House News

Borde - Uruguay
Only vinyl record label

... Finding your soulmate is a rare and precious gift.
Even if one leaves this world-since souls don`t vanish-they remain in oneness …

Originally released in April 1994 on Finiflex (FF1009) and fetching upwards of £70 on Discogs, The Mercury E.P. by State of Flux (Dave Clark and Roger Elliott) has long been overdue a repress; it now sees the light of day once again with fresh remaster by Keith Tenniswood. State of Flux were an integral part of the Scottish electronic music scene, during what is now considered as the classic foundational wave of British "intelligent techno". These tracks were written between 1992 and 1993, with the E.P. released to coincide with their first UK tour in 1994.

With the recent death of Andrew Weatherall, a hero and legend for so many thanks to his championing of all genres of music and endlessly supportive attitude, we saw a massive outpouring of grief and love – alongside a wealth of old mixes, personal recollections and tributes. One of his most beloved ambient mixes – billed online as Massive Mellow Mix; just Andy Weatherall 2 on the tape itself – featured both Mercury and The News, and was a firm post-club favourite, still keeping heads together over 25 years since it emerged. It is largely thanks to Weatherall and his reputation that the spotlight has been recast onto all sorts of obscure or well-known music, including this E.P.

In Dave's words: "1994 was exciting for us. We first met and played with Weatherall early that year, and I remember he gave us his entire rider and sat chatting to us for hours until our slots came up. We were already big fans of him, both as a producer and DJ, and he’d given our latest record a great review in the NME or something, so we were blown away. By then we had started gigging seriously and toured in April and then in Europe in September, sharing bills and rubbing shoulders with the likes of Black Dog, Autechre, Higher Intelligence Agency, Derrick May, Psychick Warriors ov Gaia and finding ourselves on compilation albums together with Aphex Twin, Biosphere and Bandulu. We started to be invited to 'music industry things': record company offices, panel talks, an exclusive WARP party in Sheffield. Weatherall would pop up now and again, and he’d always be super-friendly, and - most importantly at a time when everyone was out of their nut - engaged and interested."

Mercury was shortlisted for Warp's Artificial Intelligence 2 album, but didn't quite make the cut. Roger and Dave were young, skint and went their separate ways – burning brightly for a short period, then quitting while ahead. Dave has continued under a variety of aliases and always operated at the centre of Glasgow's electronic music scene, working most closely with Numbers and Optimo to cement the city's legacy.

A1: Mercury - our eponymous hero, god of many things and psychopomp guiding the souls of the dead to new realms. As we travel, a high, probing bassline paves the way for soft melodic cycles – morphing and entwined like serpents on the caduceus. A bright legato entity and its bastard harmonic cousin arrive to derail us; we escape toward nasal hyperspeed nonchalance haunted by the plaintive entreaties of a randy qliphothic temptress. Stay true. The melodic serpents return in harmony and unravel, leaving a refrain of august mood backed by siren of the pining temptress. The cousin reappears with several evil mates to answer this increasingly malevolent beacon, together threatening to devour all; but they are banished, the qlipoth unsated – and a mood of quiet optimism is reestablished for the remainder of the journey

A2: New Lanark is what happens if Bytes-era Black Dog were asked pressing questions about Welsh philanthropist and social reformer Robert 'Derrick May' Owen's model village / labour camp on the banks of the Clyde. Grimy but well-educated kids – saved from punishing apprenticeships at the mill and instead given pioneering nursery education – take us along the path through the Devonian sandstone gorge up to the Falls at Corra Linn on a grey Sunday afternoon in late autumn... but what's this? Little Annie has dropped her barley bread in a mud puddle en route and naughty Wullie has picked it up and snaffled it hissel' – bacteria, ciliates and all! The other children all laugh and dream of a future where they will bake grain-based techno morsels for sharing with all, "without regard to their class, sect, party, country or colour".

B1: The News - we've all read it and we're all sick of it: coming in waves, 'rolling' and 'breaking', promising endless novelty and repetition. We hear Radioactivity-era Kraftwerk transposed to the naïve early 90s, when the internet was made of string vests and social media was but a gleam in the rolling, gaping pupil of anyone chewing their own face off in front of several strangers in the 'chill out' area. The mood is full of hope; good news is possible and desirable. Darkness is stirring, though: we must learn to see through our own biases... "feelgood" stories serve ulterior motives and the lamestream will erode critical thinking. Bleeping morse alert signals demand your attention at any time; once you are plugged in, you can't really opt-out... time to pop another pill.

B2: OWG - 'OId White Guy' running 'One World Government'? The encroaching, ubiquitous media landscape hinted at in The News now 'feeds the mouth that bites the hand', ushering in a technocratic New World Order led by Bill Gates' cunning plandemic to inject a microchip – hidden in a "vaccine" – capable of tracking the entire population. Donning their spritely trance trousers, Bill, his pal Elon and countless other OWG dignitaries take their position on the empty dancefloor, maintaining reasonable social distance to instigate a celebratory acid hoedown in the face of Icke, Jones and all other former goalkeepers, wellness practitioners and truthsayers of "independent thought" who would convince the masses to inherit their beliefs and rise up to save us from our own future.

Nice Girl returns to Public Possession with her second EP “Whistling Thorn”.
Organic, psychedelic, percussive music with hints to early forms of communication that involved chants and rhythmic movements.
Naturally these activities were strongly connected to earth, taking place under the open sky often involving plants to enhance spiritual transmission.
Repetitive rituals creating a sense of community & togetherness.

Pamela Records is the new sister label to Moton Records Inc - the London imprint headed up by Dave Jarvis & Darren House, who have carved a name for themselves in quality and very collectable edits over the last two decades.

The legendary Andrew Weatherall had produced and written Pamela’s first EP alongside studio partner Nina Walsh before his devastating and untimely passing. The tracks were written by Andrew in a studio laboratory inside of the Woodleigh Research Facility with Nina Walsh sharing the writing credits in part and also contributing samples from her extensive arsenal of weapons.

When asked about these tracks, Andrew said “The great thing about not being signed to a major a label is that it’s liberating. No deadlines, no restraints, no pressures. The result - the creative process is completely free. There’s a blank canvas in the studio, you can pretty much go anywhere you want.”

The second EP of remixes from Man Jumping's reissue on Emotional Rescue features luminaries Bullion, Reckonwrong, Gengahr and William Doyle with their reversions of songs from the Jumpcut album.

Nathan Jenkins aka Bullion follows his recent rerub of Thomas Leer (ERC072) to provide two remixes. His remake of In The Jungle keeps the originals (leftfield) dance floor roots, but sprinkles the ubiquitous warm glow and off kilter fun(k) that he evokes; while his retake of Walk On, Bye drifts back, highlighting intricate percussion; congas, bass and vocal atmospherics along some breezy swing.

Reckonwrong is next; turning the bossa vibes of Sqeezi into his own new wave meets italo reversion; topped with his unique 'under the cupboard stairs' vocals. Funky, driving, this overlooked star adds to his cannon for Whities, Pinkman and DEEK.

After a string of impressive releases for Trangressive / Beggars, Gengahr make a surprise addition, lifting Down The Locale from deceptive beginnings to anthemic heights, adding echo-laden guitar and vocals to the original's underbelly, before a bass break and return lifts to the heavens.

Finally, William Doyle provides perfect closure. Moving away from his East India Youth moniker (XL Recordings), his output has drifted towards ambient introspection, however, here points to addtional layers; rebuilding Belle Dux On The Beach with added bass, guitar, drums and finally vocals that culminate in a prefect 'to the skies' outrospection.

This release is LP and it's individually 300 hand-numbered limited edition. The first 100 copies are pressed on WHITE & BLUE MARBLED vinyls (AR015).
It's dedicated to the 1979 New Age / Electronic masterpiece by the Italian contemporary multi instrumentalist Pepe Maina.

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.

‘Back At It’ is TapesJamaican’s second EP, and follows 2018’s ‘Zero Seagull’. Like the debut, the Dublin act deliver three sublime techno soul tracks from the deepest end of the spectrum.

Early DJ support from: Moxie (NTS); Damo B (Outta Limits); Perseus Traxx (Bunker); Owain K (Innate)

After the Swedish grammy-award winning "Sunday" and the 2017 EP 'Ta Paus', here is the third and last part of the 'Hemma'-trilogy.
The end of an exploration of HNNY's home ('hemma' in Swedish) where he both lives and makes all of his music.

Named after a turning point in the life of the artist, the EP is a deeply personal record about being at and away from your home. D
estinations and places fly by in and between tracks, with the track titles giving more hints about the journey.

"Crosstalk" is a collaborative effort between Theomatic's artists - a sort of a peer reinterpretation of each other's works. First on the A-side is Acos Coolkas' "Skyline", from their first-ever single on Theomatic, released in 2005, receiving a sonic facelift from An-2. This is followed by An-2's remix of D-Pulse's first track from their latest full-length album, "Gratitude", which first appeared as a mystery track on An-2's 2018 SoundCloud mix, now seeing the light of the day by popular demand, and is not to be missed. On the flipside D-Pulse deliver a two-part remix of An-2's "The Gift" - previously only available digitally. These two stunning pieces, filled with ethereal soundscapes, will delight any discerning Balearic-sound connoisseur. Rounding things off is Acos Coolkas' remix of An-2's seminal

Das Komplex joins up with the King Of Kong imprint to release four soul-infused tracks entitled ‘Reverse Hallucination’.

After spending years as a bedroom musician and occasional DJ Marcin Lukaszewicz, modest producer from North-Western Poland known as Das Komplex debuted four years ago on local FASRAT label. Since then he became one of the most respected Polish producers, releasing an album on Catz’n’Dogz’ Step label, as well as singles for Young Adults, Love On The Rocks or People Must Jam. His very singular, hazy breed of sample- based house-derived music made its way to sets of numerous high-profile DJs (from the late Andrew Weatherall to Axel Boman), eventually making its way to no other than DJ Harvey, who invited Marcin to play at his Pikes Ibiza residency, and included one of his tunes on his recent ‘Mercury Rising’ compilation.

Das Komplex comes to King Of Kong with a new package of mind-bending yet club-ready tunes, proving his skills as master of contemporary disco music with a romantic twist. ‘Maybe There’ starts slowly with a lazy, syncopated beat only to introduce a bass riff of mammoth proportions, which carries the track for its 8 minutes - by the end reaching a proper dancefloor momentum. ‘Stay’ starts with a piano melody and hazy synths to be transformed into an epic, 10-minute mid-tempo disco groove, with live instruments and angelic vocals, a neon-lit lullaby for early morning hours.

‘Lagos’ takes a slightly darker route, but even here a heavy, percussive groove is brightened by bursts of uplifting piano, while ‘Sounds’ keeps the hazy vibe going, with layers of unintelligible voices over a smoky groove..

2019 Repress, Orignal Art.

Tunnelvisions (Raynor de Groot and Emiel van den Dungen) originated from a shared vision of contemporary club music. They believe that the club scene - that is often focusing on a colder, abstract high-tempo sound - needs to go back to a more organic approach. It's one of the goals of their newly created Tunnelvisions project: We aim to bring back the fun to the dance floor again'.This vision brought the two musicians together - through hypnotic, exotic and grooving productions they tend to offer something new. In the studio, Tunnelvisions combines elements from South American, Caribbean and African sounds. With a background in house, techno and pop, they created a nine track LP that takes you to different places in the world. Each track title is based on a river or desert. 'Guava', for example, is a Jamaican river: This song is a sort of naive interpretation of reggae, pop and club music'. Tunnelvisions already performed at the legendary Melt Festival, Georgie's Wundergarten and various festivals in the southern parts of The Netherlands, the place where Emiel and Raynor are currently based. November sees the release of their debut LP 'Midnight Voyage' through Atomnation, an album that already found support by Aera, &Me, John Digweed and Anthony Fantao.

CFCF’s much-loved 2015 new age opus “The Colours Of Life" comes to vinyl for the first time!

Montreal’s established MOR investigator CFCF (aka Mike Silver) has been honing a specifically clear, gentle revisions and updates on the bygone luxuries of pop and new age music for years now. On his 2015 released 41-minute long piece “The Colours of Life”, CFCF curves out into a incredibly serene peak of new sincerity, where Phil Collins “Hand in Hand” and once-ironic uplifters from the Windham Hill label serve as much as mantra as contemporary textural entrancers. The twelve movements within this piece build nto a story of the utmost realness, best told in Silver’s own words:

“I started writing this stuff in the first half of 2011. I was living in Paris for a few months in a tiny one-room apartment with my then-girlfriend, and didn’t really have any proper music equipment on me aside my laptop. I was really getting further into some really cornball music like the Windham Hill label, and some of the outer edges of Innovative Communications. The song that really inspired the first iterations of ‘Colours of Life’ is “Hand in Hand” by Phil Collins, from ‘Face Value’. It’s a super simple corny song built on a Roland CR-78 loop and just the silliest pan-global optimistic tone. And I got into the idea of doing a record of music like that, that would incorporate a lot of this stuff I was listening to and be of use as like, call waiting background music, just the most pleasant thing and kind of trying to push to the edges of tolerable cheese in some places, but also have it be totally sincere and not ironic, like actually purely pleasurable music.

Initially it was one song the first song, and then for whatever reason I had the idea to have that one morph into another one, and then another one, and eventually I had 12 pure pop instrumentals leading into each other. It was fun for me because having 2-3 minutes per song and a larger structure meant I could write small simple chord progressions and melodies that I maybe wouldn’t have explored on single tracks, and it meant I could go and meander here and get really specific there. There are a lot of obvious influences all over, like the aforementioned Phil track, a lot of Manuel Gottsching, Suzanne Ciani, and tons of different individual balearic tracks. So it was a really fun thing to work on, and I finished it that summer, and pitched to a couple labels.

Eventually I sent it to my friend Matt of RVNG Intl, where I released my EP ‘The River’ in 2010. He had the idea of bringing on collaborators to sing on some of the tracks, and we got some contributions from really amazing people, but the thing sadly fell apart for reasons I won’t go into. One of the collaborators who I will name were Dip in the Pool, an incredible pop band from Japan in the 80’s, and they are incredibly sweet and wrote two amazing songs for the record, one of which appears on their latest album Highwire Walker. Some of their work is still present here on the movements “Rain Dance” and “Intimacy”, where Tatsuji Kimura elaborated on the chords I wrote and really improved on it immensely."

Ju/Na is a collaborative project between Juri Corrado and Nathan Dawidowicz and was borne in Berlin where both of them live. It's a conjunction of free verse and analog soundscapes - which could be described as 'analog poetry'

This debut album 'Haiku' is an exploration of contemporary narcisism which unfolds against a backdrop of different facets of contemporary life in imaginary/imagined or concrete urban spaces. Each side of the record contains three tracks - reflecting the three phrases of Japanese Haiku poetry. With a surreal language and quotes from mythology, the opus potrays the dreamy delirium of the Ego, from Love to disenchantment.

7" Yellow Vinyl

Nearly seven years after the release of the debut album “ALFA", FDF still has not enough. Two track EP with remixes by none other than Filburt and the probably most underrated artists from Berlin “Even Drones".

Coyote have pulled in some label compadres to remix 3 tracks from their latest album Buzzard Country. Sean Johnson's Hardway Brothers remix the sunset meditation Sun Culture into 2 deep electronic dub excursions, Max Essa groove up Ranura De Marihuana with all his usual style and Woolfy vs Projections add a little boogie to Shimmer Dub. All new versions hitting home hard. Essential

Hot-on-the-heels of their performance on BBC 6 Music, for Gilles Peterson's 'UK Jazz Special', at the hallowed Maida Vale studios (alongside Nubya Garcia, Joe Armon-Jones and Fatima), Ishmael Ensemble bring their Bristol-inspired 'Severn Songs' project to a triumphant finale.

'Severn Songs 3' pays homage the mighty river itself, in both title and mood. Field recordings from the banks of another iconic river - the Ganges - made by keyboardist and co-writer Jake Spurgeon meander in and out of focus, whilst celestial percussion ushers in the full-bodied tone of celebrated jazz trumpeter Yazz Ahmed's horn. The track climaxes in true Ishmaelian fashion with a whirlwind of pulsating synthesizers, crashing drums and hypnotic brass flurries, before easing back into the dulcet rhythm of oars lapping through water.

On the flip, a reprise takes the listener on a much gentler ride. However, the tension and dynamics of this twin version are still very much apparent. Throughout the release, an array of new instruments open up in Cunningham's armoury; most notably bass clarinet, alto-flute and the sarod - leaving the listener just a few strings shy of a full orchestral experience.

As a whole, the 'Severn Songs' project has seen Cunningham develop an already diverse palette into something more focused. Tiptoeing between the current British jazz boom and Bristol's rich musical ancestry, the group have found a truly unique and refreshing voice.

'Severn Songs 3' follows media praise, radio airplay and DJ support for the first two 7's in the series, from the likes of Dan Snaith (Caribou), Gilles Peterson, Tom Ravenscroft, DJ Mag, Complex, Self-Titled, The Vinyl Factory and XLR8R. Prior to that, 2017 saw Ishmael Ensemble's first EP 'Songs for Knotty' released on Banoffee Pies, followed by an official remix of Carl Craig's 'The Melody' for Infiné.

With rumours of an album 'round the corner, a busy touring schedule and continued support from international tastemakers, 2019 is shaping up to be an ascendant year for this talented producer and his Bristolian troupe.

Musicians:
Pete Cunningham: saxophone, synths, keys
Jake Spurgeon: modular synth, keys, sarod
Yazz Ahmed: flugelhorn
Ross Hughes: bass clarinet, alto flute
Rory O'Gorman: drums
Stephen Mullins: guitar
Jackson Lapes: percussion

Coyote / Buzzard Country A bird shrieks. This is Buzzard Country after all. Two wise old balearic owls rub the sandman from their peelers, and cast their gaze upon a new day. Stretching to greet the Sun, giving thanks, and remembering all those lucky years that went before. All the long journeys into night, days of altered states, and morning-afters staring out to sea. Veterans at this game, fixed on the horizon. Cosmic synths purr over a sleepy Rave baseline. Sparse, spare piano, and woodwinds pick out a path, to help you wind your way home. Around the houses, down forgotten roads. A Spanish guitar plays in the harbour, and the memory of yesterdays parties' 4 / 4 boom sparks a slow, easy Acid flashback. Echoes of 90s IDM, Intelligent Dance Music, clever beats for stoners, mixing with the faded, but not jaded, vision of an introspective White Isle sunrise. There's the spectre of a spine-tingling rush. The keys kick it off. Percussion rattling, a breakbeat shuffling, as you recall the dancers. Flamenco's shout, stamp and clap, the songs of passion, songs for heroes, while lives less ordinary screen inside your head. Movies of your own making muddling up the photo-album snapshots, and the make-believe. Tabla touches, marimba tones, and Eastern drone adorn an oasis of Dub. Conjuring a psychedelic North Africa. A mirage where Tuareg nomads cross the Sahara, accompanied by tasikisikit and prayer. Then the backing track's spinning in reverse, to score a coastal drive. Wayfarers on, as clouds caught in time-lapse charge against the blue

In 2018 I landed in Amsterdam to start a Europe Tour. The venue could not find a hotel for me, so I asked Gilbert, who invited me to stay in his guest room. I felt at home when I saw what was on Gilbert's table/mind. The book 'Shantaram', a double reed flute photo, Saravah... (as a friend of Pierre Barouh, I had visited Saravah where I met Jacques Higelin in the 70s). Gilbert and I exchanged many ideas, and I invited him to record at my place in Australia. He did, and here is the result! I am thrilled that the words issued from my Head Voices are highlighted by the arrangements co-created with Gilbert - also the sheer genius of I:Cube to polish our gems has a lot to do with that!

Enjoy your listening experience!
Ariel Kalma

In the late 90’s, east-side LA was in the throws of a post-indie explosion; a network of stoned bands ranging from neo-psychedelia to pseudo-country overran Spaceland (our generation’s Troubadour) and the local Silverlake Lounge. I was playing freakbeat records twice a week in dive bars, half of Spacemen 3 was crashing at my house (my drop-out roomate was Sonic Boom’s tour drummer) and it was during this blur that I met Raymond Richards, a clean-cut all-American pedal steel guitarist playing in Mojave 3 (the country-tinged side project of 4AD shoegaze royalty, Slowdive). I was instantly swept off my feet, head over heals in love with Raymond's weeping tone—the most chill-inducing, emotionally responsive dialog I’d had with music since discovering Satie as a child—it was then and it is now, truly haunting. After a year of personnel trials, my roomate and I stole Raymond for our own band, and not only did he smother our songs with his enchanting steel, he was virtuosic with a variety of atypical instruments such as baritone guitar and theremin, he utilized them all. The band was short-lived—I joined Ariel Pink, Raymond fled to Portland and me subsequently to New York City—but in founding the ESP Institute years later, there was always a recurring mental note; we must make Raymond’s pedal steel album. I had managed to wrangle his blessed performance on a remix for Project Club’s El Mar Y La Luna, but it took almost a decade until I once again wore the producer hat and we began working on The Lost Art Of Wandering, a title borrowed from Sam Shepard’s Stories. Spiritually candid, expansive yet enveloping, this is the strung-out, visceral country music that simply radiates from Raymond. Each song is his set of coordinates in a vast open terrain, holding a sentimental familiarity, a truthful longing for the simple comforts that diffuse life’s complications, a place to get lost. –Lovefingers

9 track album with Manmade Deejay Remix

Emotional Rescue is delighted to present a collection of works by the founding father of the modern drum movement, Glen Velez. Collated from his first 3 solo albums from 1985 to 1989, Sweet Season is a snapshot in to the pioneering composing and performance of this four-time Grammy winner. Born in 1949, of Mexican American ancestry, Velez grew up in Texas before moving to New York in 1967. Playing jazz on the drums he soon gravitated to hand drums from around the world (frame drums in particular), seeking out teachers from many different musical traditions.

Among the many instruments Velez favours are the Irish bodhran, the Brazilian pandeiro, the Arabic riq, the North African bendir and the Azerbaijani ghaval. Although these instruments are similar in construction they have their own playing techniques that open new possibilities.

Sweet Season highlights this vocabulary, mixing and adapting techniques from various cultures to develop new ones. The music, often composed as cross-cultural ensembles, has a particular fondness for polyrhythms - superimposing different meters simultaneously - while incorporating Stepping Split-tone and Central Asian Overtone singing to complete the global horizons.

This new genre of contemporary drumming has been hugely influential and seen Velez work with the likes of John Cage and Steve Reich, as well as teaching his virtuosic combinations of hand movements and finger techniques to many emerging players.

Keep It Moving is a 6 track groove-oriented release that ventures between techno, beatdown, and downtempo styles. The release starts out with a pair of harder-edged techno cuts. The pensive, smoky "Martial State" leads the way, followed by "Struck Down Strike Up."

Next, the Chicago-based artist dives into slower tempos with the pleasingly dissonant "Cyborg Proposition" and the acidic, atmospheric, "They Don't Know". The record picks up in terms of mood and tempo for the house-leaning, "Rising Poem", before closing out with the catchy, head-nodding title track.

Samples are peppered throughout the release that help guide this record's narrative. Artwork by Chicago-based artists Ruby T. and Betty Heredia help capture the mood of the A-side and B-side respectively

Following on from Calm’s stunning By Your Side album on Hell Yeah late last year, it is now revisited with a series of special remixes. Part 1 finds the Japanese artist himself revisit one track, while Mind Fair also step up with fresh new versions.

First up, Calm reworks his own ‘Mellow Mellow Sadness’ into Mellow Mellow Acid. It's a super slow burning and soothing remix with a gentle acid line drawn out of tumbling drums. Blissful chords ripple out to the horizon and you can really feel the sun on your face with this one.

Golf Channel and International Feel disco duo Mind Fair step up to flip ‘My Home Town’ into a long legged and gorgeously hazy downtempo disco bomb. The chords shimmer and shine and will have people swaying with their eyes shut and is sure to become a huge track this summer.

This is a fantastic, summer ready package once again from Hell Yeah.

Canada's percussive house label, Breathing Room Records, looks to Japan for its third release. The Foreign Wind EP comes from Tokyo's Kota Motomura, a trained composer who has an ear for unconventional sounds. Previously only releasing a 12" on Kung Foo Records in 2012, Kota has recently lined up a second EP for Edinburgh's Hobbes Music which has already garnered support from the likes of Laurent Garnier, Tim Sweeney and Bill Brewster, to name a few.

As someone who lists such diverse influences as Arthur Russell, Carl Craig and Adriana Calcanhotto, it is no wonder the four tracks on Foreign Wind approach you from a more left-field direction. "Melody" takes influence from a Kenyan instrument called the nyatiti. Alongside an electric guitar and a relaxed groove, this quirky piece will help warm up any dancefloor. "Aqua" combines latin percussion with squelchy analog synths and fluttering keyboard flourishes to transport you southward. The driving rhythm of "Sumire" is meant to make you dance, alongside the rising synth work, it's a strictly peak-time tool. Closing out the EP is "Light & Darkness", a hypnotizing composition full of bird song, mallet percussion and peculiar ambiences that really do help form a contrasting mood.

Hot on the heels of "Vegator", we give you Øyvind's Magnum Opus: "Lullaby To A Never Ending Sunset".
Including a variety of tempos, moods and emotions, we hope this EP gets a premiere spot in your record box, on your digi stick
or youtube channel for some time to come.

Prins Thomas, Oslo, January 14th 2020

Where does electronic music lead you? To the inside, to a calm and warm place where sound resonates with your body in quiet bliss, or to the outside where the rhythm wants you dance, even without moving? „WTMCT“ gives an answer to these questions that is complex yet extremely easy to understand in an immediate sentient and emotive way.

Menelaos music is unusual and unlikely both with respect to the structure and arrangement of tracks, and the materiality and spatiality of the sound. And yet these sounds convey an immediate sensation of familiarity and ease, of beauty and relaxation. Menelaos utilizes loudness and extreme dynamics in a thoughtful and intriguing way to accentuate strange runaway sounds while maintaining the continuity of the flow of the tracks, which is Ambient to the core. This is a rare art in our time, where hypercompressed and superoptimized glossy sounds dominate most of Ambient, drone and even deep listening music.

In this aspect the album follows and refines the subtle production skills of seminal electronic artists like Jan Jelinek or Terre Thaemlitz a.k.a. DJ Sprinkles. What is genuinly special about Menelaos music is the natural and seemingly effortless fusion of challenging experimentalism and a warm and soothing organic sound-design. This shows exemplary in the collaborative tracks with trombonist and bass trumpet player Achim Fink, a founding figure of the Cologne jazz and free improvisation scene of the eighties. Achim is uncompromisingand in times disruptive play merges perfectly into Menelaos serene soundscapes.

This way „WTMCT“ became a genuine album. It tells a story. It invites deep exploration but it does not demand it, thus transcending common notions of how Ambient or Electronica should sound. Text: Frank Eckert

The Album includes also some warm sampels (my live with the wave vol 1+ 2) from the Detroit legend Mike Huckaby to whom i very thankful.

Limited edition of 170

The first officially licensed, re-mastered reissue of the late 70's rare groove classic, ‘Nightlife’ from original Blackbyrds guitarist, Barney "Blair" Perry. Original 12” copies of this New York, soul-crooning, boogie masterpiece trade hands for £225+ and with the likes of DJ Harvey and Mr Scruff putting it on rotation, this reissue is serious news for those in the know.

Only a member of the Blackbyrds for their first two albums, penning their hit 'Walking in Rhythm’, by 1978 Perry had released this lone solo gem that would go unappreciated until the ‘90s rare groove scene embraced it. The title cut, ‘Nightlife’ is a boogie funk madness, drenched in sleazy synths and dripping with trademark Perry guitar solos, soul-soaked vocals and straight-up, NYC style.

On the flip - more than 7 minutes of blissful fusion vibes going by the name of ‘Virgo Princess’, heavy on the sweeping strings and kind of eyes closed, lean-back riffs you'd hope for with Barney at the controls!

The SPECIAL DELIVERY - which is the vinyl iteration of I'm A Cliché's EDIT SERVICE - returns with a second installment following the first pressing curated by Red Axes and Rouge Mécanique.
This time around, four edits come courtesy of the expert hands and ears of A.A., and we'll let you connoisseurs trace back the originals.
One poster (40x60cm) inserted in each record sleeve.

13 summer cruising tracks very much in the style of Legowelts PPU release from last year. 2 x vinyl edition.

Icelandic producer Adalsteinn Gudmundsson aka Yagya now launches his own new Small Plastic Animals imprint with a brand new album, Old Dreams and Memories. After nearly two decades of releasing his Icy dub techno on labels like Sending Orbs, Delsin Records and A Strangly Isolated Place, his latest album marks a subtle move away from the sound he has dealt in before. Still slowly propulsive rhythms underpinning every track, but they are only a small part of the overall picture. Old Dreams and Memories is a rich symphony of luxurious sound, with transportive rhythms and hugely evocative layers of melody, the human voice and cinematic sampling all showing a further evolution in the art of this standalone producer. With vocals by Natsuko Yanagimoto, poems by Michizo Tachihara and saxophone by Oskar Gudjondsson.

New Light Remix EP’ presents two remixed tracks by Nicola Cruz and Rafael Aragon from Mamazu’s latest release via his label Hole and Holland. The remixes serve to create a psychedelic, folkloric sonic journey into the borderless realms of contemporary lectronic music, transcending musical boundaries and exploring elements of mystique and ritual. This side’s ‘AloMlo’ remixed by Rafael Aragon, provides a stripped back journey that clicks, chimes and chants its way towards a progressive melody delivering a blissful head down and eyes closed finale. Nicola Cruz’s remix of ‘Dada’ on That side offers an expressive modular synthesized, psychedelic and percussive exploration into rhythm and sound.

En Transito is a document of the evolution of the Ambien Baby collaboration between D Tiffany and NAP. An ode to friendship and creative symbiosis. The tracks on this record showcase the project from its beginnings in 2015 to present day.

This release has 2 tracks from Dawn Again & Rothmans. Rothmans Ant runs vinyl only Rothmans label from Liverpool and Dawn Again who has releases on wonder stories and porn wax as well as Ant's Rothmans imprint.Nazare is a Balearic house which has been left on the slo cooker all day.. With a nagging baseline and lush pads a plenty. Max Essa takes us on a moody Balearic tropical ride for his remix.Walpole is another slice of Balearic house with a throbbing bassline and trips arms. This time the remix picks up the pace a little for a more dance floor, Norwegian Disco-esque groove from EDSC's very own Neil Diablo.

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.

Touched Music and Furthur Electronix two forward thinking labels have merged together to put out exclusive compilations. Putting some of the best music in the electronic genre in one place.