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Toy Tonics going New Wave Disco with Baby’s Berserk’s self-titled debut album (to be released on 29 September).

There are many shades of funk in dance music. Berlin’s Toy Tonics label brings up artists that reflect many of these different aspects in dance music. Now the label comes up with a band! A band that is inspired by 1980ies New Wave as well as the Y2K Indie dance scene. Two guys and 2 girls from Amsterdam and Montreal called Baby’s Berserk.

Baby’s Berserk is about taking the freedom to be who you want to be, about being comfortable. Having played in all-girl punk bands since the age of 14, the bands singer Lieselot is an expert on female empowerment. “Dress like a girl and act like a boy,” is a catchphrase she lives up to every day and it clearly is a message that resonates with the band’s wild fans.

In the great tradition of Roxy Music, Throbbing Gristle and Malcolm McLaren, Baby’s Berserk is not just about the edgy music, but also about a very strong own visual style. They readily blend their sounds with underground fashion. What you see is what you get and seeing Baby’s Berserk is feeling right at home. Lieselot is a visionary when it comes to stage presence. Have you always wanted to see an electronic band with a punk attitude perform wearing a mix of haute couture and Flintstone-style rags? Look no further, it’s Baby’s Berserk.

Following on the critically acclaimed singles ‘What I Mean’ (2020) and ‘Toxic Kisses’ (2022), Baby Berserk’s highly anticipated self-titled full-length is now finally about to see the light on Berlin’s Toy Tonics records. Sonically designed for gritty rock venues as well as up-to-date edgy dance clubs, Mano’s lush compositions smoothly intertwine with the highly associative lyrics written by Puggy and Lieselot. Poets and literary addicts may think they’ve just discovered the rock & roll equivalents of Sylvia Plath, Kurt Vonnegut and Allen Ginsberg. To tell you the truth: their wild guess is pretty accurate as the works by these greats lie scattered around the Baby’s Berserk studio for inspiration.
The band was born in a laboratory back in 2019. Tired of being in bands with unruly and unpredictable humans, Mano Hollestelle set out to create a group of high precision robots to create the post-punk sound he had in mind. His outdated technology of floppy disks and cassette tapes worked well to program the androids, until one day a 90s rave mixtape was mistakenly entered into his computer. House music is a feeling and the punk bots instantly got hooked on it upon hearing it for the first time. They could never be reset to factory settings again. Mano worked tirelessly with his androids, currently known by their humanoid names of Lieselot Elzinga, Puggy Beales and Eva Wijnbergen, to fulfil his evil plan to make the rockers dance and the dancers rock. Baby’s Berserk is the fiendish extension of this plot. Beware, the band’s bass driven grooves and computerized beats have been known to cast a spell upon all within earshot.

So what do the songs on ‘Baby’s Berserk’ tell you? That it’s totally fine to have lots of fun in life! To have a boyfriend as an accessory (‘Accessories’), to get inspired by Sponge Bob (‘Dancing with the Fish’) and to blend your spirits with mixers whenever the hell you feel like it (‘Rum ‘n’ Kola’).

Baby’s Berserk member Puggy Beales on ‘Limousine’: “Decant the wine from my tip jar to yours. Soon we'll be on easy street, chauffeured home from the rat race each evening. Is it everything you'd hoped it would be?”

Check not only the debut album but also the forthcoming Remix EP with remixes by Each Other, Niklas Wandt, Sam Ruffillo, Kris Baha and Nicolini.

Punk pioneers Crass continue their vinyl reissue series, repressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; ‘Farce’ by Rudimentary Peni and ‘Can’t Cheat Karma’ by Zounds.

Zounds are an English post-punk band from Reading, Berkshire, formed in 1977. Originally, they were part of the cassette culture movement, releasing material on the Fuck Off Records label, and were also involved in the squatting and free festival scene. The name of the band is derived from the old English ‘zounds’, a contraction of ‘God’s wounds’, referring to the crucifixion wounds of Jesus Christ, formerly used as a mildly blasphemous oath.

The band met up with fellow anarchists Crass when, legend has it, their van broke down on the road. They made their way to nearby Dial House, where Crass were based, who helped them with repairs. The two bands became friends, and although musically very divergent, they shared many common political views. Zounds shortly afterwards released their first EP, ‘Can't Cheat Karma’, on the Crass Records label in 1980. The EP featured possibly their most well-known track ‘Subvert’, a call to arms against the grind of daily life. The release of this EP and association with Crass led to an increase in the band's profile in the embryonic anarcho-punk scene, touring with both Crass and Poison Girls. They split in 1982 but reformed in 2007, and remain active today.

Penny continues; “Zounds could have made a fine pop group, but they were far too socially sassy to fall for that one. No, their commitment to radical political change, so abundantly clear in their lyrics, set them apart from the commercialism that had so blighted the likes of The Clash and other punkish pretenders. Having been drawn from the ranks of hippy bands like Here and Now, Zounds encouraged dissent and personal change, and, at their own cost, to pursue and promote them as ideologies. Can't cheat karma? No, nor ever beat it. Zounds were hip to this fine point. Want a better life?

Then make it for yourself. Ain't no one gonna help you out on that one. Find your own way, it's the only way there is.”

First released on 7” vinyl, limiting the sound, the new series has been remastered for 12” by Alex Gordon at Abbey Road Studios, allowing them to be heard as never before. This, plus enlarged replicas of the original covers, brings new gusto to their already radical sound.

Tony Bennett, who sadly passed away recently, is one of the most popular artists and entertainers of the USA.

During his magnificent career, he sold more than 50 million records and won 19 Grammys.

Thanks to his collaborations with artists such as Lady Gaga, Tony Bennett is also very well known among the younger generations.

The compilation „Have A Good Time With Tony Bennett“ displays the many facets of the singer and makes clear how many hits he had.

„I Left My Heart In San Francisco“ , „Rags To Riches“ , „Blue Velvet“ , „Cold Cold Heart“ to name a few.

The fans of Tony Bennett can look forward to a vinyl featuring 18 tracks and almost 50 min. running time.

The Duca Bianco label swerves its usual various artists' format to allow CW - who has appeared on those before - to step up with his own solo EP. He is a mysterious artist but is well known for his immersive record collection and legendary sets on the London scene. He is one-third of the Beauty & The Beat party and brings his unique twists of Afro and soul to this quartet of tunes. 'Karambolage' opens up with lots of big horns and noodling string sounds over a ramshackle beat then things take a cosmic turn on the rather more psychedelic 'Six Times Seven' with its Nippon-koku polyriddims, while 'Ou Ka Jis Fe Kole' is a party starter with a Zouk dub edge and 'Nzimbab' is built on a low slung and swaggering rhythm.

From the towering influence of Charley Patton and Son House to lesser- known artists shrouded in mystery, these seminal recordings helped lay the foundations or the electric blues and rock explosion to come.

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs in 2023. “Beatbox Studios (1995 MPC 60II)” is the first of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously-talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

Having learned to make beats off of borrowed equipment as a teenager, the aspiring DJ/producer born as Tony Cottrell achieved a break of sorts when he was hired in 1995 to manage one of the rooms at Beatbox Studios, a sprawling complex in the Clifton neighborhood in Cincinnati. It became the go-to-spot in town for emerging talent, giving him a chance to learn about the intricacies of recording and to sharpen his communication skills with artists to maximize their performance The gig also gave Tek plenty of down time to practice on and to master the studio’s Akai MPC 60II while making his own music. It was around this time he began to collaborate with the top rap talent in Cincinnati, and he started regularly visiting New York City to plant seeds for new relationships in the industry.

Though his work eventually evolved far beyond the styles present on “Beatbox Studios,” here you’ll find many signature elements of that era’s contemporary New York sound: some snappy drums reminiscent of A Tribe Called Quest or Easy Mo Bee, plenty of horn stabs a la Pete Rock or Lord Finesse, and the kind of dark pianos and filtered bass lines that producers like the Beatminerz were steadily employing. These were his biggest influences at the time, and that was the sound of 1995. As it turns out, that classic sound remains in demand today, and while Hi-Tek was not a well-known name in hip hop circles at that time, the calibre of beats on “Beatbox Studios” prove that he was a talent to be reckoned with, even then.

“Upopo Sanke“ means “Let's sing a song" in the Ainu language. Umeko Ando (1932-2004) was one of the best-known artists of the Ainu, an indigenous, long-suppressed community in northern Japan. She sings their traditional songs together with Oki Kano on the Tonkori harp, who also recorded the album. The two are supported by members of the female vocal group Marewrew as well as Ainu percussionists, a string player and a male singer who provides rhythmic shouts and also throat singing. The call-and-response structure of many of the songs is performed with a mantric quality in a vocal style that is perhaps best described as elastic and breathing. There seems to be a gentle smile in every note and syllable. This music softly hits the heart.

Upopo Sanke was recorded on a farm in Tokachi in the summer of 2003. We hear dogs barking, a distant thunderstorm and voices imitating animals. The liner notes that accompany the 2LP release gather the anecdotal memories of Umeko Ando and Oki Kano about the stories of the 14 songs. Oki Kano is a musical ambassador of the Ainu culture who tours worldwide with his Oki Dub Ainu Band and also gives solo concerts, always playing the Tonkori, the five-stringed Ainu harp.

The Ainu have suffered from the oppression of their culture and language by Japan, especially since the 18th and 19th centuries. Only recently, in 2008, were the Ainu officially recognized again as an indigenous people culturally independent of Japan. As a result of the marginalization, there are now only a few hundred native speakers of the Ainu language left, making it a particularly worthy object of preservation.

"Upopo Sanke" was mixed again in part by Oki Kano, before being mastered and cut to vinyl by Kassian Troyer. The 2LP plays on 45rpm and it sounds fantastic. This album was the second album by Umeko Ando, the follow-up to „Ihunke" and also re-released in 2018 by Pingipung together with Oki Kano.

Originally released on tape in 1982, »Maraccaba« is the second solo album from electronic wizard Klaus Wiese. Member of the krautrock band Popol Vuh in the early 1970s – Voice, Zither, Tambura, Harmonium, Singing Bowls – Klaus Wiese (1942 – 2009) was a veteran musician, minimalist, and multi-instrumentalist. A master of the Tibetan singing bowl, he created an extensive series of albums using them, alongside zither, Persian stringed instruments, and chimes. Wiese is considered by some as one of the great ambient or space music artists alongside Robert Rich, Steve Roach, Michael Stearns, Constance Demby, and Jonn Serrie. His musical style is much more appropriately compared to the organic soundscapes of drone and dark ambient music, such as Oöphoi, Alio Die, Mathias Grassow, and Tau Ceti.

In the 1990s he founded the Nono Orchestra to play the giant sheetmetal instruments of Robert Rutman. Wiese is known also for his collaborations with Al Gromer Khan, Mathias Grassow, Oöphoi, Tau Ceti, Saam Schlamminger, and Ted de Jong. He collaborated with Deuter on his Silence is the Answer album in 1980 and East of the Full Moon in 2005

A year after its first edition, the Open Space series returns in order to keep exploring what ambient music might mean nowadays.

A breadth of fresh artists, some new to the label and others renowned for their more dance-centric works, the compilation aims to give each individual artist their creative freedom to explore the space.

Techno producers such as Arthur Robert or label head Len Faki himself keep the beats present but this time focus on evoking states of introspection rather than the shuffle of dancefloors.
On the other end of the spectrum, we find seasoned multi-instrumentalist Laraaji, who has been crafting deeply meditative soundscapes since the 80’s. Using the special opportunity, the label reaches outside its usual sphere, inviting artists like the modular synth expert Jeremy Wentorth or Jimmy LaValle’s band project The Album Leaf. All while still featuring some well known veteran producers the likes of John Beltran or Exos.

No matter their respective scene or background, all artists are using their unique approach to display something deeply emotive. Be it the warm, expansive electro of Future Beat Alliance or a bubbly cosmic arpride by Hamburg Duo Can Love Be Synth.

Truly living up to its name, the Open Space series aims to open up possibilities for artists to freely pursue their creativity in a completely undefined area, a space for exploration and connection.

JAUZAS THE SHINING - MECHATRONICA, BROKNTOYS, SHIPWREC , SPECIMEN.

Jauzas the Shining was known as Adjust before taking that new alias - which is a salute to Kubrick's movie and the telepathy of his young character.

Since 2001, he's one of the most active electro producers in France, with several solid EPs released on Shipwrec, Last Known Trajectory, Transient Force, New Flesh, Minimum Syndicat, Mechatronica or Brokntoys and collaborate with iconic artists like Heinrich Mueller, Orgue Electronique, Ekman, Shemale, Faceless Mind, Specimen, and Ultradyne. He shared the decks with the hall of fame of electro music.

From the 90s IDM influences, Jauzas The Shining is a deep odyssey into the cold groove of electro sounds, using his sickness on skyzophrenic beats from his electronic dark side.

Hidden in the shadow of this room, Jauzas looks himself in a broken mirror but he doesn't recognise himself, he doesn't remember..the only thing he knowns is that he's now on board the nautilus ship, deeper and deeper is an ocean of sounds ...Artificial lights, mechanical noise and metallic walls..He starts hearing these voices but he doesn't know who they belong to? Utilising his sickness on skyzophrenic beats and abstract electronic dark side, he became "Jauzas the shining" The mysterious and miraculous journey of Jauzas who spent his nights and days on Formentera.

Here he conjures up a concoction of deep ocean meanderings and spellbound nights, underneath the shooting stars and radiant waters. Images of the past merged with future, becoming a collage of voices across projected shapes which make presence in their ghostlike form. This is another outing which explores the surreal and the abstract, which expressed though Jauzas's electro-musicalities with Specimen.

Duca Bianco is back with one of its special various artists' releases, and a mighty fine one it is too. This one finds four guest producers all with their finest studio tools sharpened and ready for action. Two of the artists are well known but use new alias - one is Israeli synth and psyche wizards Red Axes who work their magic as Der Sexa on 'Gabi Plane' and another is Beauty & The Beat party man Cedric Woo as CW. He gets nice and twisted here while the other two cuts - one from Italo king Franz Scala who builds slow new wave funk, and one from Manchester's renowned edit kings Talking Drums who offer some lovely leftfield madness on 'DMNB', all make for crucial listening.

Sophisticated, suave, and masterfully composed, this 45 is a sonic love letter to late 60s and early 70s soul, nodding to the giants of the genre and bowing to its unsung heroes. With inspiration from artists like The Moments, Baby Huey, The Delfonics, and especially the late Curtis Mayfield, this 7" is drenched in the era-defining tone that can only come from its origins on analog tape. From the first notes of the first track "Beck & Call", the songs shimmer and glow from one moment to the next like a summer's drive with the windows down, with a steady cruise anthem like "Daydreaming" floating by like a cool breeze. Friends since childhood, The Sextones are Mark Sexton (guitar, vocals), Alexander Korostinsky (bass), Daniel Weiss (drums), and Christopher Sexton (piano). Having known each other for so long, their musical chemistry is effortless and forms the foundation of the band's longevity and creative workflow. Despite their bond, each member has been able to channel their creativity into other acclaimed groups_Alexander and Mark with their cinematic-soul project Whatitdo Archive Group, whose acclaimed debut LP The Black Stone Affair was released on Record Kicks in 2021, and Daniel with the soul/jazz group Delvon Lamarr Organ Trio (Colemine Records). Flexing their creative muscle individually has only strengthened The Sextones' collective songwriting ability and heralds their formidable return to the spotlight. With their recent signing to Record Kicks, the self-made heroes of soul begin a new chapter in their sonic journey, ready to scale new heights and plumb deep emotional depths in service of the genre they love.

Joel Paterson has been a mainstay of the Chicago roots music scene for
over twenty years, playing with many bands and showcasing his unique
blend jazz, blues, rockabilly, country and western swing
'Wheelhouse Rag' is a 14- track collection of original rags and country blues on
solo, finger picking acoustic guitar.
The all- acoustic, 1920's- tinged 'Wheelhouse Rag' may at first seem like a
departure in genre for the guitarist - he is predominantly known for his
instrumental multitracked recordings reminiscent of Les Paul and Chet Atkins -
Joel learned to play guitar by ear from the records of acoustic legends such as
Blind Blake, Robert Johnson, Reverend Gary Davis, and Big Bill Broonzy. He later
expanded his repertoire to include techniques of the thumb-picking giants Merle
Travis and Chet Atkins. These influences can be heard throughout the album,
mixed in with many more twists and turns from the mind of the artist, to bring
you, 'Wheelhouse Rag:' the original fingerstyle guitar instrumentals of Joel
Paterson.
Original fingerstyle guitar rag and country blues instrumentals by in-demand
Chicago roots guitarist Joel Paterson, who has played with Cactus Blossoms, JD
McPherson, Kelley Hogan, and more, bringing his unique blend of jazz, blues,
rockabilly, and country & western style to the mix.
RIYL: Les Paul, Chet Atkins, Reverend Gary Davis, Cactus Blossoms, Pokey
LaFarge, Merle Travis
"Guitarist Paterson's free-ranging music defies easy categorization. He addresses
classic country, blues and Tin Pan Alley tunes as timeless works that reward
repeated listening." - Howard Reich, Chicago Tribune"Of all the "vintage" artists
injecting new life into bygone styles with originality and a sense of humor, Joel
Paterson just might top the list." - Dan Forte, Vintage Guitar Magazine

PRSPCT Recordings and Redrum Recordz are a match made in the underground.

They bring you another groundbreaking release, this time building sonic bridges between the UK and The Netherlands.

Dutch Jungle legend Mike Redman is known for internationally spreading the Hardcore Jungle gospel as Deformer, Voodoom and under his own name since the early 90's. Recently his well received 'Roffadamn Jungle' track set international dance-floors on fire while paying tribute to the nightlife connoisseurs of bygone times, mixing UK inspired Jungle with uncompromising Rotterdam Hardcore.

This time around he's supported by the most legendary artists in the field providing stunning remixes. Such as UK Drum 'n Bass heroes Bizzy B and Ed Rush, both founders of the genre, providing remixes that knock you off your socks. He's also teamed up with hardcore legends Akira, Rotterdam Terror Corps as well as Mackadena providing that original sound of Rotterdam. Not to mention Redman's own ear-shattering remix under his alias Deformer, making this album a must-have for anyone that likes it ruff. By the way, the cover art by legendary graffiti artist Cosh is worth framing too!

Sophisticated, suave, and masterfully composed, this 45 is a sonic love letter to late 60s and early 70s soul, nodding to the giants of the genre and bowing to its unsung heroes. With inspiration from artists like The Moments, Baby Huey, The Delfonics, and especially the late Curtis Mayfield, this 7" is drenched in the era-defining tone that can only come from its origins on analog tape. From the first notes of the first track "Beck & Call", the songs shimmer and glow from one moment to the next like a summer's drive with the windows down, with a steady cruise anthem like "Daydreaming" floating by like a cool breeze. Friends since childhood, The Sextones are Mark Sexton (guitar, vocals), Alexander Korostinsky (bass), Daniel Weiss (drums), and Christopher Sexton (piano). Having known each other for so long, their musical chemistry is effortless and forms the foundation of the band's longevity and creative workflow. Despite their bond, each member has been able to channel their creativity into other acclaimed groups_Alexander and Mark with their cinematic-soul project Whatitdo Archive Group, whose acclaimed debut LP The Black Stone Affair was released on Record Kicks in 2021, and Daniel with the soul/jazz group Delvon Lamarr Organ Trio (Colemine Records). Flexing their creative muscle individually has only strengthened The Sextones' collective songwriting ability and heralds their formidable return to the spotlight. With their recent signing to Record Kicks, the self-made heroes of soul begin a new chapter in their sonic journey, ready to scale new heights and plumb deep emotional depths in service of the genre they love.

Suff Daddy (578k monthly listeners on Spotify), is one of the legendary beatmakers who shaped a whole era of bedroom producers. His unique approach and musical understanding sets him apart from all the other fish in the pond. He has released countless genre-defining albums and EP’s over the past 15 years building a loyal fanbase. Suff Daddy's songs have previously been featured in many editorial playlists including Spotify's "Jazz Vibes" (2.1M Likes), "BUTTER" (770k Likes), "Sweet Soul Chillout" (1.2M Likes) and many more.

Introducing "Hair Of The Dog," Suff Daddys musical journey that blends instrumental hip-hop, electronic, and dance genres. This captivating album, produced with his own Suff Style invites listeners to unwind From start to finish. Once again a Suff Daddy album thrives on the pure brilliance of his on way to create music. The album's cover art, masterfully crafted by the renowned painter Mitch (@itsallinsideus, 165k Followers), adds an intriguing visual dimension to the experience. Both artists have known each other for a long time and are currently preparing their audiovisual release- event for August 18th in Berlin. Bringing their art together as a unique experience for their audience.

The phrase "Hair of the dog that bit you" commonly denotes consuming alcohol as a remedy for a hangover, aiming to alleviate its effects. Suff Daddy plans to introduce his own hangover solution, which will be plant-based and devoid of alcohol. Through all of his career he frequently played with alcohol references and now its the perfect timing to release his own hangover cure. Additionally, this endeavor will serve as a social media catalyst for the entire project.

No. is the tenth Soft Riot album by Glasgow-based Canadian synth auteur Jack Duckworth (also known as JJD). With origins from the mid-nineties in the vibrant art-punk/hardcore dominating the West Coast American/ Canadian underground at the time, he has clocked in over twenty five years of musical output in various bands and projects.

No. is the logical follow-up to When Push Comes To Shove, released in November 2019 on the Glasgow UK-based label Possession Records, which saw some critical acclaim in the increasingly diverse synthwave scene — a crystallization of the artist’s signature “SynthLord” sound.

With No. things have been shaken up and pushed into new directions. Many different factors came into play, including the conditions of the pandemic lockdowns and an urge for listening to music favourites from beyond his own scene informed developments on this new record. One key feature of these tracks is that under these conditions they were developed as individual pieces — a contrasting approach from previous albums where tracks were written with an album in mind. An evaluation of all of these individual tracks in the summer of 2022 unveiled a common pattern going through these new compositions.

One can still hear any number of echoes of the spirits of original synth artists in his sound, such as Images in Vogue, The Box, Section 25, Thomas Dolby, Skinny Puppy, Chrome, Cabaret Voltaire, Fad Gadget, Japan and Bill Nelson. However, some of Jack’s halcyon punk influences surface as well, taking inspiration from legendary punk/hardcore labels such as Dischord and Gravity, as listening habits over pandemic steered back towards more guitar-based styles. The introduction of expanded production techniques, experiments with vocal styles and tones, and stylistic shifts mark a progression of Soft Riot’s sound. The result is a snarkier, urgent and more playful, with a focus on pure synthpop, new wave, art-punk, proto-EBM as well as grittier synth-punk and post-punk tones.

The variation, energy and tone of this collection of tracks illustrates Soft Riot’s ability to transcend the hallmarks of today’s music environment, which increasingly is fragmenting into smaller and smaller micro-genres. Dry wit and dark humour take the lyrics and the tone of this album on a fun ride through music scenes, dark alleys and inside jokes.

Decades Of Devil Worship
HIGHLIGHTING OVER 25 YEARS SINCE THE BIRTH OF THE UK EXTREME METAL GREATS, WITH A STORMING LIVE SATANIC ASSAULT OF CLASSICS FROM AKERCOCKE'S EARLY REPERTOIRE

Throughout the years, Akercocke has become known for its savage & prodigious
live work. And now, with a stunningly produced & meticulously delivered torrent of
high-octane blackened death metal captured live in at the Underworld in London
in 2007, Akercocke blast through a collection of tracks lifted from the classic
debut, 'Rape Of The Bastard Nazarene' & follow-up album 'The Goat Of Mendes'
for a night of pure satanic magic with 'Decades Of Devil Worship', a hellish &
eclectic journey through the ritualistic & the profane.
Towering above most nefarious contemporary noisemakers, London's Akercocke
erupted across the consciousness of the UK metal scene in the late '90's,
wielding a fiendishly inventive blend of death, black & progressive metal. Their
distinctive, smartly-dressed demeanour & eloquent preoccupation with all things
dark & Satanic marked them out both as ferociously individual artists &
enlightened students of the pitch-black sonic code. Immediately embraced by the
British faithful upon the release of debut album 'Rape Of The Bastard Nazarene',
Akercocke spent the following decade leading the creative charge for their entire
native scene.
Akercocke received widespread acclaim for follow- up album 'The Goat Of
Mendes' (Peaceville, 2001) & despite enjoying furious momentum over the
following years, the release of fifth album 'Antichrist' in 2007 signalled the end of
the first chapter of the Akercocke story, when the band retreated into the
shadows & remained dormant for the best part of a decade until a triumphant
return was marked with the stellar Peaceville return, 'Renaissance In Extremis',
released in 2017.

The year is 1989. Techno’s second generation has begun to permeate the globe leading a young Carl Craig to a tiny village in the countryside of Belgium. It is here, undistracted and determined to break out, that Craig encounters one of the country’s only drum machines, an Alesis controlled midi-808. In a single session he composes and mixes a handful of records that are still to this day regarded as some of his most raw and explosive contributions to the fabric of electronic music history.

Carl revisits this fateful chapter through the lens of a famed cut from his Psyche alias ‘From Beyond’, with a ‘C2 2023 Mix’ and remixes from Seth Troxler, Ataxia and Admn, out July 14 on Planet E Communications.

The Psyche alias, known for early Transmat releases like ‘Crackdown’ and ‘Elements’, embodied a stripped back, less sample based yin attitude to the yang of Carl’s more aggressive 69 and sample-forward BFC and Paperclip People identities. ‘From Beyond’, first released in 1990 via the ‘Crackdown’ 12” on Transmat, offers an eerie glimpse into the simplistic production that came through Carl’s mastery of the 808 and the sonic value of restricting himself to this movement defining tool.

This new ‘From Beyond’ package sees Carl lift and bend the original in his ‘C2 2023 Mix’ alongside a package of remixes from artists near to the hearts of Detroit and the Planet E fold. Seth Troxler brings a subdued acid tinge to the package, while label regular Ataxia pays homage to the source material with a renewed percussive energy, followed by a soulful rework by Admn.

Whether it be through the 30 year repertoire of his seminal Planet E, his Party / After-Party sound and light installation now on display at Los Angeles’ MOCA, or his continuous work as a champion of Black-led creativity, the Carl Craig mission remains the same: to always rep Detroit and be the realest mutha f***a alive.

'Seven Years Of Love' is our second label compilation with nine original tracks by resident artists and friends from around the world. The versatile vibe spreads across two parts, each dedicated to a certain dancefloor mood: System 108 and RadugaDiscoClub. Outstanding artwork has been created by Uno Moralez.

Part 1 of the compilation is opened by new Locked Club gem that playfully recycles a well known video meme, 'Smog Izdevatsya'. Followed by Philipp Gorbachev's industrial / house / dub infused (!) fairy tale about a bird. ('Raven'). The last track of side A comes from our new shooting star, Maksimovna. Originally sent as a demo, '3a Gribami' tells a story about collecting mushrooms, it got signed immediately and is destined to become a big hit! Time to flip the side and enter the kingdom of dark physical beats and fun acid blackouts on side B: it is Kovyazin D who is back at it with 'Brainwash'. Disconnected electro mind, disconnected electro mind, disconnected electro mind! Closing out the EP is an exclusive by Inga Mauer. Rare to hear Inga's vocal experiments provide a transcendental experience in 'Comes From Nothing'

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

In 1983 there came a sound from the depths of the Brazilian rainforest that was primal, ground-breaking, and completely ahead of its time. The roaring of amplifiers and the beating of drums was the sound of Max and Iggor Cavalera creating their debut cult-classics 'MORBID VISIONS' and 'BESTIAL DEVASTATION', and now it seems that after many years, the Cavalera brothers will be returning to their raw upstarts with a full re-recording of these beloved yet obscure albums.
When 'MORBID VISIONS' and 'BESTIAL DEVASTATION" were first spawned it was done in ramshackle conditions in Belo Horizonte, where the duo grew up. Max and Iggor were 14 and 13 years old during the original recording, and they had all the tenacity and energy of a pack of wild dogs. Only, their sound was not quite refined at that time, their adolescence bled through on those early records. It is well known that Max's guitars were completely out of tune on those sessions, and Iggor's drums often swung around tempos crazily. There's an air of youth and passion that could only be achieved by two teenagers that wanted to shock the world. Four decades later and it is plain to see that they certainly did gather the world's attention.
Despite the production being rough around the edges and the band still carving out their direction, there was a noticeable level of craftsmanship to the song structures and a clear indication that given their desire to thrash like maniacs, these kids from Brazil were going to tear the place up night after night. These albums still hold a dark, mystic and at times eerie quality to them that many have come to love over the years. For some, the music does not have to be delivered with perfect technical precision, the spastic live delivery is something to be cherished, and even with their guitars out of tune, they played like the gates of hell were opening. The crossroads of a shamanistic spiritual summoning at a back-alley metal show in downtown Belo Horizonte.
It is a task of heavy magnitude to try and cross the gap between the accomplished artists that they are today to the scrappy boys that they were when they first wrote these songs, but the duo have executed the performances flawlessly. The perfect bridge between the unbridled energy of the original sessions and the high-quality sound of a 21st century production. It is truly astounding to hear Max once again growl like a monster during "Troops Of Doom" and riff at insane speeds through "War" and "Crucifixion". Iggor's barbaric drumming on "Anti-Christ" is like the galloping hooves of a death-rider. Accompanied by bassist Igor Amadeus Cavalera (HEALING MAGIC, GO AHEAD AND DIE) and lead guitarist Daniel Gonzales (POSSESSED, GRUESOME) the quartet is a force to be reckoned with.
How this re-recording attained such a familiar tenacity is almost a mystery, like some spell that brought these albums back from the grave. Within the first few beats you can hear that the Cavalera’s have lost no momentum, attacking the songs at maximum speed and ferocity. In fact, it seems that the brothers have only empowered their connection through music over the decades. You can feel the spark that those two create, a dynamic sound rich with subtleties and ear-grabbing hooks. As Iggor counts in each song with his drumsticks, and Max's guitar feedbacks loudly as he approaches the microphone, there is palpable apprehension. It is apparent that when these two icons get together to play, they are going to electrify the room with their presence.
Few have had the incredible careers that Max and Iggor have achieved through their music. Even fewer had faith in the young boys that wrote 'MORBID VISIONS' and "BESTIAL DEVASTATION' all those years ago. Yet here they still stand ripping through their earliest works with decades of experience under their belts. For them, it is a breath of fresh air to finally give these songs the desired production that they deserve. They both feel that the fans also deserve a fresh look at these albums, a chance to appreciate them in a completely new light.
From start to finish 'MORBID VISIONS" and "BESTIAL DEVASTATION" are a torrential whirlwind of riffs, beats, and screams. A blast from the past that is sure to take every last listener back to the raucous live shows of the eighties.
Mysterious clouds form above an old cathedral, the summoning of dark magic is upon us, and the troops of doom march forth to announce the arrival of 'CAVALERA'!

Habibi Funk is excited to share “Marzipan” - our first full length contemporary release courtesy of Beirut’s multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif’s styling, one he terms “Lebrary”: a vision of Lebanon + Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in ’23. We always wondered why Charif’s music stayed under the radar for so long, that all changes with “Marzipan”.
Charif Megarbane, the staggeringly prolific producer, instrumentalist, and all-around musical mastermind returns with full LP “Marzipan.” Following his previous release of EP “Tayara Warak” in 2022, “Marzipan” is a sonic journey that seeks to capture the full scope of Megarbane’s habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane’s own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis (“Souk El Ahad”), the warm atmosphere of the Lebanese countryside (“Chez Mounir”), or the lushness of a Mediterranean beach resort (“Portemilio”). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share “Marzipan” and finally throttle this under-theradar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane’s LP sounds as fresh—as resolutely inspired—as a debut record. “Marzipan” continues down the winding path he trod on EP “Tayyara Warak” (released Decmber, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane’s greatest talent seems to be his open ears. In many ways, “Marzipan” is a cartographic feat — it travels and traces a journey across many dimensions (both sonic and physical). Megarbane’s instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician’s instrumental dexterity. “Marzipan’s” closing track “Bala 3anouan” can be translated loosely to “without address” — a fitting final word. Despite the entire record being a sincere testament to Megarbane’s environmental approach to music-making, the record is not bound to any particular coordinates, or any particular sound for that matter. The vastness of his influences — beloved artists like Ahmed Malek and Issam Hajali (both Habibi Funk veterans); West African funk deep cuts; European cinematic scores; et al — result in a record of somewhat unparalleled expansiveness. Floating melodies and frantic rhythmic interludes both find natural homes across “Marzipan.” The record is tinged with psychedelic elements—fuzz-drenched guitar, sliding microtonal interludes, hypnotic rhythmic breakdowns. Reflecting on his creative process, Megarbane cites a stream of consciousness approach: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.” Lead single “Souk El Ahad” opens the roll-out with a raucous energy, out June 12. Megarbane abstracts busy city sounds into a psychedelic framework, casting technicolor hues on everyday experience. Following is second single “Pas de Dialogue” out June 23. The track jerks the listener towards a more meditative state with lulling harpsichord and expanding, cinematic sound. “Marzipan” will be available physically and digitally everywhere on July 14, 2023. Be sure to listen for focus track “Chez Mounir” that captures the warmth of community in a joyful, laidback groove.
Uncover greater insight into the world of Charif Megarbane in the booklet accompanying the LP

Foundation music are proud to present our second project with the formidable talent that is Crooked Man aka Parrot, known to his mother as Richard Barratt.

The DJ turned producer from Sheffield, founder and resident at the seminal Jive Turkey night, member of Warp’s Sweet Exorcist, musical partner with the late great Richard H Kirk (Cabaret Voltaire), producer to such maverick talents as Roisin Murphy and Add N to X, longtime Jarvis Cocker collaborator and remixer to a myriad of artists over several decades.

More recently, Parrot's project with internationally renowned Jazz singer Lady Blackbird, Athletes Of God, released two singles on Foundation Music ‘Don’t Want To Be Normal’ and the clubland hit ‘Fontella’ that were both playlisted by 6Music.

Lady Blackbird now flies the nest, with the divine Earth Angel swooping into her place. A seminal, reclusive, heavenly voiced singer, also from Yorkshire and with deep roots in the soul and dub scenes… And no, it's not Lisa Stansfield!

A project that has its roots way back in the Sheffield’s Blues parties and Jive Turkey itself. The club being a home to all forms of exciting new Black music, from ’85 through to the early days of the UK’s dance explosion. It sees Parrot take all that he has achieved, written and learnt over the years at the cutting edge of electronic, dance-inflected, production and DJing returning to those heady days of down tempo, body moving, speaker shaking music that would move the British underground soul/funk scene in the mid to late 80’s.

Call it 'street soul', '80’s soul', 'electro soul'… Earth Angel is all of those things but it is also very firmly rooted in the NOW! Not some retro pastiche, it incorporates so much more. With elements of techno, bleep, dub and any other studio trickery that Parrot cares to employ in order to suck you into Earth Angels’ druggy, hypnotic, sexy, “Mogadon Soul”. A four songed, eight tracked vinyl EP, featuring some classic songwriting from the glory days of soul and Crooked Man’s bass heavy electronic rhythms.

Welcome to the heavenly world of Earth Angel, the journey starts here.


DJ Support:

Luke Una, Ross Allen, Sean Johnson (ALFOS) & Kebal.

Third in a series of 7" vinyl releases on Posthuman’s Balkan Vinyl imprint - the "Kanlab series" - focused on celebrating underground artists from the label roster, is hardware wizard Chevron, known for his releases on Planet Mu, Shipwrec, Wrong Music and more.

Two tracks of analogue acid here channelling classic UK rave & 90s techno.

All artwork for the Kanlab series is by non-binary designer Leo Soph Welton of I Am Human Design.

Repress coming!

A year on from 'Good Evening', the critically acclaimed collaborative album with Verb T & his
stellar contribution to Ocean Wisdom's UK TOP 40 'Wizville' album, producer Pitch 92 is
ready to show off his new works to the world, as he enters a new stage in his career and begins
to spread his wings as a solo artist. Known for his soulful sound, inspired by the likes of
Madlib, Pete Rock & J Dilla, Pitch 92 has carved out his own unique style and pulled out all the
stops for his debut release on High Focus Records.
Entitled 'Lost In Space', this new EP is a perfectly balanced mix of vocal and instrumental
tracks showcasing the raw talent of the Manchester based producer. Pitch 92 has assembled a
healthy roster of artists to work alongside, ranging from UK Hip Hop royalty to up & coming US
artists as well as accomplished musicians.
Spanning from UK Hip Hop favourites such as Jehst & Verb T, to new faces such as K S R ,
Sparkz and Doctor Outer as well as hooking up with Sony Music's Ashely Henry, one of the
UK's most accomplished jazz pianists as heard on 'One Handed' - Pitch 92, armed with his
trusty MPC, expertly provides the perfect backdrop to accommodate each of his guests, as well
as putting forward instrumentals that stand out as masterpieces in their own right, Pitch 92
applies finesse and the ability of a veteran producer, despite only being 26 years old - One
listen of lead single 'Lost In Space' featuring Jehst and Confucius MC is all you need to
confirm that we are indeed listening to a master at work.
In short, 'Lost In Space' is a production masterclass and serves as the perfect introduction to
the Pitch 92 sound, of which you will be hearing more and more, guaranteed.

A wild and funky collection of Afro grooves that was ahead of its time in 1977 and has become a collector’s item in recent years, especially due to the growing international interest in Colombian picó sound system culture. Fruko and his studio bands Wganda Kenya and Kammpala Grupo treat us to a diverse set of African and Caribbean styles, laced with crazy synths, psychedelic guitar and infectious pan-African polyrhythms. By the time Discos Fuentes released the album “Wganda Kenya Kammpala Grupo” in 1977, Wganda Kenya’s discography was expanding with many 45 singles and appearances in various artists collections. The group’s 1975 debut record “África 5.000” was a full length LP in the U.S. and a various artists compilation in Colombia, which was followed by the self-titled long player the following year. However, Kammpala Grupo, which shared the album’s title and was credited to three songs on the record, had never appeared before, yet was basically the same studio group as Wganda Kenya. Most likely the creation of this short-lived studio band was just a ploy by the label to make it seem like there were more groups playing the type of exotic afro tracks favored by the picotero DJs of Colombia’s Caribbean coast (especially in Barranquilla and Cartagena). 1974 Discos Fuentes’ management had sent musician, band leader and producer Julio Ernesto “Fruko” Estrada to the coast on an A&R mission to discover what people were dancing to in the verbenas (communal open air neighborhood parties) run by the owners of picó sound systems (decorated mobile DJ rigs). Always game for an adventure, Fruko was tasked with bringing some popular examples of these esoteric, hard-to-find African, French and Dutch Antillean records back to Medellín to serve as inspiration (or to outright copy) so that the label could enter into the growing regional market and spread its popularity to the interior of Colombia and other Latin American countries via its own studio creation, Wganda Kenya. Fuentes was always returning to exploit the rich African-rooted culture of the coast as it had with the cumbia and other regional genres before, so in a way it was not surprising that they were attuned to this particular niche phenomenon from a marginalized sector of the population. The most popular genres with the champeta dancers in the 70’s and 80’s were styles like Congolese rumba, highlife, afrobeat, juju, mbaqanga and soukous as well as the music of Haiti, Guadeloupe, Martinique, Curaçao and Dominica, all of which were fiercely guarded by the DJs who had managed to acquire them often through extreme means of travel, barter and intense digging. The record kicks off with the joyful ‘El Gallo Africano’ which features exquisite interplay between Sepúlveda’s highlife style guitar and an authentic-sounding African style saxophone, perhaps played by Carlos Piña. In reality it was ‘Go Call Police Chief’ by prolific Nigerian highlife guitarist Chief Oliver Sunday Akanite, aka Oliver De Coque. Next up is Kammpala Grupo’s ‘La Yuca Rayá’ (‘Grated Yuca’), written by Isaac Villanueva in a style he termed son haitiano which sounds much more like Zimbabwe Shona mbira music. Wganda Kenya’s ‘Caimito’ (star apple, a type of tropical fruit), on the other hand, is actually a cover of a relatively well-known Haitian merengue song. Kammpala Grupo then takes us from the French Antilles to the multi-cultural discotheques of Paris, where a cover version of Black Soul’s Afro-boogie anthem ‘Black Soul Music’ is retooled and renamed ‘King Kong’, perhaps in a nod to the 1976 remake of the monster flick of the same name. Side two introduces us to the infectious merengue rebita of Angola via ‘La riphyta’ with “Paparí”, aka Mariano Sepúlveda, doing the vocals and faithfully replicating the Angolan guitar style. ‘La Trompeta Loca’ (‘The Crazy Trumpet’), probably the nuttiest track on the album, is an ingenious cover of ‘Ye Gbawa Oo Baba (Tribute To Nigeria)’ by Joe Mensah of Ghana. As with all their covers of African tunes, this rendition tightens up the original with some pop sheen, more consistent drumming and higher production values, remaking it into a powerful slow-burning dance floor filler. This is followed by one of the most powerfully original songs to come out of the entire Wganda Kenya project, Mike Char’s reggae anthem ‘El Nativo’ with Joe Arroyo on vocals. The record ends on a more authentically Caribbean sounding note with the instrumental ‘El testamento’, a cheerful islands banger with bright brass, syncopated calypso beats and chunky cuatro guitar (or ukulele). The original was in the mento genre and titled ‘Sweet meat’, written and recorded by Jamaican trumpeter Bobby Ellis. First time reissue. 180g vinyl.

Blue Lake is the musical moniker of American born, Copenhagen based multidisciplinary artist and musician Jason Dungan, who signs to the Tonal Union imprint for the release of his new longform album ‘Sun Arcs’. It follows 2022’s release ‘Stikling’, earning a nomination for ‘Album of the Year’ at the Danish Music Awards plus warm praise from The Hum blog and musicians and DJs alike including Jack Rollo (Time is Away/NTS) and Carla dal Forno. A self taught player, Dungan began freely experimenting with self-built multi-string instruments, preferring to build his own hybrid 48-string zither and working in the realms of left-field ambient music, off kilter folk and improvised acoustic minimalism.

The starting point of ‘Sun Arcs’ saw Jason travel for a week alone to Andersabo, a cabin set in the idyllic Swedish woods just outside of Unnaryd, known also as the music project, festival and residency space which has been run by Dungan since 2016, hosting artists like Sofie Birch, Johan Carøe and Ellen Arkbro. Whilst writing 1-2 pieces per day, a conscious decision was made to leave behind everyday distractions and shut out the outside world to instead focus on the natural passage of time as Dungan recalls: “My only sense of time came from these daily walks out in the woods with my dog, and an awareness of the sun’s path as it moved across the sky each day.”

The album’s immersive world unfolds with the opener ‘Dallas’, an ode to his home state and a musical synthesis of these two disparate spaces (Texas and Denmark), the touchstones of Dungan’s life. A folk-esque single acoustic builds to a flowing arrangement of clarinets, organ and cello drones coupled with percussion. ‘Green-Yellow Field’ chimes in as the first of two solo oriented zither recordings twinned with the dreamlike title track ‘Sun Arcs’, both densely rich as cascading and overlapping harmonic tones resound. ‘Bloom’ emerges with a krautrock psyche before an eruption of cello drones, slide guitar and free-ranging zither playing, ushering in the anticipation of spring. With half of the recordings conceived in Andersabo, Jason returned to Copenhagen to form the album's centre piece ‘Rain Cycle’ which features a tempered Roland drum machine alongside shifting zither improvisations. ‘Writing’ explores the shimmering harp-like qualities of sweeping playing figurations with Dungan mapping out adjusted tuning “zones” on the zither for unconventional but creatively liberating effects. ‘Fur’ captures the feeling of openness and the momentum of time, seeing Dungan perform waves of solo clarinet, often in one takes and embellished with textural drones, a zither solo, and layers of guitar. ‘Wavelength’ the album's closer is fondly inspired by the film works of Michael Snow and Don Cherry’s seminal live album ‘Blue Lake’ (1974), as it builds out from a drone-generated zither chord and features an alto recorder solo. Dungan found a deep connection to Cherry’s stripped back performance ethos, focusing on the core beauty of minimal instrumentation creating a genre-less meeting between folk and jazz. A dialogue is formed between the solo and the bandlike performances, interlinked in a geographical duality with all finding a sense of commonplace as musical sketches of visited landscapes. The bountiful instrumentation ebbs and flows as further layers emerge with Dungan constructing his material much like an artist would, recording and reviewing, adding and subtracting.

Musically it portrays a form of double life led by an American-identifying person living in Scandinavia, and a new found presence in Denmark, seeking out underdeveloped marshlands and barren stretches of beach adrift from other rhythms and distractions. Highlighting their individual and potent importance Dungan concludes: “Both places feel like “me”, I think on some level the music is always some kind of self-portrait.” ‘Sun Arcs’ depicts the intricate balance of nature’s cycles and the paths outlined by the seasons, from a winter dormancy to a warm sun drenched scene. The album scales new glorying heights and further defines Dungan’s musical narrative, inhabiting a unique space in left-field, improvised and experimental music, borning his most accomplished compositions to date. A singular and visionary expression, drawing on an array of instruments and sound worlds with a renewed sense of joy and discovery.

The album's rich tapestry was mixed by Jeff Zeigler (Laraaji, Mary Lattimore, Kurt Vile /Steve Gunn) and mastered by Stephan Mathieu (Kali Malone, KMRU, Félicia Atkinson).

This second volume of Mangle Rojo is a tribute to the spirit of celebration and diversity that reigns in the festivities of Colombia´s town squares. We created this compilation in vinyl format, in which we continue to explore the traditional sounds of the Caribbean and Pacific coasts, which have a rooted Afro tradition.

We begin this journey with field recordings of traditional groups such as Sexteto Tabalá from Palenque de San Basilio, who plays the sextet format heir to the Cuban Son and Los Alegres del Telembí, exponents of the marimba music of the Colombian South Pacific.

We continue this voyage with proposals that fuse traditional rhythms with modern instruments and musical genres: The popular singer Nelda Piña makes a featuring with the afrobeat orchestra La BOA and the marimba band Saborimba, from a small town on the Pacific coast, collaborates with urban musicians.

In addition, we find new protagonists like the big band formats that have been popular in Colombia since the beginning of the 20th century: the Papayera band (Calentanos Brass Band) and the Chirimía format (Chirrimía Balsámica), this last one with the collaboration of the renowned singer Alexis Play.

Finally, we invite artists who use traditional rhythms to develop electronic proposals, such as Ghetto Kumbé and the well-known singer Nidia Góngora.

Repress.

The first in a series of compilations by Jura Soundsystem is a blend of Dub, Ambient, Downtempo, Boogie and Proto House with a focus on music never before released on Vinyl, sought after out of print titles and some special versions edited specifically for the album.
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The intention with this project was to delve deeper into the reissue pond and unearth some lesser known tracks and artists. Highlights include Smackos (AKA Legowelt) Ambient epic 'We Can Watch Alf In The Hotel Room', never before released on Vinyl, the Dub / Psych hybrid of Minus Group's 'Black Shadow', Kash's sought after 'Percussion Sundance' and special edits of Ken Dang and Tabou Combo.

The end of the album includes some soothing Ambient tools.

Worldwide pressing of 300 copies.

Ursa Major Moving Group, the solo alias of singer and composer Ursula Russell, announces her self-titled debut album, due out June 9th via Faith & Industry Records.

Known for her mesmeric drumming for Snapped Ankles, Alabaster DePlume, Drop Out Venus and Blue House, the album showcases the London-based artist’s stylistic and instrumental virtuosity - she played all instruments herself - on an intense, dynamic and intimate musical journal that shifts between delicate folk, stirring indie rock, flamboyant chamber pop and angular post-punk styles.

Its complex themes reflect a multihued blend of musical styles that recall artists as diverse as The Pixies, Talking Heads, Joni Mitchell, Arthur Russell and Julia Holter. Having built a reputation for her brilliance of musicianship as a band member, Ursa Major Moving Group sees Ursula establishing herself as a solo artist of brilliant, open-hearted originality.

Amongst the album’s many highlights is the driving, emotive opening track, Reverse Invisible, which dives into memories of childhood alienation .The winsome Goodbye George, which finds Ursula’s delicate vocals and acoustic guitars melding with Alabaster DePlume’s Ethio-jazz saxophones, delves back into her childhood.

Ursa Major Moving Group play End of the Road Festival 2023.

Long out-of-print release available digitally for the first time. Extensive notes by a local writer in English and French. Previously unpublished family photos. Urbanized traditional music at a dance-floor-friendly tempo. The very definition of an "Awesome Tape From Africa". Roger Bekono made a deep mark in the contemporary history of Cameroonian music through the four-on-the-floor, ribald intensity of bikutsi. The Ewondo-language dance-pop style that forms an undulating tapestry of interlocking triplet rhythmic interplay came to international prominence in the European "world music" scene as the 90s began. But the relentless sound of bikutsi developed in Yaoundé at the hands of Bekono and many others, as it developed from a village-based singing style performed mostly by women into a cosmopolitan music force that rivaled the popularity of established musics like Congolese rhumba, merengue and makossa. With his unique—some say suave—voice, Bekono contributed much over a period of more than 10 years as part of the evolution of this traditional rhythm-turned-urban dance movement. Bekono worked with legendary producer Mystic Jim, who had built a prolific home studio along with a crack team of musicians. They joined as part of the production of his self-titled album, which became known locally as "Jolie Poupée," the name of the album's lead single and most popular song. For "Jolie Poupée" Mystic Jim programmed the kick or bass drum, adding effects to have a heavier bass. Overall the album represented a new level of finesse and professionalism for his second release. In the middle of 1989, Jolie Poupée was released by the label Inter Diffusion System and aggressively hit the radio, discos and national television. The music video for the title track was on loop on TV. It felt like everyone was talking about it, even artists in adjacent music scenes like makossa. The album came out on vinyl and cassette and remains Bekono's best-selling recording to this day. With Jolie Poupée Bekono finally made an impact outside Cameroon as the record captured listeners in some Central African countries like Equatorial Guinea, Gabon, Republic of Congo and Sao Tome & Principe. In these countries, we find the Fang or Mfan people (also known as Ekang), Bantu-speaking ethnic groups that are also found in Cameroon. This umbrella language group includes the language in which bikutsi is mainly sung. Most of Bekono's songs are in French, Ewondo (of which Beti is a dialect) and Pidgin. The four songs on Jolie Poupée are all considered bikutsi classics. On September 15, 2016, Bekono died of a long illness at the age of 62. In the wake of his passing the media published a wave of tributes, thanking him for what he did for Cameroonian music. He was an admired musician, songwriter and guitarist, and some of his old colleagues and some of the new generation of performers showered Bekono with vibrant tributes via social media, many of which noting something to the effect of: "The artist dies but his works remain."

We are delighted to welcome from the Finnish electronic music underground the artists MESAK to the n s y d e family. Mesak's dedication to experimentation and sonic exploration always excited us. With an extraordinary sense of futuristic sound designs, these tracks are a perfect example of finding the sweet spots between established and new techniques. The First track "Katosi" shows impressively how a contemporary dertroitish sound design is still able to transport ancient human feelings like hope and melancholia at the same time.

The acidic grounded "Narina" creates a dungeon space constantly hitting the whiplash snare drum, while "Post Sweat" is pouring golden Larry Heard-like warm Deep House neutrons upon you.


For the Remix, he has invited one of the most interesting artists in the field of electronic experimentation coming out of France, Poborsk, also known under his Bill Vortex moniker.


Mesak's music invites listeners to explore a range of emotions and moods, from the contemplative to the ecstatic, with a sense of sincerity and authenticity that is extraordinarily rare.

House Nation is still under one Groove.

Tidal Waves Music proudly presents ‘Fly By Night’ for the FIRST TIME on vinyl (the album was only released as a limited compact disc back in the early nineties).
This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip.NonReturnable.

This vinyl edition also features the original painted front cover artwork by Virgil Grady (known for his work with Tribe records) and back photography by acclaimed Detroit scene photographer & author Barbara Barefield, whose work has appeared in many renowned publications such as The New York Times, LA Times, People magazine and countless others.

Released exclusively for Record Store Day 2023 (UK/Europe) and available in participating stores on April 22, 2023.

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.

In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now
legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.

In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison
also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).
In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the UnitedStates, Middle East and Africa. Even to this day Wendell Harrison's recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.

It is on WEHHA in 1990 that Harrison released (and self-produced) the opus: ‘Fly By Night’ which we are proudly presenting you today. ‘Fly By Night’ is a monster of an album featuring an all-star line-up that
includes Doug Hammond (Mingus, Lonnie Liston Smith) on drums, Kirk Lightsey (Chet Baker, Calvin Keys) on piano, Cecil McBee (John Hicks, Pharoah Sanders, Alice Coltrane) on bass, Jaribu Shahid (Sun Ra) on contrabass and Pamela Wise (Tribe) on Piano. Harrison is killing it here with this selected ensemble (guys he grew up with in Detroit in the late 50’s, when hard bop was the thing and Miles and Coltrane were the heroes of the day). This group of talented veterans are taking this classic album to unseen heights.

On ‘Fly By Night’ the gloves come off…no more jazzy-funk or poppy-jazz. Wendell picks up his tenor for one tune but the remainder of the sessions he performs on clarinet. Wendell’s mastery coaxes the sweet piquant sound of the instrument and as it re-emerges in the contemporary jazz scene. The eight handpicked tunes demonstrate the fertile new directions Wendell Harrison has been working on, combing standards with a fresh new approach.

On these amazing recordings (recorded at the Rebirth Studios in Detroit) the listener is invited to experience a synthesis of what has been and what is now. The record shows Wendell’s trademark proficiency. All of the above makes this incredible record both timeless and as relevant today as it was back when it was initially
released.

'Malombo music is an indigenous kind of music. If you listen to it, you can feel that it can heal you, if you’ve got something wrong. It’s healing music.'
Lucky Ranku

"Lucas ‘Lucky’ Madumetja Ranku (1941-2016) was one of the greatest African guitarists of his generation. He first made his name with the Malombo Jazz Makers – the successor group to the legendary Malombo Jazzmen, formed in Mamelodi township by guitarist Philip Tabane, drummer Julian Bahula and flautist Abbey Cindi. When Tabane left the Jazzmen in 1965, Bahula and Cindi called on Lucky to replace him, and the Malombo Jazz Makers were born. Building on the popularity and success of the original Malombo Jazzmen, the Malombo Jazz Makers become immensely popular, touring widely, winning numerous jazz competitions, and recording two successful albums for the Gallo label.

The deep and hypnotic Down Lucky’s Way was their third album. Recorded in 1969, it was the first Malombo Jazz Makers album to feature additional instruments, and the first to feature Abbey Cindi on soprano saxophone as well as flute. But more than anything else, Down Lucky’s Way is a transfixing showcase for Lucky Ranku’s sui generis guitar virtuosity. Quite different from their previous recordings, the album shifted the Jazz Makers’ sound toward hypnotic, extended compositions, layered by organ bass and guitar overdubs. Of all the Malombo Jazz Makers recordings, Down Lucky’s Way is the deepest of mood, and the richest of vision.

However, through one of the erasures that are ubiquitous in South African musical history under apartheid, it seems that the record may not ever have been properly issued. Original copies are outrageously rare – only a few are known among collectors. When we asked Lucky about the album, he was unaware it had ever been released, and had never seen a copy. Perhaps it was pulled; perhaps it was pulped; perhaps Gallo simply took their eye off the ball. Nobody knows, but it is not impossible that the apartheid authorities were involved, for by 1969, the Malombo Jazz Makers were well known to them.

Julian Bahula’s introduction of malopo drums to the music of the original Malombo Jazzmen was a moment of crucial political and cultural radicalism for South African jazz. Traditionally used by BaPedi people for healing, the malopo drums of Malombo music re-centered jazz
around indigenous sounds and culture, and over the next decade, the Malombo Jazz Makers became deeply involved in political opposition to apartheid. Their recovery of indigenous sounds made them the musical standard bearer for the Black Consciousness movement, and they toured South Africa clandestinely with the writer and anti-apartheid activist Steve Biko. They also broke apartheid laws by playing with the white rock group Freedom’s Children, sometimes appearing on stage in masks or made up with UV paint to avoid detection by the authorities; they appeared regularly at the rule-bending Free People’s Concerts organized by David Marks, where Marks’ clever exploitation of a loophole – mixed audiences were prohibited from attending ticketed concerts where anyone was being paid, but the law said nothing about private functions played by artists for free – meant people could come together in defiance of apartheid laws. The notorious Special Branch would raid their concerts; Lucky remembered police storming an auditorium, throwing smoke bombs.

Eventually the political situation became too dangerous, and the band were being actively sought by the police. Though Abbey Cindi remained in South Africa, both Julian Bahula and Lucky Ranku went into political exile in the UK, where Bahula founded the group Jabula with Lucky and former members of Cymande, Steve Scipio and Michael ‘Bami’ Rose. With Jabula, Julian and Lucky worked tirelessly for the anti-apartheid movement, raising funds and awareness all over Europe and in the US. They played with Dudu Pukwana’s Spear in the joint formation Jabula-Spear, and worked together in Bahula’s Jazz Afrika formation, and Bahula organized the first Concert for Mandela in 1984 (it was Jabula that supplied the chorus for The Special A.K.A.’s hit single ‘Nelson Mandela’). Lucky also played and recorded with Chris McGregor’s South African Exiles Thunderbolt group. After the fall of apartheid, they both remained living and working in the UK. In 2012 the South African government awarded Julian Bahula the Gold Order of Ikhamanga for his cultural work during the struggle against apartheid.

Until his death in 2016, Lucky continued to play with countless groups and musicians. putting together the band Township Express with Pinise Saul, and leading his own African Jazz Allstars. The influence of his playing on the international perception of South African township music was immense, and he was held in the highest regard by his peers – ‘Lucky was a guitarist who could bring any house down’, said Michael ‘Bami’ Rose.

But despite his continuous presence on the UK live circuit over four decades, Lucky Ranku never recorded an album as leader. And so as well as restoring an important lost piece of South African musical heritage, Down Lucky’s Way is a precious opportunity to hear one of Africa’s foremost guitarists stretching out, in focus and in his element."

First issue since 1969 of the Malombo Jazz Maker’s unknown third album.
Liner notes featuring interviews with Julian Bahula and Lucky Ranku.
Fully licensed from Julian Bahula.

The name NxxxxxS (pronounced "N-Five X-S”) sounds like it could be an equation, or a mystery. But to begin to unravel the identity of the French producer who just signed to Because Music and Mad Decent (the label founded by Diplo), you first have to look for clues on YouTube and Soundcloud, where so many underground artists have found a place to hone their craft. In the ten years preceding the release of his second album Short Term Agreement in 2023, NxxxxxS built up a solid reputation for himself in the international vaporwave, vaportrap & phonk scenes. This is no small feat considering he didn’t have any real knowledge of production or composition before deciding to take on these classic genres of “Internet music”.
The Paris native first gained exposure when he started making beats on YouTube, taking his inspiration from American rappers of the blog era - when artists, especially in hip hop, used digital technology to break away from traditional distribution models - like Mac Miller or Odd Future. Building on this initial success, NxxxxxS turned to Soundcloud, an essential platform for music enthusiasts, tastemakers or anyone on the lookout for the sounds of tomorrow.
Following in the footsteps of The Alchemist and other producers of the same ilk, NxxxxxS soon became one of the pioneers of vaporwave and vaportrap music. Featured prominently in modern productions, these styles originated on social media platforms such as Reddit or Tumbler in the 2010’s and are recognisable by their frequent use of commercial samples ranging from the 70’s to the 2000’s (taken from jingles, lounge, jazz or elevator music). Altered, chopped up and slowed down to around 60 to 70 BPM to match hip-hop standards, the music offered a critique or satire of capitalism, consumer society and any culture that grew out of it, most notably yuppies from the 80’s.
NxxxxxS put his own spin on the recipe by creating a new world filled with soaring melodies and countless references to movies and horror scenes, and eventually released his debut album Fujita Scale (a scale used to measure the damage inflicted by tornadoes) in 2014. The album reached a worldwide audience because of its composer’s story and of the secrecy around his French nationality, and even won over unexpected fanbases such as the highly closed off Chinese market. Fujita Scale landed on one of China's streaming platforms, making NxxxxxS an identifiable artist in Asia who went on to tour his album three times across the continent.

NxxxxxS kept the ball rolling, collaborating on a new series of more accessible projects, which aimed to be less niche in terms of the references or sub-genres they tapped into, so he could find a new audience. This led to his first hits, “Synthetic Corporation” - which would also become the name of his label - “Remember Last Summer” and “Formatted Excess”, as well as his most popular track to date, “Playa Shit”, with over 11M streams on Spotify. The upcoming album’s title, Short Term Agreement, is a playful reference to his unyielding desire for independence and productivity, and his eagerness to preserve the personal freedom he turned into strength.
Yet NxxxxxS is never one to refuse support, and he has now joined forces with Because Music & Mad Decent to further establish himself as a producer at the international level - alongside Diplo especially, who is a case in point - so that this understated and ever prolific artist can meet his ambitions of widening his audience and have his name known by all.
And so the tracks on Short Term Agreement serve as the foundation for NxxxxxS' new identity, featuring a rich and diverse array of sounds thanks to the numerous guests involved: London rapper Jeshi - a new British rap phenomenon also freshly signed to Because Music, French rappers 8ruki & Bitsu, Canadian Freddie Dredd and American underground talents Pollari . Avoiding the pitfalls of a compilation-like producer album, NxxxxxS has once again carved out his own style from the modern hip hop rule book.

In other words, NxxxxxS’ constant evolution has brought us this much closer to solving the mystery that is his name.

Various Artists - A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006) LP + 7' + 4 page booklet insert describing the legacy of the magazine, 500 only pressed. A vinyl only release. "A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006)" is a celebratory vinyl-only release drawn from the magazine's sixteen cover-mounted compilation CDs. Across some 300 tracks, the magazine presented previously unheard tracks from its eclectic array of interviewees drawn from the worlds of the Singer Songwriter, Americana, Post-Rock, Electronica, and all things Indie. Comes With A Smile's designer/editor Matt Dornan's association with Tongue Master Records began with the first TM 7" and has continued to the present day. In some ways the association has come full circle with this curated release. The selections on this album represent the place where the worlds of Tongue Master and CWAS converge. Most remain exclusive to the magazine, and all appear on vinyl for the first time. Side one features artists who appear in the Tongue Master discography - from established masters Mark Eitzel, Mark Mulcahy and Howe Gelb to the equally idiosyncratic stylings of New York's The Scene Is Now, Athens' Sigmatropic (featuring Edith Frost) and London's cinematic The Real Tuesday Weld. The latter revisits a CWAS favourite, featuring a newly recorded vocal by Sephine Llo, exclusive to this release. Other contributions include intimate demos from Eitzel and Gelb (better known in embellished form by American Music Club and Giant Sand respectively), to standalone gems like Mulcahy's "Elephantine" (which gives this collection its title) and the bruised avant-garde blues of The Scene Is Now's "The Word". The tracks on side two and the accompanying 7" are a diverse selection drawn from the 16 CDs CWAS issued between 2000 and 2006 that reflect and complement the oeuvre of Tongue Master Records. Here you will find the dense literature-infused art-folk of Lullaby For The Working Class, the sparse acoustic balladry of Nina Nastasia and the curious Matmos-enhanced stylings of veteran polymath and fellow New Yorker David Grubbs. In their wake comes an epic jazz-tinged duel between Douglas McCombs's Brokeback and sometime labelmates Chicago Underground Duo, and the raw gothic Americana of Blanche. The LP concludes with a haunting lo-fi lament by the sorely missed Jason Molina in his Songs: Ohia guise. The 7" presents two further gems: a concise edit of the lengthy title track from a 2005 12" tour EP from CWAS regulars The American Analog Set, and an acoustic rendition of a track from the album 'The Great Destroyer' by shapeshifting veterans Low from the same year. Together the 14 tracks hint at the breadth of the CWAS archive, a treasure trove from a not-too-distant musical past. With full lyrics, a special four page insert tracing the history of the magazine, and an Alex Wharton Abbey Road cut, this quality release is a testament to the legacy of CWAS. 'Probably the best independent music magazine in the world '- ESQUIRE // Tracks: SIDE ONE: 1 The Scene Is Now - 'Words' (3:10) 2 Howe Gelb - 'Wolf Pup' (4:42) 3 Mark Mulcahy - 'Elephantine' (4:12) 4 Sigmatropic featuring Edith Frost - 'Haiku 4 (Alt)' (2:31) 5 Mark Eitzel - 'Bought A Book' (3:36) 6 The Real Tuesday Weld featuring Sephine Lo - 'Dreaming of You' (3:47). SIDE TWO: 7 Lullaby For The Working Class - 'In Defense Of Abstractions' (3:18) 8 Nina Nastasia - 'I Will Never Marry' (3:29) 9 David Grubbs- 'Aging Young Lovers' (2:53) 10 Brokeback With Chicago Underground Duo- 'Chomsk, Live!' (7:08) 11 Blanche -'Never Again (Demo)' (3:26) 12 Songs: Ohia - 'Untitled' (3:01). 7" SIDE 3: The American Analog Set - 'Everything Ends In Spring (Edit)' (4:41). SIDE 4: Low - 'Walk Into The Sea (acoustic version)' (3:07) For indie stores only!

The sun is shining, the heat is enveloping the body, something is still wrong. « L’Ete Suivant » (The Following Summer), the fourth album of the French quartet Limousine still maintains, as its predecessors, this mystery around indolent music difficult to circumscribe, between jazz, pop, easy-listening.

Limousine is a parallel project but essential for the musicians who participate. It is a recreation, a group without a singer, who over the years has become a ritual for these four boys trained in jazz, who have since drifted to many different shores, and who also follow varied careers - within well-known formations and with famous artists (Poni Hoax, Jeanne Added, Thomas de Pourquery, Joakim).

"The following summer ..." is today the fourth Limousine album after "Siam Roads" in 2014, already published at Ekleroshock. Where this previous project revolved around a trip to Thailand, an initiatory meeting with a traditional musician from the region of Isaan, this new record follows no path except that of fantasy and loitering. It is the result of a simple working method: the quartet met during the last three summers, between the end of July and the beginning of August, in the same studio of the 18th arrondissement of Paris.
In general, it is at this time of the season that Paris begins to empty and the atmosphere of the capital oscillates between lightness, spleen, impatience and serenity. It is among others what resonates in this disc: a form of graceful detachment, an exhilarating nonchalance.

Known for its groundbreaking techno releases, Infrastructure New York, is relaunched! Celebrating 27 years of Function releases this year and the label's 25th anniversary, the label will serve as an outlet for his new material, reissues of out-of-print classics from Synewave, Sandwell District and Ostgut Ton (and of course, Infrastructure), as well as developing new artists. As a member of the Sandwell District collective, David Sumner aka Function, from 2007 onward was instrumental in cultivating and ushering in a new sound of dark, cerebral hypnotica - forcing the hand of change in global techno. Green EP serves as a testament to this, further exploring these depths. The EP pays homage to the day when David arrived in Berlin with his green suitcase where his record "Isolation" on Sandwell District was released, hitting the ground running and springboarding into an incredibly successful career, becoming a stalwart DJ/producer, after years as a struggling artist. Green EP encapsulates the same raw power and hypnotic energy of his genre-defining Sandwell District releases Isolation, Anticipation and Variance, updated with a modern flair. Subject f (Function) has clearly transcended, as expressed through the opening track "Initiation" arriving at his "New Designation". On the b-side Function communicates his divine alignment through the broken beat, etheric "Aeternum (Meridian)". Finally, Function closes Green EP with a live extraction of "Desire and Memory", a brooding club stormer in contrast to the more experimental leanings of the original version, which appeared on Rrose's label Eaux. One thing is clear: Function is back on track and more on form than ever!