quête:j path

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

180g
In order to celebrate 5 thrilling and inspiring years, we gathered well-known artists, Goldmin regulars and emerging talents. It was really important for us to express the elusive nature of the Goldmin sound, in the form of a compilation tracklisting. Over the past 5 years, we had the chance to meet most of these guys in person, follow their very own creative path, share ideas, thoughts and there’s no doubt that they all had their part to play in crafting our sound. This intimate and stimulating kind of collaboration had to be expressed and there couldn’t be a better way to capture what we’ve been busily working for, than a serie of Various Artists 12″. What it comes down to is a quintessential, hard-to-follow Goldmin selection devoid of any specific standard or norm. And this whole compilation seems to reflect that non-septate artistic direction, this little something, which has grown throughout our whole catalogue, since the label’s birth.That’s why, picking these select few tracks, that could illustrate Goldmin Music’s essential freedom was probably our toughest work yet. It was also important to pick only the most original and iconic tracks from each artist. In the end each track had to be their most Goldmin one and they all have been tried in all types of situations, in club at 1 and 5 AM, on the highway at night or even staring at the ceiling during a sleepless insomnia session. They all fullfilled their duty.

Helsinki-based duo Timo Lassy & Teppo Mäkynen present a new two-tracker on We Jazz Records and dive deep into different moods on this 7" / digital single release. Lassy plays sax, Mäkynen (who is also known as "Teddy Rok" and via his Stance Brothers alias) plays drums and handles production duties. First up, we have "Zomp", a deliciously slow funk piece with enough groove to move mountains. On the flipside, "Dark Magenta" takes things leftfield with its tech-like rhythmic approach applied here onto an acoustic jazz quartet and hinting at Mäkynen's interest in electronic music.

As far as the term "award-winning" goes, here we have two of the latest "Finnish jazz album of the year" winners joining forces and doing what they do best. "Zomp / Dark Magenta" is out on Helsinki's We Jazz Records on 3 May. The 7" vinyl single follows the label's path of producing their singles with beautiful heat-pressed labels and serving them just right in generic brown sleeves.

ZamZam 70 is our first team-up with the man of mystery known as Marcus Anbessa. An enigmatic figure whose identity must remain secret for the time being, his infrequent releases on labels such as Lion Charge, Tribe 12, and The Most High (as “Unknown Artist”) are eagerly awaited by those who know, charting an uncompromising vision down a path untrod by the weakheart or the follow-fashion. We love music that builds its own sound world with only passing reference to familiar genres or signposts, music that believes in itself utterly - for this reason we feel genuinely blessed to present these two sides.

“March of The Falasha” is pure roots music that, firmly planted in the soil of dub and sound system, reaches back even further into the mists of time through technological means. Downbeat steppers is the idiom, pure heartbeat is the pulse. Like an old soul young in years but full of wisdom, a distorted flute melody wanders ahead through the undergrowth of bass, light filtering through the ancient canopy above in the form of swung percussion and flickering echoes overlapping and intertwining like vines and creepers weaving on temple walls. Ancient-to-the-future.

“Creator” strikes a different yet equally dread chord, 140-ish post-apocalyptic Rasta business focused squarely on bass and space, hard, insistent drums and infinite echo trails flinging from the snares and percussion, creating hypnotic tracers like sparks swirling heavenward from a well-tended fire in blackest night.

Imagine African Headcharge on Jah Tubbys, or a rootsman groundation resuscitating ancient machines in the crumbling ruins of a near-future world and you begin to see what Marcus Anbessa brings. This music reminds us that nature herself will some day claim Babylon and grind it to dust, regardless of our efforts to save it or hasten its fall.

Eagerly awaited debut album from oft-cited UK's most out-there band, features in the works with The Quietus and Wire already.

180GM PRESSING - 500 COPIES ONLY.

Difficult times required difficult music, my Yarns, that's why we had Guttersnipe; with its own sort of energy-kind there then.Reiner: A singular yield, a singular yield now.Barns: A whot
Reiner: A singular yield mate! Rich guitar strang, flow motive pounding underneath.Vox like Death come winding through the fields. Barns:  Hell of a way to describe a vocal style.
Me: Nah but for real my Donny, Have you read a presser 1 sheet lately It's the most

They say the PR era, circa late 80's killed the golden age of music journalism:
They say Guttersnipe have continuously melted all the forms that they come up against. They are right.  Because Guttersnipe is not part of a tradition we know well. You will identify the departure from it though, immediately, upon hearing My Mother The Vent. This LP, the promotional version of which, likely sits in your hands (disk, whatever). The innovation here is a FIRM commitment to the flowmotive polyrhythm underwriting the seared, nay fried, tonal rainbow and de-reasoned vox.

Not Nate Nelson, nor John the masseuse dude from Sightings but TIPULA CONFUSA.  Don't want to put the captain obvious pants on so tight I can't jump around the yard because why waste a good yard hang. I'll put on my blighty nighty instead. UROCERAS GIGAS has bridged so many gaps, finally unlocked the AxeWeld CODE and is really playing the thing. Not to mention bringing forth a world-view so utterly unique.  Good luck finding anything like it.

Finally some REAL disjunction in the music; clear and intended. In an age when most computer music composers use stochastic systems and still manage to drop some linear pathground shit, the brawler drums and slanky guitar constructions on My Mother The Vent are a genuine treat.  I've spent too much of my adult life so far hearing too much of this shit to not recognize REAL GAME. And here it crawls out of the grey shadows of ol' BLIGHTY.

Our post-music age: after the fine human endeavour known as music, the result of letting the cybernetic run ITS horrible game on us. I'm not waxing confusingly in a rarefied tone here. Nor running the boring sci-fi script. I really think that is were we is.  We left the human-music-on-a-human-scale behind and much to our detriment. Here we sit in our crumbling reality. But Guttersnipe come paleo, like the rhapsodes with long ass memories rattling off Homeric verse well into the age of manuscript culture, but here, with future tones.  Luckily. Otherwise, me and the record label here wouldn't be wasting our time and yours with a 1 sheet for My Mother The Vent.

So a proper first time on wax for these amazing creatures is a welcome addition to the world of things.  These drums and these guit-lines are so cranké, as they say here in my odd neighborhood.  These voices are so utterly expressive without even the damn language at hand ; like the great horns. We'll rinse this record out, I'll put on my old blighty nighty and go dance in the street.  Alex Moskos, Montreal, August 2018Guttersnipe is:UROCERAS GIGAS - Guitar, Analog Synth, VoxTIPULA CONFUSA - Drums, Drum Synth, Vox

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.

Laid back and chilled out, Andrew never lets anything or anyone bother him. He has an air of mystique about him which others often envy.

(Andrea Solitario) ANDREW SOUL Andrew from his real name, Soul as the part where his inspiration come from, is a native italian producer born in 1986.

Music has been the first and everlasting love for this guy who soon came into his city's underground scene: he was 15 years old when he walked into a club for the first time. Then everything came by itself: a fusion of house and techno, the passion for the acidized sounds filled his mind and his heart.

But listening wasn't enough: the love for the music was to much for not to create something.

So Andrew started a path made by wicked grooves, dropping acid synths and emotional vibes, huge baseline, soulfoul vocals, roland tr-707 on the drums: these featuring characterize at best Andrew's sound.
The love for the analog sound push him over the years to purchase some vintage drum machine and keyboards, to make his sound as better as he can, and to add to his sound some cool old flavour.

Having DJd for years in his native Italy, Andrew turned his hand to production a few years back and promptly set about making some of the most emotive and engaging analogue house and techno around.

Vinyl collector, record lover, for him there's nothing better than watching a wax riding a turntable and listen the music that come from it.
As an eclectic artist, in his sets, Andrew likes to mix from deep to techno, through the house, but people never know what to expect from his large underground music knowledge; old, classic, brand new tunes and own productions makes his set really sophisticated and different each time.

After working on music collaborations for several years, with some friends , early 2011 was time to start sharing solo productions with his first release on Paulatine Records, wellknowed Uner's label. 4 tracks that take attention of many wellknowed djs, like X-Press2 that played the tracks at MOS and on their radioshow, Adam Port who said "Finally something different..." and many others..
Then two vinyl release: first one on the great Barcelona based Kiara Records "Too Much Love Will Kill You", Julien Chaptal on remix, and second one on the New York based imprint Stranjjur Inc, on remix Kris Wadsworth and Baldo; "Close To You" placed 29th on RA Chart.
A great tune with the close friend Frank Naht alongside a remix for Fabio Monesi on friend's label Blackrose Records, and an EP on Espai Music to follow.
End of 2012 was good: EP come out on the Defected's sub label "Tenth Circle"
November 2012 was also time for releasing on Safari Numerique with David Labeji on remix, and the track "No Way" played by Richie Hawtin.
2013 full of work and innovation, with 2 remixes on italian Moan Rec for Meeph, and U.S. based Undulate Recordings for Frank Nath, a really deep EP on his new family Popcorn Records, and jacking mode on for the new release on Safari Numerique.
2014 starts with a vinyl only release on Popcorn Records Ltd, special collaboration with Peter JD and remixes from Amir Alexander and Franco Cinelli.

The path is long and Andrew's research is still long way to end...

Nothing Makes Us Jump Up From The Desk, Shouting 'whaaaaat ' Like A Bitter End New Release !

The Label Continue To Forge A Path That's Entirely Their Own, With Another In The Limited Pre-release Series...

'kneel B4 Thelma' On Side A, Flips One Of Her Biggest Hits Into An Utterly Futuristic Cyborg-soul Anthem !
Almost As If We'd All Forgotten How Good One Of Earth's Greatest 20th Century Divas Might Sound Over A Filthy 21st Century Klanken-banger !

On The Flip 'mast Song' Transports Us To A Seaside Tavern, Where The Old Folks Sit In The Back, Evoking (and Imbibing) Strong Spirits, With Traditional Shanty's While The Next Generation Find Communion In The Gentle Throb Of The 4/4 In The Tap Room Next Door

Light Years Ahead !

First Terrace Records is thrilled to announce that Justin Wright - the Montreal cellist & composer hand-picked for support duties by luminaries such as Colin Stetson, Hauschka,  Bing & Ruth, and the late great Jóhann Jóhannsson - is gliding calmly into the spotlight with his debut long player.

With an assembled quartet of violin, viola, cello and double bass, the record was tracked in Rolston Hall at the Banff Centre, in the Canadian Rocky Mountains, and carries in its sound the location's stately beauty.

Over the duration of Music For Staying Warm, nine experimental compositions and improvisations are unwound for the listeners pleasure, each with its own gentle patience, as Justin invites you to 'relinquish your sense of anticipation' and enjoy the drift.

Announcing itself like sunshine on frost, Harmonic Loops opens the record and begins to thaw the path ahead. Throughout the album, woollen strings swell at their unforced pace and combine to swaddle the brain's pleasure sensors in frequent moments of pure hygge.

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

In 1959 Michel Giacometti moved to Portugal and dedicated the following thirty years of his life recording traditional music all over the country. In the present decade Portuguese music has been thriving and finally travelling abroad, long gone are the days those hidden gems were kept in secret in this distant corner of Europe. The discovery of current Portuguese music sparked an interest to Portuguese music, past and present.
With both of those ideas in mind, Giacometti and the interest in Portuguese music, 'Antologia de Música Atípica Portuguesa' creates an anthology of current sounds to the future. You can see it as history being made or a broad catalog of sounds that live and breathe the experimental and electronic that is happening in Portugal. The first step happened two years ago with the releasing of the first volume on this anthology, 'O Trabalho' ('The Labour') and we now move onto Vol. 2, 'Regiões' ('Regions'), with each track connecting with a different province from Portugal.
Some names return to this volume, like Live Low with the beautifully haunting 'Montemor' or Gonzo (our own Gonçalo F. Cardoso), affirming his path in building detailed and processed field recordings music. More than a list of names, or songs, this second volume of 'Antologia de Música Atípica Portuguesa' recreates a passage throughout different landscapes of Portugal, constantly leaving a trail of past, present and future. The trail doesn't limit itself to the music, but to the traditions contained in the sounds and the stories spelled by the words.
The beautifully slowed haunting-waltz 'Por Riba', by Síria (Diana Combo), sets everything in motion and builds the way to Random Gods' upbeat march 'Gazulo à Estronca da Santosa'. 'Malta Inquieta' (Ondness) embraces the most modern/contemporary side of this volume, proving that 'Regiões' goes beyond the idea of catalog or even its own concept of 'anthology' and provides music that's hard to categorize or even judge by modern standards. We are not afraid to say it: 'Malta Inquieta' is an experimental jazz-electronic modern gem.
It's followed by the guitar of Rui Carvalho, aka Filho da Mãe, with 'Manta', closing the A side with one of his enchantments. B side strikes with the aforementioned 'Montemor', setting the tone for a different trip, building up on more abstract and freeform music by Banha da Cobra ('Asylo'), Fantama ('Lamento das Beiras') and the track by Gonzo. 'Regiões' finishes with the right tone, fields recordings worked by Luís Antero, that tie the connection between Giacometti and the now - with the now still happening and building up on the story of the future 'Antologia de Música Atípica Portuguesa'.

FLOAT proudly welcomes their second artist into the fold. UK electronic artistand Szun Waves band member Luke Abbott, presents a special 10-track album tocelebrate Piano Day 2019 - an international event series initiated by NilsFrahm which acts as a platform for piano-related projects. 'Music From The Edge Of An Island' sees Abbott divert from his typicallyexperimental electronic style to explore a more compositional approach centredaround VST instruments. Rather than the usual themes of synthesis andimprovisation, the album is lead by piano motifs, structured around emotivemelodies and sparkling arrangements. The record began as a part of asoundtrack commission by producer / actor Jessica Hynes for her film 'TheFight' and ultimately became a fully-realised album. The film script had acoastal setting that created the record's thematic idea: "I had this ideaabout being on the edge of England, almost ready to fall off a cliff into thesea but keeping your balance on the edge." The idea of writing for the piano had been ruminating for some months asAbbott found himself spending an increasing amount of time playing on theinstrument. Without a piano of his own though, he found a strangely enchantingway to fulfil his creative impulse. "I used to have an upright piano, but I'dgiven it away when I last moved house, so I ended up using a piano VST in thecomputer, which I actually really enjoyed. Writing the music became a bit of aweird fantasy process, I was in an odd headspace for a few days." The writing process was remarkably quick, resulting in simple yet inspiredpieces that subtly blur the lines between MIDI computer music and liveperformance. 'Music From The Edge Of An Island' can be seen as a collection ofgentle reveries that sway between the twilight hours, marked by moments ofsoft, contemplative ballads and more active and expansive motions. Openingtrack 'Sea' begins with a mysterious piano waltz before unnerving synth dronestake over. 'Island continues with piano triplet figures plus addedorchestration of cello strokes and airy glass pads, before heading into themelancholic 'Tree', bringing in more strings and added pathos heard in therestless piano motif. Quieter passages are contrasted with the Gamelan-esque'Moments' and the uplifting 'On Rope', whilst more lyrical moments on thealbum can be found in tracks such as 'Adjustment' and closing track 'ADifferent Tree'.

As An Undisputed Heavyweight And One Of The Leading Figures Within The Electronic Music Scene, Icicle's Recognized As A Highly Respected Producer - Among Other Ventures Through Steaming Releases Via Hospital Records, Critical Music And Shogun Audio. Propelling His Technically Advanced Production Style Into The 140 Bpm Spectrum, It's A Sight To Behold As Dj Youngsta Reveals The Next Ace Up His Sleeve. The Uk-based Veteran Conveys His Awe-inspiring Take On Dubstep With Four Tracks On A Twelve-inch Platter - Vehemently Battle-tested As A Dubplate And Ready To Off At A Dance Floor Near You.

We Are Immersed In Dense, Granular Fog. 'raising The Dead' Begins The Ritual With Hypnotism And Anxious Unrest. Eerie Lead Melodies Lure Listeners Onwards As Relentless Percussion Takes Hold. Rigorously Increasing The Intensity With Mesmeric Style To The Ruthless Beat Of The Drums - Fragmented Vocals Flicker Through The Mist. As Ethereal Spheres Seem To Vacate, A Disturbed Melody Guides A Path Into The Low-frequency Behemoth That Is 'nt'. Driven By Its Intense Groove And Sonorous Sub-bass Emissions, The Erratic Lead Staccato Does The Rest To Keep Us Fiercely Bouncing To Icicle's Percussive Pulse.

As If It Could Get Any Hotter, We Flip To A Promising B-side Only To Be Proven Wrong Twice. Initiating The Ceremony With 'shout Me' - Haunting Female Choirs Entrance Amidst The Thunderous Sense Of Anticipation. Evolving From Intricate Breaks To Straight Shut-down Maneuvers Without Skipping A Beat. In A Final, Fulminant Outburst, 'noughties Riddim' Goes On To Wrap Up The Masterpiece In A Most Mischievous Fashion. Cutting Through The Noise, Profoundly Satisfying Mid-range Distortion Surges Flare Up In The Distance, While Continuous Pressure Continues To Evoke Cries For Rewinds.

Fifth part of the Strata-East Dolphy Series, Glass Bead Games is arguably the crown jewel of the Strata East movement, an amorphous genre that treads an unusual path between post-bop, 70's avant-garde and spiritual jazz, with a groove.

Glass Bead Games is full of revelations at many levels. First, the decade of the 1970s did produce genuinely creative, "human" new music flowing from the jazz mainstream; second, Bill Lee was more than Spike's dad: he was a superlative bassist, a team player of the first order, a powerful catalyst who, if anything, deserves to be better known than his son; third, Billy Higgins was, as so many musicians insist, a once-in-a-lifetime drummer—the bellows inspiriting the collective flame.

Most importantly, Clifford Jordan was an artist of the first order, his playing so effortless and unforced, unselfconscious and focused, mature and wise that, at a time when altissimo fury was all the rage, it's small wonder his authentic voice frequently went unheard. His musical rhetoric is so personally expressive, its substance so compelling, the listener couldn't care less about the extraordinary technique required to convey its captivating message. Compared to some of his more acclaimed peers he's a less aggressive yet paradoxically more directive and shaping influence. The climaxes, rather than spelled out, are merely suggested, registering with deep and lasting impact on the listener. It all comes down to learning the language, those precious little beads. Not every player, including Jordan or the listener, can use it like Shakespeare, but all can learn to read Shakespeare and understand its principles of arbitrariness and serendipity, of invariance and transformation.

Jordan, no less than Shakespeare, requires a like-minded cast of players—in this case four musicians of such redoubtable proficiency that each remains committed to keeping the beads in play. He's not a man content with a mere musical "dialogue" with his fellow musicians nor is he about to take the initiative in pulling his troops up to his level. Instead he begins to tell a musical story that's so compelling his three comrades are inspired equally to contribute to a collaborative narrative. This is brilliant music-making by a Coltrane- influenced successor who feels no obligation to mime the predecessor. It may be the most significant saxophone performance on record since Coltrane and, providing the listener stays with it for any length of time, the most deeply satisfying. Jordan's game—so effortless, unforced, and "level"—erases distinctions between composed and improvised, soloist and ensemble, narrator and narrative, the dancer and the dance. It seems incapable of wearing out its welcome.

By Samuel Chell/All About Jazz

It's safe to say that Detroit, a city steeped in economic, cultural and musical history, will soon weave its way into your soul should you spend any sustained time there. This rings all too true for Monty Luke. He has immersed himself in Detroit's scene since moving to the Motor City in 2008. His new eight track LP, released via Dogmatik, showcases the style of a new generation of Detroit producers carrying the beacon for a deep, Detroit sound that blends analogue weight and punchy drum programming together with masterful synth work and raw emotion.
Even at first glance the polarised artwork, an aerial map of Detroit, shows the more introspective nature of this Motor City ingrained release, with Luke purposefully steering away from writing club ready material. Introductory track 'City Lights' gives a first taste of this, combining swelling synths, dreamlike arps and crisp percussive hits. There's a real weight to the bass synth that compliments Abi B's soulful vocals all too well. 'Anton's Room' & 'Crime Wave' follow suit -the former with itslayered gritty bass, expansive stabs, glitchy bleeps and undulating arps and the latter creating a sonic swell between your ears manifested by a surging, panned arp, alongside sirens and punchy, gunshot like snares. Inspirations from Moodymann to Theo Parrish are clear to be seen in tracks like 'Move', taking a range of jazzy loops and samples and chopping them into a low slung, bouncing MPC laden jam.Progressing into the 2nd half of the album there's a transition from deep, Detroit house into harder hitting, electro territory. 'Willie Maze' with its killer drum programming, reverberating Rhodes and dynamic bass and 'Roja', combining emotive late-night chords and melancholic synth melodies, really honeinon that pensive, thought-provoking aesthetic. One of the highlights, 'Wasteland', is the best example of this transition -interlacing a commanding electro drum pattern with squelching, synth melodies and Serene Arena's introspective lyrics.
Then taking it full circle, closing track 'Block Is Hot (Black Hole Mix)' -co-produced by King Britt in Philadelphia (alongside City Lights, Crime Wave & Willie Maze), returns to the 4/4 path with a thumping party track, carrying through that raw nature emanating from the dark melodies and Monty's adlibbed vocals.
'Hard Work/ Not Hype' is a record flying the flag for those underground artists working tirelessly behind closed doors to produce material that's based on feeling, emotion and skill, rather than riding off the back of an inflated, socially constructed image. Monty Luke, as someone that follows that mantra, has been able toconstruct an album showcasing this, creating a real weight and depth to this release; it's raw, powerful and thought provoking, expertly capturing the soul of Detroit -the city that's had such a profound effect on him

DETROIT SWINDLE
Ouch that's HOT! Bring it on.
KRISTIAN RAEDLE/ INNERVISIONS
Yes please. Very nice.
AYBEE
Fanatastic Work Monty!!
ASHLEY BEEDLE
Thanks for sending over the Monty Luke album to listen too. It's a great
contemporary album with of course Detroit running through it's veins! It
really pulls you in and I think the arrangements and productions are great.
Fave tracks are City Lights, Roja, Willie Maze and Block Is Hot.
LAURENT GARNIER
Oh yes..This is so elegant and sexy. Love it Would love to play it
OSUNLADE
This one is a guilty pleasure vibe..hate that I love every song equally

New album from London-based Dutch-Zimbabwean pop
innovator Rina Mushonga.
Mushonga doesn't follow a linear path. The artist's music -
a blend of Afropop, indie and electro flourishes - is
informed by her own zigzagging life journey: Mushonga
emigrated from Zimbabwe to the Netherlands, then to the
diverse South London suburb of Peckham, where she now
lives and works.
Having read 'Metamorphoses' for the first time,
Mushonga's self-confessed 'year of transformation' ensued,
drawing upon myriad ideas and personal experiences.
Full of reflections on the cosmos and our place within it,
'In A Galaxy' is the musical embodiment of these musings,
whilst Mushonga also admits there's more than a passing
nod to the opening text on 'Star Wars' but on the whole
refers to how relative space and time are in how we
interact.
Four years in the making, 'In A Galaxy' was recorded in
Mushonga's adopted home in Peckham with producer Brett
Shaw, whilst having laid much of the foundations of the
tracks together with musical bestie and synth whisperer
Frans Verburg in his Rotterdam basement studio. The
resultant cornucopia of intelligent, diverse pop - that
Mushonga herself describes as sounding like 'Paul Simon
in a sweaty, African dancehall club' - is a welcome
introduction to 2019.
LP pressed on pink vinyl

Acclaimed UK producer, Cella Records label operator, and swiftly aspiring talent Turner has already stirred up the scene with quality shells more than once with his own acclaimed productions, receiving air-play from venerated key figures such as Mala or Youngsta. Laying down the law for its first three releases, it's time to showcase his undoubtedly equally effective A&R skill - welcoming none other than the Rochdale-based artist duo BFM (Bloodklart Fiyah Mandem) to the label roster. Consisting of JFO and Sativa, their collaborative output cuts through the noise - support from the likes of Grime veteran Slimzee and physical releases via Glassy Records and Hooded Up. Now stepping back on the controls to set the new year ablaze in style, BFM delivers a total of four extensively weighty cuts for Cella's fourth vinyl release. As the needle picks up the records' first grooves, 'Magic Carpet' sets path on a ride into a distant and barren territory - at once being enamored by its contemplative atmosphere. Unraveling its dynamic interplay of sound and silence, the authentic old-school instrumentation and lavishly saturated low-frequency surges keep us coming back for more. Catching a swift breath, 'Niyaz' lures us into spheres of droning reverberations - phasing in and out amidst vigorous square-wave leads and meticulously crafted foley effects - conveying its story with full force on a minimal platter. No exception to the rule, 'Shade Riddim' conjures another isomere of their signature ambience - wailing voices, enigmatic strings leading the way through dimly lit, high-pressure alleys. Droning along as conclusive proof of this releases' unquestionable intensity, 'Limitless' wraps up the madness - delivering a fourth, flawlessly executed bass-weight meditation. Timeless music on a twelve-inch platter.

Following 1 or 2 small run / mailorder lathe cuts, Polytechnic Youth follow it's hugely successful 'Popcorn Lung' label compilation LP, with it's first full length of the new year, and man... this one is just wonderful! A mighty record to kick off what promises to be another hugely productive, constantly busy year for the Crouch End based synth label.

PY often likes to quote the artist directly in it's press releases, and this one is no exception. Gabe's own words, more than adequately explaining the path leading to this killer set for 2019; 'It feels a little ridiculous to pretend that the person introducing you to Gabe Knox is some kind of bigwig press agent and not just Gabe Knox himself, so let me, Gabe Knox, tell you a little about myself in that hopes that you'll give my music a listen.

In 2014, after years of moderate success as a local musician and club DJ in Toronto, Canada, I looked at my collection of barely functioning analogue synths and drum machines and said to myself 'Instead of trying to unsuccessfully make music you think other people will like, why don't you make something that you'd actually want to listen to for once' I wanted to make music that had the drive shaft of Neu!, the punishing low end of King Tubby, the interleaved melodic lines of Vince Clarke, the melancholic, otherworldly whimsy of Raymond Scott and Delia Derbyshire, the hypnotic drone of Spacemen 3, and the analogue intimacy of Le Car. I wanted to bring the euphoria and hypnosis of dance music to the rock kids, and the energy and excitement of rock music to the dance kids.

This was going to be a tough sell in the clique-y Toronto music scene, so I figured the best way to get the music out there would be by recording when I can and self-releasing a steady stream of EPs online. They would all be a series, a snapshot of the evolution of that initial idea. ABC represents a compilation of the best songs of the first three EPs, subtly remixed and remastered to best suit vinyl. I hope you love listening to it as much as I loved making it.'

This really is a remarkable record. Displaying all the PY traits of icy cool blasts of minimal synth, motorik grooves, melodic pop via passing nods to early mute and sky records. Never before did label head Dom think he'd get the chance to namecheck 2 musical heroes from wildly differing poles -Vince Clarke and Spacemen 3- into one LP PR sheet, so he's understandably excited for this one's release!

250 copies on yellow wax in hand numbered, reverse board sleeves. Sure to go real quick....

Third LP of Cabaret Contemporain, French band (featuring Fabrizio Rat on keys) who use acoustic instruments (piano, guitar, bass, drums, contrabass) to produce a « hand-crafted » club music infused with techno. Inspired by Jeff Mills, Robert Hood or Drexciya, the five members already had a career on classical scene; their idea is not to replay classical techno tunes but to create a new path for the electronic music. 2 tracks featuring with the label boss, Arnaud Rebotini.

« Ballaro », which opens Cabaret Contemporain's third album, begins with light percussions, which seem to turn on themselves, while being conveyed by reverberations close to dub. After a few minutes of convolutions, the piece gets out of hand, transporting the listener into a rich form of pulsating trance, irrigated by a soaring melody and punctuated by persistent piano tones. « La selva »; more subdued, has the same energy, the track ending in an even more powerful way, a kind of paroxysm.

Finally, the strangest and most minimal « Cactus », features a singular groove, which evokes the most brutal house from Chicago, or the sometimes obsessive techno from Detroit. Just like other tracks such as « Transistor » or « TGV », fuelled by sweat and trance, Séquence Collective bears all the intensity of a techno cut for clubs' dancefloors. The only difference being that their music is not played with synths, drum machines or software, but with acoustic instruments. Dual curriculum The band is composed of five musicians and a sound engineer: Fabrizio Rat on piano, Giani Caserotto on guitar, Julien Loutelier on drums, Ronan Courty and Simon Drappier on double bass and of course Pierre Favrez on console. They are all in their thirties and met at the prestigious Paris Conservatoire in the late 2000s. However, all the musicians in the band have a double curriculum and navigate freely between the institutional realm and the underground or pop music scenes. Through classical or contemporary music, jazz and improvisation, rock and experimentation, they share a common passion for the original and futuristic techno of the 1990s, that of Jeff Mills, Robert Hood or Drexciya, which they have decided to reinvent and further in their own way. Not as a simple stylistic exercise practiced by virtuoso musicians, but rather as a new path for modern music, and for their generation. « The original idea » they say, « was to make club music by hand, like craftsmen. Like in the early days of jazz, our band managed to transform itself into a kind of dancing machine. Our music is therefore functional because it is danceable, but also mental and abstract, while offering several layers of listening. You can dance and play, have a purely physical and sensory connection to the music. But you can also immerse yourself in its listening, perceive refined harmonies or more complex rhythmic superpositions »

If the tones of Cabaret Contemporain are truly unique it is because each member of the band has developed a very personal approach through the use ''prepared'' instruments. The strings of their piano, guitar or double bass may recall strange machines with literally incredible sounds, obtained using objects such as chopsticks, clothes pegs, foil, hangers, a tiny pie mould or many other utensils from a DIY store. A collective energy

Cabaret Contemporain is first and foremost a live band that has been performing in venues and festivals since its inception in 2012 (Nuits Sonores, Siestes Electroniques, L'Aéronef, Le Trabendo, Philharmonie de Paris, Gaîté Lyrique, Rewire, Dancity, Barcelona Accio Musical...), both at traditional jazz and contemporary music venues, and more often at electro music hubs. When facing the audience, the band, which plays each of its sets in one go, without a break, shows an intense physical presence, which competes with the musical power of DJs who share the stage with them. Their performance, full of tension and repetition, which requires maximum concentration and a state close to trance from the musicians, is sometimes, according to them, « a mental journey and a mystic experience ». A dimension that brings to mind the historical techno culture and its dancers who, communicating on the dancefloor, were carried until the early hours of the morning by the power of the beat. An album inspired by the stage Since their beginnings, their compositions on record have drawn their energy directly from the practice of their concerts, whether referring to Terry Riley (2014) or Moondog (2015), an EP and an album dedicated to the repertoire of the two American artists, the original compositions of Cabaret Contemporain (2016) and Satellite EP (2017), as well as this new album. Séquence collective can be listened to as a condensed transcription of their inventions and their live experiments. The tracks, more than half of which were improvised during sessions held in the former Vogue studios near Paris, were recorded in live conditions, « like an old school rock band » they say. As usual, they invited a new musician to join them in the studio. After collaborating with Étienne Jaumet or Château-Flight, Arnaud Rebotini, César winner for best film music, added a welcome synth touch on two tracks (Pro- One, Prophet 600), which boosted the group's formidable collective energy. The album ends with « October Glide », again performed with Rebotini, a lyrical and lively track, built on a powerful and slow progression of timbres and percussions, which would ideally find its place at the core of a techno party « peak time »

The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants - Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note - 'the Cadillac of the jazz lines' - was outstanding in every way.

Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note - from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note - the finest in jazz since 1939, brought to you by Jazzman.

Tachyon Audio 003 is the first release by label boss, Nick Payne. Spurn (A1) leads off the E.P. with hypnotic minimalist drums playfully twitching with a roaming bass-line in a sci-fi electro sound soup. Definitely a 3:00 a.m. melter.

The second track, xYyX (A2), offers classic drum kit sounds pounding down through ethereal fading pads. This muscular groove is sure to warm up any room.

Side B starts with a remix of xYyX (B1) by profound artist, Doubt, who brings his own distinct nature to the E.P. This mutation takes the original elements and brings them into a similar but all new realm, taking the listener down a driven, but esoteric path towards feet moving.

The second remix of XyyX (B2), by well-known Denver, CO, USA sound engineer and musician, Soundguy Josh, is a short broken- beat experimentation with strong drums leading the way to a dramatic climactic crescendo.

The last two audio offerings are open-source locked-groove National Aeronautics and Space Administration (NASA) samples. The first, Kepler Star KIC7671081B (B3), is described by NASA as 'light curve waves to sound.' The second locked groove, Stardust Passing Comet Tempel 1 (B4), is an audio recording of a satellite passing through the tail of comet Tempel 1.

A haunting collection of experimental music by the celebrated electronic artist and sound designer, 'Refraction' continues Caminiti's exploratory path of deconstructed electronic sounds and structures as showcased on his last album (2017's 'Toxic City'), presenting four new pieces created on a Make Noise modular synthesizer with an emphasis on tranquil atmospheres and dub-influenced production.

This Make Noise Records release was Mastered by Rafael Anton Irisarri at Black Knoll Studios.

Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve
and Matte Jacket featuring artwork by Sean Curtis Patrick.

This release is pressed in an edition of 500.

Faces Records proudly presents "Cross Section", the debut album of Kez YM, the Berlin based japanese producer.
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It's been a long way since his debut EP at 4Lux Recordings was played by Moodyman back in 2008. Since then he also received support from influential people like Theo Parrish, Rick Wade and Cassy, just to name a few.

Strongly rooted on his Detroit/Chicago Deep House/Funk/Disco/Afro he rocks dancefloors from Berlin to Tokyo, and he's one of the current leading deep house dj's from Japan.
From downbeat to more uptempo tracks, this album is a perfect extension of Kez's path until now. Classy and lustful synths pave the way for a combination of elements that draw inspiration from his jazz masters, his motorcity heroes and a strong percusssive connection to Africa.

Bastet is the second album of LCC (Ana Quiroga and Uge Pañeda).

Bastet is a ritual study gliding the path from the rites of the ancient to the realm of the modern.

Bastet is the name of the ancient Egyptian goddess closely linked to music and female power who coerced humans to entertain her in order to keep her untamed animalistic side in check. Whilst absorbing this legend the second LCC release presents itself as a vast canvas of ritual, restraint and spacious sonorities. Stark and unnerving Bastet is not reliant on pure electronics as abstract theatre but rather utilises these tools to conjure a world circling the spheres and planes of symbolic human activity.

Recorded throughout 2016 among residencies at the legendary studios EMS of Stockholm, the Inter Arts Center of Malmö and their own studio in Gijón, Bastet is a rich experience: cryptic, visionary and utterly compelling. 8 tracks laying forth a deep listening journey into the netherworlds of human experience, movement, ritual and space.

Eric Maltz Had A Busy 2018 With The Release Of The First Two Records On His Label Flower Myth, The Frenetic Pathway Ep And The Dub-techno Informed Estuaries Ep. The Smashing Vocal Single Naked Broken Followed On Possible Futures As Well As A Remix For Marlon Hoffstadt, A Debut Performance At Berlin's Atonal Festival And To Close The Year, A Live Set At Tresor With Close Friend Levon Vincent Whose Novel Sound Label Released Eric's 2017 Double Ep Ns-17.

2019 Is Gearing Up To Be Just As Busy And Kicks Off With 'dream Journal', Two Long Form Cuts For Deep Dancefloors.

A Side 'dream Journal' Is One For The Rem Cycles. A Development Of Maltz' Signature Psychedelic Deep House Sound, Dub Sound Effects Jump In And Out Of Focus, Swirling Arpeggios Pan Across The Stereo Field And A Playful Piano Solo Take Turns At The Center Of The Stage As A Deep Bass Line And Funk-ready Drum Machine Hold The Fort.

On The Flip, 'subliminal Virgo' Is Exactly That, Hitting With A Loose Breakbeat And Echoes Of "dream Journal" Before Settling Into An Unstoppably Subby 4x4 Throb. A Synth Solo Hides Deep Under The Layers As Maltz Adventures Into The Dark Chasms Of Thought Gaps

The OUER guys just live down the road from us in Berlin and we have been crossing paths many times these past years so it is with great joy we can finally present a full EP with their unique approach to electronic music on Dirt Crew Recordings. Since their debut on 'HEIST' in 2016 Xaver and Oliver have consistently pushed their sound and production, on their own OUER imprint they released four EP's up till now and the latest called 'E' is just a few weeks old as we speak. The A side opens with the title track 'Stingray Nebula', a bliss composition of layered arpeggios underlined by a deep sub bass, building steadily towards etheric strings setting in and descending again with a break beat ending that builds perfect grounds for the following dance floor stomper 'Undine'. That second A side track is a great mix of Deep House and Electronica and is what makes OUER's music so special, almost entering trance territories here but keeping those Chicago and Detroit references alive. When we head over to the B side we encounter some new tracks that really made us want to release this EP in the first place. The beautiful 'Thales' contains live bass and percussive instrumentation and is a crossover indie-tronica gem. Following that is the deep 'Inside' where an 'emo' piano themed House jam meets clever vocal sampling and filtered synth stabs to produce a great going groove. Closing out we have some real ambience electronica for you in 'Train Ride to Bratsk', again played mostly live and using acoustic instruments recorded in their Berlin studio the OUER guys are crossing borders again and turned out this piece of goodness. Enter the world of OUER, we hope you like it as much as we do!

'Bobbie Gentry's The Delta Sweete Revisited' is
Mercury Rev's committed and affectionate
resurrection of an album that anticipated by three
decades their own pivotal expedition through
transcendental America, 1998's 'Deserter's Songs'.
From their recording lair in New York's Catskill
Mountains, the founding core of Jonathan
Donahue and Grasshopper with Jesse Chandler
(previously in the Texas group Midlake) honour
Gentry's foresight and creative triumph with
spacious invention and hallucinatory flair.
Gentry's stories and original resolve are brought to
new vocal life and empowerment by a vocal cast
from across modern rock and its alternative paths:
among them, Mazzy Star's Hope Sandoval; Laetitia
Sadier, formerly of Stereolab; Marissa Nadler;
Margo Price, the fiery new country star with a
punk rock heart; and Norway's Susanne Sundfør,
who cuts through 'Tobacco Road' with arctic-Nico
poise. Phoebe Bridgers, whose first record was a
softly stunning 2015 single for Ryan Adams' PAX
AM label, hovers through the acid-western
suspense of Gentry's 'Jessye Lisabeth' with floating
calm, like a comforting angel.

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

When the past and the future collide, unexpected things can happen. And when we have music at the core and such talent providing the raw materials being the vector for this encounter is a privilege we like to gloat. Carioca avant-gardiste Guerrinha's Repetentes 2008 is a project that is close to our hearts and minds through its rare ability to convey deep nostalgia in a playful futuristic way, renovating a tradition that is the quintessence of their hometown's musical heritage with a zest for jest. Exactly what the offer here in two irresistible grooves that, while maintaining the clarity of references they lie upon, refresh them in a joyful way: 'Missão Misturebar' and 'Judas Preist'. The flipside 'Gelo Geronimo' takes us across a similar path, but intensifies the emotional element and desnifies the rhythmic components to deliver the kind of track that only a master of French alchemy such as Gilb'r could transmutate by subverting its principles in a somewhat darker take. How about that for science

It gives me the greatest honour to finally be able to announce the release of this amazing triple vinyl masterpiece by log(m) and Laraaji on Invisible, Inc.

It's been over a decade since Laraaji first joined forces with log(m) in their Canadian studio in early 2007. In those ten years the trio recorded many hours of music. Over time these recordings, beginning essentially as live jams, were polished, dissected, processed, re-arranged and then finely and painstakingly distilled down to the 105 minutes of music that now form this album, which finally reached completion just earlier this year. The wait has been more than worth it.

The Onrush Of Eternity is a melding of minds like no other. Ever the pioneer of experimental ambience, Laraaji's signature hammered dulcimer, zither, mbira, auto harp, sruthi drone box and of course his exceedingly positive vibes are here combined with log(m)'s unique vision of gronky hi-tech psychedelic space dub. The resultant voyage into deeply meditative ambience and trance-inducing dub is as unexpected an outcome as it is a bona fide "Eureka" moment. It sounds neither like log(m) OR Laraaji....but of course like both. It is one of those rare collaborations that is, without a doubt, even greater than the sum of its already great parts.

Log(m) started making waves in the early '90s as Legion Of Green Men with their visually striking 12"s, complete with eternal opuscules (locked grooves) and mathematically inspired titles, all lovingly issued on their own Post Contemporary imprint. These deservedly got the attention of Richie Hawtin who promptly asked the duo for an album on his own classic Plus 8 Records. 20+ years later and the music (much like their name) has morphed into something more sophisticated: even more complex, atmospheric and deeper than ever.

Laraaji's reputation of course precedes him: he first came to wider attention when Brian Eno released his "Day Of Radiance" as part 3 of his Ambient Series in 1980. Since then, Laraaji has released over 40 albums, yet his stellar path seems still to be on the ascendant - a recent landmark being the 2017 "Sun" series of albums for the wonderful All Saints' Records.

This unique triple LP in tri-fold sleeve is limited to 200 copies on coloured vinyl and 300 copies on black vinyl featuring ten of log(m)'s signature eternal opuscules and cryptic engravings on all three discs.

Following a run of sought-after releases on cassette from artists including Anthony Naples, Xvarr and E Ruscha V, Good Morning Tapes switch to vinyl for their latest (and first with HJ).

By Mahbunzi Nahgo Pihndi ("All the Healing Green Leaves of the Forest') aka Brian Close, one half of New York avant-garde duo Georgia:

'This record is an extension of a foray into trance ritual music. It is structured as a companion for film, meditation, vision seeking & sound rest.

It is by nature a nature worship record, combining acoustic percussive improvisation, sensory foley, vocalized staccatos, and a specific brew of physical / metaphysical sound relations... mind hush / thought flush / spirit rush / sun rise.

Inspired by an initiation ceremony of the Bwiti / Fang people of Gabon. This collection relays a fragmented branch of timings of this ceremony and proposes other paths for the sacred (Mougongo) instrument.

Recoded + Restructured + Reflected as a time capsule, with fullest respect / blessings to breeze the Bwiti understandings through the current climate.

Proceeds of this record will be donated to Tata-Yo (Nganga), Ebando.'

The latest episode on Piezo's no nonsense, hand stamped and heart warmed Ansia label has arrived! ANSIA003 is the follow up to his early 2018 'Parrots EP' and for this release the Milanese producer has enlisted 3 other disparate yet like minded artists to let loose on this monster 4 tracker. StabUdown Productions (James Donadio aka Prostitutes) kicks it off with the opener 'FyeRRR!' A deadly burst of blown out ragga replete with an arsenal of kicks and vocal cut up shrapnel. Next up label head Piezo drops 'OiOiOi', a masterwork of electro gated basslines, jungle breaks and absurd delay feedbacks. A perfect continuation of the surrealistic/abstract path started by tunes like 'All My Money' on 'Parrots EP'. Fresh off his Lobster Theremin's album, Kreggo/G-23 (Super Rhythm Trax, Secret Rave, Art-Aud) delivers 'Ligeti': a flat out mover with it's skittering percussion and deep haunted stabs hovering around the supernatural subs. It all finishes up with Bristol's Facta, whose releases on Idle Hands, Livity Sound and his own excellent Wisdom Teeth really needs little introduction. 'Not Now' is an elastic, low gravity heavy hitter that snakes through bass bins and before you know it, you're completely wrapped.

Tårne Spirer is blood too heavy for circulation, hope is a naïve but natural attitude, deprivation is everything...

Tårne Spirer's 'Varm Blod', their first EP for Instruments Of Discipline is a result of their love for cold, non-danceable techno, power-electronics and Hölderlin.

Tårne Spirer is Kelvin Brorson Thomasen and Jesper Bagger Hviid; starting in 2015, their debut cassette was a result of their mutual love for hardware synths, drum machines and soundtracks.
Through the last years the duo has mainly been collaborating with, recording and producing underground metal bands, their devotion to the deep realms of the Danish metal underground has led them down a darkened path.

With Recent Appearances On Boiler Room And The Groove Magazine Podcast Plus Sets Across Asia And Europe, Jamaica Suk's Fearsome Techno Sounds Are Winning Fans Far And Wide. A Year On From Her Debut Release On Her Own Gradient Label Comes This Stunning Second Volume.
A1 Stinger Ray Kicks Off The Ep With Zingy Modular-style Synth Sounds Pulsing Over A Bubbling, Murky Bassline. Sheet Metal Snares Punctuate The Beat, With A Switch-up Halfway Through Into Gnarled, Distorted Synth Crunches Catching You Unaware. These Brutalised Rhythms Morph In And Out Of Hypnotic Arpeggiated Pulses To Make For A Hallucinatory Ride With Ample Dashes Of Psychedelia Throughout.
A2 Fallen Sets It Outs Stall Immediately, With Filtered Down Acidic Bass Playing Out A Jagged Groove. A Manic Counterpart Mimics Its Rhythm But Dizzyingly Delayed Off The Beat To Create A Rugged, Funk-fuelled Feel. Cymbal Rides Pitch Up And Down, Unidentified Snarls Of Fx Mutate Around The Edges, All The While The Sharp Hi-hats Keep The Metronomic Heartbeat Going.
B1 Whispers Ups The Intensity. Delicate, Arpeggiated Chime Sounds Set A Crystalline Mood Before Swathes Of Intense, Darkly-tinged Synths Swell In And Out Of Focus Atop The Throbbing Kick Drums. The Effect Is That Of A Factory Full Of Machines Growing A Mind Of Their Own, Malfunctioning In A Pleasing Harmonic Dissonance.
B2 Twilight Rain (vinyl Only) Completes The Set With Infectious Triple Kick Drum Patterns Underpinning Dramatic Drum Hits And Warped Atmospheric Shivers That Create A Spooky Feel As Droning Bass Tones Carve A Path Through Your Speakers.

Perhaps one of the most unique and unlikely exponents of the highly collectible genres of ambient electronics, experimental tape-music and PINA (Private Issue New Age), this English-born Jamaican- raised sound designer, artist and existentialist furrowed his own unblinkered path through lesser chartered electronic fields for many moons before eventually teaming up with Bill Laswell (with Material) and Daevid Allen in New York to bring self-taught synthesis to Gong during their most oblique periods.

Creating two impossibly rare self-pressed vinyl LPs of conceptual inner-visionary outer-galactic angular tonal-dronal alien-art soundscapes in the process, the man known under figure shifting guises such as Dennis Wise/Denis Weise/Dr. Wise etc, combined a culture of sound system circuitry and radiophonic trickery adding Tea-pot poetry and sci-fidelity future- folk to his magnetic mesh.

Presented here as the first ever dedicated Wize Music collection this record combines compositions spanning 1979-1984 in both a solo capacity as well as small- group projects featuring members of the Emerald Web band.

Imagine a comic book where a Funkenstein monster called 'Laraaji-Scratch Perry' invaded your record shelf while Komendarek and Holger Czukay kept lookout... Dr. Dennis might be the only one Wise enough to outsmart all of them with his powerful amorphous anaesthetic.

After the solo album Paths Of The Errant Gaze in 2016 Reinier van Houdt returns to Hallow Ground with Igitur Carbon Copies - an album based on the unfinished gothic tale Igitur, a collection of texts that eventually was abandoned by its author Stéphane Mallarmé in 1869.

Connecting with Mallarmé's obsessions about chance and destiny, Igitur Carbon Copies is the fragmentation of all the roots that ran under its predecessor Paths Of The Errant Gaze and brings these to a provisional close: guided by David Tibet's voice reading the reworked text we descend through spheres of deserted anthems, disembodied voices, morse signals, crank calls, corroded tapes, radio statics, stones, while doing counting games. Here the acoustical spaces are manifold, blended or shifted in a heartbeat, where far and near, up and down are relative, where Riemann's god is pointless and angels are enjoying their space. Here perception is a vice that constantly hallucinates realities.

Reinier van Houdt started experimenting with taperecorders, radio's and objects at a young age. Later he studied piano at the Liszt Academy in Budapest and the Royal Conservatory in The Hague. He developed a fascination for all matters that defy notation: sound, timing, space, physicality, memory, noise, environment - points beyond composition, interpretation and improvisation. He has built himself an unusual repertoire that consistently resulted from personal quests; from composing with non-musical sources, from collaborations with composers and musicians, from research in archives or from unorthodox studies of classical music. He has collaborated with artists like Francisco López, Maria de Alvear, Robert Ashley, Luc Ferrari, Annea Lockwood, Alvin Curran, John Cage, Christian Marclay, Walter Marchetti, Charlemagne Palestine and joined the legendary outsider-collective Current 93 in 2012.

To throw a CANDELA is a popular expression for hosting an impromptu encounter revolving around tobacco, fire and music. CANDELA and fire are used as metaphors of passion, warmth and love, and this is what CANDELEROS transmit in their live performances, delivering their very own unique Afro-Caribbean vibes with a strong identity: folklore and psychedelia given a modern twist in a ritual of catchy drums, surf guitar riffs and South American percussions.
Infusing punk energy into their remarkable interpretation of traditions, the six-piece band embarks on a journey through the vibrant and immensely rich musical culture of the Caribbean, fusing merengue, champeta, salsa, and son, with bullerengue and cumbia; constantly reinventing themselves.
William, Fernando, Urko, Sergio, Alex and Andrés, come from different regions of Colombia and Venezuela. Their paths crossed in Madrid, Spain, where the Latin American family comes together through art and culture, gathering in diverse groups that focus on bringing their common cultural heritage to the world.
Their passion for endless musical improvisation, always crossing the thin line between genres, can be felt in these two tracks selected by Galletas Calientes Records .
A-Side 'La Cumbia Del Chinche' is an experimental, mind-bending cumbia, driven by a heavy mix of electronic and acoustic drums, hissing guacharacas and hallucinogenic guitars.
B-side 'El Boleta' is a totally freaked-out, uptempo merengue; a clever blend of subtle electronic drums, organic and hard-hitting percussions, psychedelic guitars and keys with the iconic ghostly tremolo and trippy reverb of seventies Peruvian cumbia.

Following the success of 'Stellar Tunes', Italian maestro A Credible Eye Witness and his partner in crime Ghost Ride have returned into the studios to bring you this very special phenomenon. Top notch 'Random Research' introduces four tracks of pure electro madness, starting off with well named 'Synthesis', a fusion of both producers creative talent into one of a kind track that celebrates their immoderate taste for mind blowing electro modulations! Pounding 'Magnetic Force' offers a powerful electro monster based upon hammering beats and hypnotic vocals. A pure Dj tool, perfect to drop in the middle of set exactly when you want to lead your crowd into harder areas. Textured 'Metis' on the flipside continues where 'Magnetic Force' stopped to offer more psychedelic and urban melodies. Combined to a groovy bass line, the track appears to be a real winner while 'Leda' slows down the rhythm for more relaxing and no-nonsense electro tinted with acidic loops. The 'Random Research' EP sees two uncompromised artists explore uncharted territories, unusual dancefloor paths to take the listener to a higher level of electro. A must have 12'' ahead of its time, even better than 'Stellar Tunes'. Are you prepared enough for that

Jan Bertil Svensson: co-founder of the legendary Börft Records, member of arch techno-primitivists Frak, the man responsible for Villa Abo and all-round underground don active in the field of machine music since 1987!

Whilst Jan's output will always conjure comparisons to Techno with a capital T, he has (and continues to) plough a singular and peculiar path in the realm of electronic music. For the Glasgow-based Full Dose, he presents his first ever solo 12' under the name of J.B.S: a four tracker of sluggish, minimal funk that bears the hallmarks of his most classic work as Villa Abo, and adds dashes of the brutal grit that his Studio SS project is infamous for. If there's any sort of recurring theme in Svensson's work, it's playfulness and humour, a particular Scandinavian form of sonic banter that cuts right through the po-faced, black-clad heteronomy of much of today's electronic landscape. The music on this record, with it's odd blend of stripped-back synth pop and brutish dungeon funk evokes exactly that: a body of work that doesn't even seem capable of taking itself too seriously, yet evades anything resembling a recognisable piss take. After all, nobody said that humour and credibility in music had to be mutually exclusive, and J.B.S is a master at weaving the two together at will.

In a world where dance music is often subjected to ludicrous conceptual analysis, sometimes the combined effect of hot circuitry, sincerity, vivaciousness and an anomalous attitude are the only thing for it. But then again, this is not just dance music either...