Pop & Rock News

FEATURING THE COMPLETE IN THE CORN BELT PART 1' AND IN THE CORN BELT PART 2' No one pushed the boundaries of Dance music quiet like the late Arthur Russell. Perhaps no track does so to such an extreme as In The Corn Belt'. Working in his Dinosaur L persona the mix on Corn Belt' is by another giant of the genre, Larry Levan of Paradise Garage fame. The groove is intensified by layers of shredding guitar, percussion and some instrumentation that sounds otherworldly. Get On Down is proud to present this classic single, featuring the complete In The Corn Belt Part 1' and In The Corn Belt Part 2'.

This is a THIRTEEN MINUTE track split over two sides and as such will be our VERY FIRST 10" SINGLE and the first time we have deviated from our 7" single format.

Jean-Louis Huhta and Joachim Nordwall are HIGH BOYS. Together they share a deep interest in old school techno acid, aswell as electronic experimentalism and insane electro-acoustics . They want to make music that will mess with your mind, and make you move while your skull is melting. Together they have served in the ritual rock group The Skull Defekts for over a decade but this is their first own project together. Huhta also does is killer project Dungeon Acid amongst other important things, and Nordwall runs his iDEAL label since '98 and makes electronic music alone and with other heads. HIGH BOYS will not change the musical or political climate but they will make you feel... different.

Seahawks chart a course for the outer realms of consciousness where sea meets sky and sky meets space.

Two tracks new to vinyl from their esteemed 'Escape Hatch' album and three inspired remixes, 37 minutes of overlapping dream states and mantric resonance.

Setting sail with the wondrous 'Valparaiso', the siren like voice of Ed Macfarlane (Friendly Fires) calls the dancers to the beach, it's silken glide so smooth some have asked if it's Sade!

Nick Mackrory creates an alternative cosmos that is even more blissed, like a lost Lucio Battisti gem sparkling in the sun. (Nick was responsible for the lush 'Elle Dit' released on the Music For Dreams label not so long ago).

Picking up the pace disco viking Marius Circus enters the arena to create a woozy acid fever dream that throbs and pulses in a most heavenly way. Perfect for full moon beach jams and horizontal home hangs alike.

On the flip 'Starways' is without a doubt one of Seahawks finest creations, over 12 minutes of tropical kosmische odyssey that resolves into a glistening pool of crystal electronics, aquatic horns and celestial strings. A tonic for the mind and the body.

At the close of day Len Leise blesses us with a hazed subtropical jam where vapour tones float on an ancient ocean of bliss as organic beats massage the stress away.

An antidote to all that is dark and dismal in these fractured times.

Artwork is a specially commissioned airbrush work by Mervyn Beaver.

Bonobos "One Offs Remixes & B-Sides" Album enthält ab sofort nicht mehr den Amon Tobin Remix.

Double LP compilation of Dutch electronic artist Michel Banabila focusing on his incursions into otherworldly and imagined realms. LP1 is a compilation of works spanning over 20 years that acts as a bridge between his earliest work and his contemporary practice. LP2 is a reissue of his early masterpiece Marilli, a highly sough-after album that acts as both an LSD inspired DIY tribute to Byrne and Eno's Ghosts and a youthful exploration of Banabila's personal background and his experience as a squatter in Amsterdam in the early 80s. Gatefold LP with archival pics, essay and artwork by Alan Briand.

That cyberpunk chameleon of styles, Manchester's pride and dancefloor master Ruf Dug is back on wax on Copenhagen's Music For Dreams. Following up the first 12' of remixes that came out last year, we once again re-visit the island life of monsieur Ruffy and his debut full length album Island' (recorded during a sojourn on Guadeloupe).
First up we have Italians on the mix. Hi-jacking Ruffy's tribute to Wally Badarou, Leo Mas and Fabrice opt to do their own thing: which is churning out a bouncing house belter of their own that bears little resemblance to the original lo-fi synth reverie.
Closer to the original then, is fellow Mancunian Andi Hanley's take on the same track. Adding sparse percussion and and a simple but effective drum beat, this take seems to simply be an uncovered second half of the original, where it finally takes off for the dancefloor.
Mangrove Dub' is reworked by fresh-on-the-scene Aussie producer Tropical Hi-Fi who creates a brilliant version full of moist ambient textures and reverb-heavy dub treatments.
At last but definitely not least, Seahawks turns the whimsical hippie folk ballad Le Rayon Vert' into a more intense and neatly dressed affair, focusing on the instrumental parts and lifting aside vocalist Nev Cotte's contribution to the original. Still with a mindful of tropical dreams and the ocean shore close at hand, but in a more introvert Vini Reilly kind of way.
Essential package.

Repress in limited coloured vinyl of 2013 RSD release DOES NOT include Festival Programme, Postcard Certificate or DL
Paean to Wilson is arguably Vini Reilly and the Durutti Columns most important and consistent piece of work since the demise of the original and seminal Factory Records in the early 1990's. It was commissioned MIF (Manchester International Festival of Music), July 2009. Vini had already composed pieces for Tony to listen to whilst he was ill in hospital and it was from here that the project developed. The opening night of the three sell-out festival shows formed part of the BBC2 'Culture Show' coverage on the event.Dave Simpson - MIF Review - The Guardian 20/7/09 4 out of 5 ' Near the beginning of the final night of the Durutti Column's 70-minute international festival tribute to Tony Wilson, A Paean to Wilson, guitarist Vini Reilly announced that he wouldn't be singing: "So you won't have to put up with my awful voice and schoolboy lyrics." If Wilson was with us, he would have chuckled. The Granada presenter-turned-Factory Records boss spent years urging his first signing to stop singing, and concentrate on the virtuosity that led Red Hot Chili Pepper John Frusciante to call Reilly "the greatest guitarist in the world". Two years after his death, Wilson got his way, one of many lovely touches in a very personal, emotional and often warmly funny musical tribute. Wilson signed Joy Division and Happy Mondays, yet never gave up on this cult band he adored, working with them even after his legendary label went bankrupt.

* Walton drops his third instalment on Tectonic in fine style, calling upon Japanese influences to create a truly unique sonic across both tracks in the release. Asian instrumentation meets directly head to head with the cutting edge sounds of a UK grime-techno axis to great effect.

* 'Praying Mantis' captures all the charm of a fine Japanese watercolour painting by means of some spectacular midi-harp programming. Hi-hats and detailed percussion set a shuffling pace, building the mood up before a beautiful harp section unfolds and takes over, expertly programmed by Walton to sound as if a master harpist had stepped into the room! As drums and bass join the party we have all the makings of a low-slung grimey masterpiece, both soothing and energising in a perfect zen balance.

* Flip then for 'Koto Riddim' which again brings Japanese influences to the forefront of the track. Walton programs classic sounding Japanese percussion sounds along with grunting vocal cuts and a charming flute-based melody. As the track drops, it switches into a more familiar, grime-based palette of sounds, deftly arranged for most dangerous impact.

Having carefully honed an inimitable sound that caresses the left-facing corners of techno
and house, this release marks a special milestone for a true music lover and producer
wizard from Austria, who is in the game for more than a decade. After release
contributions to Various Artists EP's on comfortzone, One step back ahead and sama
recordings (sama001, samadigi001) Laminat aka Kobermann steps up with his first ever
solo EP showcasing his unique desire to fuse body and soul into its preternatural
harmony, layer after layer after layer.
A1 Grand Central
The opener of Laminat's first ever artist EP seduces with delicate athmospheres, etheral
pad sounds and crispy drums, which were recorded seperatly on a 4 track Tascam
tapedeck. All field recordings for this track were done in New York - at Grand Central
Station, on the way to Conny Island and directly at the seashore at Conny Island.
A2 Windy Backyard
As the horizon darkens, human souls realize that they are not only dominated by
machines, but also by nature. In this tape-saturated, organic live jam every element is
carefully mixed and harmonically balanced: MFB 522 Drums, Microkorg XL and selected
samples are accompanied by field-recordings of hurricane sirens in Chicago.
A3 Eaves Gutter Drip
This moody little ambient piece with beautiful string sounds is based on vocals which
were recorded by the artist itself on a drive from Brooklyn to the airport. It marks the
transition to the B side by Laminat's second alter ego 'Kobermann'.
B1 Emphasis Chorus
With slighly distorted kick drums and gently arranged claps laid down on a mysterious
synth tapestry, Korg's ER 1 Drummachine is dominating this edgy track. A palette of
strange NASA sounds is giving this track its special deep space vibe. Surely you have
recognized the heavily treated voice samples of somebody speaking about her TV set.
B2 Blood Red Sunrise Behind My Back
Once again the ER-1 drum machine is in the focus of this laid back afterhours jam
session recorded directly on tape. The deconstructed vocal samples, where a well
respected american composer and theorist talks about his personal approach to sound
and space, award this track a certain psychedelic feeling. One for the deep moments.
B3 Cubbyhole
A table lamp was connected to the same circuit as the audio equipment. Consequenting
background noises enrich this outro piece with a dark and haunting atmosphere.
Feedback:
Dynamodyse (One step back ahead, GER)
'Drowning! Very grown up and adult tracks. Timeless classics from now on.
Windy Backyard + Grand Central are my faves. Respect. 5/5'
Oliver Haferbauer (Live At Robert Johnson, GER)
'Platte ist top. Finde Grand Central und Emphasis Chorus sind super.'
Lt.Dan (freaktion, Tel Aviv)
'wow - very experimental shit. the spirit of helena hauff is all around the record. very
good stuff man. my favorites are grand central, windy backyard & emphasis chorus.
love the drums, the drama & the claps. so uplifting, will play for sure all three!
grand central is like the viennese willie burns made it - love it! machines with emotions -
so good.'
Dan Lodig (Pomelo, Vienna)
'Ich mag Windy Backyard und Blood Red Sunrise Behind My Back sehr.'

Strut present a new reissue of Walter Gibbons' 'Jungle Music' compilation LP, the definitive collection of Gibbons' groundbreaking remixes during the heyday of New York's disco era.Starting out as a DJ and known for his skilful manipulation of percussive disco breaks at his Galaxy 21 residency in Manhattan, Gibbons brought this ethic to his remixes from the start with his first outing for Salsoul, a re-work of Double Exposure's 'Ten Percent' which completely disassembled the track for the dancefloor. He developed a knack for drawing the rhythmic essence out of both the brilliant and the mediocre as tracks like Jakki's 'Sun... Sun... Sun' were transformed into unique abstract dancefloor beat edits.The tracks spawned a series of groundbreaking remixes, with many versions only appearing on acetate for his own personal use as a DJ including Gladys Knight's 'It's A Better Than Good Time'. He continued to work with Salsoul (Loleatta Holloway) and West End Records (Bettye Lavette) before branching out to include more leftfield material in his work - collaborations with Loose Joints' Steve D'Acquisto (Sandy Mercer), Steve Standard (Strafe) and Arthur Russell would all follow, a natural fit for Gibbons' uncompromising remix style.

After a short time based in Seattle during the late '70s, where he played at the Sanctuary nightclub, he returned to New York and, in his later years, he discovered God and refused to play records with a negative message. Tragically, he died of an AIDS related illness during the '90s, a largely forgotten figure.

Now revered as a true pioneer of the art of the remix, Gibbons' key releases are brought together on this essential celebration. Package includes sleeve notes by Tim Lawrence, author of the acclaimed 'Love Saves The Day', along with rare photos from across Gibbons' career as a DJ and producer.






[F] C2 | Arts & Craft I've Been Searching (Walter Gibbons 12" Mix)

Ninja Tune veröffentlicht eine 12" mit Remixen von Nathan Fakes diesjährigem Album und einem neuen Track! Anfang des Jahres veröffentlichte Nathan Fake sein mit Spannung erwartetes viertes Album "Providence", das die gewünschten Lobeshymnen einfuhr. FACT feierte es als "karrieredefinierend ... eines der besten Alben im Bereich der elektronischen Musik 2017", und das DJ Mag kürte es zum "Album des Monats". Auf der dieser Folge-EP präsentiert Fake den brandneuen Track "Bosky": "ein dorniger, aber warmer und roher Studiojam ist das geworden, beeinflusst von und mit Synth-Autoharphen-Improvisation." Außerdem rief er Tessela und Truss (XL, R&S, Perc Trax, Poly Kicks) aka Overmono sowie Huerco S. (Proibito, Software) und bat sie, das Album-Highlight "DEGREELESSNESS" (feat. Prurient) zu überarbeiten. Zudem führt er das großartige Talent der polnischen Komponistin und Multiinstrumentalistin Olga Wojciechowska ein, die auf dieser EP eine atemberaubende, postklassische Interpretation von "HoursDaysMonthsSeasons" beisteuert.

- weißes 12" Vinyl mit schwarzer Innenhülle in bedruckter Hülle mit Artwork von Matt Bateman (Flat-e)

Torn Hawk debuts on UTTU with a 4 tracker of oddball machine funk, guitar-laden techno & general leftfield dancefloor madness!

19 year-old Glaswegian, Teddy Lambert (aka Rapture 4D) turns in his official debut in the form of the 'Lambert & Yoker' EP for Astral Black. Across 6 instrumentals, Rapture 4D shows a maturity beyond his years, delivering a progressive debut that demonstrates why this young producer is heralded as the leader of Glasgow's new-wave described by FACT magazine's John Twells as blending 'post-TNGHT instrumental trap business with Bloom-ish pneumatic grime'.Without an official release to his name, Rapture 4D has created a name for himself amongst the grime scene over the past 18 months. The past few months alone have seen R4D taking up residence in Red Bull Studios, collaborating with grime scene OG's and contemporary peers such as P Money, Plastician, Flirta D, YGG, Lady Chann, Spooky and Capo Lee to name a few. This January R4D earned his stripes holding down an hours self produced set alongside his partner in Grime, Polonis, with the original grime kid Wiley handled mic duties to a frenzied Sub Club. Rapture 4D also currently holds the title of UK Beat Boss champ (as voted for by Jammz, Grandmixxer & Flirta D) with his remixes for the likes of AJ Tracey & Rude Kid finding their way in to top 5 charts for 1xtra.
'Lambert & Yoker' has already received support from DJ heroes Slimzee, Sir Spyro & the Boxed crew on their radio shows for London's Rinse FM, NTS & Radar Radio. 'Black Ice VIP' is set to be premiered by Complex Magazine, with support elsewhere from Mixmag & FACT Magazine.
It's undoubtably a press release cliche, but the talent and work ethic demonstrated by Rapture 4D proves he is one of the most exciting producers currently operating in the UK and this debut release is just the first milestone for this talented young producer.

Basil Kirchin was a pioneering British composer who blurred the lines between musical genres. While his career began in the '40s as a professional jazz drummer, in the '60s he started to make field-recordings, painstakingly splicing tapes and slowing-down sounds until the source material would be virtually unrecognizable.Originally released on Island Records in 1974, Worlds Within Worlds juxtaposes Kirchin's various tape manipulations - amplified insects, animals, engines, glossolalia of children - with traditional musical instruments to form an organic totality that has the overall effect of otherworldly, ambient soundscapes.As Brian Eno writes in the liner notes on the original release, "Within the first couple of minutes it became obvious to me that Basil had not only discovered a whole new area of sound, but had exploited it with extreme skill and sensitivity, producing beautiful and evocative music as well.... So Basil Kirchin has made a double contribution: he has not only built the instrument, but has written and played the first successful works for it."

Worlds Within Worlds remains a lost classic in sonic abstraction. This first-time reissue is recommended for fans of Broadcast, Aphex Twin and Nurse With Wound.

After the long overdue release of Drew McDowall's debut solo album Collapse' in 2015, the experimental music underground saw McDowall as an arrival of an artist that was always here, hiding in plain sight. He was quietly in the background, pulling the levers on some of the most influential recordings in electronic music and with shifting his focus from the role as band member of such legendary acts as Coil & Psychic TV along with his recent collaborative efforts alongside Tres Warren (of Psychic Ills) in Compound Eye, McDowall came to finally identity as a singular artist and figurehead to a movement that has vitally required his presence.

His second full length endeavor for Dais Records is aptly titled Unnatural Channel,' allowing McDowall to allocate offerings to the ghosts of his past using methods not fully understood. Moving forward from the impact left with his first album, Unnatural Channel' moves McDowall into more uncharted territory. From the opening mark, Drew's distinct fingerprint is evident on the track Tell Me the Name', his signature ambient ebb and flow to pulsing electronics painted over reverberated percussions that have been pulled apart and spun around the spectrum.

Once the introduction has been made, the album moves forward into more rhythmic territory using classic industrial structures found on his previous work but fused with tumbling aural friction complimented by more techno-based cadence. Views into McDowall's unconscious are ever- present in This Is What It's Like', a reflective decent into madness brought on by the anxiety of sleep deprivation. Looping the title mantra, the listener gets caught into the author's own delusion and lost within the auditory hallucination.

The two part suite of Unnatural Channel' subjects us to a torrent of fluttering and panic-stricken electronics, subtle in its dispatch but powerful in its impact. Field recordings of the most personal, hypnogogic dream-state, lost within itself until McDowall unveils his unbalanced, sequential patterns of fibrous, metallic waveforms and subsonic bass kicks that hit the air with such strength and coercive force that it is impossible not to be converted.

Ending with the statement of Unshielded', the album ties off with the primal voice talents of artist Roxy Farman of the Brooklyn avant-techno duo Wetware. Roxy's confused phrasing seemingly crashes head-on with McDowall's cathartic finale, using every method of sonic hypnosis at his disposal to finish with a bold yet disconcerting assurance.

Union Cafe turned out to be the last collection of new material the original PCO recorded, originally released 1993.
This album retains the intimacy and charm of all previous works, featuring a recording of the electric Aeolian harp on Cadbury Hill, Somerset, and a piece dedicated to the memory of John Cage recorded at the Real World recording week in 1992.
Union Cafe is a vigorous re-statement of traditional Penguin musical values. The African inheritance was again rearranged in Kora Kora, Venezuelan cuatro strums infused Lifeboat, the sound of the deep South of America was subtly hinted at in Nothing Really Blue.

PICTUREDISC

San Francisco based DJ Al Lover's list of collaborations contain names like The Brian Jonestown Massacre, Goat and White Fence, and he has remixed bands like The Night Beats and Thee Oh Sees. Except from producing mind-altering music, Al Lover is also the official DJ of Levitation and tours Europe extensively.
Al Lover's double album release 'Zodiak versions' on Hoga Nord Rekords (2015) opened up for a beautiful cooperation between the label and the artist and now the two parts are taking it to the next level with the release of The Nymphaea Caerulea EP. On this picture disc EP, a third player flavors the music and that is Cairo Liberation Front (CLF). Residing in Amsterdam this collective represents the future of European club music lends equally from House, punk and psychedelia, filtered through generations of hedonistic groove.
The six tracks on this picture disc EP holds the essence of what psychedelic dance music is about - escapism. Where to escape Well, due their sound, CLF could just as well be from where their name implies because this record oozes more of northern Africa than of northern Europe. It puts the listener outside of time somewhere on the banks of the Nile, just before dawn.
The combination of Al Lover's use of samples, drum machines, live instrumentation and analog synthesizers, clashes beautifully with the fierce energy of the CLF's sound of cracked software, American hip-hop, Euro house and Arabic rhythms. This is the score to the next Arabic spring.

One off German studio project with spoken word and electronics. More info to follow!

This is the first 12 inch from Luke Jenner's first solo project since his infamous New York band The Rapture split up. Very often first releases are like a statement.
.
Both sides of this 12 represent a side of what Meditation Tunnel is about : epic and melodic on Dreamsequence, psychedelic and hypnotic on Sunrise. Mixed by Joakim, whom Luke shares a studio with in Brooklyn.

Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans. Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along - Salem Remix.

ltd to 300 copies.

Jay Glass Dubs remixes Guerilla Toss, more details to be announced soon.

We begin our history with the first full-length Dada Ques release, written and produced by the founder of the label, Flaty.

Called '1' ('One' or 'Album One'), the release is timed with the launch of ANWO / AMONARI-NO-WORD which has been conceived and designed as a creative platform for own musical projects and various other art initiatives.

'Album One' presents a wide array of styles grinded and melted into one solid and breathing soundscape, it's electronic romanticism with advanced detail.

ASTRO TAPES & STAR CREATURE team up with the GREAT LAKES ACCELERATED TRANSIT ALLIANCE to create a soundtrack of original music produced by DJ MOPPY (BOOGIE MUNSTERS CREW) representing the underground electronic dance sounds of both Chicago and Detroit.

* Following his 'Chubby Cheeks' album for Nosaj Thing's Timetable Records, Gerry is back with his new album, 'New Junk City' for RAMP Recordings.

* Musically, the Suffolk based outsider-house poster boy has withdrawn from the Ghetto-influenced sound of 'Chubby Cheeks', to more musical territory, sounding like the next step from his debut album 'Jummy', keeping the jazzy samples, and adding layers of dusty synths and rolling drums.

Features confirmed: Resident Advisor feature, Resident Advisor premiere, Clash premiere

Radio confirmed: Nemone (BBC 6 Music), Gilles Peterson (BBC 6 Music), BBC Suffolk Introducing

There are many ways for a band or an artist to compile an album: some make it in a week and some let the process go on longer. The latter approach does often mean that that the record will not be better than had it been recorded and mixed within a short amount of time, rather the contrary. However, there are those albums that just could not be made within in a week or a month, those compilation of songs that needed the time to melt together to form an album. Fontans third album titled 'Fontan', released on Hoga Nord Rekords is that kind of an album. Put the opening track 'Mangsebung' on, then stay with the record until the closer 'Shadows' rings out and you will go clear, sharp, and mildly messed up by the listening experience because this is an extremely well directed trip in mind-altering music! This album needed time to reach such heights.
The width of range in influences has become somewhat of a trademark for Fontan. Magma, Pink Floyd, Bhutanese and Nordic folk music, Manuel Gottsching and Ashra, Robert Fripp and King Crimson, Steve Reich, Philip Glass, Talking Heads, DJ Shadow, Brian Eno, Boards of Canada, are some of the music that has made a mark on the psychedelic duo. One of the main differences though between Fontan and other bands with a similar setup of names to drop is that many cannot transform those musical traditions into timeless and boundless songs like those in Fontans catalogue. With Johan Melin's and Jesper Jarold's love for music and non-sentimental creative approach, this album proves that the band never gets hung up on trying to sound like the past masters, but to develop what they once started.
2017 will be the year when Fontan once again challenges the framework for genre bending music. 'Fontan' captures the inspired and unafraid feeling from their releases in 2016 but is managed and even more refined on this album.
This is Fontans evolution.

File the Fontan album under: psychedelic rock, electronic, leftfield

Repress!

For those who know, Bambooman is one of the most sought-after, probing, and distinctive voices in UK electronic music right now.

The Yorkshire-born producer's catalogue builds into an aural mosaic, comprising everything from scrunched up hip-hop to techno deviance, all delivered with an impish sense of individuality.
'Whispers' certainly resonates. It's a lengthy, bucolic work, an album of great breadth but also one of sustained mood – think those hazy summer evenings when shadows stretch out across the road, and autumn lingers around the corner.

This new album has a dusty, organic, and decidedly personal feel, much more at home with Jon Hassel's 'fourth world' aesthetic than the club.

The results are also imbued with an incredible sense of mystery, with Bambooman's productions frequently being shot through with a hallucinatory sense of the uncanny. Entirely self-composed, 'Whispers' utilises "lots of field recordings that I've collected over the last few years, while within the tracks you can find lots of the instruments, percussion, bells and whistles that have been gathered throughout my life."

In certain ways 'Whispers' is entirely autobiographical: Bambooman reaches back to his varied alter egos, to the ambient releases, art commissions, and soundtrack projects that litter his discography. The cover art was even pieced together by Oliver Pitt – of Glasgow group Golden Teacher – who was an early ally in the producer's sonic quest.

Stylistically 'Whispers' veers from avant hip-hop of Flying Lotus to the theoried composition of Terry Riley, from the future-forward percussive energy of Battles to the ever-evolving electronics of Mark Pritchard. It's a record marks by a fiercely independent spirit, but also by a close-knit cast of collaborators.

King Kashmere takes a starring turn, following the pair's collision on the recent 'SUPERGOD' EP.

Each vocal is recorded, chopped up and then spliced across the album, with Elsa Hewitt also making a number of appearances and re-appearances.
credits

Another amazing exercise by Thee J Johanz! In R U There In R U There he's exploring the capabilities of the Russian/DDR Vermona synth for a massive brutal lead on a rocking 808 beat, with driving italoesque arpeggio's from the Jupiter 6. Having it's special moment in an unanswered synthesized ring tone, enhancing the haunting suspense. In K Clap West he lets the Moog modular sing like Kanye West, supported by the ancient Roland CR 8000 drummachine. Sleazy analogue goodness, slapping asses with the nasty clap. Sex with machines. More Cowbell! is just what the title promises. An orgy of live tuned cowbells, recorded in one take with his beloved modded CR 8000, it's a perfect atonal mixtool to add some uplifting madness and excitement. Sleeve art by David Homan and Thee J Johanz himself.

Early support from DJ Hell, Prins Thomas, Simeon Mobile Disco, Audio Soul Project, Severino Panzetta, Tensnake and more...

In the dozen or so years of the Artyard's checkered career, the label has taken on the largest official reissue program of the works of Sun Ra, with earth shattering spin-offs like the incredible Egyptian Jazz album by Salah Ragab, and the essential tome for anyone's home, Hartmut Geerken and Chris Trent's book: Omniverse Sun Ra (last few in stock, by the way).

The label also ventures into the murky waters of electronic music. In 2009 it released Berliner Ring's "Orbital" abum, and now follows with the foggy electronic dub meditations of Al Chem.

This is Mr Chem's first album, after a release on Tim Lee's Tummy Touch label.

No Hopper is a reworking of a Ras Michael tune No Hoppers, from Rastafari Dub, Chem's version merging electronic percussion with organic, almost Moondog-like rhythms and misty atmospherics. The Prophet pinpoints Chem's GPS firmly in Berlin, just as The Red Tower blurs that kick drum border between reggae and house music. Baudelaire randomly sputters digital delay, building up the pressure, Ladder of Perfection rounds off the set with a drone, creaking with squashed fills.

Darkness, mystery and percussive electronic dub, the alchemy of Al Chem

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip's, Mogwai's Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

Every Country's Sun named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.

***Boxset includes: White vinyl double LP, 12" black vinyl (containing 6 tracks of album demos), CD, plus a set of Tarbox Road photographic prints - Includes download card redeemable from the label.***

Lost LP from 1977, rebuilt from original tapes, by the creator of BLACK DEVIL DISCO CLUB. The french electronic music pioneer behind Black Devil Disco Club, released three seminal library albums in the seventies: Suspense (1975), Cosmos 2043 (1977) and The Strange World of Bernard Fevre (1977). A fourth album called Orbit Ceremony, produced just a few months after remained in his home studio and never saw the light, sentenced to almost 40 years in the devil's vault. By chance, while working on the re-issues, Bernard Fevre recently found the original lost tapes of Orbit Ceremony, including the multi-tracks which he remastered himself. Spacy moogs, weird clavinet, and cosmic analog drum machines: it's all here. The quirky, cosmic library music found on this long-deleted 70s science-fiction-themed album is full of burbling synths and off-kilter melodies. There's only one man on this planet able to produce such a crazy sound. As soon as you press play you know you've embarked on a special and unique 'back to the future' trip. Don't worry, fasten your seat belt and relax. Captain Fevre is taking care of everything.

Cathy Berberian turned toward this repertory, critically, but with love. And even if she maintained a certain dose of ironical distance, she never stooped to parody. It would be a mistake to think she had any similarity to Paolo Poli in La Nemica. She had a repertory to explore according to the instructions of Proust, and she explored it with the same devotion that she had applied to the music of Berio or Bussotti. In this recital she explores the most varied vocal territories: from traditional songs to Berio and to... the Beatles. In this labyrinthine voice is a release for all vocals lovers.

clear vinyl in printe PVC sleeve, ltd. to 350 copies, incl. mp3

For The Modern Institute's self-titled first vinyl document, the practices of audio technicians Richard McMaster, Laurie Pitt and James Stephen Wright are brought into sharp focus, the initial analyses of a project which examines the rituals of performance, the signifiers of bourgeois culture and the absurdities inherent in the middle class art gaze. While undoubtedly disturbing in execution, it's a succinct reminder of the tension between lazy, electronic music tropes and the essential, quizzical attitude frequently lacking in the technoid culture, yet abundant in Glasgow's agent provocateurs.
Seen through the frame of primary music generators McMaster and Pitt's previous music projects - Golden Teacher, General Ludd - The Modern Institute's recorded output is an oblique, strategic examination of rhythm and the spaces between.

Rhythm is often re-defined and re-formed through out The Modern Institute, with the easy 4/4, communally cohesive beats of the Teacher and the Ludd some way off. Opener Black Blood is a case in point, with a elusive pattern providing a warped, skeletal framework for Wright to smother. The atmosphere is austere, aggressive, clinical as a gallery wall after the exhibition has failed. The yawning, sub-bass of False Beards and Diamond Hooves hacks at the exhibition floor opening up punishingly alien chasms. The narrator's deadpan poesy, battling against the brutalist backdrop, reminds the listener of early industrial pioneers Cabaret Voltaire, not least in the unmistakably northern accent. Side A closes out on the first attempt by The Modern Institute to break into a recognizable pattern, though rendered on Destroy Logic as a dry destruction of a Bashment rhythm. Arabic Eight is nightmarish, a Normal deconstruction of art music. A nonsensical, Dadaist mutation of electronic dance music, Intelligent Dance Music with no intelligence, dance or Music. Wright intones when I was younger you used to say you weren't in it for the money,' taking down conceptions of artistic integrity, inspiration and muse. On Springloaded, we're still deep in an alien lifeform's insides, viewing the tropes the art industry uses to sell itself, splashes of digital distortion and burps crossfiring across the stereo field. Shiver And Quiver ends The Modern Institute, sounding like all the cities' alarms simultaneously set off to the beat of the LPs only 4/4 beat, here juddering and unnaturally fast. Ask questions, just don't ask for answers.

hand numbered, limited to 1000 copies






























Homicide dub)

- Album premiere on The FADER & press includes Afropop, Sounds & Colours, Time Out, Remezcla, Univision, WFMU
- First edition vinyl limited to 500 copies worldwide
- Band members also part of M.A.K.U Soundsystem, Bulla en el Barrio & Names You Can Trust releases
- Artwork & videos by Colombian artists Goske Rojo & Hugo Oro
- Numerous shows & residencies around NYC
- No Regreso' mixed by Beyoncé engineer Stuart White

Rooted in Colombia and based in New York, Combo Chimbita lives in the future. Powerhouse vocalist Carolina Oliveros, synth and bassist Prince of Queens, guitarist Niño Lento, and drummer Dilemastronauta began experimenting with different traditional musical styles during late-night residencies at Barbès in Brooklyn. Exploring Afro-Caribbean styles through improvisational long-form trips, Combo Chimbita came together as a four-piece band after they started encouraging more vocals byOliveros, who tightens the rhythm with her guacharaca. Her voice is so powerful that it leads us in that direction,' says Prince of Queens.
The band draws on traditional music from everywhere: Panama,
Caribbean, Colombia, tamboritos, '70s funaná from Cape Verde,
kompa from Haiti, cumbia, dub and reggae from Jamaica. We try to incorporate it in a way that if feels ours, so you hear these influences there but they come from our background, and our background is heavy rock, psychedelic funk and soul,' says guitarist Niño Lento. As Prince of Queens puts it: Combo Chimbita is like a comeback to that raw punk energy, back to where it all started for me. But then obviously with the elements that we've grown to love and appreciate: the African diaspora
and Caribbean and South America.'

Little is known about this south pacific recluse. Far from his australian hometown, he now evolves close to trees, birds and spirits of Meganesia's remote Coral Sea. Abstract, Electronica, Dub, Lo-Fi, Ambient, Downtempo, Ethnic field Musics or experimental hip-hop... qualify the analog music of this
australian musician is a difficult exercise. Oceania, his last album under the alias of Tropical Hi-Fi, will be soon available on vinyl on UK imprint Emotional.
Cover painting by Tokio aoyama

Little is known about this south pacific recluse. Far from his australian hometown, he now evolves close to trees, birds and spirits of Meganesia's remote Coral Sea. Abstract, Electronica, Dub, Lo-Fi, Ambient, Downtempo, Ethnic field Musics or experimental hip-hop... qualify the analog music of this
australian musician is a difficult exercise. Oceania, his last album under the alias of Tropical Hi-Fi, will be soon available on vinyl on UK imprint Emotional.
Cover painting by Tokio aoyama

Harry Miller aka Glow In The Dark is neither to be found on any social media channel nor can you google anything about him, let alone does he maintain a website. The man hides completely behind his music and quite obviously in his studio. After his debut in February earlier this year, now already a few months later, his second album drops, Into Existence.'
Like his first album Future Bliss' (SK336LP) the 8-track LP shines in a stylistic richness encompassing musical landmarks like Nu Funk, Chill wave or Leftfield electro pop. But still the eight songs, played in the right order, result in a coherent overall picture. Apparently Miller's studio must be quite lugubrious. Or should one understand the dedication on the back of the cover ( Dedicated to all the lovers that exist in the dark') even as reflection of his emotional perception Listening to the music you tend for the latter. Hideaway' und Sultry Creatures' both base on a vocoder voice which at the same time sounds enraptured and also entranced. On The Key', though, you hear Miller's voice after all (almost) unalienated. got HYPE' is deceleration medicine in a dangerous dose. As well as Arise', which seems not to originate from this world. By now, Glow In The Dark lives probably in his very own universe and that's the reason why you can't find out anything about him at all. Only too well did he send us this postcard in form of Into Existence', this in every moment very impressive, very intimate album. Thanks.