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Maestro Egisto Macchi (Gruppo di Improvvisazione Nuova Consonanza - The Group) recorded this mystical ethnographic trip to the South of Italy imbued with its rites, superstitions, magical symbols and popular mythologies in 1977 for the TV Documentary 'Sud e Magia'. Astoundingly evoking the intensity, magic and psychedelia of its subject with the use of inventive and unconventional techniques (aerophones, crystal glasses, prepared piano), Macchi harmonizes kindred spirits from transcendental, religious and metaphysical sound forms. Produced in the Feeling Records Studios, Turin, which had the highest level of equipment and technicians, this pinnacle of experimenal library music is released for the first time with audio restored from the original masters tapes.

Optimo Music presents “Vanessa 77” the debut album from New Zealander Vanessa Worm. Originally due in May it was rescheduled due to the lockdown but we couldn’t wait any longer to get it out into the world, so here it is, on vinyl and digital.

After entrusting us to release 3 much loved singles it seemed right to let Vanessa stretch out across an album and show the world what she is about and how talented she is. Vanessa is exactly the kind of artist Optimo Music dreams of finding; her music fits in with no genre and no scene – it is its own genre and its own scene. Musically free and anarchic, Vanessa conforms to nobody’s dogma. Before lockdown Vanessa played a series of Southern Hemisphere live shows that entranced all who saw them. Hopefully next year she can come and do the same in the Northern Hemisphere.

We asked her for a few thoughts about her album. Vanessa says – “Vanessa 77, like most creative endeavours is a journey of self discovery. Mentally, emotionally and creatively. I spent most of my time alone in winter 2019 – focused solely on personal development & self realisation via the creation of this album. It was a way for me to put my mental state onto a plate – the joys, the fears, the epiphanies, and so on. I so desperately wanted to share what I was learning with the world too – I intended for Vanessa 77 to help others to heal, self-realise and alchemise. It was a 9 month process of death and a re-birth from the old into the new. Much like the world is experiencing now entering 2020, I hope this album can provide some form of healing, soothing, celebration and act as a sub-conscious guide for us as we enter into this New Earth. Thank you to all who listens, enjoy!”

This is the 4th ep that continues a volume of a 5 ep project. Its own kind of album type edition so to speak. Destination celebrates the drum and bass genre with its own style reminiscent of Aphex Twin and Squarepusher. type programming. It fuse’s eclectic beats with a more common flow of bass licks that cruise throughout the track. With a more psychedelic presence this track offers a complexity of rich sounds that will encapsulate any avid lover of electronic music from the headphones to the dance floor. Bouncy and fun yet with deep exploration of ‘Abstract sounds’ bringing a serious edge, Destination is equipped for any explorer seeking any type of Destination. Then comes Arrival. Not an ordinary piece of music, with the artist expressing themselves from past musical influences, to curve their own piece of storytelling art, through audio sonic means. An inner world reflective explanation can be as follows - An epic piece revealing the adventures of seeking depth, from ones dense conscious reality, tribal like mannerisms, traveling to a higher frequency of light and wonder, breaking through to the heart centre of ones own unique truth. By doing so, welding together the whole aspects of being, Arriving at ones own true balance of self. Reuniting with the dense tribal like self yet with a complete transformative understanding of life and self in relation to life as a whole. Ones outer world of reflective explanation can be this - starting from earth, leaving the tribal terrains of earth based reality, exploring out into the cosmic wilderness, looking back from a distance, witnessing Earths magnificence and enigmatic beauty. Continuing to swim out to the depths of the galaxy to ‘Arrive” at an unexpected splendour unknown to the human consciousness ,to a cosmic giant….. giant what? This remains to be unseen! It’s left to the imaginators discretion of wonder within the experience of the audio sonic delights presented in,….. ‘Arrival’.

Midnight Resistance ist das 4. Album von The Toxic Avenger. Und zweifellos das außergewöhnlichste, bei dem seine musikalische Handschrift am besten zur Geltung kommt. Das Album gleicht einer Symbiose aus unterschiedlichen Einflüssen und Elementen, von energiegeladenem Elektro bis zu Popavancen, vom klassischen Song bis packenden House der 90er Jahre, vom neoklassischen Piano Revisited bis zum aktuellen Synth-Pop. Ein Album, bei dem der Fokus klar und direkt auf Emotionen und Gefühlen ausgerichtet wird und die Technik bewusst einen Schritt zurück tritt. Keine Frage - es ist auch sicherlich das Genre durchbrechendste und dabei offenste aller seiner Alben, bestückt mit echten Pop-Singles, wie die berauschende "Lies" (feat. Look Mum No Computer), die nostalgische Ballade "Mandala" aus den 80er Jahren (feat. Ornette) oder der packende Popsong "Rent Boy" (feat. Jay-Jay Johanson). Ein besonderes Highlight des Albums ist die Zusammenarbeit mit Maxence Cyrin bei dem sehr ausdrucksstarken und emotionalen Titel "On My own". Die wohl größte Überraschung dieses Al- bums besteht darin, dass Toxic Avenger bei "Les Heures" das erst Mal selbst singt und der Platte eine ganz besondere Note schenkt. Zum Abschluss beglückt Toxic Avenger mit zwei besonderen Gäste. Diese runden die Platte mit der luftigen und hedonistischen Teilnahme von Simone bei "Falling Appart" und dem Spoken Word und immer ungewöhnlichen Flow von Diamond Deuklo auf dem treffend benannten "L'Avenir d'Avant" genussvoll ab. Über zwei Jahre beschäftigte sich Toxic Avenger intensiv mit modularen Synthesizern – aus seiner leidenschaftlichen Klangforschung ist nun ein neuer Sound entstanden, der die Seele der Synthesizer "lebendiger" und organischer erscheinen lässt. Hier ist ein beeindruckendes Werk eines "Klangchirurgen" entstanden, dem es gelingt Stimmen im Detail zu sezieren und ihnen eine magische Aura zu verleihen und dabei ebenso eine intensive Reise in die Tiefen von Melodie und Klangwelten unternimmt, ohne den Fokus auf die Songs selbst zu verlieren. Dieses Album wird zu einer Zeit besonderer Aufmerksamkeit und Sichtbarkeit für The Toxic Avenger veröffentlicht, der gerade die Musik für Hugo Boss Parfum kreiert hat: (Europa/LateinamerikaKampagne für TV/Kino und Web for the World, für zwei Jahre sowie die Musik für die nächsten Web-Werbung von Armani und Yves Saint Laurent unterschrieben hat

Like many electronic artists, Ryan Lee West aka Rival Consoles spent his early years experimenting with IDM, glitch and dance, but one consistent element in his musical journey has been his desire to create a more organic, humanised sound. Through these experimentations he has found a process of producing electronic music that feels close to this urge. Restricting himself to a small selection of analogue equipment, West engages his hands directly with instruments and is very selective about what he then records into the computer. He reduces musical parts even further, leaving enough space around the sound for it to breath.

‘Odyssey’ is a reflection of West’s quest to create atmosphere and space from minimal arrangements. ‘I don’t like music to sound overly laboured, so I restrict how much is going on. I’m kind of obsessed with the idea of reduction.’ The new 5-track EP was mastered by Naweed and will be released worldwide on October 21 in the form of a 12" Vinyl and Download via Erased Tapes.

‘Odyssey’ and ‘Voyager’ are both incredibly stripped down and have a great sense of space throughout them. It's all about using the right ingredients at the right points in time. A lot of these ingredients are short recordings, such as ice cracking, mechanical clicks, clicks from synth errors, sounds of debris, guitar plucks etc., which interact with the simple arrangements and create little hints of rhythm. I also love the technique of swelling in music, but I realised that hardly anyone has done that in electronic music. So when I first got the synth to swell in and out with the opening chords of ‘Philip’, it was a great moment. Because it creates a human mood in a matter of seconds, which is very difficult to do with electronic sounds. That track is very important to me, and I think it will influence how I make music in the future.’ – Ryan Lee West

West will perform alongside his contemporary composer mates Ólafur Arnalds and Nils Frahm for a special electronic Erased Tapes night as part of London’s The Hydra series on October 18. The same day will also see a special in-store event at Phonica Records, where West will showcase the ‘Odyssey’ EP amongst other tracks on his beloved analogue gear, joined by South London artist Supermundane creating a live art piece in the shop window.

"What do you do when the body has been through trauma? What do you do with a new body? How do you drive it?

I want to reconnect my mind to the body. I don't know whose body this is anymore. How do I rebuild my physical strength when I'm so tired? How do I accept this body and care for it?

I want to love my body. I want to accept it." (Ikonika, 2020).

Of course, Dubblestandart have been keeping a version of the dub flame alive for the last two decades. Formed in 1988 as a reaction to the stagnant Austrian pop scene, the group was heavily inspired by the Black Ark, On-U Sound and Jah Shaka, infusing such dub influences within their heady blend of hardcore reggae and new wave, which soon brought them into the European public's consciousness and as a kind of "European" version of the famous DUB SYNDICATE. Soon, they were so in demand as to be backing Lee Scratch Perry, dub poet Lilian Allen, Dillinger, Ari Up, Ken Boothe, Marcia Griffiths, Chezere and orthers. Well, Austria's / Viennas's finest moments in dub working and collaborating with the new technological dimension of modern dub : Paolo Baldini from Italy. Baldini's stunning excursion into deep dub, chilling dub and dubble-tough dub will reach the DubFiles into perfection @ DUB ME CRAZY. Paolo Baldini's handling of this mission has been exemplary: his production and remixing skills are pleasingly individualistic, retaining plenty of originality and professionalism without seeming stoic, dull or contrived. His collaborations with Mellow Mood, Hempress Sativa, Dub Fx and others are showing faith of what DUB is living for. Since 2007 Paolo Baldini works under the top level name "Alambic Conspiracy" and became world class dub extraordinary performer, bass player, mixologist, producer and provocateur!

Swiss jazz bliss! We Release Jazz is very, very, VERY happy to present its sixth release (following Ryo Fukui’s Scenery and Mellow Dream, Le Cercle Rouge’s soundtrack by Eric Demarsan, Stuff Combe 5 + Percussion, and Marc Moulin’s Placebo Live 1971) coming straight from its beloved hometown of Geneva. Boillat Thérace Quintet’s self-titled album is available for the first time since its original limited private pressing in 1974 and comes as a vinyl LP as well as a digipack CD* (with 3 never-heard bonus songs). Full of prolific and inspired local clusters and boosted by the recently launched Montreux Jazz Festival, the Swiss jazz scene was vibrant and inventive in the 1970s, notably in the region surrounding Lake Geneva. This is precisely where jazz activist and brilliant pianist Jean-François Boillat and wind instrument master Raymond Thérace formed their quintet whose dazzling debut album was recorded in 1974. An absolute Lemanic gem of the soul-jazz/modal kind, the self-titled album includes superb covers of Freddie Hubbard’s “Straight Life”, Keith Jarrett’s “In Your Quiet Place”, and Rahsaan Roland Kirk’s “Sweet Fire”, plus groovy original compositions from the Boillat-Thérace crew. Helvetian fun facts: the velvety “1224” is dedicated to Geneva’s public transport line Tram 12, and one exquisitely funky track on the album is named after the famed yet elusive (and locally legendary) Swiss Marmite: “Cenovis”! This is reissued in conjunction with Boillat Thérace Quintet’s My Greatest Love featuring Benny Bailey (1975), also available via We Release Jazz. *The CD version includes 3 bonus tracks (Herbie Hancock, Wayne Shorter, and Claude Engel covers), never released before.

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails).
Originally released in 2014 and issued on vinyl for the first time, this third album features “Get In Your Car” and a previously unreleased 7 minute version of the King Crimson classic, “21st Century Schizoid
Man”.

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails). Originally released in 2009 and issued on vinyl for the first time, this first album features “Noise In Your Head”, “Quicksilver” and “Is It Wrong”.

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails) as well as Guest Human on this album, Robert Fripp.
Originally released in 2011 and issued on vinyl for the first time, this second album features “Sea Of Size” and “Small Town Psychopath”

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails).
Recorded in 2010 at London’s Scala theatre, and issued in its entirety for the first time, the concert features Guest Human throughout, Robert Fripp. The set list includes Humans favourites “Labyrinth”, “Sugar Rush” and “Demigod”, as well the two encore tunes, covers
of Nancy Sinatra’s “These Boots Are Made For Walkin’” and Jimi Hendrix’s “Purple Haze”.

Listening to Angelo Repetto’s music, it leaves you with some kind of optimistic melancholy. There is always this touch of euphoric sadness in his melodies which he underlines with deep and heavy baselines. Kamiokande is the first release Angelo Repetto will present through his new musical home at Subject To Restrictions. The Zurich based producer is known for his live-sets he foremost performs for dancers in Zurich’s alternative scene. For this EP berlin Based Neu Verboten gave ‘Time Split’ a club-friendly retouch and delivered a strong Remix.

* A welcome repress of an essential dub set from Centry, originally appearing on the Conscious Sounds label in 1993.
* Featuring 10 varied-in-style rootical dubs from Centry consisting of Nigel Lake, Chris Petter and Dougie Wardrop, with the set mixed by the latter.
* Features some blazing horns and vocal snippets (from Danny Red, King General & Barry Issac) dubbed and phased to the max.
* Limited to 500 copies only.

Two guitar legends - Eric Clapton and B.B. King - first performed together in NYC in 1967. Over 30 years later, in 1999, the two longtime friends joined forces to create a collection of all new studio recordings of blues classics and contemporary songs. The resulting album Riding with the King would be released in June 2000 and go onto sell over 4 million copies globally and win a Grammy Award for Best Traditional Blues Album.

To celebrate the 20th anniversary of this classic album, two additional previously unreleased tracks have been added: The blues standard “Rollin’ and Tumblin’” and a cover of Willie Dixon’s “Let Me Love You Baby.” Both tracks were recorded during the original sessions and were produced and mixed especially for this release by Simon Climie, who produced the original album with Clapton. The original tapes have been remastered by Bob Ludwig for release on 26th June via Rhino Records.

The 14-track collection will be available on 180-gram black double vinyl package and was mastered (vinyl) by Chris Bellman at Bernie Grundman Mastering in Los Angeles.

The album features four B.B. King originals, plus a selection of covers from writers as diverse as Isaac Hayes & David Porter (“Hold On I’m Coming”), Johnny Mercer & Harold Arlen (“Come Rain Or Come Shine”) and William Broonzy & Charles Seger (“Key To The Highway”). John Hiatt wrote the album’s title track.

Ten incredible albums culled from the deepest, weirdest coop of record enthusiasts ever gathered under one banner. We’ve spared no expense packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity.

The lost yearbook from Louis Wayne Moody High’s graduating class of 1967, chronicling the peaks and valleys of teenage angst, lost loves, and life after summer vacation. Fourteen moody melodies of surf kings, guitar Bettys, talent show psychers, and pre-S.D.S. soft- poppers. Walls of jangly guitars, maudlin organs, and melancholy harmonies deliver the bummer to ring in the summer.

Malin Genie welcomes an extensive EP treat from Lava Lap, an emergent producer with an affinity for the kind of braindance that will have fans of Jodey Kendrick beating their drum machines with approval. The acid is slippery, the structures ever-shifting and a wealth of expression spills out of every bar. There are faster drum & bass paced bits, melancholy detuned electro and much more besides. Far from just being clever music though, it's also amazingly emotional and so impeccably produced. Any electronica head should be all over this.

Opening with a drumstep acidcore track, drustrated 4/4 of a tribe kind... exploring new horizons, new evolutions...

The A2 from Degrader is a 4/4 reward, quiet classic in it style, reminding the new generation of Solid dark Hardtek...

Negative Glitch opens the flip with a breakcore frontier track, acid as well, hidding a tyrue broken (hard)tek experience.

Last tune from Mr Gasmask is a minimal precise electro tune, threatening to turn Core but gently carressing the trance...

A creative opus ! Witch is rare in the mental tribe world i recogn ! BIG UP é SUPPORT !

Mr Gazmask pure style... with a nice melt of minimal trance and acidcore, acid techno and a bloody Secodn Rebirh kind of remix:) again after the Acid Night 03:)

Let’s be honest – the first time many of us heard the otherworldly talents of the Ultramagnetic MC’s was on a compilation. A smattering of singles in 1986 had barely registered beyond a small circle in New York, but the inclusion of the 1987 single ‘Travelling at the Speed of Thought’ on Street Sounds’ ‘Hip Hop Electro 16’ set, sandwiched between classics from MC Shy D and Just-Ice, was a watershed moment.

In a way, it’s their most atypical release. The deceptively simple combination of drums ‘borrowed’ from The Rolling Stones and a scratched hook from The Kingsmen’s definitive version of Richard Berry’s ‘Louie Louie’ is one thing. The simple by their standards vocals, however, render it into a loveable pastiche of rock-rap, a more esoteric equivalent of Run DMC’s ‘Walk This Way’.
The flip is more in keeping with their style both on their earlier ‘Ego Tripping’ single and the soon-to-arrive landmark classic album ‘Critical Beatdown’. Over some heavily chopped drums from erstwhile breakbeat classic ‘Apache’ by the Incredible Bongo Band, Ced Gee and Kool Keith showcase flows that were different from anything out there at the time.

‘M.C.’s Ultra (Part II Edit)’ is part brag-rap, part baffling science lecture. Leaning heavily on the thesaurus, it’s a slang heavy manifesto that elevated the boast rap to the next level. While Kool Keith would go on to be the group’s breakout star, this is a showcase for the whole collective, right down to DJ Moe Love’s slithery scratching sliding from one channel to the next.

Only previously released in the UK as a 7” that’s now very hard to source, this is a chance to re-embrace this breakthrough from a legendary group.

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant burst of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style. They immediately took their place on the rosters of influential labels like Y and 99 with iconic debut single Stretch, as the band had clearly captured something special.

Entering 1982, Kevin Evans had replaced Catsis as Maximum Joy set out to make what would be their only full length LP. Recording at Berry Street and The Lodge with producers Adrian Sherwood (On-U-Sound legend), Dave Hunt (Flying Lizards, Pigbag, This Heat) and Pete Wooliscroft (Kate Bush, Talk Talk, Peter Gabriel, OMD, This Heat) the band would mix practiced grooves with imaginative improvisation. The results were absolutely jaw-dropping.

Station M.X.J.Y. kicks things off with Dancing On My Boomerangand promptly sets forth the blueprint for bands like !!! and The Rapture to capitalize on nearly twenty years later. In fact, those bands can only dream of the mix of driving percussion and spectral shards of guitar that Maximum Joy has clearly already mastered. Do It Todayannounces itself immediately with Rainforth delivering a looping and infectious vocal melody that the others dance around playfully, as handclaps keep the stomping groove intact, leaving a dancehall hit for outer space circling your turntable.

If you ever wondered what it would sound like if ESG and The Slits combined forces, Let It Take You There has the answer for you. Llewellin periodically delivers a cascade of marching band percussion while Waddington’s classic R&B riffs are transformed into a slithering snake trying to keep pace with Evans locked in groove as Rainforth’s singsong vocals are reduced to whispered echoes. They close out side one with the delicious slab of pop that is Searching For A Feeling. Clearly pronouncing the band’s intention to find the positives in a dire time for England, they look to rally those around them to focus on making real change in the face of opposing voices via one of Rainforth’s most delightful deliveries.

Side two sees Wrafter stretching out on Where’s Deke?, showcasing what had already been obvious, as he is the band’s secret weapon, often coloring each tune with his horns, sometimes in several styles just seconds apart. He underlines that feeling with the raucous and bouncy Temple Bomb Twist, before they hit a straight groove in Mouse An’ Me, like a dub infected Train In Vain. Well, if The Clash had ever allowed themselves to properly lose their minds on the dancefloor.

A funky afrobeat flute and guitar battle breaks out (way cooler than it sounds) before Rainforth rallies the troops to not only fill up the disco, but also the surrounding streets in political resistance to Thatcherism via All Wrapped Up. It is entirely genuine and their activism has none of the menace of the others in their scene, but rather a feeling of sharp optimism amongst this danceable masterpiece. It is that optimism that always set Maximum Joy apart, and makes their grooves all the more irresistible today.

Sadly, the upward trajectory of the band was cut short as Rainforth left the group, and soon afterwards seemed to stop making music altogether. The reasoning seemed destined to remain a mystery, until earlier this year when she gave a brave interview to The Guardian where she revealed that an assault by someone in the industry caused her to retreat entirely from music for nearly three decades. Luckily, Janine has embraced music once again, and she refuses to let the magic that was Station M.X.J.Y. be lost as well.

The sublime Time Capsule remains Weldon Irvine's most fully realized and influential recording. A supremely talented multi-instrumentalist and composer, Irvine had a musical vision that was unerringly soulful, spiritual, and funky. Assembled as a kind of musical scrapbook documenting the thought patterns and belief systems of the early '70s, it nevertheless boasts a surprising vitality and timelessness thanks to luminous funk grooves that anticipate the latter-day emergence of acid jazz. Irvine also rhymes over several tracks, further cementing his influence on successive generations of hip-hop. A profoundly righteous spirituality winds through all eight of Time Capsule's performances, assaying both the affection ("Soul Sisters") and anger ("Watergate") vying for control of post-Woodstock America. Irvine's searing keyboard and piano playing further capture the moment in question, deftly balancing between beatitude and bitterness. For fans of funk, soul and jazz, it doesn’t get much better than this 1973 classic.

a A1. Time Capsule - Electric Piano, Narrator Recitation – Weldon Irvine

The premise for Quindi Records is simple – to represent music with a universality at its core.
Without adhering to specific genre tropes, the releases are intended to have a meaning and purpose in all kinds of situations – a social soundtrack as much as a stimulating experience,
feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’ music, music for friends and family alike.
Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the brothers originally recorded their music in relative isolation in London in the 70s, 80s and early 90s. It’s only in recent years their sublime work has enjoyed a wider audience through an extensive run of reissues.
Arcturian Corridor ? presents a rare, previously unreleased piece of music from Woo – the expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that shows a new breadth and depth to the duo – detailed drum programming and a broader palette of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel of light that brings unconditional love and wisdom from Arcturus to Earth.”
In addition to the 20-minute A-side piece, Woo also presents a new version of “Love On Other Planets”, a standout piece from their 1990 album ?Into The Heart of Love? . The fragile subtlety of the original has been embellished here with rich new passages that turn it into a kind of electronica epic, although still marked out with the sensitivity one expects from a Woo record.
Two remixes complete the set, both furthering Quindi’s modus operandi as a genre-agnostic force for cosmically charged music. Dublin’s Wah Wah Wino collective present their Wino Wagon manifestation for a tastefully strange house version of the fifth part of “Arcturian Corridor” that channels the freakiness of Pepe Bradock, the robo-funk of Metro Area and a soupcon of pop nous. British duo Ultramarine maintain the stylistic ambiguity as they channel decades of expressive experimentation between live band dynamics and machine soul on their version of the title track’s second chapter.

LTD. BLUE SEAFOAM WAVE VINYL

Holy Hive ist ein Folk-Soul-Trio aus Brooklyn, bestehend aus Folksänger/Gitarrist Paul Spring, dem begehrten Soul-Schlagzeuger Homer Steinweiss und dem Bassisten Joe Harrison. Die Band hat sich durch fast schon legendäre Konzerte und ihre EP "Harping" einen Namen gemacht. Als Holy Hive erforschen sie die Beziehung zwischen den lyrischen Traditionen des Folk mit dem Rhythmus und der Ästhetik des Soul. Das Debütalbum "Float Back To You", aufgenommen in Queens im Studio Diamond Mine (von dem Steinweiss Mitbesitzer ist), besteht aus 10 eigenen Songs, einem Cover von "Be Thou By My Side" (ursprünglich von der britischen Gruppe Honeybus aus den Sechzigern) und einer Adaption des irischen Folksongs "Red Is The Rose". Steinweiss hat das Album produziert, als Gäste treten die Harfenistin Mary Lattimore, Leon Michels (El Michels Affair) am Saxofon und Keyboard, Shannon Wise (The Shacks) als Backgroundsängerin, Dave Guy (The Roots) an der Trompete, Nick Movshon am Bass und Paul Springs Ehefrau Sophia Heymans am Klavier auf. Homer Steinweiss arbeitet seit zwanzig Jahren als professioneller Schlagzeuger und hat in dieser Zeit den Beat zu Hits von Amy Winehouse, Bruno Mars, den Jonas Brothers, St. Vincent und Charles Bradley beigesteuert - um nur einige zu nennen. Als Gründungsmitglied von Sharon Jones & The Dap-Kings ist er mit der legendären Gruppe durch die ganze Welt getourt, bis er sich für eine Karriere im Studio entschieden hat. Paul Spring hat als Solokünstler sieben Alben mit eigenen Songs veröffentlicht, darunter, "Home of Song", eine von Kritikern sehr gelobte Platte mit Kinderliedern. Der Multiinstrumentalist Joe Harrison hat unter anderem mit Frank Dukes und Charles Bradley gespielt. Die symbiotische Beziehung zwischen Steinweiss und Spring ist wie die eines Spechts, der auf dem Rücken eines Nashorns sitzt. Springs zarter Gesang und seine flatternde Gitarre schweben in perfekter Harmonie über Homers bulligem Schlagzeug. Holy Hive sind eine vielschichtige Band: Manches an ihnen erschließt sich sofort, anderes erst später. Wie der Titelsong des Albums, der sich zuerst wie ein wunderschöner klassischer Liebessong anhört und sich dann als die Gefühle einer Frau entpuppt, die sich auf ihre Katze freut. Dafür steht Holy Hive: Die Musik geht verführerisch einfach ins Ohr und entfaltet sich dann sehr langsam - bis sie ganz aufblüht.

What was it Dorothy said?

A few months back, we released Westcoast Goddess' LPH debut, The Inner Snoopy, a classic house EP reincarnated as one of those giant rainbow-colored lollipops. And that really wasn't enough, so now we have a second four-tracker from the guy, a continuation of the technicolor adventure through nightclubs in the Kingdom of Caring.

Pop it on and feel the sugar rush, feel your pupils dilate, feel your heart race and swell with joy.

Shark Attack / Dub Attack / Toture The Devil / Dub Torture : King Earthquake Ke10-12

King Earthquake 10". Hot Like Fire + See Dem A Come w/ Dubs - Joseph Lalibela

Interstellar digital dancehall with stunning synth, superb vocal by Robert Ffrench in extended mix & mad style by obscure DJ Shortie Ranks. Recorded at Creative Sound Studio (Kingston, JA) in 1985.
"On “I Am Wondering” – a lovers of sorts – Ffrench is Dennis Brown in the high notes, and Gregory Isaacs in the song`s playboy sentiments. A guitar gently wah-wahs, while the synths do a giddy glissando. Midway through this discomix the bass becomes boss – throwing everything else – chopped piano chords and all – into echo. Then it`s rewind for the DJ cut – a brag and boast toast from Shortie Ranks – recounting his triumphs at legendary Kingston reggae venue, Skateland”. (Ban Ban Ton Ton - April, 21 of 2020) Robert French grew up in central Kingston and attended Kingston College. He recorded his first singles in 1979, at the age of 17. He achieved success in 1984 with his performances at the Festival Song Contest and the Reggae Sunsplash festival. He had a combination hit with deejay Clement Irie with "Bun & Cheese", and his first two albums were released in 1985. He had another hit in 1989 with "Modern Girl", a collaboration with
Courtney Melody. In the mid-1990s he relocated to New York City, where he teamed up with rapper Heavy D, with whom he had a hit with "More Love", with an album following on Ras Records, featuring collaboration with several artists including Lady G and General Degree. He has since returned to Jamaica, where he runs the
Ffrench record label and distribution company. He released the album Yesterday and Today in 2001, collecting many of his earlier singles. After a period of inactivity as a recording artist, he returned in 2009 with the single "I Do". As a producer he has worked with artists such as Dennis Brown, Buju Banton (he produced Buju's first single
"Ruler" on Stamina riddim), Beres Hammond, George Nooks, Luciano, Jah Cure, Yami Bolo and Sizzla to name a few. Robert French was the cosin of the late great Pat Kelly. As a french label, big fan from Ffrench productions, i'm very proud and happy to start a collaboration with Robert Ffrench, the most french jamaican. Stay tuned for many many more.

Composed as a means to map the cultural translation between Chinese culture and European traditions, Piotr Kurek’s A Sacrifice Shall Be Made / All The Wicked Scenes is comprised of pieces composed between 2016 and 2018 specifically to accompany theatre performances directed by Tian Gebing (500m and The Decalogue) and Grzegorz Jarzyna (Two Swords). Kurek attended performance rehearsals in Beijing and Shanghai, with additional preparations and recording sessions taking place back in Warsaw.

While most of Kurek’s past work is unaccompanied by other musicians or outside help, A Sacrifice Shall Be Made / All The Wicked Scenes features various Polish and Chinese musicians both from classical and experimental scene (Barbara Kinga Majewska, Grzegorz Hardej, Łukasz Rychlicki and Hubert Zemler) as well as by actors of Paper Tiger Theatre Studio from Beijing. This approach of Kurek exploring new players and places is further juxtaposed as Kurek recycled samples from his own past, including various recordings with musicians he did throughout years, found sounds from the Internet, or cannibalised old solo work.

Recorded over the course of several years, this aural report of a monumental multi-disciplinary venture is in the end an enthralled and enthralling survey of a contemporary composer who is unencumbered by geographic or cultural boundaries. Concurrently, ditching any resemblance to local musical traditions and rearranging the compositions for all three performances, Kurek has formed an architecture that allows the phases of rituals to unfold while projecting social structure assumed in myth making. The regrouping of different moments in these stories is a curious way of narrating another myth — a synthetic, polyvalent story set in a city that strangely reassembles Beijing, Giza, and Prague at the same time.

Piotr Kurek is a Warsaw based musician and composer who straddles the world of electronic music taking inspiration from various genres but fitting comfortably in none. Through his unconventional use of a wide array of instruments both electronic and acoustic, he built a reputation for himself as a qualified inventor of hypnotic worlds drenched in uncanny arrangements.

Kurek has already released a range of idiosyncratic, forward-thinking works on a variety of imprints (including but not limited to Sangoplasmo, Black Sweat Records, Hands In The Dark, Dunno Recordings, Crónica, Foxy Digitalis) and participated in numerous music festivals including Unsound, CTM, OFF, TodaysArt and UH Fest as well as participating in extensive tours in Poland and abroad. In 2014 and 2015 he opened for Bonnie “Prince” Billy’s two European mini-tours. In 2016 he has been selected as a part of Shape platform for innovative music and audiovisual art from Europe.

This 3rd of the Motordiscs opens with a slow and delighted beat by The JuanMacLean, which turns into an electro mesmerizing track. Is it slow trance or is it some kind of house ? Are we early in the night or late in the after party ? Are we still dreaming ? A2 « Mark 211 » by Javi Redondo takes the energy level up with some acidy synth and punchy snares, proving that the power of a track does not necessarily lies in its speed. It is now time to flip the disc, Naduve takes us later in the night, bringing a murky vibe, thanks to haunting pads and low frequency instruments, picturing a proper underground club. The sun now starts to rise on the Seine river, the last track sounds like an ode to the dawn, where voices and shiny synths will emerge and open the crowd’s eyes. It was « Peppi » by Fairmont. This was a night at Garage

Chris Korda's new album "Polymeter" is unique as entirely composed in complex polymeter sequences, a unique way to compose music with a new generation of algorithm, inside which Chris injects DNA of neo classical, ambient and jazz music.

This refreshing album will please both those who are into complex musical composition, conceptual music and who are just seeking for a beautiful, emotional and accessible, unique, musical moment.

This is a "In your hearts not the charts" album, as Irdial Discs once said.

Chris Korda is a transgender, vegan and relentless critic of consumerism, leader of The Church of Euthanasia (willing to halt the overpopulation through suicide, sodomy, abortion and cannibalism) and composer/performer of electronic dance music. She has previously released albums on Kevorkian, International Deejay Gigolo Records and Perlon.


Please read below Chris Korda's introduction to his new album "Polymeter":

Polymeter is an album of virtual solo instrumental performances. They're mostly piano pieces, along with a couple of guitar pieces. They sound uncannily similar to human performances, but they aren't. On the contrary, they are algorithmic music, pure applied mathematics.


The compositions are generated by elaborate networks of polymeter modulation. This sounds complicated and will need some explaining. But the most important point is that these are compositions I didn't write in any usual sense of the word. I created systems of rules, and the compositions emerged from those rules. The rules that generated these pieces can be conceptualized as kinetic sculptures that produce intricate non-random patterns of musical interference. The resulting patterns repeat themselves over long periods, measured in hours, days, or in some cases years.


In order to create this album, I had to write my own MIDI sequencer from scratch, because commercial MIDI sequencers lack the necessary degrees of freedom. My sequencer is also called Polymeter, and I started writing it in 1994. I used a relatively primitive version of it to create my earlier techno and electro releases, but the rapid evolution of computer technology made my original so ware hopelessly obsolete by the 21st century. Like its immediate predecessor "Akoko Ajeji" (Perlon) this album was created using a much more sophisticated version of my sequencer. It took me many years to learn the programming skills I needed to modernize my sequencer, which is one reason why such a long hiatus occurred between my older and newer releases.


Chris Korda

Rome's Egisto Sopor has been making little waves with his releases for quite a while now. As Polysik, he’s put out music on Legowelt’s Strange Life Records, on 100% Silk label, and on Mike Paradinas' Planet Mu. As ‘TheAwayTeam’ he’s released a DVD ‘Relax & Sleep’ and a cd ‘Star Kinship’ on Japanese label Moamoo, and he's also one half of the low key video unit AAVV (whose work has graced many of the important releases of new lofi electronic movement). This time around he delivers another fine instalment to the Edizioni Mondo's kaleidoscopic catalogue. If you've been following Egisto Sopor's productions over the years, chances are you're already familiar with the visual, highly cinematic, quality of his works – it's music that don't evoke just emotions, it suggests landscapes, painting vivid pictures as it builds up. In the same way, Flora e Fauna tells the story of an extemporaneous, surreal walk in Rome. The 8-track album, organically navigates through imaginary urban and maritime scenarios, with an expansive sound palette that draws on deep and shimmering atmospheres, occasionally drifting from blissful textures and sub-aquatic, swirling moods to eerily quiet, suspended moments, often perfused by subtle field recordings of city life, wild animals and distant shores. Take a deep breath and soak away.

Overloaded of sounds, ritch aned in a way very musical, kind of a new style navigating between Electro Fat techno (dilemn level ) and Hardfloor to depitched frenchcore.

Quiet a sound thing actually :)

2x12" Transparent Red & Blue Coloured Vinyl in a double Gatefold.
Limited Pressing of 3000 Editions WORLDWIDE! Please ensure to reserve your requests in advance ... In order to secure stock as this
is ltd. pressing!

Debüt-EP des Londoner Duos Jockstrap (Georgia Ellery & Taylor Skye) auf Warp. Jockstraps Mixtur aus harten Dubstep/Industrial-Beats, klassischer Komposition und verdrehten, zum Teil perversen Fantasy-Erzählungen begeisterte die Fachmedien (Dazed, Pitchfork, BBC 6Music, The Quietus, The Face, The Guardian) bereits bei ihrem Einstand, der digitalen "Love Is The Key To The City" EP (2018, Kaya Kaya Records), woraufhin es Lobeshymnen hagelte und Warp Records das Duo vom Fleck weg signte. Die beiden Künstler kollaborierten einzeln und zusammen bereits mit Underworld, Dean Blunt, Injury Reserve und Damon Albarn's Africa Express, zudem spielte Georgia Ellery in dem mehrfach prämierten, britischen Film "BAIT".

- "My favourite avant-garde situationists." - Mary Anne Hobbs (BBC 6Music)
- "One of my favourite bands." - Matt Wilkinson (Beats1)
- "Jockstrap are giving classical romance a surreal twist." - The Face
- "Melodiously sweet and sophisticated yet tempered by bursts of naivety and caustically fucked up-ness." - The Quietus
- "I don’t know what kind of music Jockstrap are making right now, but I like it." - The Fader

Fronted by creative lynchpin Billy Sullivan, this startling three-piece – augmented by three other musicians when playing live - have cemented a loyal fanbase since their inception some five years ago and alongside Sam Long, bassist and drummer Matt Johnson whilst initiating album sales in excess of 20k and a tour itinerary approaching nearly three hundred gigs.
Life Worth Living is a contrasting melting pot of unadulterated joy and melancholy, laughter, tears, frustration and peacefulness. Quiet and introspective moments collide with loud and angry times and no less powerful. At its heart is a sense of hope that things can be better, the title reflects that aspiration. Produced by Simon Dine, who was behind the desk for Paul Weller’s 22 Dreams and Wake Up The Nation amongst a varied CV - has harnessed the undoubted vibrancy and swagger of the band’s live show helping create an ambitious album – a vehicle for the talents of Sullivan, Long and Johnson.
From the infectious brass-infused opener, Start All Over Again, the Nutty Boys-esque title track Life Worth Living to Tear This Place Right Down bathed in soul overtones, the ballad-like wonder of How Could I Lie To You? to the ska riffage of single (Just Won’t) Keep You Down and the magnificent finale of Make It Through Each Day.

2xLP: Wide Spine, pressed on Gold Nugget vinyl with spot gloss printing on cover

About:
Free Nationals are best known as Anderson Paak's live band, until now. Band members Kelsey Gonzalez (Bass), Ron "Tnava" Avant (Keyboard/ Vocoder), Callum Connor (Drums) and José Rios (Guitar) have graced the stage at Coachella, opened for performers such as Beyoncé and completed World Tours alongside J.Cole, Bruno Mars - the list continues. Paying homage to the musical legends that paved the way before them; Free Nationals means The first people of America, Indigenous to the land before Columbus came. Staying Indigenous to the funk, Free Nationals pay tribute to inspirations such as Stevie Wonder, B.B. King, Herbie Hancock and Al Green by incorporating musicianship while pioneering musical euphoria for a new generation.