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Rsf Is A Continously Forward Moving Mesmerizing Electronic/technoid Trip Through Space And Time. It Is Truely The Most Fascinating Piece Of 1970's/1980's Inspired Music For Decades. A New Favorite Album For Fans Of Italo Disco, 1980's Synth Pop, Berlin School, Krautrock, Techno,... Released By Berlin's Private Records Label Which Is Spinning It's Circles Already With A Lot In Demand Musical Pieces Like Black Devil Disco Club, Italo Disco Legacy, Sex Fever, Captain Future, Starcluster & Marc Almond,... The Musician Behind Rsf Is Roland Sebastian Faber. Professional Artist From London And Producer Of Boy George, George Michael, Marc Almond (soft Cell) And A Lot More Dope Stuff. Album Artwork By Emil Schult (former Member Of German Cult Electronic Band Kraftwerk). He Was Not Only Working As Musican With The Band But Is Also Responsible For Some Of The Most Iconic Artworks In History Of Music As For Example Autobahn, Ralf&florian, Radio-aktivitt, Trans Europa Express,...

20th anniversary reissue of Massive Attack's double platinum (UK) album featuring the original album re-mastered + an album of previously unreleased dub remixes by the Mad Professor (2CD and 3LP super deluxe only).

Widely hailed as their masterpiece, and voted 15 in Q Magazine's 100 Greatest British Albums Ever (2000), Mezzanine saw the band move away from the 'trip-hop' sound they had helped define to embrace rock and electronica. Mezzanine was remastered by Tim Young at Metropolis who has worked with the band for over twenty years.

The Mad Professor remixes were originally intended to be released on a Mad Professor Mezzanine remix album - as the band had done with previous album Protection (No Protection) - yet in the end only a number of his remixes were issued as single b-sides.

All 8 of the Mad Professor remixes included here are previously unreleased and include his dub mixes of 2 tracks not originally featured on Mezzanine but from the same period - Metal Banshee - a dub version of Superpredators which was a cover of Siouxie and the Banshee's Metal Postcard - and Wire, a track they recorded for the soundtrack of the film Welcome to Sarajevo.

As per the original release, the artwork is by Hingston studios who have worked with Robert Del Naja from the band - the 3LP super-deluxe takes the form of a 48pp hardback book featuring photos from Nick Knight that show the development of the striking cover imagery + an additional 32pp booklet which is a new edition of the art-book Fitting In which Del Naja originally issued in 2000 (only 50 of which were ever available to buy).

Beverly Glenn-Copeland is already known amongst collectors and music heads for two sought after albums of folky jazz in the key of Joni.It was this album, originally self-released on cassette in 1986 that caught the label's attention. The album, entirely recorded on DX-7 and TR-707, lies somewhere between digital new-age and (accidentally) early Detroit techno experiments. The inimitable style of BGC here is both peaceful and meditative while simultaneously rhythmic and bass heavy. The album was recorded in the northern Canadian town of Huntsville where BGC was living at the time and is a beautiful fusion of personal vision, technology and place. Issued here for the first time on vinyl, with a full restoration and re-master.

More smart edits: Can's "Vitamin C" blends eerie pop hooks w/some psych vox + epic drum breaks. Silver Apples' "Lovefingers" f/ their famous homemade synth + stripped down drums & psych-era vox

(LP+CD


"I use music as a medium to talk to other people", Sun Ra once revealed. The Düsseldorfer Stefan Schwander would agree with this statement by the avant-garde jazz great, though he would not necessarily sign his name to it. He also speaks to people through music. Yet he also likes to let music talk to music. Since 2008, as Harmonious Thelonious, on numerous EPs and two albums, he blends the reduced patterns and structures of American minimalist music with African, Latin American and Caribbean rhythms. For his new work "Santos", which he sees as an LP with a unified concept, he embarked on a mental journey to the north of the African continent and became entranced by Moroccan trance music. The resulting pieces are light, with traces of pop, interweaving the atmospheres of the Master Musicians Of Joujouka and Gnawa music with the driving force of techno. This time Schwander invited a handful of guest musicians to serve as sound sources. The Berliner Ghazi Barakat, former bass player of Stereo Total and man behind the psychedelic experimental project Pharoah Chromium, contributed modified sounds from his Moroccan flute. A second guest musician is the Cologne-based composer Volker Zander, who has long played double bass and electric bass with Calexico. For songs like "Mountains" or "Belloumi" he played a melody on the Turkish Tambur, lending an oriental flair to the vital rhythms of the tracks. The intricate rhythmic patterns also incorporate instruments such as banjo, mandolin and Afro-Cuban drums, played by the percussionist Stefan Suhr, who studied Afro-Cuban ritual drumming in Cuba. Schwander's electronic sequencing blurs these organic sources and brings them into a fluid dialogue with his electronic ideas. For a piece like "Rendez-vous of the Dead", for example, Harmonious Thelonious projected himself out of the studio onto the Djemaa el Fna square in Marrakech. Here, every evening after sunset, local musicians meet and play themselves into a frenzy on distorted mandolins. Harmonious Thelonious translates this dream into a quaking dance monster whose home might be a techno club with an experimental sonic approach. Of course, most of the pieces of "Santos" are heavily danceable, although this time Harmonious Thelonious' tracks roll a little slower than previously. Their rugged beauty has also given way to a very smooth sound. His music, however, has lost none of its complexity. The many voices speak together, propelling each other toward something that traverses traditional genre boundaries, creating a playful trance. The cover of "Santos" underscores this: It is a collage designed by the artist himself, depicting his notion of an all-star band. Everyone must decipher for themselves exactly who is to be found there. Here, once again, the pictures are not direct portrayals, but veiled references to an emotional state hidden far beyond the visual realm. Just like the music of Thelonious Harmonious, which uses various layers tell countless stories.

First time on vinyl reissue (previously CD only) of Mark Van Hoen's 1998 masterpiece presented on a deluxe 2LP. Playing With Time perfectly showcases the lush and deep environments that can only arise from Van Hoen (Locust, Scala, Seefeel). Melody Maker called it "A Mesh Of Loveliness". The Sunday Telegraph described it as "The perfect, spacey chill-out album", and The Sunday Times had this to say: "A sound that at it's best has a positively spiritual quality about it". Other accolades include Sleazenation - "At the cutting Edge" Computer Music "A melange of jerky, cut-up sounds, stretched out ambience... that owes more to Far-Eastern music than to Steve Reich". And lastly, HiFi World felt "The sound scape is so deep and diverse that it's accessible to anybody into laidback beats and soothing, beautiful noise". Contains a side long bonus track best described as a modal Eno-style classical ambient piece that was originally intended as a 'hidden' track at the end of the original 1999 CD release.

6th opus of the label. A super eclectic record, exploring diverses styles of electronic music spectrum such as IDM, Downtempo, Ambient, Synth Pop ... Cosmic release limited to 250 copies.

This record includes works from artists discovered around the globe. Old & unknown latvian project & y e a eke, Andy Rantzen & David Sudmalis from Australia, Isak Anderssen from Norway. But also Art Teachers, Oberst Gregor ... A reissue of cosmic lost sound from California, an electric guitars orgy from Science Patrol (M. Bracewell) + an all new french act Pascal De Nuit.

Rickard Javerling, Born And Raised In Borlange, Sweden, And Now Living And Working In Stockholm Is A Wayward And Productive Musician. Besides Releasing Material Under His Own Name, Javerling Is/has Been Part Of Constellations Such As Dodens Dal, Liljor And Javerling Von Euler. Album 3, Released On Hoga Nord Rekords Is His Third Solo Album.

Album 3 Breathes Psychedelia, Dub, Swedish Folk, 'progg' And Continental Vintage Electronic Music. The Songs On This Album Are In A Way Like A Compilation Of Short Stories Rather Than Chapters In A Novel. The Common Factor In This Album Is Javerlings' Exquisitely Worked Out Melodies And The Warm, Round Production But The Songs Can, Due To The Rich Storytelling Qualities Of Each One Of Them, Almost Be Regarded As Small Albums Of Their Own!

The Music Made By Richard Javerling Is An Embrace, A Relative With A House By The Swedish West Coast Or A Day Off, Midweek In April. This Album Is Inviting And Calming But Also As Solid And Mighty As A Dalecarlian Beech Tree.

Keshavara debuts on FILM.

Taking it's influence from downtempo Alt-Pop and Hip Hop, but with nods to blissed out Dub and World Music - the Indian producer arrives on the Berlin based label with Creators of The Rain. Danny Wolfers takes control on the flip - turning in a gorgeous, transcendental remix under his Legowelt alias.

Live instrumentation provides the backbone of the work - dusty drums drive the music forward, complemented by shifting dub-guitar leads, off kilter bassline licks and delayed drum machine breaks. Singer Gio's vocals sit com-fortably at the back of the mix, soft but inviting - present but realised with a distinctly otherworldly energy. There's a fine, organic feel to the recording - ambient surface noise shifts and warps between elements, and live FX pop and duck in and amongst instrument strikes giving the work a rolling, hypnotic feel. It's a deep and fully realised piece of music - wonderfully three dimensional in it's execution, and a striking homage to the artist's wide frame of refer-ence.

On his remix, legendary synthesiser enthusiast Legowelt draws for a characteristically Sci-Fi finish, in keeping with the best of celebrated output for Clone, L.I.E.S., Creme Organisation and more. Maintaining the tempo of the origi-nal piece, but augmenting the work with a growling Reece bassline and hazy lead synths, the Dutch producer care-fully shifts Keshvara's recording up a gear. Where Creators of The Rain began life as a grooving, Hip Hop indebted piece of World Music - immediate but markedly laid-back in it's execution - Danny Wolfers injects a more anthemic, uplifting sentiment, highlighting the dub elements with a delayed drum machine line and pushing the vocals back with a touch of reverb to give his glorious synth-work space to breathe. It's a wonderful take on an already accom-plished piece of music; respectful but inspired - and no doubt some of the Hardware Occultist's finest work.

IDM excursions into the tuareg land: gem alert!

2x12"

It's the return of the sexual vigilante Sex Judas and his trusted sidekick Ricky. This time in full album mode. Norwegian producer Tore Gjedrem of Ost & Kjex fame, channels his love of comix, bohemia and fascination with human vice, the unspoken, the Red Light districts, the alleys of the mind into his alter ego.

Sex Judas is no bad character but certainly says what it's author cannot.

'I wanted to create a world where any musical idea is possible, wound together by the world and word of Judas, the ultimate sinner, reborn as a child of Venus.'

Inspiration ranges from Africa to 80's NYC, from Bohannon to Quasimoto, from Norwegian New Wave to Acid House. With contributions by friends in the Oslo scene as hometown legend Dj Pål Strangefruit Nyhus, composer Ole-Henrik Moe, jazzpianist Bugge Wesseltoft, Sidiki Camara from Mali playing that beautiful Ngoni, and multi instrumentalist Ivar Snuten Winther, the album touches anything from blues, funk, disco and post-punk to IDM, acid house and electronic explorer music.

What Am I Doing Here Am I Communicating Am I Promoting

I Just Want To Tell You Something.

There Should Be Something I Could Tell You, There Should Be Something I Could Do To Reach You Directly, But There Is Nothing Useful In The Way We Define you', Or me'. There Should Be Something I Could Tell You, There Should Be Something I Could Say Directly Without Lyrics And Melody.

Maybe That's What I'm Trying Here. Something Else Than Lyrics Or Melody. It's Not The Words. It's Not In The Rhythm. It's Not In The Streaming. It's Not In The message'. It's Not In The Product. It's Not In The Algorithms. It's Not Something You Decided. It's Not Something They Decided For You.

I Want To Tell You Something. I Just Want To Say: Thank You. I Love You.

The Follow-up To Jenny Hval's Acclaimed 2016 Album Blood Bitch Is The Long Sleep, An Adventurous New Ep That Sees The Norwegian Multidisciplinary Artist Embracing An Instinctive, Even Subconscious, Approach To Creating Meaning. In Contrast To Hval's More Explicitly Conceptual Work, The Long Sleep Foregrounds The Act Of Composition Itself, Letting The Melodies And Structures Reveal The Other Elements Of The Songs. All Of The Songs On The Ep Recycle The Same Compositional Motives, But Manipulate Them Into Very Different Shapes That Take Them Further And Further Out Of Their Original, "life-like" Context.

Hval Recorded The Long Sleep With Longtime Collaborator Håvard Volden And Producer Lasse Marhaug, Along With An Ace New Supporting Cast Of Talented Players From The Jazz World — Kyrre Laastad On Percussion, Anja Lauvdal On Piano, Espen Reinertsen On Saxophone, And Eivind Lønning On Trumpet. Hval Calls Them Some Of Her Favorite Contemporary Musicians, And Their Musical Background Helps To Give The Songs On The Long Sleep Their Intuitive, Improvised Feel.

What am I doing here Am I communicating Am I promoting

I just want to tell you something.

There should be something I could tell you, there should be something I could do to reach you directly, but there is nothing useful in the way we define you', or me'. There should be something I could tell you, there should be something I could say directly without lyrics and melody.

Maybe that's what I'm trying here. Something else than lyrics or melody. It's not the words. It's not in the rhythm. It's not in the streaming. It's not in the message'. It's not in the product. It's not in the algorithms. It's not something you decided. It's not something they decided for you.

I want to tell you something. I just want to say: Thank you. I love you.

The follow-up to Jenny Hval's acclaimed 2016 album Blood Bitch is The Long Sleep, an adventurous new EP that sees the Norwegian multidisciplinary artist embracing an instinctive, even subconscious, approach to creating meaning. In contrast to Hval's more explicitly conceptual work, The Long Sleep foregrounds the act of composition itself, letting the melodies and structures reveal the other elements of the songs. All of the songs on the EP recycle the same compositional motives, but manipulate them into very different shapes that take them further and further out of their original, "life-like" context.

Hval recorded The Long Sleep with longtime collaborator Håvard Volden and producer Lasse Marhaug, along with an ace new supporting cast of talented players from the jazz world — Kyrre Laastad on percussion, Anja Lauvdal on piano, Espen Reinertsen on saxophone, and Eivind Lønning on trumpet. Hval calls them some of her favorite contemporary musicians, and their musical background helps to give the songs on The Long Sleep their intuitive, improvised feel.

Lena Willikens is the kind of artist who's only capable of following one path - her own. In many ways, she's the archetypal selector, an unpredictable DJ who often eschews all notions of genre in favor of what she describes as different temperatures, different time zones, different moods and a healthy portion of chaos.' Although her methods have certainly proven effective on the dancefloor, Willikens also refuses to be bound by its traditional limitations.
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That willingness to buck convention also extends to this compilation, as the German DJ and celebrated Salon des Amateurs resident has elected to stock her contribution to the Selectors series with a surprising number of previously unreleased tracks. I've been playing most of these songs for a while now,' she explains. I benefit from my friends and colleagues who constantly send me their unreleased music. Now I want to give something back by sharing these tracks with everybody.'

Nevertheless, those looking for vintage gems won't be disappointed, as Willikens has also included a handful of oddball favorites from her record bag. At the same time, she's made a point to avoid notably rare and expensive tunes. There are already enough passionate people out there doing a great job digging and reissuing,' she says. Instead, her curatorial instincts have taken her in a much more conceptual direction, which she describes as a little trip through the dunes.' She adds, It might be challenging to walk or dance on the sand, so perhaps it's more comfortable to lay down and glide along without having a certain destination in mind.'

Niemoc is a young trio from Zielona Góra on western border of Poland. Their debut EP came out on a Polish boutique vinyl label Father And Son Records And Tapes in 2016. A two-tracker Mikrofale (eng. microwaves) blends influences from wave and shoegaze with dancefloor oriented disco-not-disco.

The material has been first released digitally in May 2017 via another Polish imprint - Brennnessel and now is available on vinyl as a collabo release with MOST Records. For the physical release, the EP gained two versions prepared by MOST associated artists Eltron & Hatti Vatti. Eltron's 'Dysko-Miks' of Trynidad, Tobago is a straight-to-the-dancefloor approach with strengthen drum break and funky arpeggio. For Wyspy Chlodne, Eltron worked together with Hatti Vatti which resulted with a dubby hybrid.

Since the release is an unusual cooperation of two Warsaw-based labels and multiple artists, it's scheduled to hit the stores around Record Store Day.

* Rockwell's 'User' EP is a perfect example of a genre striding artist in their prime.
'Easy' is a combination uppercut of two generational disruptors. Not the most obvious of partnerships, they connect to pop off some shots at anyone sleeping.
'09 Track' is another nod to the roots of our scene and offers a sample blessed banger.
Rockwell's no stranger to coaxing the best out of vocalists and 'Inventor' utilises an absolutely killer instrumental and Flowdan's heavyweight character on the track.
'User' is a ballad fit for 2018 and with extensive support from the likes of Zane Lowe, Rene La Vice, Mistajam, Annie Mac, UKF, Mixmag and many more, Rockwell continues with his take on modern day drum & bass.

* In his first release for Milan's Haunter Record, Berlin-based producer Broshuda generates simple yet complex emotional vignettes. Evading all definitions, he makes use of an an array of tools and techniques akin to those of classic dub and contemporary sound design on obscure/ random equipment, drawing from a limited pool of sound sources while paying a lot of attention to detail in the construction of sound. His post-rave power ambient poems, coalescing with a pronounced melodic element, give the release a profoundly introspective and earthy character. Blurring and masquerading different layers of sound into new forms and shapes.

Here To Hell is an Australian label project conceived by The Presets' Kim Moyes, and Revolver resident DJ Mike Callander.
Inspired by a Johnny Cash song, by the record industry' in general, and by the spirit of commercial suicide, Here To Hell celebrates the pointlessness of everything: It's the perfect reason to do only what feels good.
Together Kim and Mike also record and remix as Zero Percent, and along for the ride they've invited Aussie musicians and remixers from all over to celebrate techno, electro, Aussie rock, ambient and whatever they think sounds good on repeat in your headphones.
The label's first release sees legendary Aussie band The Drones being remixed for the first time. Their song Boredom' from the album Feelin' Kinda Free' has been twisted into two dancefloor interpretations (plus a dub of each): Side A is by K.I.M, who takes the original's Aussie Rock to the disco, and Side B is by HTH label bosses Zero Percent, it's their first official published work and explores the darkness of the original instrumentation that underpins Gareth Liddiard's exceptional vocals.

Les Adventures de President Bongo is a unique work that will reveal itself over the next seven years, give or take, in the form of 24 LP's.
What is a groove It is something that goes on and on, not changing much seemingly, like the growth rings exposed when you cut and fell a tree. It is no coincidence that tree rings resemble the spiral track of a record: they're both grooves of a sort.

A groove is a routine, a life lived. It may not always seem like much - a cup of bitter coffee, another day spent under the flickering fluorescent lights of an office, an overly long queue at the check-out of a suffocating supermarket. But it is also the scent of slightly burnt meat and birch by a gently flowing stream under a pink sunset, a silver fog clearing without notice to expose a starry sky and its familiar twinkling constellations, an impenetrable smile on a crowded morning train. It is the pattern exposed on the tree stump. A proper groove has ups and downs, it has drama. A good groove is a good story, a transmission into the future.

Zola Jesus' Okovi: Additions lp offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists.

Johnny Jewel turns Ash to Bone' into a late-night cinematic torch song, Tri Angle Records composer Katie Gately's Siphon' is a dark choir of warping angels, black metal band Wolves in the Throne Room's take on Exhumed' makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares' Aaron Funk) makes Soak' feel like an aching classical standard— until it starts warping in on itself and goes somewhere else entirely.

The songs on Additions traverse a vast amount of sonic ground, but taken together, they cohere remarkably well as an album, all while serving to enrich the experience of Okovi.

Crown Of Brahma are Charles Stella, Nicole Willis & Daniel Wyatt. The songs An Angel On My Shoulder & And I'll Be Free As A Bird were recorded in the period between 1995-1997, originally set for release on an LP on Rawkus Records in 1997. This album would have followed the release of the group, Repercussions, album Charmed Life (Pony Canyon, 1997).

Nicole Willis was the lead singer / songwriter of this group. Charles Stella & Daniel Wyatt worked together at Temple Of Soul in New York City, where some of Charmed Life was also recorded. These two vocal tracks have never been commercially released, however were heard by Tommi Grönlund of Sähkö Recordings and Leftfield, who requested to work with Ms Willis in result.

The two tracks have been remastered in 2017 by Charles Stella.

After a first EP of the year from STL, the Solar Phenomena label now welcomes Romania's Romansoff. The Raw Tools label boss hails from Bucharest and has also released his gritty, stripped back house and techno on Creme Organization and Sportiv. Here he offers four new tracks, with one remix from Timedance man Ploy completing the package.

'Halo' epitomises Romansoff's style with its slow, heavy drums and sparse, scattered perc sounds. A lo-fi melody adds colour, while 'Coach Jacket' ups the ante with busier claps and crashing hits laid over a turbulent, unsettled bassline. Increasing the pressure further, 'Graded' grows manic with punchy drums, layers of fuzzy synths and bass and distant cries that are dark and unsettling. Ploy flips this one into a prickly and atmospheric drum track that keeps you on edge and Romansoff's digital exclusive 'Michigan Lake Tapes' is a slow motion workout with unsettling synths and tortured pads that grows ever more unhinged. It rounds out a leftfield house EP in style.

Paper Recordings' Ben Davis takes off his Flash Atkins cape and mask to launch a new project exploring things left of centre and balearic.

In these disposable times, Stubb will celebrate community and DIY with a limited run of 300 vinyl screen-printed kraft card sleeves of commissioned illustrations by artist Rachel Johns plus hand-drawn labels by Hebden Bridge's The Egg Factory.

We Are Launching is a journey in to psychedelic balearia with one of the most exciting artists of recent years, Jane Weaver
Her Mercury Music Prize long-listed album 'Modern Kosmology' was described by The Guardian as "a lean and thrillingly addictive slice of unearthly pop".
The Stubb collaboration is a sublime head trip to the deep reaches of space and electronica with hallucinatory guitars, burbling synths and arpeggiators that are beautifully set off by Jane's ethereal vocals.

Mike Lindsay is founder and producer of folktronica pioneers Tunng and his distinctive tones sing the praises of doing nothing on Boring Days, which is psychedelic leftfield pop at its finest.
The track is locked down by a nagging fifth bass with vocal pops, hand claps, muted afro guitar, washed synths and arps that build before the choruses hit in a wave of analogue keyboards and fuzz guitar.
After that, a gloriously stretched outro takes you straight to the mediterranean. There's also an edited instrumental that brings out the sunshine...

Luciano e Valerio, Giacomo e Michele: Odeon are the union of two couples of Roman brothers who are not easily defined. Take the mellow melodies of Talk Talk and the celestial guitar riffs of Cocteau Twins bound together with some heavy Goblin-inspired bassline and you'll be close to picturing Odeon's signature sound. Drawing from '70 Italian B-Movies' soundtracks, psychedelic rock and early 80s new wave, and combining analog synths, dreamy guitars, melancholy vocoder and drum machine-driven percussion, Odeon put together a debut album that sounds fresh and classic at the same time. Ethereal and mesmerizing, Galaxies is the perfect soundtrack for a sonic journey through dying stars and forbidden planets.

*The No Man Is An Island EP is a single cut from the debut album of the same name by Aalko, a new project by Kebko Music founder Akiko Kiyama. Renowned for her minimal techno track featured in Richie Hawtin's seminal DE9 Transitions album, the Japanese producer reveals her another side under this new alias. The project has already created a stir as Aalko has garnered support from Gilles Peterson on his BBC 6 Music radio show and premiered a live performance at MUTEK's Tokyo launch, where she drew the audience into an inspiring frenzy.

Aalko is a culmination of Kiyama's recent practices in a wider musical spectrum that go beyond the confines of her minimalistic techno characteristics. It conjures her distinctive soundscape where a variety of styles coexists: she demonstrates her knack for breaks, ambient and irregular time signatures, her acute ears for unadulterated tone and texture of sounds standing out in sharp relief.

Taking a floor-oriented side out of the No Man Is An Island cassette album, this single cut features three tracks that work wonders in a DJ context. "Body & Soul" is an erratic rhythm experiment jumping between several beat styles. "Mixture" offers Kiyama's unique interpretation on syncopated dynamics of breaks. Wrapping up the EP is 'B.I.C', a long-awaited exclusive track that ranked among Gilles Peterson's top 20 tracks of 2017. Its dubby functionality makes it a powerful tool that can work at various stages of the night.

These tracks give the nod to Kiyama's peculiar self full of sonic idiosyncrasies, showing no fear of breaking accepted conventions.

This record, and the full 2XLP that will follow it, are dedicated to and inspired by events in 2015 & 2016, which saw the spectre of global crisis come knocking at Europe's doorstep.

During this time, more than a million migrants and refugees fled their homes in the Middle East, Northern Africa, sub-Saharan Africa and other conflict ravaged areas in search of a better life. For many, hopes of a future for themselves and their families lay in continental Europe.

While the reasons for such displacement, on a scale unseen in almost a century, are many, so are the reasons for Europe being seen as the ideal destination. The relative peace and calm of the continent and the prospect of building prosperous lives in Western Europe was enough to mobilize multitudes to embark on the treacherous journey to Europe.

One of the most well-trodden paths on this journey was the Balkan route, a trail leading through Turkey, Greece, and the former Yugoslavia. This route was not without its dangers, and the dreams of many were dashed by impassible security fences and discordant EU politics, as one by one they were turned away at borders, or worse, forcibly returned to their countries of origin.

Europa is the first single that represents the seed of discontent, from which the 2XLP grew. It was recorded during long jam sessions in Belgrade as the media spotlight started to dim. The city became the purgatorial destination for a large number of migrants, whose journeys had been cut short and this record reflects the atmosphere of disillusionment and uncertainty about the future, which descended on the Serbian capital.

Repress!

Redolent with the spirit of such high priests of effects and delay as Loop, Spaceman 3, and My Bloody Valentine, not to mention a fair dollop of the Jesus and Mary Chain . Methodrone clearly is the sum of its influences. Thankfully BJM does a very solid job with them throughout the album's course of over 70 minutes.

Sequoyah Tiger is the brainchild of Leila Gharib, songwriter and singer with a constantly shapeshifting voice from Verona, Italy. Following last year's Ta-Ta-Ta-Time EP, Sequoyah Tiger's debut album Parabolabandit expands Leila's distinct musical language, dragging us deep into her dark, twisted and sparkling fantasy. While exploring the limits and hubs of pop traditions, weird sound studies and vocal experiments, she comes up with bewilderingly beautiful songs in which vintage rock 'n' roll and present-day avant pop happily clash with electronic and acoustic elements, jagged beats and subtle rhythms, otherworldly shouts and confessional words.

Matching the customized vibe of her music, Leila likes to create compelling word combinations as shown by those of her alias and release titles. - Parabolabandit is a graft between two words that emerged during the writing process of the songs , she explains. - Inside this imaginary word I found roots, trunk and leaves of the entire album. The concepts triggered by this neologism inspired not only new music, but also videos, artworks and future live performances, for which Leila will share the stage with dancer Sonia Brunelli. A - parabola can mean a dynamic, geometric shape, but also refers to a storytelling technique. A - bandit on the other hand represents something mysterious, an uncanny figure. You can easily spot all those contexts in Sequoyah Tiger's music.

Since Leila has always been involved with collaborative projects like the performance art duo Barokthegreat or the indie rock outfit Bikini The Cat, this album presented a chance to handle the whole process on her own, from writing to mixing. The album was recorded in Leila's basement studio - Vampa Club , where she follows a kind of trial-and-error approach, discovering new possibilities by solving problems. Every input is welcome: acoustic drums mixed with drum machines, processed guitars and synthesizers, field recordings and animal calls. But - singing is the main point and the cause for this project , Leila stresses. From the intimate crooning of album opener - Another World Around Me to the Chipmunk outro of - Brilliant One , Leila passes through a wide array of vocal effects, tuning her voice to the mood of the songs. Although she shut out external influences, you can still hear echoing Joe Meek. The harmonies of The Everly Brothers shine through in songs like - Sissi , and - Where Am I has the sentimental air of a Ronettes classic. Still, you get dragged into the present again and again: The synth arpeggios of - Punta Otok confirm that Leila shares the DIY-pop attitude of Visions-era Grimes, while - Brother Brother inhabits the same weird world as Panda Bear. From beginning to end, Parabolabandit is a unique and sincere sketch of modern pop music, full of enthusiasm and inventiveness.

First release on Polytechnic Youth for 2018, (after a jaw dropping 21 releases last year!) sees a first larger scale, vinyl release for the mighty Heartwood Institute. Preceded by a pair of wonderful, yet small run cassette and CDR releases, Jonathan Sharp's esteemed HI project deservedly receives a wider scale outing here....

Entitled Secret Rites', imagine if you can, an unholy collision of TG style proto industrial, Kosmische / kraut grooves and 70's folk horror soundtracks. Secret Rites' delves deep into a series of forgotten occult documentaries from the late sixties and early seventies, The Power Of The Witch', Witchcraft '70' and The Legend Of The Witches. Focusing on the superstars of the period: Alex & Maxine Sanders, self appointed King and Queen of the Witches. A hauntological dive into a time when the occult was making inroads into mainstream media, truly the Age of Aquarius.......

A wonderfully free-flowing, evolving record that grows with each listen and a fine start to the New Year for both artist and label. A one off pressing of 300 vinyl LPs.

What works is Heartwood's flair for isolating the listener from the outside world and dropping you deep into a well of senses cheating trickery, the sounds cold and detached disfigure and shape shifting to cast looming shadows of disturbia and paranoia, a portal to an underworld where legends, ghost stories and folklore are very much a reality.'
- The Sunday Experience.

For her third outing on the German label Jahmoni, Marcelle is as inventive and unpredictable as ever. The four tracks on the wittily titled 'PSALM TREE' EP go from wild techno to abstract dub, and all bear that undefinable 'Marcelle' touch of freedom and imagination, which sets the DJ/producer so apart from almost all of her younger peers. The ever-travelling Dutch lady, who was one of the highlights of this year's 'Nyege Nyege Music Festival' in Uganda, toys with musical styles and expectations, both live and in the studio, she has always deejayed more or less like a musician. This was amongst others recognised by Faust founder member Hans-Joachim Irmler, who between 2008 and 2014 released 4 Marcelle albums on his Klangbad label.

Opener 'TO EVACUATE IS DIFFICULT AND INFREQUENT' is a deranged techno stomper, bristling with crazy, desperate sounds. Only halfway during the track these voices make 'sense': the track deals with the problem of constipation, and offers near the end a possible solution. As a dubplate this track is heavily tested on the dancefloor and, eh, 'dropped' very well.

'TO REVEAL THE SECRET', an abstract dub work-out with an eerie feeling, samples the voice of one of her favourite actors, the late Philip Seymour Hoffman.

'WALKING AROUND AIMLESSLY', the longest track on the EP, is just as swinging as it is weird. The relaxed whistling over the treated sounds that drop in and out, make for a both happy and strange stroll into unknown territory.

'TO SING ALONG' combines heavy bass with an addictive synth melody and is a short, energetic closer of the EP, which once again shows Marcelle's instinct for both the dancefloor and the avant garde.

The record's curious title 'PSALM TREE' hints at Marcelle's love for palm trees, hot weather and reading books (although not necessarily religious texts, contradictions and odd combinations are never far away in Marcelle's work!) The artwork of the record is as colourful as on all her releases. On stage and on her records Marcelle transcends a sense of openness and a feeling of freedom, which has her described as 'totally enriching', 'a true ear opener', a real 'pioneer'.

Lyrics and vocals by artist and poet Leslie Winer, production by Bokeh Versions staple Jay Glass Dubs.

FEATURING THE COMPLETE GO BANG PART 1' AND GO BANG PART 2' No one pushed the boundaries of Dance music quiet like the late Arthur Russell. On Go Bang,' in his Dinosaur L persona, Russell's unique falsetto-esque vocals are layered over a pulsing disco thump with a flourish of Fender Rhodes keys establishing the downtown feel of this solid groove. Get On Down is proud to present this classic single, featuring the complete Go Bang Part 1' and Go Bang Part 2'.