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* The third release from Irish vocalist Eva Keyes, following on from the 7” singles `Tired Of The City’ (PRTL7057) and `Light Shining’ (PRTL7063).
* As with the first single `Tired Of The City’ both tracks on this double A side were produced by Dublin-based Dan Taliras out of his Echobus studios.
*Both tunes are as much as sound system friendly as they are radio friendly, with Eva’s accessible and bright vocals
*`Meditation’ and `Let It Fall’ are both followed by dub versions mixed by Taliras.

limited edition of 500 copies.

'Buntús Rince' translates from Irish as 'basic rhythms', and this new compilation explores how Irish musicians were influenced by strands of different genres of music from around the world, merging them to create their own unique sounds. The compilation features some of the most innovative and talented figures in the history of Irish music and includes rare Irish jazz, fusion and folk outliers from the 1970s and early 1980s from musicians relatively unknown outside of Ireland.

Often regarded as a musical backwater, the 1970s finally saw Ireland begin to make its mark on international music. The nature of this feat is all the more commendable, considering how isolated and conservative the country still was in the middle of the last century. The emergence of acts like Skid Row, Thin Lizzy and Van Morrison instilled in budding young Irish musicians the belief to dream big.

Unlike many other European countries, Ireland had not benefited from the cultural impact of immigration. Pioneering Irish musicians did not have access to the type of vibrant music scenes ubiquitous to most European cities at that time. With no talented players or even in some cases recordings of the music, they had to cultivate and invent their own small scenes.

A jazz scene had begun to blossom in Dublin in the late 1950s. Self-taught players like Noel Kelehan and Louis Stewart emerged as the Irish standard-bearers. Their level of musicianship saw them play with some of the world's most renowned artists. The 1960s would see the emergence of the 'beat' scene in Ireland, with groups like Granny's Intentions, Taste and Eire Apparent finally challenging the hegemony of Irish Showbands. Change was in the air.
The late 1960s also saw many Irish emigrants returning home, bringing with them inspiration from the new styles and sounds of London and further afield. The arrival in the late 1960s of pirate radio stations like Radio Caroline, new music magazines and the availability of music on vinyl meant that different genres were now becoming more accessible. The musical landscape of the country began to transform and evolve, influencing a new generation of musicians in the process.
The 1970s saw advancements in studio technology. 8-track studios began appearing in Dublin, offering more opportunities for groups to record singles and albums. Synthesizers and other instruments were also becoming easier to acquire as the younger generation turned to electric jazz and fusion music.
While the level of musicianship was high, the levels of opportunities in Ireland were still very limited. Many groups and solo musicians had to emigrate to try and succeed.
Thankfully for those who remained, this new emerging scene didn't go totally unnoticed and local labels began to take a chance on more obscure Irish groups. Labels like Mulligan and also producers like John D'Ardis and Terri Hooley championed and documented music from the Irish underground of the 1970s.

Their valuable work is a common thread which connects many of the tracks on this compilation. From the soaring flute playing of Brian Dunning, to the swinging piano of Noel Kelehan and the sonic force of Jolyon Jackson's synthesizers; 'Buntús Rince' lifts the lid on a vastly underappreciated period of Irish music history.
One for the collectors.

The aptly-titled ‘Sunrise’ sets the deep, confident tone and sound that runs through the release, mixing wholesome, contemplative house chords with a warm, generous acid line emerging organically. On the flip, ‘Sunset’ dives further into this sound, diving back beneath the horizon.Almost beatless, ‘Midnight’ produces more intense oscillations for a weightless trip that transcends mere machine manipulation. Gnork & 130eOa reinstall a subtle groove for their understated but irresistible remix contribution.

ELLLL continues her prolific 2019 run with a new EP for the expertly curated (and newly revived) Paralaxe Editions label out of Barcelona. Fresh off releases on Glacial Industries and First Second, the Irish-born, Berlin-based shapeshifter takes a creative turn here, setting aside her bassy excursions and techno flirtations for something much more cinematic in scope. Rich in melody, this record finds ELLLL taking an orchestral approach, weaving together piano swells and delicate strings to create a truly immersive listening experience. Mastered by Rupert Clervaux.

Following 3 maxis on Hilltop Imprint and the label Construct Re-Form, the producer Fareed – formerly of the Society of Silence duo (Versatile, Concrete Music) – returns on the new label, MAZE, dedicated to experimental breaks and cinematic soundscapes.
This first EP, with irregular rhythms and metallic sounds, loses us in the meanders of a jungle and transports us into a world borrowed from mysticism.

Schmer Schmer has been looking for the next Prototype 909 since 1995. While they may never be found, we have instead found a few artists that with the same spirit of adventure have taken electronic music to new frontiers of unimaginable creativity. Primary among them is Lena aka Galcid aka Lenacid.

Lena's electrifying live performances utilizing eurorack modular synths with vintage and modern machines follow three simple 3 rules:

NO PCs, NO Presets, NO Preparation!

She has been called Jeanne d'Arc of modular because her style her appearance and her fearlessness.

For Schmer, Lena has created an EP made for the melting of your mind, if it doesn't first melt your speakers.

Lena uses her electronics in the most effective way possible. The classic acid machines are deployed to establish the themes the modular synths bring in sounds that take these tracks to another level. The eponymous track will hypnotize you into the state of focus necessary to allow you to go deep inside. Then the Acid Police show up! A funky drum machine rocker sure wake you out of your trance. Steel Vein has the intensity to rewire your modular mind. bpmf provides an hard driving aggressive take on Melting to help us turn on the switch.
Legendary DJ and producer Hisashi Saito has been making acid and techno since the early 90s. Using his unique
skills this EP has a rare clarity of sound not often heard on such ambitious recordings. Lenacid “Melting EP” opens up a new frontier for acid, for Schmer and for Lena that you are invited to explore with us this spring.

As Galcid, she has played alongside world renowned artists such as Nina Kraviz, Daniel Miller, Oval, DJ Nobu, Isao Tomita, Takkyu Ishino, Ken Ishii, G-man (LFO) among others. In 2016, she was invited by the Japan Media Art Festival to play at the special exhibition, held at the Eyemyth Media Arts Festival in Mumbai, India. Her 1st album “Hertz" received a worldwide release in digital format on the Detroit Underground label. The release attracted the attention of Karl Hyde (Underworld), Chris Carter (Throbbing Gristle) among other well-known musicians the world over. Shortly thereafter, Galcid played at "Boiler Room Tokyo". In July 2017, she embarked on her first EU tour playing shows in Barcelona, London, and Madrid, after she came back, she participated in Iron Island Festival and Mutek Japan garnering high praise in the media. In December 2017, she was invited to headline Future Mix's 20th Anniversary event and workshop in Shenzhen where she performed and held a talk with techno pioneer Mijk Van Dijk.

'Quasi' is Ariwo's second album, after the release of
their first self-titled album in 2017:
Despite Ariwo's diverse mix of musicians
(Cuba/Iran/Canada/UK) their music doesn't belong to any specific genre. In
''Quasi', Ariwo use the building blocks of deep bass, afro-Cuban polyrhythms,
carnival melody and immersive live electronics as a starting point to engage
with key players on London's jazz scene.

The result is a hypnotic journey for the listener from techno
to avant-garde jazz via West Africa and the Caribbean. 'Quasi' aims to mirror
the evolved direction of Ariwo's live set, which after extensive touring over
the past three years has gradually become more stripped back and club-oriented.
Many of the building blocks for this album started life as improvisations in
live sets and have been developed into full tracks on 'Quasi'.
The album features guest appearances from MOBO winning saxophonist
Binker Golding (Binker & Moses) and acclaimed UK keys player Joe Armon-Jones
(keys). Cuban trumpet players Thommy Lowry Garcia and Yelfris Valdes also
feature on the album, bringing carnival melodies that interweave through the
percussion and electronics.

Ariwo have used songs from 'Quasi' to create the music
for 'Portals' - a tour of Carlos Acosta's new contemporary dance company
'Acosta Danza' in Havana.

Having previously collaborated with the likes of Shafiq Husayn, Chester Watson and Foreign Beggars, electronic space funk outfit Paper Tiger return from an explorative journey to the dark edges of the cosmos with their long-awaited third album ‘Rogue Planet’.

The Leeds and London-based outfit (whose collective playing credits include Yellow Days, Werkha, Nubiyan Twist, Cinematic Orchestra & more) once again seamlessly combine elements of live recording and improvisation, their emphasis on blending organic sounds with electronic production techniques. The result is music which is interesting and technically proficient, but remains vibrant, colourful and funky -captivating both in headphones and on the dancefloor.

Just like the journey from debut long-player ‘Laptop Suntan’ to sophomore album ‘Blast Off’, and in-keeping with the band’s space travel fascination, ‘Rogue Planet’ is a cosmic leap from its predecessor. Band leader Greg Surmacz explains: ‘There is still humour and a sense of playfulness hopefully -largely provided by our MC Raphael Attar -but the overall sound is much more lush, jazzy and soulful. We wanted to make something that fits into our universe but hits a deeper emotional nerve’.

With diverse guests ranging from the legendary Steve Spacek on lead single ‘The Cycle’ to Olivia Bhattacharjee (the vocalist of Gondwana Records-signed Noya Rao) on the shuffling, leftfield beats of ‘Bioluminescent’ and Chicago-born but LA-based MC Lando Chill’s quick-fire delivery on the ironically titled ‘Slow Motion’ the album is a rich and varied listen. It’s a record drenched in futuristic soul, brimming with textured samples and intriguing progressions demonstrating the enviable musicianship on show here. G-Funk-esque melodies run throughout, joined by reverberating celestial horns and scattered drum patterns.

Sometimes, - despite today's high-octane, fast-track and hyper-hysteric music business - you come across things that seem so pure, perfect and poetic that it almost hurts. "Socialo Blanco" is one of these objects.

It appears understated at a first listen, startling at the second and totally enamouring by the third run. To lay it all out on the table: it sounds like a Music from Memory re-issue, looks like a Growing Bins Records discovery and feels like a flea-market-hippie-uncle-record-collection find.

Based on the language (coincidences and misbehaviour included) and direction of the classic EMS Synthi AKS and recorded by hand and directly to tape (no midi, no sync, no computer), it is at once out of time and out of touch with current sound aesthetics, but that only makes it even more contemporary (vintage) - like a great piece of furniture.

Unsurprising, if you know that Feater is helmed by Daniel Meuzard. Hailing from Vienna and having made a name for himself as a trustworthy and skilled studio equipment dealer and working closely with producer and studio engineer Sam Irl, the man has a knack for turning yesterday into today.

Already is his project's second album, "Socialo Blanco" is the result of all of this and some magical and effortless sessions. The voice of Vilja Larjosto from Finland and Ghana's Eric Owusu (Pat Thomas, Ebo Taylor) on percussion, spontaneously invited to the recording sessions by fellow Viennese Giuseppe Leonardi, are the icing on the cake. All of that and especially the non-conformist pop song "Time Million" symbolizes the heart and soul of an album that deserves to be billed as such. And that is no mean feat.

After a gap of a few years in between his latest releases (on Terminal M among others) Mar io focuses his attention on his own productions rather than sticking to remixes. He unveils a wonderful EP on Form & Terra Records which kicks off with the title track "Through The Night", a very special acid house smasher which will put every dance floor to a test. Then comes Max Cavalerra who puts the track through some secret alchemical processing and turns it into a dark and more techno-driven tune which is sure to make mind and body move even at 6 am in the morning. In addition, techno legend Patrick Lindsey celebrates his brilliant vinyl comeback with an irresistibly grooving remix which demands your attention with unprecedented drive and gets to the heart of Mar io´s original message "This Is What We're Living For". Last but not least, Mar io himself tops off this extraordinarily versatile EP with a grooving vinyl-only remix.

'New Kind', one of the more direct moments of dancefloor pleasure throughout Gabe Gurnsey's acclaimed debut album, 'Physical', is expanded on for this digital package. The 'Extended Dub' stretches out the original's tight groove in a pleasingly baggy fashion that recalls the experimental club dubs pioneered by Trevor Horn, Martin Rushent and Shep Pettibone.

Back to the future, and enigmatic new producer Fall Forward delivers a smooth, rave tinted rework that is guaranteed to thrill the strobe-lit, sweat-drenched club crowd that inspired the original LP. An additional dub of the remix places the focus squarely on it's clean, irresistible acid bassline.

Soothing Songs For Babies. Berceuses Du'

Following their hotly tipped 2018 debut album 'On' - Altin Gün returns with an exhilarating second album. 'Gece' firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

Some words from the label:

The world is rarely what it seems. A quick glance doesn't always reveal the full truth. To find that, you need to burrow deeper. Listen to Altin Gün, for example: they sound utterly Turkish, but only one of the Netherlands based band's six members was actually born there. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music.

'It really is,' insists band founder and bass player Jasper Verhulst. 'The songs come out of a long tradition. This is music that tries to be a voice for a lot of other people.'

While most of the material here has been a familiar part of Turkish life for many years - some of it associated with the late national icon Neset Ertas - it's definitely never been heard like this before. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene.

'We do have a weak spot for the music of the late '60s and '70s,' Verhulst admits. 'With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We're not trying to copy it, but these are the sounds we like and we're trying to make them our own.'

And what they create really is theirs. Altin Gün radically reimagine an entire tradition. The electric saz (a three-string Turkish lute) and voice of Erdinç Ecevit (who has Turkish roots) is urgent and immediately distinctive, while keyboards, guitar, bass, drums, and percussion power the surging rhythms and Merve Dasdemir (born and raised in Istanbul) sings with the mesmerizing power of a young Grace Slick. This isn't music that seduces the listener: it demands attention.

Altin Gün - the name translates as 'golden day' - are focused, relentless and absolutely assured in what they do. What is remarkable is the band has only existed for two years and didn't play in public until November 2017; now they have almost 200 shows under their belt. It all grew from Verhulst's obsession with Turkish music. He'd been aware of it for some time but a trip to Istanbul while playing in another band gave him the chance to discover so much more. But Verhulst wasn't content to just listen, he had a vision for what the music could be. And Altin Gün was born.

'For me, finding out about this music is crate digging,' he admits. 'None of it is widely available in the Netherlands. Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country's musical past, their heritage, like 'House of The Rising Sun' is in America.'
As Verhulst delves deeper and deeper into old Turkish music, he's constantly seeking out things that grab his ear.

'I'm listening for something we can change and make into our own. You have to understand that most of these songs have had hundreds of different interpretations over the years. We need something that will make people stop and listen, as if it's the first time they've heard it.'

It's a testament to Altin Gün's work and vision that everything on Gece sounds so cohesive. They bring together music from many different Anatolian sources (the only original is the improvised piece 'Soför Bey') so that it bristles with the power and tightness of a rock band; echoing new textures and radiating a spectrum of vibrant color (ironic, as gece means 'night' in Turkish). It's the sound of a band both committed to its sources and excitedly transforming them. It's the sound of Altin Gün. Incandescent and sweltering.

Creating the band's sound is very much a collaborative process, Verhulst explains.
'Sometimes me or the singer will come in with a demo of our ideas. Sometimes an idea will just come up and we'll work on it together at rehearsals. However we start, it's always finished by the whole band. We can feel very quickly if it's going to work, if this is really our song.'

Just how Altin Gün can collectively spark and burn is evident in the YouTube concert video they made for the legendary Seattle radio station KEXP. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock. It's utterly compelling. And with around 800,000 views, it has helped make them known around the world.

'It certainly got us a lot of attention,' Verhulst agrees. 'I think a lot of that interest originally came from Turkey, plenty of people there shared it.'

That might be how it began, but it's not the whole tale. The waves have spread far beyond the Bosphorus. What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.

'Not a lot of other bands are doing what we do,' he says, 'playing songs in that style and seeing folk music in the same way.'

Limited edition 45 vinyl with two brand new tracks form Juno and Mercury prize nominated Canadian soul Queen Tanika Charles. On the A side "Love Overdue" the 1st taken from the forthcoming new album "The Gumption" is an irresistible R&b/Soul mover that equally pays homage to Amy Winehouse and 60s Club Soul. On the flipside the floorshaking "Remember to Remember" sounds like Diana Ross and The Supremes produced by Drake, explosive contemporary Motown ssound.

Produced by a stable of some of Canada's finest musical minds including DJ Kemo (The Rascalz, Kardinal Offishall), Chin Injeti (DJ Khalil, Eminem, Drake) and Daniel Lee (Hooded Fang, Phedre), "The Gumption" is the awaited new album by Juno Award and Polaris Music Prize-nominated Canadian new star Tanika Charles and it's scheduled for release on May 10.

Watch out 45 is limited to 500 copies worldwide.

The second release of Samulis own label continues the analog excursions and direction set on the debut release. All tracks are recorded live performances executed with analog machines only. Raw and functional techno without compromises. Play it loud.

Midnight Embassy is a ping­pong project by songwriter Angela Aux and producer Sam Irl. During nightly sessions and on walks together, the two artists have created a palette of timeless tracks and futuristic sculptures from pop music flotsam. Like if two archive junkies had synchronized their sketch collections and notebooks so that the different genres and decades seem to effortlessly swirl through each other: Dub, Folk, Beatnik literature, Afrobeat & Electronica. Aux & Irl celebrate a gentle escapism, both cosmopolitan and aloof. This island mentality sparkles unobtrusively through all five tracks of the debut EP. No fireworks, no illuminated advertisements, no selfie thunderstorms: they come at dusk, set shimmering beacons and disappear on a reverberation trail behind the curtain of the night.

Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

Nendza with first Ressort Imprint release Number Thirteen

2019 repress of this 1981 digi tune! Version on the flip...

Connaisseur posthumously releases Daso's self-titled long player to create a final memento for his musical legacy.

We first came in touch with Daso when we saw him performing live at the
Dachkantine in Zurich around 2006. He really had this stage talent which
fascinated us straight from the beginning. At this party we agreed on the first release on Connaisseur, the "Adventure EP" including the strong "Sam n Max", which was a great presentiment of the many releases to come.
Daso was a unique character with a lovely sense of humour, and surprising quirks which could be like marvels to us. One moment, we would be worried just seeing him crossing a busy street and in the next, he would be rocking the stage with major self-confdence and the attitude of a real rock star.
In our history of Connaisseur, he defnitely was one of our most important
artists, and some of his best music was released with us. He played many label nights, and together we enjoyed uncountable laughs, discovered cities and countries while touring and collected invaluable memories.
It is the way of the world that we as a label eventually focussed on new artists, and Daso, too, embarked in new directions. We still stayed in touch, even though the gaps between our contacts became bigger with time. The frst time we realized that Daso was ill was in the frst quarter of 2016. We had invited him to our 10th anniversary party in Berlin, but he didn't feel well enough to be able to come. Shortly after this, he went to the doctor and was diagnosed with cancer. We were shocked. Daso was always such a positive person, it simply didn't add up for us that someone like him could get sick.
Obviously an irrational and unjust thought, but it just felt so unfair.
When he started chemo therapy I spoke to him on the phone, and my label partner Martin, who lives in Berlin, gave him a frst hospital visit early in summer of that year. A bit later we visited him together, and yes, he was optimistic, still full of humour and also motivated to pick up his career again as soon as possible. This impression was of course only from a distance, but I was delighted to see how confdently he presented himself on socials after all his treatments, and how after recovery he started playing gigs again.
At some point I realized Daso hadn't been active on his socials for a while, which concerned me. This was in the frst quarter of 2018. His last post on Facebook had been made on November 30th and I knew this couldn't bode well. After contacting some common friends I was told his prospects were not good. I was about to go on an Easter holiday but planned to visit him on my next monthly trip to Berlin. I didn't have the chance. On Easter Monday, April the 2nd, 2018 Daso passed away.
At Daso's funeral, which was on a wonderfully sunny day in late spring, his father came up to me and asked if I might be interested in releasing this album, which Daso had been able to fnalise in the last months and weeks of his life. We didn't decide on doing so lightly, knowing that the release of a post-mortem album can bring up certain issues. However, in the end, we agreed to do it, as we sincerely strive to create a fnal memento for Daso's musical legacy.

The self-titled album Daso will be released on April 5th, three days after the first anniversary of Daso's obit.

Burke Is A Producer & Dj From Ireland Residing In The Uk Since 2015. He Started Working At Idle Hands Record Store In 2016. Tracks From Burke Have Been Supported By The Bandulu Gang (kahn, Neek, Boofy & Hi5ghost), Compa, Trends, Spooky, J:kenzo, Sicaria Sound And Many More. The Aforementioned Tracks Have Also Featured On Radios Such As Bbc 1xtra, Rte, Rinse, Resonance Fm, Pyro Radio, Reprezent, Mode Fm And Many More.


Dj Support
Dream Eater 007 Has Been Supported On Radio Stations Including Mode Fm, Rinse Fm, Subtle Fm By Several Djs Including Spooky, Scratcha Dva & Nights,
Press
Mixmag - Review In May Issue (printed)
Magnetic Mag - 'bram Stoker' Premiere - *live This Evening*

The late Deben Bhattacharya was a noted Bengali record producer, ethnomusicologist, poet, documentarian, radio producer, and all around renaissance man. Having moved from Northern India to London as a young man, Bhattacharya began working for the BBC as a radio producer. In 1955, having worked all possible angles to securing funding, Bhattacharya traveled to India to record musicians. The success of this trip allowed him to travel again soon after to the countries of the Middle East. With recordings from Turkey, Syria, Jordan, Iraq, Iran, and Afghanistan, as well as India and Pakistan, this LP is one of the best and earliest documents of the diverse and rich musical traditions of the Middle East. Subtitled 'A Sound Travelogue by Deben Bhattacharya', 'Music On The Desert Road' is exactly that, a beautiful and flowing document of the region's sound.

Lavascar is a sound and music project by creative instigator and provocateur Michèle Lamy, multi-disciplinary artist Nico Vascellari and Lamy's daughter, the artist Scarlett Rouge.

Following the release of their debut album A Dream Deferred in 2017 - which was inspired by Langston Hughes' poem Montage Of A Dream Deferred, the trio will release new album Garden Of Memory through The Vinyl Factory label.

Drawing on the work of Lebanese-American poet, journalist and artist Etel Adnan, Garden Of Memory explores the tension between the organic and industrial, layering both Rouge and Lamy's idiosyncratic delivery over Vascellari's ambient and EBM-influenced electronics. After Vascellari described the debut LP as 'an evocation of Michèle Lamy sitting in a cave, surrounded by wild beasts ready to devour her', Lamy says the new record has loftier concerns: 'So far it seems like we are more in the cosmos... We are coming out of the hole!' Lamy continues: 'I like poetry, I don't like when there is sentence that tells you everything, I like suggestion.' It was for this reason that Lamy was drawn to the 93-year-old Adnan - 'a woman explaining what's going on in life. We can say everything is political, this is especially important.' It's a sentiment that Scarlett Rouge echoes: 'She wrote political poetry, and she is a journalist, so that's why I think when Michèle discovered her there was an immediate sense that this is now what needs to be felt and said.'

Jaali's sound reflects a timeless wave of electronic music inspired by futuristic ambient spaces and expressive techno rhythm. Subtle darkness meets haunting melody, a blurred picture of the vast electronic music history. Working out the tracks in their own studio, the record was finished in Nils Frahm's stunning Funkhaus Saal 3 Studio. The mixing was done on his Konsul 1 desk, enhancing the radiophonic touch with the original GDR reverb chamber.

Serenace, a mysterious duo based in Chicago and Berlin joins the Shaw Cuts squad with 'The Flying Guillotine' - a weapon shaped like a hat with a blade rim and chain attached.
The weapon serves to brutally quash any defiance against the ironfisted Emperor Yung and his regime. The enforcers are twelve specially trained fighters, The Flying Guillotine squadron. 'Sheltered In Absence', its pushing drums and energetic synth elements, chimes to the cruel deeds of the squadron.
The guard Ma Teng flees when he witnesses the brutality unleashed by the men and the lethal weapon. The raging emperor commands his fighters to capture him, but Ma has disappeared into thin air. - Vitrine', a diverse groove combining swinging percussions and warm melodies circles over head, helping Ma to stay undercover.
The slaughter continues as the squadron relentlessly search for Ma. Ma turns back and confronts the army. Equipped with his own deadly weapon, he joins forces with Kreggo and his - 2in1' remix version, wiping out the squadron one by one.
- Spun Coral' sweeps in, drowning out the sound of guillotines gliding through the air until the last member falls. Silence reigns over the battlefield. But the myth of the fatal weapon remains.

Born in Cagliari (Sardinia, Italy) in 1975, Irene Nonis started playing the guitar at the age of 13 and wrote her first songs at 17. Her influences come from the American soul, with variations towards jazz and bossa (Sade, Paul Weller, Astrud Gilberto, Johnny Marr). Her voice shines in the two new tracks included in this 7'': "This Love" is a blue-eyed soul track that moves between Northern Soul and Motown, while "Night Stuff" has more of a 70's London nocturnal atmosphere, with a great bass line.

Claremont 56's latest release is very much a family affair. It sees Idjut Boy Conrad McDonnell - a regular remixer of Claremont 56 releases since the label's inception - serve up two spaced-out, dub-wise revisions of a little known cut by Bison, the imprint's very own 'super-group'. The 12' has extra emotional resonance for Bison's Paul 'Mudd' Murphy and Ben Smith, as it marks the band's first release since the passing of fellow founder members Holger Czukay and Ursula Kloss.
Clutching his cherished space echo and tape delay units, McDonnell has delivered two tasty new dubs of 'Salmon Spungcake', a spacey, gently throbbing Bison cut that he co-wrote, produced and mixed for Claremont 56's 10th Anniversary box-set in 2017.
While the original version shied away from the dancefloor in favour of creating a hazy, horizontal mood, McDonnell's 'Zip It Shrimpy Mix' re-invents the cut as a hypnotic dub disco shaker rich in weighty bass, layered hand percussion, locked-in kick drums and spaced-out vocal snippets. In true dub fashion, flashes of the band's original instrumentation - effects-laden guitars, hazy electronics and meandering, deep space chords - float in and out of the mix at irregular intervals. It's the kind of remix you want to get lost in while wearily shuffling at 5am in a dark, sweaty basement.
The glassy-eyed, head-in-the-clouds fun continues on the 'I Think I've Got Gout Mix', an even more spaced-out affair that recalls some of the other inspired dancefloor dubs McDonnell has produced alongside Idjut Boys partner Dan Tyler. Stripped back, heavy, percussive and driven forward by sturdy kick-drums and the track's rich, warm bassline, this is a deep space dub disco tailor-made for space cadets and intoxicated sunrise dancers.

On March 15th Erased Tapes presents the invigorating and powerful debut solo album Lines of Sight by Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne. Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles - effectively capturing what the birth (or death) of a planet might sound like.

In Daniel's own words, 'Thematically, this music was inspired by birds-eye aerial images and the idea of perspective - how something incredibly complex like a river or the surface of the ocean is reduced to a simple line or shape when viewed from the heavens. The line between natural and man-made becomes increasingly blurred.'

Every strand is fresh, vital and purposeful. The description 'seamless' might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical, a touch of jazz and traces of Wyatt-style contemporary folk come together, each occupying their own space while acquiescing with the whole.

'Several compositions are derived from ratios and processes, and are highly calculated, while others evolved in a much more organic way. I wanted to create music that blurred lines between acoustic and electronic, organic and synthetic, composition and improvisation.
I've long been a fan of studio-based composition, but have always found the infinite possibilities on offer daunting and, often, a stumbling block. To get around this I set myself a challenge of limiting myself to the physical instruments in my possession - a few different saxophones and a bass synth, with no more than four tracks to record them,' he adds.

Lines of Sight follows Thorne's work as artistic director of the acclaimed, collaboration-focussed group Immix Ensemble. Together with experimental electronic artist Vessel, he co-wrote Transition released on Erased Tapes in 2016, described by BBC Radio 6's Mary Anne Hobbs as 'a remarkable new piece of music'. More recently, he worked with acclaimed modular synth wizard Luke Abbott, to create a four-part suite, which was premiered live in June 2017. Immix Ensemble have also performed special live commissions with Kelly Lee Owens, Dialect, Jane Weaver and Bill Ryder-Jones, among others.

Prior to leaving Australia, Daniel was fortunate to work with some of the country's leading new music ensembles as both a composer and performer, receiving commissions from the TURA New Music Festival and the Australia Council, as well as being appointed as Composer in Residence at the Western Australian Academy of Performing Arts. In the UK he was the recipient of the prestigious Dankworth Prize for Jazz Composition, and also undertook a residency at Metal Liverpool, which provided him with the time and space to create Immix.

As the first track under Thorne's own name, 'Iroise' was recorded for the Erased Tapes 10th anniversary release 1+1=X, alongside works by Nils Frahm, Penguin Cafe, A Winged Victory For The Sullen and Rival Consoles. He also recently remixed Manu Delago, known as the live percussionist for Björk and Ólafur Arnalds. After a first solo performance at Sea Change Festival 2018, the new year will see Daniel tour across Europe, promoting the forthcoming release of Lines of Sight.

Production duo Computa Games take the most slamming synth bass, the crispest drum machine hits, and the overall classic vibes of 80's dance-funk tunes to new aural heights. Sculpted using the best modern studio techniques, the 'Cosmic Dispatch' EP fuses funk, disco, soul and electro to various combinations, fitting the feel of the classiest nightclub or the grittiest backyard party. Each individual tune on the EP pairs with a unique vocalist or collaborator, as the project features guests Lovechild, B Bravo, Jackie Rain, NATALITA, and E. Live. There is something killer and personalized on this EP for every type of dancer, funkster, and headnodder around.

The Computa Games project is the product of the combined efforts of Martin Arceneaux and Chris Arenas. Joining their deep roots of live funk, electronic/live production and DJing, they formed in the fall of 2012, and quickly released two singles on the Supermart Produce label. The two debuted their live set at Monarch in San Francisco, with follow up performances at SXSW in Austin, and Tipitina's New Orleans. The group's third single "Rock Creek (Revenge)" was released exclusively on Beatport, where it was a featured track on the site's Funk/R&B page and stayed in the Funk/R&B Top100 for nearly 2 months, peaking in the top15. The group then released the "Grand Design" EP in September 2013 on Super Mart Records, followed quickly by a remix of The Pendletons single "Let Me Turn You On" featuring K-Maxx, and then a remix of New Orleans based funk band Galactic's "Heart Of Steel', featuring the legendary Irma Thomas. In October of 2015 Computa Games released their first vinyl 7' on ABC records with 'Do Your Thing' featuring K-Maxx b/w 'Feel Right 2Nite' which promptly established them in the burgeoning modern funk scene. Their follow up 7' was released in January 2017 with the single 'Computer Rock' b/w 'Computer Rock (West Coast Remix) on the New Orleans label Super Jock Records. Computer Rock garnered the duo more accolades with critics and fans alike.

" I used to live in rue de Clignancourt, and remember as a kid going to the 14th of July West Indian ball organized by my father rue André Del Sartre in Montmartre every year. There I would meet, among others, saxophonist Robert Mavounzy. Sticking to the area, my older brother had a band and often played at the famous venue La Cigale, where even Henri Salvador joined him for a jam from time to time."Since childhood Serge Fabriano bathed in music, to-ing and fro-ing between his native Guadeloupe and Paris where he grew up. He attended the music conservatory, learnt how to play bass, met and played with many musicians and was ultimately angling for a career as a music teacher. But Serge had wanderlust; he lived to meet new people and was passionate about travel.Thus, it was in a squat located rue de Flandres in the 19th district of Paris that Serge Fabriano met by chance zarb player Djamchid Chemirami, one of Iran's greatest percussionists, who invited him to the Arts Festival of Shiraz-Persepolis. After a month-long motorcycle journey, he and his guitar teacher, Roger Bénichou, arrived in Tehran. Sadly their guitars didn't survive the journey. It was there that he met, among others, Woody Shaw, Max Roach and his wife Abbey Lincoln. Serge also formed a friendship with saxophonist Gary Bartz and stayed on a month playing with the cream of the musicians who'd attended to the Festival.During the mid-70's, he alternated between teaching classes and live gigs, and performed in Germany with a funk band comprised of ex-GIs from the US Army. He also met the members of Chick Corea's group, Return to Forever, and especially Stanley Clarke who became a great source of inspiration to him.From 1978 onwards, Serge Fabriano put aside teaching and devoted more time to music. He became a musician's musician, doing studio recordings with rock bands. He also played with members of the Caribbean diaspora, which included the great drummer Marcel Lollia (known as Velo), Patrick Jean-Marie, Guy Conquette, Winston Berkley, Mino CineluDuring the "Ayatollah Comédie" musical comedy tour organized by the Journal Liberation, Serge met actor Pierre Clémenti (Il Gattopardo, Belle De Jour, The Conformist). This was a game-changer : "I was trying to record my first record. Clémenti suggested the Studio Beaubourg in Paris. "The group Fabriano Fuzion - Fabriano Unit Zion - was born.The band brought together some of the Caribbean's most inspired musicians: Martinican-born Mario Canonge on the piano (his first appearance on an album), Alain-Jean Marie on the synthesizer, Edouard and Pierre Labor on saxophones, Claude Vamur (Kassav ') on the drums, singer/percussionists Marie-Reine Lamoureux and Marie-Céline Lafontaine, percussionists Roger Raspail, Sully Cally and Hector Ficadière (Tumblack, Vent Levé) on Ka percussions.It is precisely the Gwo Ka - this ancestral 'root' music deeply embedded in the heart of the Guadeloupe musician - which constitutes the rhythmic backbone of this first opus. The Gwo Ka, the jazz, the poetry and the spiritual vibe are gathered here to form a splendid album; one of the true masterpieces to emerge from the French West Indies.Rarely will a band have borne its name so well than Fabriano Fuzion - its music is a multiple and collective work in which each element brings its identity and its richness, conferring to this major work a truly fusional dimension.

Rian Treanor will release his anticipated debut album 'ATAXIA' on Planet Mu this March. The striking full-length follows singles for The Death Of Rave and Warp's Arcola imprint as well as live sets at Boilerroom x Genelec, Nyege Nyege festival, tours in India and various high profile EU shows.

The title 'ATAXIA' means 'the loss of full control of bodily movements' and relates to Rian's music which is 'intended to make people's bodies move in unpredictable ways.' He adds 'the angles in the letters, the phonetics seem to mirror the geometry and idiosyncratic patterns in the music.' Rian explains that components of the tracks were made by generating a series of irregular events and re-structuring them, or by destabilising a pattern that is constant.

When asked how the album compares with his previous releases, he says 'My earlier EPs share a similar interest in angular and asymmetrical rhythms that are designed for club sound systems,' adding 'they were more improvised, focusing on sequencing and pattern modulation, using standard drum sounds and synthesiser patches. ATAXIA is more focused and stricter, it's more co-ordinated in terms of the track selection and the rhythmic structures. I spent more time refining the synthesis and sound design, pushing it further than the previous releases.' He expresses an interest in exploring opposites in his music: 'fluidity and syncopation,' 'systematic and unpredictability,' 'reduction and extremity,' 'irregular symmetry,' 'easy listening and brutal'.
There's clear a conceptual backdrop, but the music itself is not overthought. There's an immediate joy to much of the album - check out ATAXIA_D3 with its wonderful cut-ups and modulations of the phrase 'people don't understand people.'

The roots of Rian's playful sound are directly linked to his love of the music he grew up with. Coming from Sheffield, you can hear elements of industrial, synth-pop, bleep, extreme computer music and speed garage at play. From Cabaret Voltaire to Warp and beyond; the sound of his city has been, and is, an integral part of his musical development and is still a direct influence.

Last year, he noted in an interview that "I'm not a computer programmer, I'm not an articulate person in that kind of way. I'm a visual artist." Now he elaborates 'I meant more that I'm a visual thinker.' Drawing and visual art have been a fundamental part of his life 'since I was a child. I got really into graffiti as a teenager and around the same time I got into mixing and these both developed together.' You can sense the mind of a visual artist at work in his music which is also reflected in the artwork he created for this project.

As well as his visual art, installations and multichannel sound works he is involved in numerous collaborations such as with composer Nakul Krishnamurthy exploring the common ground between Indian classical music and electronic music and his work with improv saxophonist Karl D'Silva, plus his time studying with Lupo at Dubplates and Mastering in Berlin (who taught him the 'importance of reduction') have all helped shape and push his sound into other unique and adventurous zones. Treanor is developing on different levels and in different forms all at the same time, re-imagining the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of fractured and interlocking components.

The B-52's The B-52's on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Ranked at #152 on Rolling Stone's List of the 500 Greatest Albums of All Time Delightfully Campy, Intentionally Goofy, Lyrically Kitschy: 1979 Set Is Nothing But a Good Time
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): LP Bursts Forth With the Color and Vibrancy of the Brilliant Pop Within
The B-52's' Wild Planet and Cosmic Thing Also Available on Silver Label LP Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52's mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.
Ranked at #152 on Rolling Stone's list of the 500 Greatest Albums of All Time, The B-52's has its roots in the band's improbable genesis, itself reflective of the record's gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more!
Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Pierson's squealing organ as a starting point, the B-52's draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilson's unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but there's no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single 'Rock Lobster' and splendid cover of the ubiquitous Petula Clark standard 'Downtown.' You've never heard anything like this.

Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered limited edition LP presents the B-52's brilliant debut in a fidelity it's never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, you'll think the band's bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant 'dos.

'For the 9th Marionette, Kilchhofer and Anklin release their collaboration record Moto Perpetuo. Michael Anklin is a drummer and percussionist based in Switzerland. He's involved in various bands, collaborations and interdisciplinary projects. Anklin has previously appeared on a few recordings from Kilchhofer's Album The Book Room. Kilchhofer uses his main instrument - the modular synth - in a more electroacoustic manner, where he derives and processes voltages from Anklin's playing.

The album title describes the fascinating idea (yet impossible reality) of a perpetual motion - where no energy is lost yet energy is constantly being created, an endless music, yet far away from generic ambient or minimal music. Anklin's live drumming influences delicate feedback patches on Kilchhofer's synth, where dry and transient heavy percussion and synthesizer sounds erupt into a feral electroacoustic instrument.

A fluid concept of time where the Rhythmic Pulse constantly shifts is at the heart of the record. The idea was to create an instrument where acoustics and electronics are interconnected and dependent on each other. The smallest disturbance could sway the entire system out of order. This idea of a circular motion was at the center of the recording process and is also reflected in the artwork which resembles a topographical view of a closed natural habitat.

Kilchhofer and Anklin draw inspiration mainly from their rural surroundings and mountain landscapes where natural overtones and stumbling rhythms navigate through high plateaus and velds to stony ravines and wooden trails - on a never ending quest for an "ur-klang'; a primordial, ancestral music.'

Following a long-player 'Orbiter' on Avenue 66 and an untitled single for Office Recordings earlier last year, mysterious producer Trux follows up with a brand new EP simply titled 'Eleven'.

Throughout the record, textures of mind-bending ambient, dreamy harmonics and crushed, lo-fi experiments are manipulated across the 8-track 12" marking Office's fifteenth release.

The record sits among a discography of artists that includes Iron Curtis, Christopher Rau and of course, label-owner Baaz.

Burek is turning 18 with this one and we're honored to have the opportunity to welcome one of Chicago's most interesting producers to our family. His name is Mr Gene Hunt and if you've been into proper house music, it's impossible to miss one of his records.
For this EP, titled 'Reborn Rhythms', Gene delivers 4 full-blooded house bombs. All tracks are going beyond 8 minutes of length and are making good use of that time. Common denominator of all tracks is the irresistible and effective groove which is almost challenging you to try and not to move to it.

A side is reserved for two versions of already anthemic-sounding 'Deep House Thang' featuring Laffeyette Parker on the vocals. First up is the instrumental mix, and the second a full vocal.

Mr Hunt managed to come up with a skillfully balanced juxtaposition of a latin-sounding groove, catchy funk-sounding synth hook and gorgeous cascading pads. By the point the vocal drops, the whole room understand that the words are true.

Full vocal version is musically same as the instrumental but puts a much bigger spotlight to Laffeyette's soulful vocal. He's much more present and is developing the theme through several verses, in comparison to the instrumental one where only the chorus appears.

First cut on the B side, 'Get Down', is a ready-for-the-floor house track which during the first 20 seconds locks you into a heavy guitar-based bassline groove which bites like a bulldog. Throw Gene's drum programming into the mix, with several different vocal chunks exchanging roles and you've got something you'll be reaching for a lot. Serious house music vibes.

Second cut on the B side, 'The Message', could be described as the 'calmest' or the 'deepest' of the batch but that description doesn't do it justice. It's a beautiful peak-time house song which manages to build and move quite a lot without losing you in the richness of its piano chords, airy choir-reminiscent synths and beautiful strings. Simply timeless.

'Sometimes you wake up and you've just lost the plot. Is life great or is it not Should I eat more fruit Is buying diamonds rude' Ca$hminus are asking all the wrong questions. After their debut on Bordello A Parigi last year and a recent appearance on Credit 00's Rat Life imprint, the Belgo-Australiana duo unleash a collection of their wildest works to date. The package opens with 'Atlandwehr', a jaunting affair that could have risen from the filthy Berlin Landwehr canal, only to dissolve again after six frenzied minutes, leaving nothing but a trace of bubbles on the skanky surface. The gritty 'La Foire', a grimy take on Belgian new beat, fuses raw, stepping drums with a playfully gnarly synth line. Luckily 'De Vlasmarkt' is lurking around the corner: this is the awkwardly joyous soundtrack to an annual phenomenon in Ghent, where young and old folks gather on the 'Vlasmarkt' square after a heavy night of boozing, to collectively gaze at at the sun coming up whilst drinking Irish coffees until they drop. G-funk meets electro on the flipside, where Cora from Chengdu showcases her vocal swag on '' to a backdrop of supreme subbass and rattling beats. Man of the moment Cornelius Doctor of HARD FIST fame (the adventurous imprint he runs with Tushen Rai) delivers a beast of a rework that both hypnotizes and elevates. The acapella leaves you in charge of your own destiny.

Tiago's wonderful INTERZONA13 storms into 2019 with a huge double A from STASERA !!

A duo of high intensity workouts constructed from strands of pure Disco DNA
The A transports us to a place where Nile Rodgers presses record on a jam session out in Nigeria, while on the B, a completely dismantled Donna Summer staple is bent into irresistible new shapes - both 100% guaranteeing hedonistic communion at high volume
As always, one limited pressing