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After an entire decade has passed since the release of Nosaj Thing’s first studio album "Drift" Timetable Records is proud to present this critically acclaimed masterpiece.

Chief Udoh Essiet believes in rhythm. He serves it Hot-and-Spicy on his new album Afrobeat Highlife Crossing, from the depths of his soul to the beat that emanates from his hand-made
antelope-skin congas and talking drums from his native Nigeria.
Chief Udoh is a veteran artist, singer, songwriter and virtuoso percussionist. His musical journey took him from the traditional rhythms of his village to Swinging Lagos in the 70s, where
Udoh apprenticed with Dr. Victor Olaiya’s Highlife Band while still too young to reach the tops of the congas onstage. (They stood him on a Coca Cola crate!) He has personally worked
alongside the biggest artists from Nigeria in the 70s and 80s, including the legendary Fela Anikulapo Kuti, creator of Afrobeat, at the height of his fame. Afrobeat Highlife Crossing has all the elements of these Old School styles, effortlessly blending the essence of Afrobeat and Highlife grooves, resulting in a sound that’s purely original. The percussion is out of this world, the bass is melodic, the horn arrangements are next level, the BVs are perfect and the ‘Pidgin’ language Chief Udoh sings tops it off with some Nigerian seasoning, like a dash of Hot Pepper on Stew!
His lyrics speak the cold-blooded truth, telling us to look inside ourselves and fight against corrupt governments that keep getting us into corporate-sponsored wars, leaving innocent civilians to live with the consequences. His label Uwem Music’s motto is “Right now is the best time to play the record” and we agree!

Following his debut on Phantasy earlier in 2019, Joshua James returns to the label with ‘Journeys In Love’, complimented by a propulsive remix from Joe Goddard. Flipping the ruthless sleaze and hi-NRG of ‘Coarse’ on its head, the XOYO and Rinse FM resident presents a release that soundtracks the deeper, more vulnerable and always joyous aspects of London’s queer nightlife culture. ‘Journeys In Love’ lands with immediate effect, building steadily and confidently around a trippy sample and the hugely pleasurable push-and-pull of James’ synths. Breathing deeply and suspended in red-light, James’ new production tastefully recalls the late-hour, sensual attitude classic NYC deep house, while transmissions of a bottom-heavy bass weight anchor the track in the capital’s defiant after-hours scene. As a digital exclusive, the Super Drama remix utilises skittering percussion and cymbal rushes to drive things forward, dissolving with a playful acid coda.
Needing little introduction, Hot Chip and Two Bears co-founder Joe Goddard delivers a soaring and complementary reinterpretation of ‘Journeys In Love’, one built on halcyon, analogue sounds and further bathed in ecstasy and melancholy.

Vinyl Only

Jack On Black consists of Jib Rafill and Joe Le Groove, the pair met 6 years ago when Joe was djing in Malta. Their love electronic music, machines and old school sampling techniques sparked a desire to collaborate and organically work towards writing various genres of music, including Dub, House, Techno, Downtempo and even Film Scores.

Their music is made from passion, a love of technology and Roland outboard gear. Both have been on the scene for many years and separately have their own unique journeys and projects. Joe Le Groove started producing in the mid-nineties and was taught the basics by Darren White aka D-Bridge. He currently has projects on labels such as Desolat, Defected, Moon Habour,Snatch, Defected, Heidi's Jackathon

The pair also have released music on Cesare vs Disorders Serialism and written scores for forthcoming independant films.Their sets are performed live using outboard gear, mics, turntables and EFX. Expect the unexpected from this unlikely duo...

Plutonian Funk is an EP that has been crafted for lovers of House & Techno. It has been destroying dance floors across the world by a handful of the scenes elite, such as Seth Troxler, Quenum Richy Ahmed, tINI, Cesare vs Disorder, Carlo Lio, Victor Calderone, Marco Carola, Audiofly, Dubfire and more.

The EP is split across vinyl and digital, all the tracks on vinyl will never be released on digital format.

The boys have been working hard over the past few years to develop their sound and forthcoming live performances with visuals

Enter Jack On Black…

The 6th Bodytrax release is the first in a new series and marks the first appearance of artists other than Bodyjack on the label. He has invited some of his favourite kindred spirits along for some duelling action over the machines with the simple premise for each EP; both deliver a track apiece, which is then remixed by the other. It is with great pleasure to say that the first to step-up to the plate is Fiedel (MMM, Ostgut Ton, Berghain etc). The Berliner whose work has featured in Chris's DJ sets for aeons, has been behind some of the music that has without question influenced the Bodytrax label since the outset. His idiosyncratic production style meshes perfectly with Bodyjack, and it's safe to say fans of both will not be disappointed to have this duel kick off the series.

Dwight Druick’s born in Montreal to a professional gambler and an ex-Radio City Rockette. One of five children, he grew up in a family buoyed by music and beleaguered by the vagaries of miscalculated risk. After attaining a McGill University bachelor’s degree in Art
History, Dwight fully embraced both music and risk by traveling to London, where he signed a contract with Pye Records and Joe Cocker’s management company. The ensuing record,
Druick & Lorange was released to critical acclaim and relative success. After returning to Canada, Dwight recorded two albums with Phil Vyvial: Midnight and Minuit. Recorded with the Muscle Shoals Rhythm Section in Alabama, the duo’s work achieved airplay success in Quebec and across Canada. Dwight subsequently released his first French language solo album, Tanger, released in 1980 by the Canadian label, Bobinason.
Today quite hard to find in its original version, Tanger is first of all an incredibly solid album, clearly underrated and deserving more credit. Mostly known by collectors and DJs for the
stunning cover of Toto’s classic hit, “Georgy Porgy”, which was produced and arranged with the help of George Thurston (Boule Noire), it includes many other tasty titles, with amongst
them another fine rendition of “Open Your Eyes” by The Doobie Brothers. In fact, with its brilliant mix of Modern-Soul, Disco and AOR styles, the whole album is already considered
by many connoisseurs as a classic, and clearly a must have for anyone enjoying this musical blend. Never reissued on vinyl until now, there was not much more needed at Favorite Recordings
to make it happened. Officially licensed to Dwight Druick, who was unfortunately not able to provide the original tapes, Tanger has been perfectly restored and remastered by Frank Merritt, at The Carvery, London. CD and digital edition will also come with “Georgy Porgy (Version Disco)” as a bonus track.

Repress

Five years ago, the expression Russian electronic scene bore a tone of futurology and expectancies rather than a real state of affairs. It was possible to put together musicians of local and genre importance easily in general, but not of significance in national scale. With rise and further development of Gost Zvuk, Russian electronic music achieved power not only as cultural phenomenon within country s borders, but also fully proved to be a thing of international meaning. Starting operations in 2014, the label quickly defined its domains of authority and engagement and created full-bloody community of musicians, where everyone has a special view on his own work and unique sound. The projects presented on this compilation can be rightfully called the contemporary vanguard of Russian and global electronic music.

Each of resonant artists holds his own disparate creative field and impact. However, in this diversity the unity of creation of beauty and ingenuity is born, that distinguishes Russian independent electronica. All compiled tracks perfectly characterize the artists involved, sometimes from extremely striking sides; from HMOT s chaotic improvisations to kedr livansky s ethereal grooves, from unearthly landscapes of Gamayun to undistracted concisions by Ol or Buttechno. Both electric boffinry and club anthems merge into united vision, placed in graceful frame of Rashad Becker s mastering.

Maybe this compilation won t close the question What is the Russian Sound? , which has been arising for more than twenty years. Nevertheless, it is able to give an extensive view on the evolution of Russian electronica in the 2010s.

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

An entire decade has passed since the release of Nosaj Thing's critically acclaimed masterpiece of an album, Drift. In listening to how effortlessly this album has held up over the past 10 years, it is evident that Jason Chung is nothing shy of an exceptionally talented
record producer, composer, and DJ.
Coming from the Low End Theory beat scene in Los Angeles, one of the most influential hubs of experimental music, Jason has worked alongside some of the most prominent figures in the industry.
Having produced and made remixes for the likes of Kendrick Lamar, Chance the Rapper, Philip Glass, and Flying Lotus, it is clear that his production skills are unparalleled and stretch across countless facets of the music sphere- ranging from ambient, to hip hop, to club music.

Razen celebrate their 10 yr anniversary with “Ayîk Adhîsta Adhîsta Ayîk”, an album that takes a paragraph from CG Jung’s Memories, Dreams, Reflections as a reference point to set off a journey that goes from light to dark, from day to night, from life to death, and back.

As much a reflection of primal imagery and rituals of knowledge as a way of coming to terms with anxieties about the chaos of the night, the album concerns itself with the question: who - or what - are we in the moments before (re-)birth, before waking up, in the state inbetween darkness and light?
On “Ayîk Adhîsta Adhîsta Ayîk”, the wind instruments and organ stabs of band leaders Kim Delcour and Brecht Ameel are expanded with Pieter Lenaerts’ five string double bass and sarangi, Jean-Philippe Poncin’s bass clarinet and chalumeau, and Paul Garriau’s hurdy gurdy.

The album sees the group explore new straight-to-the-gut emotional territory, while simultaneously showcasing Razen’s intuitive, continuous investigation of the acoustic properties and resonant possibilities of churches and chapels in the countryside around Brussels; after “Remote Hologram” (2014) and “ The Xvoto Reels” (2017), this time the St Agatha Church (St.-Agatha-Berchem) functions as the conduit for Razen’s acoustic sound jolts.

With the past ten years entirely devoted to the search for archetypical timbres and connotations by improvising on Early Music instruments, it’s no wonder that the world of Razen would one day collide with the world of CG Jung and take his writing as an inspiration.

A sonic hex tour de force from this unique ensemble, “Ayîk Adhîsta Adhîsta Ayîk” is a present-day, nocturnal emitter of the Coleridge quote that opens Jung’s Memories:
‘He looked at his own soul with a Telescope. What seemed all irregular he saw and shewed to be beautiful Constellations and he added to the Consciousness hidden worlds within worlds’.

Raised in the multicultural and mind-broadening London borough of Enfield, Loraine James grew up hearing everything from steel pan music to Metallica, from jazz and electronica to drill and grime, and the results of this exposure can be heard on ‘For You And I’. In part the album explores the complexities of being in a queer relationship in London - “I’m in love and wanted to share that in some way … to make songs that reflect layers of my relationship.” – and as a whole ‘For You and I’ is rhythmically free flowing and sprawling, with melodies that evolve into rippling keys, feeling like a live jam session with a jazz mentality, contrasting the delicate and abrasive. Opener ‘Glitch Bitch’ is a warm ear-worm, brandishing swirling textures with undulating keys and compressed percussion, with an introspective theme revisited soon after on third track ‘So Scared’, whose glitched percussion and syncopated dub bassline build to a frantic meltdown melody. On ‘London Ting // Dark As Fuck’, inspired by Dizzee Rascals's ‘Boy In Da Corner', James explores the darker side of her production with her frequent collaborator Le3 BLACK laying verses over the skeletal track. ‘Hand Drops’ is an instrumental, about public displays of affection in a queer relationship. ‘Sensual’ reflects on intimacy with vocals by UK singer Theo, who's lyrics capture love and gentleness over a soft, minimal production of ethereal keys and scattered glitches. The albums’ title track is also the most colourful, it’s ecstatic and effusive chaos driven by fervent synths expressing elation and the joyful side of her relationship, while ‘My Future’ is a more reflective moment, where warping synths wash in and out with compressed kicks, as the artist considers the dangers that may come with her relationship : “I wanna tie the knot / But the rope is dangerous”. ‘For You And I’ is a deeply intimate and personal offering, expressing happiness, anxiety, joy, sensuality and fear through a vivid sound palette and an experimental sense of rhythm.

SLEEPERS POETS SCIENTISTS is the compilation of 9 female Georgian artists. It showcases works by Natalie Beridze's students at the CES (Creative Education Studio), where Beridze teaches song-writing and music production. Natalie Beridze is an international well-established artist with releases on Max Ernst, Laboratory Instinct, and Monika Enterprise, through live performances, theatre and movie soundtrack works, as a member of artists collective Goslab, and collaborations with Ryuichi Sakamoto, Thomas Brinkmann, Gudrun Gut, Nikakoi – to name but a few. "This compilation is the backbone of what I try to persuade as a lecturer and as a person, who endlessly loves the music-making process. "Sleepers, Poets, Scientists " is the embodiment of intelligent, benevolent, dedicated, talented and beautiful women, who I believe have a bright future as female composers in Georgia and this album is a significant step towards it."

The retro cover is a nod to the famous group shot from the 1927 Solvay conference, which brought together physicists like Albert Einstein, Erwin Schrödinger, Marie Curie, and others. With this in mind, the name Sleepers, Poets, Scientists rings like a call to action for today's brightest minds, to wake up and save our chaotic, troubled world.

« Hôtel Costes presents... » is a collection of exclusive music recorded or mixed at Studio HC, the hotel studio, and composed by Adrien de Maublanc guests. This unique studio with exceptional gears craft the sound of MidiMinuit.

The second opus, Round the clock, by Midiminuit, is a modern album where classical and jazz music meet modular synths.
MidiMinuit is a collaborative project between pianist Julien Quentin, bass player Yonatan Levi and electronic musicians Cesar Merveille & Adrien de Maublanc. Four experts in their respective fields are harmoniously combining their music creating a new entity.
Three days, twelve hours of music per day, from 12pm to 12am. This was the primary rule of the jam sessions, giving the band its name. This was the first time all four musicians came together. In those three days, there was no rehearsals. Every piece was improvised, recorded and it was moved on to the next track. Bringing those world-class musicians together had the potential to create something unique. And so… ROUND THE CLOCK was born!

Cesar Merveille is known for his collaborations with labels such as Cadenza and Visionquest, and has been a major player in the electronic scene for the past 15 years touring extensively as a DJ, and has now started his own imprint Roche Madame. He started early on collaborating with musicians from different backgrounds. Combining electronic music with acoustic instruments has been part of his defining style since the early days. His love for modular synthesisers brings a unique colour to the sound and groove of MidiMinuit.

Julien Quentin – Born in Paris, graduated from the Juilliard School in New York, pianist Julien Quentin performed in all major concert venues such as Carnegie Hall, the Berlin Philharmonie or the Concertgebouw in Amsterdam. Julien’s interest after 20 years of classical music on the road is opening up to projects ranging from improvisation to producing electronic music and could be heard live at Sonar Off and Amsterdam Dance Event, or in Berlin clubs where he is now based. His remarkable depth of musicianship and distinct clarity of sound coupled with flawless technique bring its distinctive classical influence to MidiMinuit.

Yonatan Levi – Born in Tel-Aviv, Israel, Yonatan Levi first started with classical guitar and switched to classical stand up bass studies from the Israeli Conservatory of Music in Tel Aviv. He then got a full scholarship at Berkley College of Music. He has been playing alongside some of Jazz greats like Avishai Cohen and Eddie Henderson. In the past few years, since moving to Berlin, Levi has ventured into the vast electronic music world, becoming an avid vinyl collector as well as collaborating with electronic music producers who are known for their cross-genre, multi disciplinary approaches. Bringing all that jazz to the band.


Adrien de Maublanc – Adrien is well known as a producer and sound engineer as one half of the Masomenos duo which is a productive partnership with graphic designer and DJ Joan Costes. They have a long collaboration with the Hôtel Costes music history. In fact, they have been in charge of the Costes presents serie, a minimal electronic oriented serie of albums by glacial, seuil and themselves. Since two years now, they have located their studio in the Hôtel Costes extension that have been on works, and named the place Studio HC. It is in this unique studio that MidiMinuit has been mixed. Maublanc is now part on his own several bands that like midiminuit will be released on Hotel Costes Presents label.

It has been a long time coming, LDDLM is more than happy to welcome a house friend, Cosmo Vitelli.
This EP is a complement to the recent (and forthcoming) Malka Tuti releases, coherent fragments of a creative year. If Cosmo is known for his wavey-krautey (I have no other words) productions going back to the Bot’ox days, he also has a meaner side.The aptly titled “Un Episode Psychotique” is disco gone wrong, italo with neurosis, straying from polished clichés, musical yet strangely anxiogen.It is turned into an Eighties monster by GOTT aka Sneaker and Scannoir. Their Creatio Instrumentalis is a cold funk monster and their Creatio Continualis amps up the EBM factor.
How does one translate Giallo in Croat? “Tisja” may answer the question, the spoken words of Tanja Vežić burning through the celluloid.

Finally, “The Shy Dictator” is like an early Chemical Brothers breakbeat monster, powerful yet psychedelic, canalised fury of bells and drums.

After a steady stream of releases from the 2000 Black label which serve as a first course, Dego returns with his third album ; A full length LP of his contemporary adventures in modern sound. This album combines Dego's consistent forward looking musical explorations with a host of instrumental and vocal collaborators introducing us to new talents and reminding us of those we may have heard before. Dego continues to find new perspectives within the musical landscape.

Collaborating with singers and songwriters all expressing a distinct sense of where, collectively, we are now. There can be no doubt that this is a time of questions in every way, changes in the world and industry that will affect us all. How and what role music plays in this journey is explored as with any artist in a personal and pensive way from a tear to a smile. There is no preaching here, only statements and explorations. Individuality and sonic diversity combine and reflect the many inspirations and evolutions of style. Cooking up a strong and distinct genre-defying mix of soul, two step, funk, jazz, boogie and R&B, all dance music's that focus on heritage and natural rhythms.

Listening to the music is a relief and delight for lovers of groove and song-craft. It's a 21st century statement accessible and raw, whilst highly advanced in sound design and production. Holistic in breadth and deep in vision, it provides a way into this music for many, and challenges the cultural conversation about jazz without compromising or pandering. Music that utilizes a raw and sincere true openness narrative.

It wasn’t really a movement, barely even a moment, but the Daisy Age was an ethos that permeated pop, R&B and hip hop at the turn of the 90s. Playfulness and good humour were central to De La Soul’s 1989 debut album, “3 Feet High And Rising”, which would go on to cast a long, multi-coloured shadow over rap.

In Britain, the timing for “3 Feet High And Rising” couldn’t have been better. The acid house explosion of 1988 would lead to a radical breaking down of musical barriers in 1989, and its associated look – loose clothing, dayglo colours, smiley faces – chimed with the positivity of De La Soul and rising New York rap acts the Jungle Brothers and A Tribe Called Quest, all at the heart of a growing collective called Native Tongues.

The Native Tongues’ charismatic, summery aura quickly spread west to the Bay Area’s similarly-minded Hieroglyphics crew (Del Tha Funky Homosapien’s ‘Mistadobalina’); Canada’s Dream Warriors (‘My Definition Of A Boombastic Jazz Style’) used “3 Feet High”’s colour palette and borrowed Count Basie and Quincy Jones riffs; Naughty By Nature (OPP) were mentored by Native Tongues heroine Queen Latifah, while Londoner Monie Love was also adopted by the collective, resulting in her Grammy-nominated ‘It’s A Shame (My Sister)’.

It wasn’t built to last, but the Daisy Age reintroduced Multiplication Rock, bubble writing and the gently psychedelic into the charts. It was a brief, but extraordinarily warm and optimistic moment. The songs on this collection promised that the 90s would be a lot more easy-going than the 80s.

Available on CD and double LP.

Moon Boots a.k.a Pete Dougherty returns with his second studio album ‘Bimini Road’ on September 6 via Anjunadeep. An ambitious and evocative follow-up to his acclaimed debut First Landing, Bimini Road combines delectable club-ready grooves with soulful songcraft into a seamlessly organic whole. Inspired by notions of mysterious lost civilizations, ancient magic utopias and the sci-fi landscapes of the mind, ‘Bimini Road’ is a joyously celebratory listen that builds off the ‘deep textures and funky melodies’ (Mixmag) of his album 'First Landing', a disco house masterpiece supported by KCRW, Annie Mac and others. Featuring familiar faces KONA, Black Gatsby and Nic Hanson among the featured vocal talent, ‘Bimini Road’ also includes new collaborators like rising US talent Niia, Kaleena Zanders and notable British sing-songwriter Little Boots. OutJuly 9, ‘Tied Up’ is the first single off the album, a sexy slice of deep house pop sure to ignite dancefloors and bedrooms alike. Moon Bootsembarks on his Live Bimini Road Tour this Fall, with dates across North America and Europe. Born in Brooklyn, Moon Boots’ musical obsession started not long after he could walk. His early love of piano lead to a passion for keyboards and synthesizers. Teenage nights lost in the work of Daft Punk, ATribe Called Quest and Herbie Hancock followed. Inspired by legends like Frankie Knuckles and Derrick Carter, he moved to the house music epicenter of Chicago, where he tirelessly passed out demos to local DJs and scoured the web for like-minded people with whom he could share and expand on his sound. Heplayed in a synth-pop trio whose demo caught the attention of Lupe Fiasco, and after a stint touring alongside the hip-hop icon, Dougherty went back to DJing with a renewed focus. The stars aligned when he had a chance encounter withPerseus, founder of an adventurous label, French Express. A fellow junkie and fan of French House and R&B-infused dance music, Perseus became a friend and mentor, the Splinter to Boots' Donatello. The label eventually disbanded but Boots has stayed true to his mission of making dance tracks that can’t be confined to one style. Pete blends the music he loves --jazz, house, funk and soul -- into songs that last longer than their runtime. Songs not just for DJs, but for everyone.

Manchester songwriter Ryan Kennedy returns with his fourth album "The Unforgiving Current". Recorded in and around Tokyo hotel rooms, apartments and studios,  the album is a badly lit stroll through Tokyo's winding streets, stopping in only the most questionable bars. Despite its seemingly overpopulated centres, there is often a strange isolation. This Isolation would be the fuel behind "the Unforgiving Current".

After moving to Tokyo early 2018 Kennedy began work on the album. Amidst language and work issues his rosey outlook soon dimmed and what follows is Kennedy's exploration and loneliness in this foreign land. Previous musical similarities may be unearthed but what runs through this record is a vein of (dare I say) mature introspection which sets it apart from previous works. 

An artist who deliberately plays with labels, taking in contemporary and novel forms, boldly launching into experimentation (as demonstrated by her collaboration with percussionist Vassiléna Sérafimova), Chloé wanted to take the album’s tracks and transform them in front of an audience by feeding them with new textures and inspirations. Performed over a year at events such as Nuits Sonores, Sónar, Mutek (in Montréal and Mexico), The Peacock Society, and festivals such as Marsatac, Musilac and Colors of Ostrava, Endless Revisions’ live performance has evolved with every show. It was out of the question to let these new versions - replayed, recreated and restructured alongside the evolution of the performance’s very architecture - fade away without a trace Chloé’s prolific Lumière Noire label, in the wake of its first anniversary, had to produce a recording that bears witness to the work that these ephemeral creations represents. Slowly introduced by Dune, then propelled by the impulse of Because it’s There, the mix is articulated around the appropriatelytitled Outerspace, followed by Party Moonster and the bewitching The Dawn, heard here in “clubbier” versions and adapted to a context in which the audience (whose enjoyment of the performance was audibly captured in the recordings), must be kept in suspense, as if carried away in a narrative. The set leads up to Moonscape, an exclusive track created during the performance series, before the performance ends with a new version of Sometimes, Chloé’s relentless 2002 instant classic. At nearly 50 minutes, this recording is like a snapshot of a work’s vital momentum, remaining faithful to the spirit of Chloé’s Endless Revisions while detaching itself in order to conquer new territories. It is what music must also be: a moving creation that is activated and reacts in contact with its audience.

Since completing his two-decade-long hip-hop trilogy as Dabrye in 2018, Ann Arbor-based artist and Bopside label head Tadd Mullinix has engaged his arsenal of aliases with renewed heat. First came the debut of X-Altera, a new project flexing a wildstyle hybrid of drum & bass and deep techno. Now, he returns to James T. Cotton, a moniker which dates back as far as Dabrye and helped define Spectral Sound, the dance imprint of Ghostly International. While historically tagged as Mullinix’s acid house alias, JTC has always expressed with a more pliable sense of genre, freely fusing an eclectic blend of classic electronic sounds; helpings of Chicago acid, Belgian New Beat, and the leftfield techno stylings popularized both in Berlin and Detroit. With Indigo, Flesh and Fire, Mullinix moves closer to the latter city, adopting a bright, optimistic tone informed by minimalism and futurism.

"I have been more withdrawn and introspective on a personal level, in a positive sense, and I think that fact has made my creativity reach toward feelings about peace, positivity, fantasy, wonder, and openness,” says Mullinix.

The EP is packed, but still playfully ambiguous; a club-ready set built to max out mixing boards with spacious and nuanced melodies and motorized percussion. Five tracks, each with roughly five-minute run-times, offering all but a few breaths in a quest for highly operative dancefloor hypnosis. The record wastes little time locking in; on the first track, “Innerloire Rendezvous,” a dense square kick plows through a brisk four-on-the-floor routine phasing over harmonious synth stacks of rubbery fifths and sevenths. The title track splatters a lenticular static spray between thumping kick, billowy melodic swells, and staticky clicks, snaps, and claps.

Mullinix’s distilled musical vocabulary, developed by his many years in the game, gives the set a misty-eyed quality without compromising its contemporary merit. This is music, inspired by history but fiercely forward-thinking, that feels both subterranean and airborne; in the grind on the ground and soaring above in an iridescent super-charged fog.

key selling points: - Debut release on Spectral Sound - Past releases on Firm Tracks, Nite Owl Diner, Sweat Equity, FCR, Clave - Limited to 300 copies worldwide.

Untameable Anatolian feline fuzzy folk funk finally uncaged. A spontaneous Turkish-Norwegian-Dutch expedition, where seafaring jazz cats entangled with fugitive roadies and Tee-Set mods, makes the story of Durul Gence’s highly anticipated/ill-fated Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music’s great “what ifs?” The black cat is finally out of the bag...

Having forged a celebrity status as one of Turkey’s premier percussionists and bandleaders, Durul Gence assembled the underground fusion group known as Asia Minor Mission (AMM) in early 1972 (with Irfan Sumer, Oguz Durukan and Ugur Dikmen) while trying to escape the constant daze of paparazzi camera flashes that followed him across Turkey. During a far-fetched post-gig brainstorm the group pondered relocating to Norway (based on fact that none of them had ever visited the country) when a local seaman who claimed to have recording studio connections in Oslo overheard them. Enlisting the roadie services of a streetwise Istanbul taxi driver friend on the run from the police AMM took the plunge, accepting the sailor’s offer of passage on his next sailing.
In these new idyllic surroundings, the same region that played host to fellow Turkish percussionist Okay Temiz, Durul found the peace he desired discovering a muse in Norway’s welcoming creative climate. Much like Barıs Manço and Mogollar in France, Cem Karaca and Gökçen Kaynatan in Germany, Gence’s relationship with Norway rekindled a passion for composition in ways he couldn’t have imagined in his homeland, opening doors thought previously unreachable. As a potential prodigal son for Anadolu pop Durul joined a wider pop-cultural diaspora alongside electronic pioneer Ilhan Mimaroglu, Tülay German (aka Tuly Sand) Kardasllar’s “Alex” Wiska (collaborator with Krautrockers Can) and Maffy Falay from the band Sevda.
Despite a blooming fan base and original repertoire the Nordic dream was not to be and after two years without a studio session, AMM called it quits during a tour of Holland after which Durukan and Dikmen went home to join Cem Karaca’s band Dervisan - Dikmen’s keyboards feature on Finders Keepers releases by Turkish singer Selda (FKR011). Retreating to the city of Delft to ponder his next move, Durul met Peter Tetteroo, former vocalist from successful Dutch psych-pop combo Tee-Set, who also found himself in a lonely boat after the demise of his long-running group. As an AMM fan, Tetteroo suggested they record two Gence penned AMM demos for Dutch Philips signed exotic songbird Sasi Naz at Peter’s home studio. A session was hastily arranged and a talented, yet unconfirmed, guitarist was enlisted. Durul maintains it was the work of Ferry Lever from Tee-Set/After Tea, something Ferry has denied, and with Tetteroo having died in 2002 the question remains. Upon entering the humble studio Durul stumbled upon a skeletal drum kit. Lacking hi-hat, toms or even a snare he cobbled together a bongo and a tambourine and set to work. Together, under the watchful eye of Tetteroo, the pair jammed stripped back versions of the AMM live staples Black Cat and Boo Song, with an added freak factor otherwise missing from their jazzier approach. Laid down in just 30 minutes, with Gence’s accomplished guide vocals and fuzzy overdubs, the rudimentary but professional recordings never made it to Philips execs and the tapes returned to Turkey under Durul’s arm as one of only two documented AMM recordings (the other being a live performance in Oslo’s Hennie-Onstad Art Centre in May 1973).
Unintended for commercial release, curiouser and curiouser, Finders Keepers proudly present these previously unheard tracks sourced directly from original tapes, which stand as a testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours, representing a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. 45 revolutions later... The cat’s got the cream.

Around the year, the sturdy red brick walls of an old Cable Factory stand there like a mountain, facing weathers of all kinds rising from the Gulf of Finland. It might be freezing winter winds whipping the whole shore line into submission, fog heavy as concrete, or the relentless sun of the summer months, softening the asphalt to a boiling point. Whatever the weather may be, the narrow courtyard of the old factory embraces those musicians, who are looking to get down. They gather from all directions, making their way towards a pair of doors that lead towards a flight of stairs, again through a few doors all the way to the last portal, where an open padlock and a loosely hangin crossbar signal that Cold Diamond & Mink are inside, locked in a groove.

Who could it be with them this time, perhaps the jazz prophet Jimi Tenor beaming out of his space ship, maybe it's the golden voiced knight of soul Tuomo "Pratt" Prättälä, the number one trumpet wielding dandy Jukka Eskola or the saxman Pope Puolitaival, who loses nothing in coolness compared to the former? The reel to reel is always there in the monitoring room, catching each analog layer of sound, even the silences and banter between takes. Seppo lays down the guitar and tries to catch the riff on organ instead, Jukka throws a rare tune on the turntable, hoping to guide their unit through that wobbly chorus, Sami waits there bass in hand, maybe already thinking about the next production.

After a whole lot of playing instruments, arranging and taking care of business, after the moon has travelled around the old industrial building for some rotations, Carlton Jumel Smith comes waltzing through those same doors. There's a handful of unnamed tracks waiting for him. He sits there listening and then starts writing, maybe echoes of soul classics from his own record collection in New York projecting inside his mind. Then the tape is rolling again. Starting with a short intro rap Carlton lets it out, singing on the edge of shouting "Woman you made me...". After the vocals are in the can, Carlton ascends out of the basement and heads out to entertain an audience somewhere. Some months later, after the mix is said and done, there's the question of the instrumentals. It seems they're pretty good as they are. And here they are.




d 4 Help Me (Save Me From Myself) [Instrumental]

Good For You present a special Paradise Garage inspired 12 Inch sampler from the upcoming ‘Paradise Garage : Inspirations’ compilation, featuring two of Kenny Summit's collaborations with the Director's Cut duo, and Godfathers of House, Frankie Knuckles and Eric Kupper. Neither of these tracks have ever been pressed to vinyl, so this is your chance to own these masterful tracks cut loud and proud on either side of a 12 inch.

The A side houses the last ever Frankie Knuckles production, a project Frankie and Summit worked on with Eric Kupper - remixing 'You'll Never Find Another Love Like Mine' by the legendary Lou Rawls – pure soulful house brilliance from the very first second. On the flip you’ll find a further Kenny collaboration with the dynamic duo entitled ‘Loving You’ – the trio teaming up to deliver a stunning Motown inspired dance floor stomper with an uplifting vocal by the one and only Yasmeen. Two certified anthems that have had heavy rotation with DJs like Cajmere, Grant Nelson, Sonny Fodera, Quentin Harris, Robert Owens, Tony Humphries, Danny Rampling, John Morales, Graeme Park, Pete Tong and still continue to get played the world over.

These tracks form part of a wider compilation, ‘Paradise Garage : Inspirations’ that contains unreleased remixes of iconic club tracks like Loves Last Episode‘s remix of Deee-Lite‘s ‘Power Of Love’, and seminal club classics like the Masters-At-Work remix of Todd Terry‘s anthem ‘Sume Sigh Say’ and Francois K’s “Time & Space.”

Both this sampler and the full compilation feature a masterpiece of cover art designed by Alexander Juhasz, the artist behind the award winning films The Little Prince and The Babadook.

Light of the Fearless, Hybrid's fifth artist album, brings together UK-based, Mike and Charlotte's passion for combining emotionally powered cinematic pieces with astute, intricate and intelligent electronic production. This long-awaited work is firmly based on the foundation of the principles and standards set by previous albums but here there's a clear development and evolution. Never wanting to write the same album twice, Mike and Charlotte have taken another step forward and have created a cinematic, electronic album with songs that stylistically borrow from their childhood soundtracks of soul, funk & hip-hop.

With songs have been inspired by not only events in their own lives but also by movements such as the Heads Together campaign, March for Our Lives 2018 and the Women's March of 2017. The album provides a positive and confident stance on moving forward through adversity and regaining empowerment. This is "The Light Of The Fearless". This inspiration certainly hasn't led to an album encumbered by political statements, but instead gives all the summery buoyancy you'd want to hear at your next festival.

Since their last album in 2010 the band have not only expanded their ever growing body of film score work (Fast and Furious 8, Interlude In Prague, Hercules, Dead in Tombstone, Take Down, Luther, X-men, Deja Vu ) but also saw the departure of band member, Chris Healings in 2015. The cinematic ethos is deep throughout the album with The City of Prague Philharmonic Orchestra performing on eight tracks. Unsurprisingly, the album as a whole works almost as a kind of score, and it's intriguing to be guided through the plot from the outset in the album's first track "We Are Fearless" through to the final track on the album. The expansive and unique cover of Tom Petty's "I Won't Back Down". Hybrid certainly haven't lost their flair for combining cinematic soundscapes, electronics and breakbeats.

In an era of boundless self promotion, anonymity is a rare and precious thing. Listening to Trevor Jackson's NTS show one night we heard a glorious piece of music by something called Elite Beat. A quick search found 10 years worth of recorded material but not a single photo or youtube clip. They had made a record with Niger born guitarist Mdou Moctar but were based in Portland, Oregon. More questions than answers but we knew we had just heard one helluva cosmic link up!

We still don't know what they look like but we can tell you Elite Beat is a 6 piece ensemble now in their 12th year as a musical collective. Their sound is non prescribed rhythm music with an emphasis on live playing, free form expression and dubbing techniques. Players who have absorbed the plethora of global grooves from dub, Ethiopoques and Tuareg guitar music (probably the odd Dead bootleg too). They aren't retromaniacs or here to revive a genre. Just some cats from Oregon talking that universal language, fueled by laugher and a vision of the eternal.

"By The Light Of The Pyramids" and "Postcards From Gortupal" are their latest and greatest offerings, birthed out of live sessions.

*The vinyl versions are shorter edits of the original / digital to preserve sound quality.

Limited vinyl edition of 150 copies will be available - don't sleep on this!

Producer, Mixed , Arranged By Acchioni, Cordi, Artusi, Stecca...
Amazing Italian Deep house 4 tracks ep released in 1992 on Calypso Records, now repress by Flash Forward!
Essential!

This is latest release by London Duo Dark Circles forthcoming on their own vinyl imprint DC Trax. Undoubtedly their biggest release to date, harnessing the full force of their influences of acid, techno, house and rave directly for the dancefloor.

Lariat is a acidic psychedelic spoken word odyssey with an incredible breakdown. this is acompanied by a remix from man of the moment NYC Bunker dj Justin Cudmore. Mandy on the B side takes us back to 1993 the height of rave and includes life changing question for a certain young lady!

Music for building bridges, healing and shrugging it off, Fear not 'cause Time will heal your wounds, these tracks are the sound of friends having fun with the medium of House.

Known as the Queen of Morna, Cesária Évora brought the traditional music of Cape Verde to international recognition and became recognised as one of world music's great female voices. Raised in an orphanage, Évora started singing as 16-year-old in the bars and sailor taverns of the West African island and sang on cruise ships before performing in Portugal at the invitation of Cape Verdean singer Bana. After being discovered by Portuguese producer Jose Da Silva she went to Paris becoming a serious global star. . Madonna asked her to perform at her wedding and again for her birthday, but Evora turned her down both times
Influenced by Brazilian rhythms, creole flamboyance and the heartworn sadness of the blues, the "barefoot diva" was compared to Billie Holiday and found great acclaim in). A heavy drinker and smoker, Évora's romantic, humble visions of Africa led to a Grammy Award for Voz d'Amor (2003), but ill-health forced her retirement in 2010 and she died - aged 70
The Barefoot Diva, and she continued to always perform without shoes on, proudly proclaiming her humble roots. She is also remembered for her stage appearance, always modestly dressed, with a bottle of Cognac on stage and a cigarette in her mouth.
Cesaria Evora is the world's foremost singer of the morna, the indigenous style of Africa's Cape Verde Islands. The morna evolved as a hybrid of Portuguese fados, British sea shanties, and African rhythm, reflecting the island's history as a Portuguese colony and spot for British coal mining. Some say it was also influenced by the modinha, a Brazilian song form. Full of mournful melodies and slow tempos, Evora's music encapsulates the essence of the morna in its sadness, longing, and nostalgia.

‘Autonomy’ is a fiercely independent album and serves as a testimony to the united couple’s instinctive DIY attitude; for 10 years now, everything The Golden Filter has done from, producing, mixing, releasing, to shooting videos and press shots is a sovereign endeavour. Here, the duo finds themselves at a point of fearless positivity and an unbreakable creative synchronicity. This is undoubtedly one of their most focused and ambitious releases so far.

Born out of their own self-contained studio in Peckham, free from external influence, Penelope and Stephen set about on a mission of self-searching and solipsism drawing influence from their love and unity that sternly defies the damage caused by the ever-growing daily trauma of capitalism and politics. Staunchly feminist and optimistically reflecting on the growing human disconnect from reality, ‘Autonomy’ pulls subtly from the gloomier sides of British life and culture, The Golden Filter’s home now for the last four years.

‘Autonomy’ mines dark and experimental electronic tones; simultaneously conjuring dystopian synthscapes, EBM, post-punk, motoric electro and minimal wave. ‘Coercion’ is a mournful new wave cut that places Penelope’s recent brand of “inky dream pop” underpinned by Stephen’s pulsating synths as the perfect soundtrack to the rapture.

Tracks like ‘Autonomy’ and ‘Infinity’ find The Golden Filter in more familiar territory, thrusting post-punk electronics that straddle the gap between Panorama Bar staples and wayward, thought provoking art-pop. ‘Electric Light’ is an updated homage to old-school sounds of Siouxsie and New Order that take on the duo’s message of finding light in the dark and remaining open minded to each other as humans. Album closer ‘All The Queens’ is the most front-facing example of the duo’s political inspirations; imagining a new world, reborn under the rule of divine femininity.

The Voice of Love is the second album by American singer Julee Cruise, known for her collaborations with composer Angelo Badalamenti (Twin Peaks, Lost Highway) and film director David Lynch (Twin Peaks, Mulholland Drive). It’s the voice of love we hear all over the record, even when the lyrics getting darker and darker. The lyrics are written by David Lynch, while Angelo Badalamenti is the musical creator. The pulsing drums are a little more upfront compared to her earlier work. Julee’s voice is amazing and she has no problem with creating different moods on the album. It’s a beautiful follow-up of her first record Floating Into the Night.

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

Mysterious Sydney songstress Justine recorded one album in ’79, which was never officially released. Left Ear have chosen two tracks for a 45 RPM 12” single, which they feel best highlights Justine’s unique vocal talents and songwriting ability. Here the crafty songstress wields melancholic soul and a funky Jazz inspired number with personal and reflective lyrics, both with an intimate and honest approach.

Elusive Sydney songstress Justine (Bradley) almost entirely wrote, produced and arranged her sole LP in ’79, an album that was funded by a radio station as the beneficiary for emerging talent. The music was created specifically for radio play without any intention of being manufactured. Luckily however, a friend with ties to a pressing plant known aptly as ‘Midnite Flite’, managed to sneak into said plant one evening and press up a small number for the enjoyment of family, friends & those involved.
Left Ear have decided to release what they consider to be the two most significant tracks from this release onto a 12” single, now for the enjoyment of all. The A-Side will feature the haunting ‘Wordless Songs’, a melancholic soulful number which according to Justine explores the “capacity to comprehend a partner’s internal quest for authenticity and connection”. The B-side ‘Mama Didn’t Tell Ya’ is more uplifting in both tempo and arrangements comprising an extended outro, while the lyrics remain just as personal and reflective.

“What to do with a spud like you?” Melbourne post-punk wags Terry return this summer with their new EP ‘Who’s Terry?’. You can just make him out in his hobnail boots, peering from behind the sandwich board, wink, wink. Following on from last year’s huge-sounding ‘I’m Terry’ album, this third EP from the band brings you right up to date with their wobbly politico-pop.

‘Spud’ is a class A toe-tapper that sees the band don fatigues and set their sights on the enemy. The rough and the tough, wrestled wrists and fools with crooked smiles all make an appearance as Terry sing as one over snare snaps and keyboard croaks. ‘Bizzo and Tophat’ follows with a stride across the underbelly, a thick slice of bop-heavy observation that gives way to one of Terry’s most elegiac refrains… “holding on and going forth”! Their gang vocal approach never sounding more resolute. ’Eggs’ then picks up the pace, a sure-footed romp that skips alongside prods of saxophone to join the parade.

‘Drawn for Days’ pulls the EP to a close, a sedate, melodic ponderance of strummy guitar, jangling bells and Amy and Xanthe’s soft-sung vocals. “Haunted by the big and small, hunted hanging for the fancy fall”.  “I can’t stand up” the band decry in unison as the track scales its peak and gives way to warping synth noise. ‘Who’s Terry’ encapsulates what Terry does best, the queasy marriage of the upbeat and traumatic, the catchy instant and the nagging distance. Their alliterative lyrics always sharp as tacks, their sense of melody and beat sunk deep in the heart of now.

Poof! A new label appears. Filament kicks off with a record suited to all your festival needs. Starting out the day at 1PM and guiding you up until le moment suprême at 11PM. With appearances from Hysteric, Møzaika, Monty & Filament Deejays, these tracks will certainly quench your thirst.

“It’s all right in the sunlight”

Originally released by RGE in 1970 in Brazil, ‘É Ferro Na Boneca!’ features 13 songs composed by Luiz Galvão and Moraes Moreira. This record shows the roots of the group, moving through psychedelics, edgey pop, rock and Tropicália.



After writing ‘É Ferro Na Boneca!’ their music began to move towards MPB due to the influence of João Gilberto, who began working with the group. In 1972 they released their incredible ‘Acabou Chorare’ LP, which came top of Rolling Stone Magazine’s list of 100 Greatest Brazilian Records (published in 2007).