from the album was used over the end credits for the Aaron
Brookner / Jim Jarmusch directed documentary film “Uncle Howard” (2016), featuring
William Burroughs. His sophomore album, “Cliffhanger” was released in June 2018.
And currently the 3rd album has been mixed and co-produced by Marta Salogni.

The virtual 3D music video for Klein remix has been directed and edited by London based
film maker Kenichi Iwasa. He filmed the footage in Tottenham using Super 8, 3rd
generation iPhone and 4K Camera, and created the zero zone virtual world with glitchy SFX
work by William Cunningham. Iwasa is also known for his legendary Krautrock Karaoke
night as well as being a sought after collaborator throughout Europe.

Mario Pierro aka Raiders of the Lost ARP (ROTLA) returns to Edizioni Mondo. “Trasmissioni” is his debut LP under this moniker, using fictitious TV show themes as an excuse to create his musically most eclectic record so far. Departing slightly from the Balearic and prog rock influences of the previous “Laguna” EP, in “Trasmissioni” ROTLA covers many territories: opening with the science-celebrating arpeggios of “Progressi della Scienza” (Italian for “advances in science”), to the funky, off-beat grooves of “Telemusic”, then taking a step into a disco during “Nightlife”, before programming his rocket towards eerie nordic drum machines and Hammond organs in “Esterno Neve” and “Effetto Notte”, and many planets more. A welcome edition to the ever expanding Edition Mondo universe and a record you can’t grow tired of. Eco-Friendly green artwork that shows how tiny we all are. Good listening!



The name MONDO has its roots in “MONDO MOVIES", an italian movie genre born in the 60’s. Mondo movies are characterized by documentary-like content that addresses several topics from around the world ("mondo"). The Mondo label has the goal to produce music that is descriptive of concepts, images and environments. Mondo is inspired by library music, a genre frequently used as theme or background music in radio, film and television in that very same period. Production music libraries typically offer a broad range of musical styles and genres describing everything ranging from deserts to war and sports. Library music composers and session performers had no constraint at all. They typically work anonymously, have rarely become known outside their professional circle and they have produced what probably is the most creative music catalogue ever. The Mondo productions start with four releases dedicated to seascapes; scenarios range from sea fauna to poaching, from natural parks to sea dunes.

When Peggy Gou released her debut EP ‘Art of War’ in 2016, she made a list of career goals. One of them was to become the first South Korean DJ to play Berlin’s techno institution Berghain, an objective she achieved only a few months later. Another item on that list was to record an instalment of !K7’s DJ-Kicks series. “It’s the premier class of DJ mixes,” she says. “Some of my favourite selectors have contributed to it.” Now Peggy Gou can tick that off her list too as she proudly presents the 69th edition of the mix series.
The Berliner-by-choice started working on the mix last year. It was a
busy time for the 28-year-old: she’d just scored her first Mixmag cover
and her single ‘It Makes You Forget (Itgehane)’ was receiving awards
and critical acclaim. Each month she would DJ in 20 nightclubs all over the world. And yet, the goal for her mix was ambitious: instead of trying to capture the energy of her DJ sets, she aimed to create a portrayal of her own musical journey. An 18-track listening session that takes you straight into Peggy Gou’s living room where she plays you the formative tunes from her collection. No genre boundaries – she moves across disco, house, techno and electro. No tempo limits – the mix ranges from 90 to 150 BPM. And no age restriction – the earliest tunes on the mix are from 1983

The 6th release is a split EP between Elad Magdasi, a front left raver in his core, and Sinfol - the talented producer from the label Anagram for his debut on Front Left. They each showcase an original tune, with a remix of their own to each other's tunes.

Elad Magdasi - Silent Thrust: focusing on the groove, a pushing forward bassline, this tune will make you get up and dance! That's the goal.
Sinfol - Drum Spirit: a ritualistic journey with lots of detail on the percussion, an acidic lead and a hypnotic vocal sample, joined together to a massive bomb.
Elad Magdasi - Silent Thrust (Sinfol Remix): full of soul and funk, this Detroit influenced remix is an amazing interpretation of the original, with beautiful uplifting stabs and sneaky pads.
Sinfol - Drum Spirit (Elad Magdasi Remix): a driving & energetic beat, with an underwater vibe, together with fun stabs and a heavy kick.

Supported by:
999999999, answer code request Slam, Rebekah, Takaaki Itoh, Zitto, MXMLXXXV, Reka, 14anger, hd substance, Emma Blake, Krenzlin, Kaiser, Bleak, Astronomical Telegram, Casper Hastings, Metrist, Johannes Volk, Exilles, Sugar Lobby, Raphael Dincsoy, dMIT.RY, Kris Goad, Luke Creed, L.A.W.

Names You Can Trust's long-running Swing-A-Ling party in Brooklyn has become an epic warm weather celebration of all classic styles of Jamaican sound system music on vinyl. The party itself, set in the deepest crevices of BK's Caribbean community, has been known to stretch for 12+ hours each session, serving non-stop musical entertainment and buckets of jerk chicken & curry goat to an adoring crowd of all ages, young and old. The event has also been the occasion of some extremely limited edition record presses that have come to embody both the ethos of the party and the NYCT label. The second in the series of the playfully titled Swing-A-Ling NOW SOUNDS is a new entry in modern reggae production from The Mad Geezers. Like the party's signature sound, the tunes on this double-sided single are timeless, intriguingly left-of-center, and most importantly in deep homage of the vast influences and inspirations that have been carved to vinyl throughout Jamaican recorded history. Elements of rock steady, dub, soul and middle eastern snake charmer sounds all find their way through the hands of the Geezers' skilled musicians and the resulting 45 record is sure to be another sneaky staple in sound systems all over.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

We are super stoked to welcome back 3WA aka The Portuguese Serial Killer aka The Christiano Ronaldo of Dubstep for another fire release on Foundation Audio (this time around getting the vinyl treatment)! Pedro has got many tricks up his sleeves. Here are 4 of his finest. Make no mistake he will nutmeg you, dribble around you, Ronaldo chop past you and handball the finest goal without the ref seeing (and he’ll make it look easyyyy)… What’s more to say? The guys a wizard and makes some of the most interesting music in the Dubstep scene. Get to know if you don’t already!!!

Special Record Store Day 2013 release! LP version includes free download! One explanation for the 90s-fascination with Casio, Korg and other analogue synthesizers is quickly at hand: The 1st video-game generation was coming of age and were happy to hear that their dearly loved “Space Invaders“-soundtrack was suddenly popping up in electronic music. It takes slightly longer to explain why one record from that time - “Beautronics“, the debut by UK-synth-duo ISAN first released in 1998 - kept its appeal until today. “Beautronics“ does not grab you immediately. You don’t hum these tunes after a few listens, in fact you might not even hum them after dozens of spins. It’s not about humming. It’s about soft cushions and a cosy duvet made of sounds, it’s about aural sheets floating around like warm humidity during a hot bath. Occasionally it’s even about IDM, but in a very late-night kind of way. Antony Ryan and Robin Saville, the two English lads behind ISAN, are very open about their goals. They separate the longer tracks with short, often abstract pieces they called “Tints“. So it’s as much about tonal colour, as it is about melodies. The “Tints“ form an interesting contrast between ambient sounds and the more focused tunes. But even their most bass-dominated songs such as “Skeek“ are not exactly four to the floor. There’s no more than one to the floor, while the rest is sailing somewhere above in a haze of beautiful sounds and melodies. The album’s sleeve and title are straightforward about this: it’s all about the human beauty in electronica. Just like your mom’s heartbeat that set the tone for the first nine months of your life, “Beautronics“ produces sounds that radiate a warmth and naturalness that make them feel familiar upon first listen. The 15 years since its initial release don’t change a thing about this. That’s why it’s certain, that “Beautronics“ will win a new generation of listeners with this re-issue.

Vactrol Park, the collaborative endeavor between Kyle Martin (Land of Light) and Guido Zen (Brain Machine), returns to the ESP Institute with II, rounding out the second half of their EP series. For this installment, a sojourn was made to Stockholm to record at the computer music mecca, EMS (Elektronmusikstudion), where the artists had the opportunity to experiment extensively with the legendary Buchla 200 Modular and Serge Modular, two of the rarest and most pornographic modular synthesizers in existence. While both instruments originate from California (Buchla in Berkeley as a commission from pioneer Morton Subotnik, and Serge at the California Institute of the Arts), the music Vactrol Park draws from these machines is far from warm and sunny. Akin to their predecessors on the 2015 debut I, these works materialize a level of taste and measure of craft that's unattainable by most, each retaining an individual cinematic approach yet working collectively toward one consummate goal—paralysis.

Hard Twerk, Foot Work And Champions League Are Our Only Goals!

As audacious as the sleeve it comes housed in, the UK's most eccentric audio malefactor returns with his eighth studio album, Practical Electronics with Thighpaulsandra. Unique in the Thighpaulsandra oeuvre, this one eschews the usual group based recordings, consisting of electronics and vocals only.

Hovering between haunted narratives and extended instrumental sequences Practical Electronics is an eccentric excursion into playful pop and fearless electronic experimentation. Simultaneously intimidating and accessible, the energy of this untamed mind unleashes an artefact where high art unfolds as an oblique electronic cabaret.

Having cut is teeth amongst such legendary outfits such as Coil and Spiritualized Thighpaulsandra has constantly catapulted himself further and further into a musical landscape utterly of his own devising. Practical Electronics is the latest exemplary installment of a voice that is uncompromising as it is outlandish.

Mysterious white label release 'ALFA EP' coming from new kid on the block 'Alfa Cornae'.

This EP is all Italian, recommended listening: cruising through the Tuscany countryside, riding shotgun in a vintage Alfa. If the above is not at hand, then any local nightclub with a decent sound system will do.

Ok so you climb into your Alfa, a thing of beauty, you rev the engine, it sounds like your ex... in a good way.... This is a serious roadster, we're not talking Ford Mondao, we're talking all Italian smooth V8 engine, luxury leather upholstery, the real deal!

You're on your way to the best party in town, driving down the freeway toward Milan, 120 mph, roof down, a virgin Negroni in the passenger seat, casually smoking on a fat Toscano cigar; you're on the way to the biggest discotheque this side of the river Po.

Now you're in a hot tub. You don't know who's it is but it has bubbles. You turn to your right; next to you is Roberto Baggio. You take a big drag on your cigar and smile at him, he responds with a cheeky wink. Next thing you know you're dressed as a goalkeeper and everyone's dancing. Negronis all round, even for the reserves. Everyone is dishing out high fives; there's been one too many cigars smoked. Gerd Janson is dressed as a lama and the crowd is loving it.

It's been a minute since we heard last from Montreal's CLARIAN on KOMPAKT (KOM 356 - ANKH EP ) but by no means has his universe stopped expanding as he released the 2017 full length SYNTH WAVE (BALANCED) and collaborated with TIGA on STAY CLOSE and THEY JUST WANT 2 B U (w/ JAMIE PRINCIPE and FELIX DA HOUSECAT) singles. We welcome back CLARIAN with TIME SAFARI. The majority of the EP was a 2 year long process from recordings made in South Africa as a team effort ofRICHARD MARSHALL, BLANE VENTER and of course CLARIAN (along with many locals along the way) with the 'ambient aspect' of the EP finished in India in summer 2018. By no means is this EP to be perceived as experimental recordings as each club track has a theme that is loyal to the dance floor with a goal of incorporated ambient recordings to create an immersive environment. The aim CLARIAN has with TIME SAFARI is to attempt to empower the idea that club music can go beyond simply being labeled as a genre and club motif but can also explore alternative, creative and most of all be a conduit to bring unity through all variations of art mediums into the night life scene. The ambient aspect of TIME SAFARI is CLARIAN's homage to his heroes. Think if TUXEDOMOON collaborated with CARL SAGAN to create a weirdo version of COSMOS. In the case of this EP - a mega brief journey of human evolution through South Africa.

Tradition and experimentation are two familiar
territories that C'mon Tigre, a duo who find
their identity by working with musicians from
all over the world, can balance between very
well. As they did for their debut album (2014),
they have put together a multicolored collective
for their second record 'Racines', out on
February 15, 2019 for BDC/K7.
The title is a French word that means "roots",
referring to the musical roots in which C'mon
Tigre's feet, head and heart are immersed, and
from which their contaminated tracks sprout to
create unusual and original sound environments. In their new album the sounds of the
Mediterranean - the sea of their land -
intersect, intertwine and overlap with a
kaleidoscope of other sounds and a new
approach based - they explain - "on the type of
work we had done when we rearranged the first
album for live shows, by emphasizing the
synthetic part of our tracks". This time around
they did it from the very beginning: "The
composition of the pieces immediately included
the use of machines and synthesizers as a
basis for acoustic instruments. The goal was to
reprocess the terrain of Mediterranean
influences that was undoubtedly our starting
point".
Imagine a work in progress where bass and
guitars interact with woodwind, synths, percussions, vibraphones, dipping the listener into a
sensual and hypnotic musical journey. Sailing
from the Mediterranean basin and being guided
by the fascination for Africa and the Middle
East, C'mon Tigre give rise to a personal
language, made up of mixtures with jazz,
afrojazz, the rhythmics of hip hop, funk, 70s
disco. All without ever confining their songs to
one style, but pushing the exploration as much
as possible, into a dimension that every journey
worthy of this name should encompass. "With
the musicians we work with the exchange and
experimentation continue till the end, the
songs can take different directions at any time'.
The result is a mixed, cosmopolitan record,
which escapes from any label for the affirmation of a free attitude. The attitude that led
C'mon Tigre to seek a connection with dancefloor culture, even if considered only as an
evocation to revisit in an absolutely personal
way

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

G.I. Gurdjieff was an Armenian and Greek philosopher, spiritual teacher, and musician, whose teachings of The Fourth Way influenced thousands worldwide and created communities that still exist to this day. His goal was to teach humans to reach a higher consciousness out of the "waking sleep" he considered most to be living in. Music was an important part of his teachings and these brilliant harmonium improvisations were recorded in 1949 in Paris, just a short time before his death. Droning and ethereal, these beautiful pieces mark a pinnacle in the work of a legend of human spirituality.

2 track Single from George Beaufort / Twelve Tribes Of Israel Band released by Orthodox Muzik/Dub Store Records

R+R=NOW is a collective of like-minded boundary-breakers featuring Robert Glasper, Terrace Martin, Christian Scott aTunde Adjuah, Derrick Hodge, Taylor McFerrin & Justin Tyson. The 'R+R' in the band's name stands for Reflect+Respond, and was inspired by Nina Simone who said an artist's duty is to reflect the times.
With Collagically Speaking the band presents an urgent musical hybrid that is distinctly of the now. As Glasper says, R+R=NOW tells 'our story from our point of view... It's a very honest, fluid sound that rings of hip-hop, EDM, jazz, at times - hell - reggae... a bunch of cats that respect each other so much that we always pass the ball.' The album features guest spots by Omari Hardwick, Terry Crews, Stalley, Amanda Seales, Amber Navran, Goapele, Jahi Sundance and Yasiin bey.

On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."

Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it's easy to hear the reverential quality of sacred music in her songs. "A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you're singing, it becomes really overwhelming," Tomberlin says. "I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn't know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind That's what's influenced how I write."

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.

a1 | Any Other Way
a2 | Untitled 1
a3 | Tornado
a4 | You Are Here
a5 | A Video Game
b1 | I'm Not Scared
b2 | Seventeen
b3 | Self Help
b4 | Untitled 2
b5 | February

Eastern Bloc Warsaw is a new Polish record label founded by Piotr Klejment, based in Warsaw, Poland - the first country in Europe where the transition from the communist system to democracy took place. It is a definition of desire for freedom combined with respect and a sense of belonging to places. The main goal of label is to promote music and artists from former Eastern Bloc.

Piotr Klejment started music journey as a DJ in 2005. His DJ sets mixed together very disparate styles. Years ago, along with friends, he founded a group called Underground Perception. They invited a lot of prominent artists (for example Juan Atkins, Kevin Saunderson, Joey Beltram, Marcel Dettmann) and gave them a chance to play for the first time in Poland in the legendary M25 Club. He stayed there as an artistic manager and resident for three years. His two first releases appeared on Technosoul Records (also a collective of DJ's & producers from Poland, which member he also was). The releases came out with remixes by Perc, Sleeparchive and Polish techno legend - Echoplex.

Photography on the cover of EP 'Midnight Confessions' shows authentic Warsaw bloc .

Foul & Sunk is proud to present 'Morello', a cathartic EP from upcoming producer star D.Y.A. As an university educated jazz drummer the concept of improvisation and aspiration for that one special musical moment is surely no secret to D.Y.A. So both tracks 'Morello' and 'Cosy' are melodic groovers with the extra portion of soul. Beside this there are Johannes Albert and Shan on remixing duties. Albert is taking it to a deeper level, while Shan delivers a 9 min. monster remix with his emotional melodies and deep grooves.

About D.Y.A
City: Berlin (DE)
Labels: SOLIDE / Foul & Sunk
Growing up in a family where D.Y.A was surrounded by all kinds of different music led
to the mindset of appreciating each genre as equally important and eventually got him
to draw inspiration from all kinds of music. As an university educated jazz drummer the
concept of improvisation and aspiration for that one special musical moment is surely no
secret to D.Y.A.

While being Berlin based and a founding member of - SOLIDE', a label and collective he
runs along with fellow producers Kalyma and MYNY, translating these rather complex
concepts from jazz into house music, wether we are talking about production or DJ Sets,
has been one of D.Y.A´s main goals. Looking back to a relatively young discography, this
summers forthcoming EP´s on Solide and Foul & Sunk, with remix guests like Johannes
Albert, Panthera Krause or Shan, will fall in nicely to showcase D.Y.A's influences and his
quest for a special musical moment.

Edizioni Mondo as a label, has the goal to produce music that is descriptive of concepts, images and environments. Inspired by library music, a genre frequently used as theme or background music in radio, film and television in that very same period, the name MONDO has its roots in 'MONDO MOVIES", an Italian movie genre born in the 60's. Mondo movies are characterized by documentary-like content that addresses several topics from around the world ("mondo"). Numero nove comes courtesy of ROTLA. Also known as Mario Pierro and Raiders of the Lost Arp, 'Waves' is his third contribution to Edizioni Mondo. Downtempo, trippy, playful and pardon us, balearic, it's the soundtrack to the fading summer or the one starting somewhere else in this universe. Accompanied by remix works from label head L.U.C.A. and balearic (again!) mastermind Mark Barrott with his Sketches form an Island Healing Hands, it's the most balearic (three's a charm) record you will hear this side of the summer (wherever you are).

HINOSCH are a duo of Koshiro Hino from Osaka and Stefan Schneider from Düsseldorf, they first (met and) began their collaborative work of musical interaction and exploring contrasting possibilities in 2017. After a number of concerts in the EU and in Japan a debut EP (HINOSCH EP/TAL05) was released in late 2017. Fully instrumental, their first full-length album HANDS offers a more steeply focussed approach than its largely improvised predecessor.

Encouraged by the momentum generated during a number of on-the-spot recordings in Osaka, where Schneider had held a residency in April 2017, the overall sound of the album has been honed down through meticulous studio engineering. One of the outstanding qualities of HANDS certainly is an unprejudiced approach of sound and song structures. The instrumentation is condently reduced to a small range of analogue and digital machines. Snatches of tape-loops deliver lower-pitched vocal and drum machine samples. This characteristic technical set up soon proved ideal in order to dene a tactile vocabulary of fully unsynchronized rhythm patterns. The word tactile perfectly conjures that quality which is the very essence of HANDS. It is the result of the manner in which interdependent threads of rhythm units are deliberately disconnected to form a cohesive, soulful and exible whole. Most tracks on HANDS are devoid of a central motif and examine an unpredictable dialogue. A fantasy of constant change and a search for musical suggestions is the most vital ingredient in this abstract environment.

The album title HANDS refers to physical aspects of electronic music production. Every live concert of Hinosch usually starts out with a hand shake between Hino and Schneider. The general process of collective music making, programming, button pushing, playing, recording, decision making, all demand utmost concentration. The image on the front of the abum sleeve (designed by Takashi Makabe) reects the general approach of HANDS: layers of tuckled fabrics confronting one another to articulate a form for themselves to no other end than their own orchestration.

After having emerged from the ever thrilling Osaka music scene onto the international playgrounds of electronic music just a few years ago Koshiro Hino's solo activities as YPY and his involvement with the band GOAT have already garnered him a very favourable international reception. Stefan Schneider has over the years produced and collaborated with a.o. Joachim Roedelius (Cluster), Arto Lindsay, Klaus Dinger (NEU!), Dieter Moebius (Cluster), Alexander Balanescu, John McEntire (tortoise), Katharina Grosse, Bill Wells and St.Etienne.

They say we are a product of our environment, you are what you eat and you reap what you sow. But what happens when you can no longerdig the earth and your food is toxic Amselcom has forever been near the forefront of change, exposing new ideas and giving insight through music and creativity. Our goal was always to bring the world closer by removing barriers and letting sounds and rhythm demonstrate humanity's true, loving nature. That is why a transformation has taken place and with this latest release we hope to give back and contribute without the shallow, meaningless compensation that feeds the music industry.
Geplantes Nichtstun demonstrates this concept perfectly, by saying it is time to remove ourselves from the machine and make our own way, in our own time. These tracks look to offer introspective that can only be found after eliminating barriers like money and fame. Taking time for idleness lets us forget about the things that try and control our lives, a necessary respite in a time of increasing global noise.Tracks like Opak offer the perfect accompaniment to a quiet time of soulful reflection and Mario Wagner's wonderful Control Room image brings us the idea of self direction and taking charge of your own destiny... one rest at a time.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End..., it adds consistent rhythmic patterns to the mix with the addition of bongoes and also explores some interesting chord progressions.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes." (progarchives)

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same." (twoheadeddog)

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.