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* Jon Gurd's Birth Right EP is the first material from the Portsmouth based Techno producer in more than 2
years since his ventures on Octopus recordings, 8 Sided Dice and Quartz. The EP therefore indicates an
audible step change not just in the approach to production but also in the mindset and emotive feeling
behind each texture and layer. Having emerged unscathed from a traumatic family related drama Jon
communicates a tortuous and re-evaluated life message across all 3 tracks, and is dedicated to his brother
with a hidden meaning conveying, Tomorrow Is - Promised - To No One'.

* Dissecting the EP further the educated are blessed with field recordings, analogue rumbling and modular
synthesis exiting from almost 24 months of lab driven experimentation. No real process has been applied or
extant formulae followed and the EP's resounding success is that this now exudes what Jon feels' innately
rather than what the industry wants, therefore the journey, endless noise making and experimentation gives
a balanced and exciting offering. Jon comments seriously my process for producing this has been all over
the place, literally stumbling on shit, slipping over my own creative vomit, workflow went out the studio
window on day one'.

* Having spent two years asking himself why he makes music, I think on first listen of Birth Right EP we will all begin to empathise why. Remixes kindly provided by Messrs Dave Clarke and Ancestral Voices (new project from Liam Blackburn formerly Indigo / Akkord).

* A long time-friend and recording partner of Alan Fitzpatrick, as well as one third of Mister Woo with Dave from Reset Robot, Jon Gurd is best known for his work on the likes of Octopus Recordings, 8 Sided Dice and Quartz. Abundant with field recordings, analogue rumbling and modular synthesis, his latest signing to Derelicht is a result of almost 24 months of lab driven experimentation, and marks an auspicious return from a musical hiatus that stemmed from a personal tragedy. From the off, 'Tomorrow Is' is a driving piece of techno complete with sinister undertones and menacing atmospherics, meanwhile 'Promised' focuses on a low-slung groove as tantalising synths operate on top. The last original, 'To No One', then exhibits a deeper vibe with ebbing pads and spectral chords. Dave Clarke's decadent rendition of 'Promised' ups the tempo whilst demonstrating commanding kicks, until Ancestral Voices, the new project from Liam Blackburn (Indigo / Akkord), strips back the beats of 'To No One' for a subdued subterranean workout.

* Press / Promotion: 3 x Co-ordinated PR Campaigns (In House campaign by Derelicht, Dispersion PR and EPM Music, 100 vinyl hand-distributed to leading editors, artists and tastemakers. Key editorials through Resident Advisor, Inverted Audio, Ran$om Note, Beat Vision, Slate The Disco, Magnetic Magazine, DJ Mag, Noise Porn, Mind Grub Audio, Portals, Elevated Culture. 1 x videos produced to support Dave Clarke remix
Tiefschwarz - 'Just Beautiful!'
Alan Fitzpatrick - Yeah massively into this, will play a lot. Thanks for sending.
Dustin Zahn - Feeling the original of "To No One." the chord/pads are hitting the right spot for me this morning! The remix is also a nice take on the original
Baikal - to no one and Derelicht are dope
Kirk Degiorgio - Dave's mix for me!
Bas Mooy - yep! A1 for me mate!
Ben Sims - a1 is the cut for me, heavy and heady but still has the groove
Benjamin Damage - Thanks for sending this, top work!
Bryan Chapman - really feeling this EP, fav is the Ancestral Voices remix, that downbeat vibe
Bryan Zentz - Wonderful, moody, and emotive...LOVE it
Carlo Lio - Actually feeling all of them. Something for every time of the night. Can see myself playing a few of these for sure
Lo Shea - Tomorrow is sick! Dave Clarke's remix is dope too.

We were very excited indeed to see the third release from the quite promising Love Notes from Brooklyn imprint! Marco Zenin was a featured artist on the last release under his DJ Octopus guise, and this time he's featured again with his other project, the more techy/ more minimal Die Roh, who recently had an underground athem with their release on Black Venison. The duo here seemingly lean their sounds in the direction of the label's and offer two-cut EP which is their deepest effort yet to date. Surely more DJs will play the dancier A side, Behind 6000, but for us, the groovier B side and title track Genghis Kahn is the choice cut. Label owner, Nathaniel Jay, continues in the precendent he's set with each release having its own unique "Love Note", authored by him, making every one of these records collectable.

There used to be a time when ring tones were important. You were easily recognizable as one of the few people actually owning one of these new gadgets called ›mobile phone‹ (or ›handy‹ as the Germans say). Later you could make an important distinction by choosing a ›cool‹ ring tone...

In May 2014 the Festival »Doofe Musik« (»Stupid Music - Songs for Dreaming, Sedation and Forgetting«) took place at Haus der Kulturen der Welt (HKW) in Berlin. As part of the »Anthropocene Project« the festival focussed on escapism and the special function of music when retreating from reality. Detlef Diederichsen, curator at HKW, and Holger Schulze, Head of Sound-Studies-Lab Berlin, decided to not only focus on music which music lovers usually hate, e.g. ›Schlager‹, German folk music, Light Jazz, but also on ring tones.

The audio logo of Deutsche Telekom has been part of Germany's mobile phone culture from the very beginning so it acted as a starting point to question the usual concepts for ring tones. Using Christian Kellersmann's idea of the »Pocket Symphony« ten artists were invited to come up with adaptations of Telekom's audio logo. The results were performed for the first time during »Stupid Music« and once again in October of the same year when most of the recordings you can find on the album were made.

As you will hear: The short motif, as simple and unforgettable as it is, is ideal musical material.Everyone knows it, everyone has some sort of connection to it and these ten different versions, these ten different positions, open up the most varied possibilities for associations.

It is time that we take the ring tone seriously again. As the most reduced musical form that is the most-widely available in the whole world it contains enormous and unrealised potential!

Bursting onto the scene with a modern take on Chemise's cult cut, She Can't Love, Sweet Tooth T is a project channeling the hallowed sounds of New York in the early eighties, reimagined in a contemporary manner by DJ Greg Wilson and the vocal force of nature Katherine Reynolds.

Tasty Treats, another side project of the multi-talented Ronald Burrell dropped this 4 track EP way back in 1993 on the cult Citi label out of NYC.
As expected the tracks contained within have all the facets of that magical "Burrell sound"; healthy doses of Soul, sleaze, deepness, late night atmosphere and that solid, no nonsense NY/NJ House attitude, for the heads, the dancers, the all nighters and the freaks! This is pure Shelter/Garage joy!
The Burrell brothers back catalog is just ridiculous in terms of releases, styles and quality control and this EP sits comfortably up there with some of their classics. An all round solid EP for all true House music lovers regardless of area code or geography!
%100 legit re-issue, re-mastered and brought back for the summer 2015 flex - Don't snooze!

Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.



Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.



Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical

revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.



Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'

This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.



While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.

Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.



The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.

Three mixes from the brand new Berlin based label/project 'In Love We Trust'.Classic New York house inspired for the A side opening tune, driven by an off partiture alto-sax unfolding over a throbbing bass, four to the floor beats and great message delivered by a strong male voice, followed by a slower tempo roller-skate, atmospheric, Garage inspired disco cut with a solid 80's style linn drum grove, catchy riffs and a powerful bass line.
Rougher beats and a more acidic vibe for the flip side, direct and effective floor stomper guaranteed to raise heartbeats.

Iggor Cavalera is best known for his part as the drummer of Brazilian super-group Sepultura. Having toured heavily around the globe, winning several 'Best Drummer' accolades and sold over 10 million records, Iggor's incredible ability to project emotion and evoke thought through his percussive talents is being given an outlet in the form of his exciting collaboration with his DJane wife Laima Leyton, MIXHELL.
Iggor and Laima took MixHell from the studio to the stage, adding uplifting elements of rock into electronica and giving it all an organic, intuitive and complimentary touch. Armed with an MPC Sampler, turntables, CDJ's, mixer, a full drum-setup and miscellaneous percussions their eclectic and energizing live stage performances are pure eye-candy with music created on the fly. MixHell do things in a big way and in doing so, are delivering a show that fully explores their vast background of musical influences.
The exercise of performing live tracks that were made to DJ comes to life even more on this acid house release with the collaboration of acclaimed producer GUI BORATTO.
When rock turned into bubble gum' music, when EDM sounded too shallow, Mixhell continued their research - reviving and recreating what they loved in each style. Let there be house, let there be techno, let there be rock, in the end what really matters is the MUSIC.

Fantasma, the latest project of South African innovator and creatve pioneer Spoek Mathambo, is
a fve-man collectve which weaves together electronica, hip-hop, traditonal Zulu maskandi music,
shangaan electro, South African house, psych-rock and punk to form a unique, original and fresh
hybrid.
The godfather of 'Bacardi House', producer DJ Spoko joins with former Machineri guitarist André
Geld- enhuys, drummer Michael Buchanan and maskandi mult-instrumentst Bhekisenzo Cele to
complete the line up.
Fused by Spoek Mathambo's futurist vision, Fantasma pulls inspiraton from all corners of South Africa:
the sounds and spirits of townships and cites as well as the rural countryside. It is diverse not only in
its membership but also in its forward-looking music.

After their stunning 2014 debut EP I.D.', SHADOW MOVEMENT, created by music producers Raphael Bartel and Raul Monteiro, return to the scene with their second single WHALES' released by the label D.O.C. created by acclaimed producer Gui Boratto.

WHALES' was announced at ADE (Amsterdam Dance Event) on 2014 and has been long expected by music lovers.

The new EP has two tracks: WHALES PART ONE' and its progression WHALES PART TWO' and is released on vinyl, in a limited edition.

It will be the fourth release from the label D.O.C., the EP brings all the darkness and deep harmonies with a melodic touch the duo is known for, it's an exciting step for the project and the label alike - we can't wait where they'll go next.

We are very happy to start this new edition of Deeply Rooted releases with Insolate 'Mood Module E.P', produced by the very talented Miss Sunshine.
All artists on the new series will work under a new name,new projects and new collaborations. Going back to the roots of techno and house and let the music do the speaking and not the (hyped) names of the producers. Listen with an open mind to these releases approved by the Deeply Rooted (House) label. And as we all know... Dj Deep is a legend with his work as resident dj of the Rex since the very first days, a record collector and music lover extraordinaire, someone who is just like Laurent Garnier on of the key figures in the french house and techno scene for many years. Big up for him daring to choose a different path with his label, always trying to find new inspirations!

The ep goes through different mood and feelings, Epic is a straight up Techno journey, Werk is a great rhythm track that keeps building all the way through!, Parch is a dark and heavy uncompromising track, the record ends with Tuga a deeper and more mysterious jam. We hope you'll like it as much as we do!
Enjoy.
Dj Deep.

This EP was made during a period where my whole outlook on everything was transforming. The Voidloss project started as an investigation, I was conducting a lot of research and study on the mind, the occult, on different thought modes, and the Voidloss project represented this. The idea was about a leap in to the void. A leap of abandonment into the dark, with total acceptance, total commitment. The idea was to lose myself to the void. This was mainly a spiritual journey for me, and could be best explained by 3 things, the void of Miyamoto Musashi from Go Rin No Sho, The concept of the Tao from the writings of Lao Tzu, and the concept of the abyss from the works of Aleister Crowley. Part of this journey deep inside the self was frightening and horrific, the total loss of self, of all identity and ego, and part of it was beautiful and enlightening. I wanted the music to reflect this, and I wanted the music to change as I changed, as I went to and through all these interesting places. In essence this was about freedom. So fast forward some years and I felt I had sharpened my mind quite effectively, the music had twisted and changed and flowed with me. At the point I began making the music for this EP, I had grown quite angry with the amount of conformity I was perceiving in life. Politically, socially, musically, there was this drive of conformity in the world. I think part of it, and only a part, comes from the prevalence of social media, the need to belong and to be liked, the idea of judging yourself and your works through the perception of others. Musically I felt that within techno there was a tendency for the music to fit within a set of confines dictated by fashion and hype, and this was reducing the diversity of the music, it seemed also that the practices of commercial music were seeping in to techno as the music became more popular. Hype and business driven decisions, brand building and so on. I always felt techno was more about art, and I began to get frustrated. Equally I felt that politically there was less and less choice, as all decisions seemed to lead to the same outcomes. I became more interested in the concept of anarchism, of the idea that government was no longer needed. I have always in my life had a drive to question everything. I've always been 'naughty' and rebellious and done things my way, to my advantage or my disadvantage, I could never accept being anything other than myself all the way. If everyone walks in one direction, I will walk the other way, even if it takes me over the edge of a precipice, just to see what is there. All this stuff influences my music, and during the period of making this EP I was angry, kicking against the things I no longer liked or wanted, screaming dissent. There is a lot of anger and rage, and of course rebellion. I wanted the music to capture that unbridled fury you have when you are in your late teens, when you just start learning about yourself and you start rebelling and questioning things around the time the world is really pushing you to conform. I was soundtracking my own philosophical riot. Previous to this my Voidloss stuff had been more introverted, more pensive and melancholy, more self destructive, more cerebral. For this new music I wanted something more immediate but without being too obvious. In terms of the choices I made I still leaned more towards broken rhythms for beat structure. I find it very difficult to do anything interesting with 4x4 kicks any more, it's too rigid for me, it limits my freedom. I like the looseness you get from more 'drummer' like beats, I guess probably because I have been playing drums all my life. The challenge is to get the same rolling power from broken rhythms as you get from 4 to the floor. It's not easy, there is a ridiculous amount of trial and error and the rejection percentage is high. I also was trying to use less 'synthy' sounds. I wanted to try to take a more acousmatic approach to sound design. With the current modular synth revival in techno I was hearing a lot of 'old' synth sounds re-emerging, and this didn't seem like a progression to me. I wanted to make sounds that were hard to source for the listener, where they weren't sure if it was synth or real world sample, digital or analogue. This involved a lot of experimentation. My process involved a lot of field recording, especially with contact microphones, which open up a whole new world of interesting sounds. You are effectively recording sounds through objects in the environment, 'hearing' the world as these objects hear them, I was using guitars, feedback loops, handmade instruments as well. So I was combining this with different synthesis, granular synthesis, sample synthesis, physical modelling, FM synthesis and of course analogue. Everything was reprocessed and re-synthesised, I tried hard to obscure the source and make something new as much as possible. The stuff on this EP was part of my live PA for some time, so as I learned how the music worked live I could go back and make changes, sometimes the environment I was playing in transformed the sound as well, and so I would try to go back an incorporate this in to the music. For remixes I wanted to choose artists that I respected for their vision as well as for their output, so my list of people I wanted was extremely short. Inigo Kennedy has always been an artist I have respected greatly. His music has always been unique to himself, he remains outside of fashions and trends even though his name has become very big recently. He takes risks with his work, experimenting and exploring, yet remaining relevant to the club, and just tirelessly forging ahead, seemingly for the sake of art above all else. And he's just a really nice guy to deal with. His remix is everything I expected it to be in that it is the unexpected. Regis is another artist who forges his own path in music, you cant really even begin to discuss the avantgarde in techno without including his name, he is one of the foundation stones for artistry and the outsider mentality in techno. His music is always unique to his own vision, and along with it comes an interesting artistic philosophy taking in situationism, post punk and industrial ideology and a good dose of tricksterism ala PT Barnum, all of which comes out in his music and the way it is presented. The man is a truly singular force and it is an honour to have him on this record. Overall the concept here is that of rebellion and dissent. Of asking questions, following your own path, of maintaining some place in yourself that burns like a forest fire.

Whether or not I have succeeded I guess is down to the listener, I'm never happy with my music, I keep wanting to move forwards, or somewhere else, and am constantly trying and failing to capture some essence of perfection. But like Bukowski said
'It's the only good fight there is'

Objektivity is starting the year with launching the long-awaited vinyl-only sub-label called OBJ Analogue. As the name says, the concept behind this is that in order to make the record, it has to be totally hardware based: No plug-ins! Objektivity head-honcho Dennis Ferrer says: "The OBJ Analogue is a special project for me and is dear to my heart because I love analogue gear, vinyl, and hardware, so I keep that side of me happy."
The first OBJ Analogue release is coming by VIVa Music's Steve Lawler, who delivered a very rough two-track EP called - Inna State / Recuperate", produced with the Roland 808, 909 and 606 drum machines. The bass lines are recorded and played from Moog Voyager and the piano on - Recuperate" is coming from Emu Orchestra Rack Mount. Completely analogue!
Make sure you get your hands on the vinyl as there will be only a few limited copies out.

Reminiscent of a time where we were releasing 4-tracks sampler every month (remember the Secret Gems From The Vault) It is naturally that we thought about a various artists sampler in order to introduce the new wild bunch,

Julian M, is french and is taking over right now, releasing here his first track on Briquerouge, But the man is no beginner, having released on Catwash, Homecoming, Denote, to name but a few and of course recently on our own RZ Muzik, His music is deep, acid, techy and ready to please any crowd, Ange Siddhar is working for Laboratory Records and works with legendary artists such as Ron Carroll, Paul Johnson or Chris Count and now teams up with Illan Nicciani on several House project, They have a strong vinyl lovers community following their releases and just joined the label with 'The Show'

Jepe was one half of John Waynes who already release on Brique Rouge and is now one of the most respected producer from Portugal, Actually living in Berlin, he has released on Get Physical, Blossom Kollektiv or MuleMuziq, Jepe's tracks have a very high level of quality, True House Music,

And last but not least, our good friend from Switzerland, mr Salvatore Freda, With the machine-driven futurism of Detroit in his step, and the bounce of Chicago in his shadow, Salvatore Freda is a pure vinyl DJ from Lausanne, Switzerland. With a production career that began in 1997, Freda has built up an impressive discography over the years. His music has touched some of techno and house's most respected labels including Trapez, Music Man Records, Liebe Detail, Freerange, Area Remote, Push Communications, Dessous, Nightvision, and Cadenza.

Early Support:

Dubfire / Nacho Marco / Matthias Vogt / Tyree Cooper / Ame / Clive Henry / Renato Cohen / llorca / Blacksoul & many more

Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.

Bell Gardens - Take Us Away -
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.

Recording artists Jimi Tenor & Nicole Willis, husband and wife team whom together brought you Call of the Wild on Tenor's Out Of Nowhere, (Warp, 2000), Feeling Free on Willis' Keep Reachin' Up, (Timmion Records, 2005), release their follow up album of project COLA&JIMMU, to album Enigmatic, (Herakles Records, 2013). The album is featuring their production as well as compositions. With instrumentations by Tenor and beats procured from the vintage gear of Jori Hulkkonen in his Turku studio, Alppihouz by Willis, the album has a warm feeling and yet sufficiently exciting for the electronic house heads. There are plenty of string pads, flutes and flute pads, etc to prick up your ears. COLA&JIMMU once again capture the genuine, old school sound.

Fatima Al Qadiri is a multidisciplinary artist and musician from Kuwait. In just a few years, she has quickly built a reputation as a conceptual artist, exploring themes informed both by her own background and global pop culture, through a number of highly acclaimed EPs, multimedia projects and writings. She is also a founding member of the production team Future Brown. Fatima's debut album is called 'Asiatisch', and as the track titles suggest, the record provides a simulated road trip through an imagined China. Musically, the album is an homage to that quietly influential sub-strain of grime, often loosely termed 'sinogrime' due to its preoccupation with Asian motifs and melodies, pioneered by the likes of Wiley and Jammer at the beginning of the 2000s in East London. 'Asiatisch' is a provocation which asks more questions than it answers. The title is the German word for Asian. Unlike its title, however, the music on 'Asiatisch' revolves around the fantasies of East Asia as refracted through pulpy Western pop culture, in particular Hollywood, literary fiction, music, cartoons and advertising. Fatima asks what is meant by the term 'Asian' in a digital age of viral interchange and the hi-speed trading of cultural bytes; the concept of 'shanzhai' proves pivotal, a term whose meaning stems from a wild, out of control zone of banditry, but which has come to be used to refer to the Chinese counterfeiting of Western brands and goods. While a number of producers have made takes on 'sinogrime' over the last few years, 'Asiatisch' is really the first record that attempts to articulate this weird complex of sonic interchanges between the West and China. With the exception of the opening track, 'Shanzhai', a haunting cover of 'Nothing Compares to You' with nonsensical Mandarin lyrics, and the shimmering 'Loading Beijing', 'Wudang' and 'Jade Stairs' which sample and distort classical Chinese poetry staging an epic confrontation between China's ancient soul and the onslaught of the industrial factory machine, most of the tracks blend mallets, bells, gongs, flutes, steel drums and choral atmospherics with the searing synth-brass and the skittering drums of grime, playing melodies that are inflected as much by classic R&B as to synthetic versions of traditional Chinese music. On "Dragon Tattoo" for example, stereotypical iconography of imagined China is slotted into a threatening, robotic R&B format. The carefree pirating of Western brands blurs into a soft-synth pirating of Chinese musical signs.'Asiatisch' is wrapped in pristine artwork by Babak Radboy from Shanzhai Biennial, and the music was given a 3D sheen by in demand mixer Lexxx. Proclaiming both its love of both ancient and imagined China, 'Asiatisch' is a rare album that is both icily beautiful and conceptually layered.

Vocal driven electronica, pop sensibilities and a touch of melancholia is a tried and tested recipe of SILENCE MUSIC cuisine. A new release titled My Holy Senses is no exception. This creative venture joins together a renown Lithuanian multi-instrumentalist and composer Vygintas Kisevicius, an up-and-coming singer and songwriter Markas Palubenka and a versatile SILENCE producer Few Nolder. Original acoustic versions come under the name of Kurak, a project which Vygintas started a couple of years ago with a goal of bringing together some of the most talented young Lithuanian singers and songwriters for something new and exciting. And indeed they managed to produce some well worthy musical material generating quite a few waves of interest and success back home. Few Nolder picked out a couple of tracks from an ever-expanding Kurak's repertoire and threw them onto the sweaty dance floor. Included in the package are two DJ friendly adaptations from David Krasemann aka Dave DK and Vidis. My Holy Senses is a short modern day Love story about Acoustics giving an adoring kiss to Electronica in a dim light of a nightclub.
- Early support from Âme, Tim Paris, Alex Barck, Michael Rainboth, Hannes Fischer and many others

'A densely textured, deeply lyrical portrait of life in Long Island City's Queensbridge projects, the record signalled the resurgence of the moribund New York hip-hop scene and helped pave the way for Biggie Smalls, Jay-Z and a new generation of New York rappers.' -NEW YORK TIMES

Marking 20 years since the genre-defining release of Illmatic which sparked decades of inspiration for other young rappers and performers, comes this anniversary vinyl edition.

Nas' lyrical style and storytelling finesse coupled with some of the best beat makers and producers in the game, including Large Professor, DJ Premier and Q-Tip have ensured this release has maintained its influential status 20 years later.

The album launched a lengthy, successful career for Nas with Illmatic still widely applauded as one of the most influential debuts in the world of rap. This package features the original Illmatic release in it's entirety and fully remastered with a second side of additional extras which include Nas' first ever radio performance from 1993 and eight remixes.

Visibility Is A Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix of 'He Was Human And Belonged With Humans'. The EP heralds the arrival of the Edinburgh-based project's sophomore album, Will To Be Well, due out on Blackest Ever Black in early Summer 2014. Dalhous first announced its existence in 2012 with the Mitchell Heisman 10', and last year released its debut full-length: An Ambassador For Laing. Both Visibility Is A Trap and the upcoming Will To Be Well LP reflect writer-producer Marc Dall's continued interest in the language and imagery of self-help, R.D. Laing and the anti-psychiatry movement. Though recorded after Will To Be Well, the tracks on Visibility Is A Trap at first appear to have more in common with the blue ethereal drift of Ambassador. While 'Information Is Forever' and 'A Change Of Attitude' are firmly in the ambient mode, 'Active Discovering' fizzes with arpeggiated energy, and a battery of percussion disrupts the calm surface of 'Sight Of Hirta'. Something is up. All is not as it seems. The Regis remix of Ambassador highlight 'He Was A Human And Belonged With Humans' finds Karl O'Connor in unusually pensive mood. In fact this near-beatless, dubwise version is unlike anything he has put his name to before. Discarding the rhythmic skeleton of Dalhous's original, he gives their weeping saxophone more space to roam and resonate, adding off-beat, sleep-deprived keys, murmured vocal fragments and swells of sub-bass pressure. It could be construed as a love letter to his former home in West Berlin; certainly it evokes and effortlessly updates the drugsick grandeur of later Neubauten or Low side 2.

Franc Spangler is back with three brand new cuts to form the Painted Lady EP. Spangler, also known as Jamie Odell also known as Jimpster returns to Delusions Of Grandeur following something of a hiatus since his 2010 EP Forever And A Day. Not that there hasn't been demand (following his brilliant remix of Norm De Plume for vinyl only label Kolour Limited) but with a busy gig schedule and two labels to keep on top of, the Spangler moniker has always been seen as a bit of a special side project where quality presides over quantity.

Title track Painted Lady kicks things off in fine style with warm, deep house being the order of the day. Franc gets just enough dust in amongst the layering keyboards and echoing stabs to keep things the right side of smooth, the overall vibe is rolling with subtle FX and sounds poking through every now and then bringing a new element to latch onto.

Up next we have Lumpsucker, which brings us a lovely, blissed out, slice of electronica underpinned by classic TR707 beats adding just the right amount of jack to the track. We're getting hints of YMO and Balil with a lingering note of Larry Heard on the finish.

Finally, we're treated to the epic closer that is Camberwell Beauty. Mid tempo boogie beats with crunchy claps and steady hats lay the bedrock for a loping CS5 bassline whilst lush keys shimmer and swirl like little fluffy clouds in a bright summer's sky.

6th Borough Project are back with the follow up to their 2011 debut One Night In The Borough. A hectic couple of years have been lived out by Graeme Clark and Craig Smith during the making of this LP with Graeme continuing to play week in and week out as Revenge and setting up his new imprint Roar Groove whilst Craig has established the brilliant Fifty Fathoms Deep label. Studio time has been tight to say the least but that
hasn't stopped the duo from pulling out all the stops and ensuring that this LP surpasses the already sky-high benchmark set by it's predecessor. Followers of 6th Borough Project will be pleased to hear that all the low-slung, loopy, hypnotic vibes we've come to
expect are present and correct whilst the duo have still made sure to push things forward with their sound, bringing a minimalist, housier edge to many tracks.

Things kick off with the Intro setting the mood, coming on like a bizarre dream that's over in a flash but seems to include an entire episode of your life and succeeds in encapsulating the sentiment of the entire LP in 40 seconds! Soul, Beach, City, Gig, Party,
Energy, Relaxation.... It's all here.
On Our Love we find a brilliantly lop-sided shuffling groove laying the foundation for some classic 6BP-style vocal chops, easing us in gently with the warm up vibes. Things take a slightly darker direction on U Know U with this heads-down track, a crisp, stripped-back beat being joined by filtering pads and a distant vocal for company. Think It Over and In Your Arms follow seeing the boys building things perfectly and increasing the party
atmosphere with two floor-friendly tracks which look set to be just a couple of the DJ's favorites from the LP. Dropping things down a notch we're treated to the beautiful slow-mo gem entitled Through The Night before heading deeper still on the tripped out, dark and dubby The Call Back.

Back 2 Black picks up the tempo again for a percussion heavy workout with just a hint of Africa emerging through the echoing stabs and sub bass. The party continues with Read
My Mind which brings us some brooding, up-tempo warehouse vibes to get immersed in before F.E.E.L and a brand new LP version of previous single The Vibes pushes further still in a darker, more abstract and clubby mood. Finally, we wind down with Walk Away, making the perfect close for a brilliant, fresh and original LP from a highly talented couple of producers whose passion and knowledge of music shines brightly here. Difficult
second LP clearly not an issue with 6th Borough Project!

The second EP from Jack Dice sees a huge leap in ambition for the project, a 5 track session that's more addictive, direct and heady than its predecessor.
'Sip Paint' centres around 'Stash's Theme' featuring rapper and producer Stash Marina, a track that deploys crisp triplets and saturated production straddling mainstream signatures on the one hand and a world of analogue/deviant recording techniques on the other. It's an odd, hyper-addictive track - available here in both vocal and instrumental versions.
'Low Glo', 'Kerosene' and 'Radium Dial' are more subdued and immersive; you could draw lines straight through the material here to a number of different projects Twells has been involved with through the last decade, though he seems to benefit immeasurably from Chambliss' presence. The pair find a perfect balance between their respective disciplines, resulting in an EP that at different points throws stylistic references to everything from Prince's Black Album to The Art of Noise, Drake, Philip Jeck and Evian Christ's DUGA 3 sessions - without ever sounding overworked or too knowing, a feat in itself.

Traversing with an understated technical assuredness, the ambitious shapes of Steely Dan, the popping lounge funk of McDonald era Doobie Brothers, the sweet mourning of the Stylistics and Delfonics, and the exquisite song-craft and flawless harmonising of CSNY, Daniel Collas (The Phenomenal Handclap Band), Bart Davenport and Quinn Luke aka Bing Ji Ling have recorded an absolute darling of an album under the name Incarnations. They are three friends with enough musical guises, side-projects, collaborations and production jobs to fill the annual itinerary of your average musician twice over. When three CVs like these get together on a regular basis, it's only logical they speculate and hypothecate on the possibility of an album together. But, how to make those congested diaries synchronise? Bart lives in Oakland and Quinn and Daniel are in New York, all three of them are on tour for the better part of the year. One sunny day in Madrid, Spain, a plan was hatched and a proposal was made. Lovemonk, a small, eclectic and affable Spanish label, dangled the carrot that clinched the deal; 'find two weeks between gigs/productions/recordings and head down to this little place we know in Tarifa, Southern Spain'. A family-run studio, in a house 5 minutes from a wild beach and a short ferry ride from the coast of Africa; the perfect ambience for the fleeting melody and sultry grooves of the Incarnations debut album, "With All Due Respect". Arriving with bits and bobs of half-songs, grooves and melodies, Daniel, Quinn and Bart, sketched and improvised their way to the most intensely evocative songs you'll hear this year. Punctuated by a day trip across the water to Tangiers, all 9 songs were written and recorded inside a fortnight in October 2009 and laid to rest while our protagonists jetted off to their respective diary appointments. Whether it was the beach, the soft weather, the fact that you can smell Africa from the studio, the home cooked Spanish food or the relaxed environment of the recording room, when the band returned to the songs at a New York studio earlier this year, they found an album as fresh and resonant as the moment it came into being. Quickly mixed down with no over-dubs or re-records, "With All Due Respect" captures the combined gifts of Tarifa and the three very talented friends that paid a visit. Incarnations are: Daniel Collas: DJ, drummer, organist, and one half of production team Embassy Sound Productions, the minds behind The Phenomenal Handclap Band. Plays - drums, percussion, organ and synthesizers. Bart Davenport: Collaborator with Greyboy, General Elektriks and The Phenomenal Handclap Band; Singer-songwriter with The Loved Ones, The Kinetics and Honeycut, and most recently a touring member of the Kings Of Convenience. Plays - guitar, bass and vocals. Quinn Luke a.ka. Bing Ji Ling: Part of The Phenomenal Handclap Band, one half of DFA recording artists Q&A and long time member of Tommy Guerrero's band; Solo artist on labels Ubiquity and Lovemonk among others. Plays - guitars, keyboards, vocals The band are named after Encarnacion "Nini" Sagrista, owner of the recording studio in Tarifa, who housed and fed them during their stay.

Steve Lee's (The Project Club) ABOVE MACHINE label returns after 003's massive 'Love Disguise' from Vendetta Suite

This fourth release comes courtesy of acclaimed Italian duo Almunia
Their celebrated output through Paul 'Mudd' Murphy's Claremont56 label, including the recent superb Pulsar LP has seen the their blissful & uplifting Balearic sound
expand and evolve beautifully.



One Time is a gorgeous slice of the same, and conjurs up gentle sea breezes and long summer days perfectly


The ever essential Craig Bratley, whose All Ears distributed Magic Feet label has provided some of our best output, alongside recent hit 'Obsession' on Weatherall's Bird Scarer imprint takes charge on the flipside here.
Craig takes the melodic motif's and vocal parts and weaves a trademark synthed out & acidic chugger of epic proportions. Sure to be belting out across the Adriatic this summer
Andrew Clarke - whose been making an impact with a selection of cuts on labels like Audio Parallax & Chopshop - wraps it all up with a truly amazing rework, managing to retain all the stunning musicality of the original, but elevating the elements to euphoric new heights.

*The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi's third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established.
*There's a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id.
*The producer's hand is prominent- not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, "So Many Details"- the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.
*Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson's pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.
*Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he's worked since his debut, and Anything In Return is another exciting offering that shows he's still not ready to settle into any one genre.

Unxpozd presents the 4th project from Dj Aakmael, 'Aak of Noise EP', giving you a straight up dance floor heater from the start! Up first is 'Just a Track pt 4' for the vocal heads, featuring classic vocal snippets that are sure to heat up any room large or small. 'Lush' is on the more chill side of the groove, giving listeners that warm, deep fuzzy feeling with a hard kick and smooth bass that matches the flow with ease. On the flip, 'Untitled 81' is an old-school style, Aakmael gives us a nostalgic sounding piece of art that also has nice dance floor potential. Closing the project is 'Soul of a Woman', that originally was a vocal track, however, now screwed and chopped as Aakmael decides to share this gem with the world. All tracks once again offers something for the hardcore listener/collector, and of course the DJ's that have a love for classic deep house and vinyl!

Vae Victis can't hide their love and passion for raw house and techno. On this 5th release there is another fine selection of hybrids between styles perfectly expressing their love for genre bending music. Durant exsists out of a small collective of producers with main roles for Steve Murphy, Die Roh and Lucretio, alongside Blawan. "The Dove Ultimatum", a 4 tracks ep of punchy analogue electronic music! On the a-side lay General Motors and At Ten, 2 broken beat electro techno tracks a la Drexciya showing the hardest and most experimental side of the project. While on the flip the trio bring things on a housier field, though staying loyal to the a-side vibe by delivering 2 dark and obsessive raw house tracks.
Support:
Ben UFO, Analogue Cops, Truss a.k.a. MPIA3, Tessela, Happa, Herva...

Jack Dice is a new project from John Twells and Walkmaster Flex, now releasing their debut EP for Modern Love.
John Twells, amongst very many other things, runs the Type label and has been producing music of various different disciplines and varieties over the last 15 years. Although he's never released anything on Modern Love before, he's a long time friend and associate of the label.
Walker is the manager of Main Attrakionz and has been DJing with them for the last couple of years as the official 'Green Ova DJ'.
'Jack DIce' is fuelled by an interest in bass, Twells being a car audio nerd and Walker having an obsession with 90s southern rap music. These are their first tracks produced together, who know what might follow...

Unxpozd presents the third Dj Aakmael project - Breathe Deeper, which is a testament to Aak's amazing and captivating style of house music.The main track Breathe Deep takes you back to the 'golden era' of house music, giving you that raw sound with Esq once again on vocals. Untitled 79, for those who love their music old-school and classic but fresh this is for you. With a phat deep bass, lush chords and keys throughout, this one is sure to please the deepest and most mature househeads. Lastly to close, Aakmael continues his dubb series with Dubb 2, continuing to pay homage to one of the sounds that caught his ears' attention so many years ago. This track is a little more trancy, very deep and has that meditative vibe all deep house heads look to escape to.

Welcome reisssue for monster soul-funk LP 'Disconnection', one of the most obscure and sought-after releases from top 70s disco label, Prelude. Ridiculously expensive and hard-to-find in the original, this album is stuffed full with killer tracks spanning warm, soulful disco, high-stepping groove and boogie-heavy funk all written and produced by Robert Holmes. Standouts include the jazzy free-style 'Dead On The Case', later reworked for the mysterious French Skyline project, cool jazz-funk groover 'Bay City', recently edited by none other than Balearic maestro Lexx, and the floor-friendly chunky funk workout 'Cash Money'. However no track is a filler on this superb album which fully deserves its 'holy grail' status with collectors. Essential!

This is the 5th release in the now popular vinyl series personally compiled by Detroit producer & DJ Terrence Parker. This project features two very talented women from different parts of the world who have the love for soul music in common. The 'A' side features the song 'Finally' with lyrics written, vocals arranged and performed by Reno Ka. Reno Ka is a soul singer originally from Vienna/Austria but now living in Hamburg/Germany. The 'B' side features the song 'Where Do You Want Me' with lyrics written, vocals arranged and performed by Kelly Gunn. Kelly is a soul singer from Detroit who currently tours as a background singer for the R&B artist Kem. Both tracks were produced & mixed by Terrence Parker to make another funky soulful classic TP release!

For their first release of 2012 Modern Love deliver the second album from Suum Cuique, the analogue noise/experimental project from Miles Whittaker, one half of Demdike Stare.

freshly repressed!
Leisure System, the collective, label and famed Berghain club night of four years standing, is back with their third release from co-founder and resident, Sam Barker. Known for its genre-defiant lineups, Leisure System's quarterly residency has consistently brought together artists with varying styles. Flying Lotus, Autechre, Afrika Hitech, Jackmaster, Surgeon, Jimmy Edgar, Blawan, 808 State, Dopplereffekt, Clark, Machinedrum, Surgeon, Venetian Snares, Objekt and Egyptian Lover have all graced the decks, showing off the collective's commitment to the exploration of new and experimental sounds in EDM. The development of the label, and now this release from Barker, is no exception. After discovering computers and raves in the late '90s, Barker began making tracks at age 13, building up a sizable collection of vintage analogue synths, paving the way for his future solo work and collaborations with artists like Tim Exile, Clark, Shitmat, Scotch Egg, The Field, Leafcutter John and Jimmy Edgar. Shortly after his 2007 move to Berlin, Barker began collaborating with fellow Berghain resident nd_baumecker, resulting in their ongoing project Barker & Baumecker. Their first EP 'Candyflip', was released on Ostgut Ton in 2010, followed up by a live show tour throughout Europe. The duo is currently readying their second EP and have a long player due out in August 2012. For this new solo EP, mastered by electronic music legend Pole, Barker presents a creative three-track lesson in diversity and highlights Leisure System's ever-evolving aural curiosity. The opener and title track 'Like An Animal' is a number that builds and builds, quickly changing course and mutating into a percussive and texturized melting pot of sounds. Up next the hypnotic 'I Feel', which is filled with moody pads and syncopated breakbeat rhythms, paving the way for the mechanical, yet smooth half-step rhythm of 'Hot Lover'. Siimilar to the collective, this offering pushes boundaries and mirrors the progressive ideals of the collective. Just like Leisure System's first two 12's from Pixelord and Eprom in 2011, Barker's 'Like An Animal' EP is a clear statement of the label's simple and distinct commitment : to be a platform for timeless, thrilling and soulful dance music in the fields of house, techno and electronica, disregarding media hype and genre borders. In keeping with this clear sonic manifesto, Leisure System's design aesthetic is equally individual, with all vinyl releases housed in deluxe die-cut jackets.

Oh Holy Molar is the second album from UK trio Felix. The group produces a bewitching, minimal chamber pop that works as the perfect framework for singer/songwriter Lucinda Chua's oblique and emotionally immediate stories of superstition and searching for protection against bad omens.
*As a follow up to their debut You Are The One I Pick, the band return with a collection of songs with a sound stripped back to its very core. Something is said to have "teeth" when it has the ability to make an impact. This record certainly has "teeth", and sharp ones at that.
*" The album was recorded in a vast, spooky 1940s cinema in Nottingham, England, now converted into a studio. After recording was completed the band discovered that underneath the live room lay an abandoned Dental Laboratory. "Oh Holy Molar" indeed.
*" Since the release of the rst Felix album, pianist/vocalist Lucinda Chua, also an accomplished photographer, has been working on a number of projects, most recently with Wallpaper* in Detroit. Guitarist Chris Summerlin has been recording and touring with his new band Kogumaza. The group is completed with the recent addition of drummer Neil Turpin who, when not performing with Felix, can also be found touring the world with French composer Yann Tiersen.
press quotes for You Are the One I Pick
'It's a gateway into another headspace, one aglow with uncertain magic. As statements of romantic intent go, 'Death To Everyone But Us' must represent either the most  straightforward, honest distillation of the love song, or the creepiest.' BBC
'In Felix's world, everyday mundanities give rise to furtive explorations of human interaction and ineptitude in a manner as oppressive as it is oddly and honestly addictive.' Drowned in Sound
'The duo keep things refreshingly simple, with single strands of piano, guitar, and cello in quiet symmetry, leaving the listener ample room to savor Felix's knotty, enigmatic songcraft.' Pitchfork
'There is mystery and elegance in the marrow of this music, and I imagine this record will prove to stand the test of time, reserved to be pulled out for the perfect accompaniment to just the right brooding but whimsical mood.' Delusions of Adequacy
track list:
1.The Bells 2. Sunday Night 3. Oh Thee 73 4. Don't Look Back (It's Too Sad) 5. Hate Song 6.Oh Holy Molar 7. Blessing Part I 8. Blessing Part II 9. Rites 10. Who Will Pity the Poor Fool 11. Pretty Girls 12. Practising Magic 13. Little Biscuit

Up and away / To your journey to the sun / Drink your rocket juice / Fly away (Hey, Shooter).
High up in the skies, amongst the clouds, Rocket Juice & The Moon was born. Literally. It happened back in 2008, when Damon Albarn, Flea and Tony Allen convened on the same Lagos flight, to play and exchange musical ideas in that city as part of the Africa Express collective. Relishing a shared enthusiasm for one another's work, and bonding immediately, there and then the triumvirate laid down the blueprint for Rocket Juice.
Still, more than a year passed before conditions were set for three weeks together at Albarn's West London studio, recording and refining two-dozen startlingly out and deeply funky instrumental grooves. The next stage was to invite onboard some extremely talented friends, with further sessions in Dallas, New York, Chicago and Paris... Erykah Badu, no less, queen of contemporary soul. Three companions from Africa Express: Malian singer Fatoumata Diawara, whose debut album has topped World Music charts since its release last Autumn; her multi-talented compatriot Cheick Tidiane Seck, whose prodigious keyboardism has lit up releases by artists ranging from Youssou N'Dour to Hank Jones; the young, Ghanaian rapper M.anifest, quizzically existential, switching seamlessly between Twi and English. And the Hypnotic Brass Ensemble, long-time stalwarts in the Honest Jon's set-up — since one of the team discovered them busking near the shop in Portobello Road, on his lunchbreak — with a second album for the label due in May... Finally, the tracks were dispatched for mixing to Berlin, to be meticulously honed, polished and envenomed by Mark Ernestus, one half of the legendary Basic Channel and Rhythm & Sound partnerships.
The result is Rocket Juice & The Moon — out March 26, 2012, on Honest Jon's Records — a triumphant exploration and proliferation of kinetic Afro-funk rhythms: organic, exuberant, communal music-making, evidenced by the project's live debut on stage as part of the Honest Jon's Chop Up in late 2011, which hit London, Marseille, Dublin, and Cork to such great acclaim (witness the flurry of smart-phone film-clips uploaded in the days thereafter).
From the inaugural bars — that absurdly funky slice of instructional timekeeping, 1-2-3-4-5-6 — the liquid pulse of Fela Kuti's classic recordings drives the action through a suite of 18 shape-shifting compositions. The greatest drummer in the world has never sounded so good as he does here. His intricate cross-patterns jostle and lock with Flea's nimble, rumbling bass riffs. Joined by Seck on There and Extinguished — 'when you dispose of something burning, be sure it's out' — Albarn's keyboards spray synth fusillades up top, over, and under... splicing into the mess of wires running between the freaked Afro-disco of William Onyeabor and the space-jazz-moog of Sun Ra. The HBE brings extra intensity and drama to Leave-Taking — likewise Flea's trumpet to Rotary Connection — teasing out the haunting melody coiled in the mix.
Where the best of vintage Afrobeat sides sustained their concentrated energies over the course of sprawling, marathon jams, RJ & TM manages something altogether different: the group bottles the idiom into capsules of funk... and real songs. Beautifully buoyed by Erykah Badu's unmistakable vocals, Hey, Shooter brilliantly traverses metaphysical spaceways sans any semblance of noodling. Lolo and Follow-Fashion — featuring the open-hearted sensuality of Diawara's singing, M.anifest's quick, brawny science, and more brass blasts — play like its musical cousins or codas. Indeed, the album's shrewd sequencing creates the composite effect of tracks working both individually or within the context of an extended song-cycle.
The lovely ballad, Poison, is bittersweet and ruminative: 'If you're looking for love, beware the signs / They will paralyze you one by one / Poison, it will only break your heart.' Down-tempo and dubby, Check Out and Worries amplify the range of styles and moods. And by the time of Fatherless — a chugging Afro blues that evokes John Lee Hooker lost in Lagos, one gets the sneaking suspicion there's very little outside the reach of this collective's inventive musical grasp.
There is, in fact, a palpable openness pervading Rocket Juice & The Moon — the sense of a limber willingness to follow creative impulse — right down to how the group acquired its name. When Ogunajo Ademola — the Lagotian commissioned to do the album's cover artwork — dubbed his submission 'Rocket Juice & The Moon', it quickly morphed into the formal name of the project, like trying to hold onto mercury.
Surely, the stars above also approved.

Louderbach's long awaited second album Autumn represents another jump in the evolutionary cycle of minimal techno, having developed from the largely instrumental project that gave us Enemy Love into a fully-fledged song based outfit

Sunday Money welcomes 'Grusti' to the label - the collaborative effort of Argentinian musician Guti, and Russian producer Roustam. The background of the project and process of creation is described by Roustam: 'This EP was recorded in Guti's legendary loft studio in Barcelona. I was feeling down and out and just flew in for a week to raise my spirits to visit Guti for the first time. We spent a week living together making this EP, just making music non-stop, breaking for awesome tapas and wine and rolling a lot of spliffs. It features a lot of our influences from different sides of the world — Guti's a passionate fiery Argentinian and I'm more of a reserved and calculating Russian from up north but together we make some funky stuff. Also showcases our big love for breakbeat and similar deconstructed 4 x 4 material. Dedicated to the women we love!'