Suche:master dub

Marti Caine's infamous Point Of View is a groovy blend of slow-mo funk, dark disco and precise pop. Originally released on BBC Records in 1981, it has attracted a considerable cult following this century. The odd charity shop score aside, it has been impossible to find a copy for less than eye-watering sums (often selling for over £200) and, as such, it's an honour to present the first officially licensed vinyl reissue of this sublime record. Featuring expert liner notes written by Bill Brewster - perhaps the record's most notable champion - this lovingly curated release is limited to just 500 copies.

Marti Caine was a popular UK TV entertainer in the late 1970s onwards and Point Of View presented her with an opportunity to proceed in a hip direction by working with British R&B heavyweight Barry Blue. His legendary reputation was secured with a string of great records, among them the first three Heatwave albums, the Balearic hit "Afro Dizzi Act" by Cry Cisco and the cult smash "Breakin' In" by Javaroo. However, despite the array of talent working on the album, Point Of View sank without trace at the time. It's something that Blue attributes to the bizarre way BBC Records worked, and he entertainingly expands upon this within the liner notes.

Musically, the highlights are many and memorable. Its most notorious track is the sublime soul stepper "Love The Way You Love Me", the reason most people covet this album so profoundly. However, from the dark dubby disco of "Snowbird City" to the moody ballad "Love Is Running Through Me", the lesser heralded tracks are nothing short of exquisite. Indeed, the chugging elegance of sleazy disco opener "Can I Speak To The World Please" showcases a string-drenched strutting-funk that would've been enviable the world over. It's that good.

The outlandish artwork - presenting a striking, green-eyed Marti treating a tiger to a headlock - has been faithfully restored and is arguably worth the price of admission alone. With access to the original tape transfers, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Sadly, Marti died of lymphatic cancer at the tragically early age of 50 in 1995, so is not here to experience what we hope will be a long overdue reappraisal of the hitherto underheard genius of Marti Caine, the singer

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

Blackfilm is an anonymous Hungarian artist who introduced himself with his self-titled debut in 2008, sold out in a few months and later reissued on both CD and vinyl format via Denovali in 2010. His debut has garnered widespread attention - "Evolving from downtempo electronic music to orchestral paroxysms and, insanely, passing from down-pitched nothingness to frozen urban landscapes, it becomes inevitable to resist." / "Dark and brooding, Blackfilm envelopes you like a thick fog creeping off a cooling swampland." (Headphone Commute) - and is still a classic.

Since then, he has relocated to London and released the collaboration master-piece - Along the Corridors' with Italy's heavy dub producer Eraldo Bernocchi in 2010. After eight years of silence Denovali now proudly presents his second solo album - Zero One Seven', in line with a re-issue of - Along the Corridors' on vinyl for the first time.

On - Zero One Seven', Blackfilm merges tracks spanning across drum and bass, dub and electronic. The sounds on the album are built from the ideas on the original Blackfilm - S/T' and - Along the Corridors' and progress to a sound built on new ground mixing modern production techniques and influences while at times referencing the Blackfilm sound we know from his previous releases.

The album maintains a consistent focus on atmospherics, beats and heavy bass ranging from darker dub and drum and bass influences to vocal tracks and complex ambient soundscapes. Production wise, the familiar Blackfilm style incorporating the use of synthetic sounds mixed with samples enables the album to create an intriguing, shifting atmosphere as the album progresses. A dystopian journey through haunting vocals, hypnotic drum patterns and complex sound design.

In line with the release of Blackfilm's new album "Zero One Seven", Denovali release the 2010 collaboration masterpiece "Along the Corridor" with Eraldo Bernocchi for the first time on vinyl.

"(...) From its heavy stone dropping bass to cinematic orchestration, beautiful piano melodies, and progressive dowtempo electronic beats, this collaboration between Eraldo Bernocchi and Blackfilm is an amazing find. Designed as a soundtrack for those lonely nights, walking through abandoned streets and skeleton buildings, Along The Corridors will keep you on the edge of your seat, with your imagination as the only projector for the cinema of your mind.

Italy's heavy dub producer Eraldo Bernocchi is not a new face to the scene. Starting out his career in the 90s, Bernocchi produced under many aliases. ... But it is the works under his real name that deserve the most attention. In 1999 he released Charged recording with Tashinori Kondo and Bill Laswell. In 2005 he appeared alongside Harold Budd in Music For 'Fragments From The Inside' on Sub Rosa. And in 2007 he recorded Manual together with Thomas Fehlmann for 21st Records. There are also numerous EPs with Bill Laswell under Apollo's Re-charged series....

Blackfilm, who continues to remain anonymous, is a Hungarian artist that was first introduced to us through his self-titled debut on the now defunct Spectraliquid Records. Since then, the album has been picked up by Denovali Records and repressed in 2010 on compact disc and vinyl. His dark atmospheric soundscapes and a bricolage of modern classical samples and instrumental hip-hop beats reminded me of my favorite works by Amon Tobin and Future Sound of London, for a brooding soundtrack enveloping your mind with heavy fog of penetrating sound. Since the release, Blackfilm has relocated to London where he has embedded himself with the heavyweights of dub and even darker journeys in the underground ..." Headphone Commute

Tommy Rawson releases are sporadic but always high quality. As a former member of the Souled duo who ran the excellent Fresh Minute label - he's been around the more tropical end of UK house and broken beat for many years and this, his first full release for Bergerac ushers forth a new level in his sound. This whole record is a masterclass in post bruk, forward thinking, shining, bright UK dance music. Unmatched in emotion and vibes. Deep Blue is quite simply the sound of the summer. Sun drenched, euphoric and soaring. Broken but not broken, 4/4 but not quite housey. Jazzy, soulful....yeah.... It was the highlight of Red Rack'ems Olive Grove closing set at Love International last year when it provided the most halcyon of moments. Live trumpet from Vicky Flint and a whole bag of vibes from Tommy Rawson. This is a classic. Trust. Past Tense is a super tropical African tinged house stomper which shows Tommys love of sunshine vibes once more with acres of space, insistent chants, dubby pianos and a tinge of Jungle roller bass.
The final track Into The Future takes us into almost Blade Runner-esque orchestral emotion but with a kind of Balearic feel tucked in there too. Beautiful, lilting, emotional memories. You can feel so much love in this track.Such a special record. Buy it. Love it. Treasure it.

Following the release of lo-fi electronic masterpiece I Don't Remember Now / I Don't Want To Talk About It and his brilliant follow-up Plaster Falling, Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982.


While all of Bender's work draws from intimate home recordings - featuring the artist alone with various keyboards, analogue sequencers and tape delays - Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the "pop" concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.


Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia's classic '70s style.


"I pressed a single run of 500 copies," Bender recounts. "The only review I remember railed at the poor production quality. The DIY era had clearly come to an end."


This first-time standalone reissue is recommended for fans of Suicide, TG's 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

Formed in 2007 by Jakob Seidensticker, Florian Schirmacher and Henrik Raabe, Wareika was accidentally gathered on stage for the first time at Hamburg's mythical Mojo Club. Since then, the german trio has built a very singular sound signature after a decade of playing together. Revealing the diverse influences and musical educations from all three individuals, the band's discography has been built over a solid live experience. Being academically trained in Jazz and Classical but also self taught through electronic music, Jakob, Florian and Henrik are able to sing, play guitars, drum machines, pianos, synthesizers, bass, percussions and way more. Concocting their stylistic blend with meditative Jazz, hypnotic Dub, meticulous Techno and subtle House, it leaves no surprise as you think about the high level of versatility of Wareika's musical spirit. Calling from King Tubby, Sun Ra or afrobeat master Fela Kuti, they develop a dazzling kaleidoscope of melodies and polyrhythmic patterns over four to the floor beats that is entirely unique in the electronic music scene. When it comes down to live gigs Wareika is putting a stress on quality and delivers an outstanding sound. As a trio of singular performers the band jumps on stage without computers, setting up an improvised dialog based on their original material but always handing over a unique piece taking form in the moment. Jakob Seidensticker on MPC arrangements, drum machine sequencing and mixing, Florian Schirmacher on vocals, synthesizer, percussions and Henrik Raabe on guitar, synthesizer and percussions, the trio holds the mastery of enhancing a crowd with a multitude of tools and elements, sometimes for more than four hours. Also occasionally rendering live versions of their own full-length releases, they always cross borders of their studio work to unfold their creations into a whole new level.

Limited Edition of 500 handnumbered Box Set including 4LPs (180g), 1 CD, Download Coupon and a high quality 120 page booklet. NOTE: BOX IS SHRINK-WRAPPED BUT WILL BE OPENED FOR SHIPPING TO AVOID SEAM-SPLIT.

Black Truffle Together With Bernhard Rietbrock And Zhdk Are Honoured To Reissue This Stunning Boxset Celebrating Alvin Lucier's 85th Birthday Celebrations Which Took Place In Zurich, 2013.

Alvin Lucier Is One Of Most Important Figures In More Than A Half Century Of Avant-garde And Experimental Sound Practice. He Has No Equivalent. He Is Among America's Most Important Composers - A Towering Pillar Of Intellect, Creativity, And Beauty Realized Through Sound. His Singular And Unparalleled Body Of Work, Focused Around Acoustic Phenomena And Auditory Perception, Which Included, Among Many Others, The Groundbreaking Works Bird And Person Dyning, Music On A Long Thin Wire, And I Am Sitting In A Room, Each Quietly Shifting The Understanding Of What Music Could Be - Deceptively Discrete Gestures, Laying Their Mark On History And The Expectations Of Nearly Everything To Come, While Radically Expanding The Field. It Is Such A Life, Defined By Such Striking Accomplishment, Which This Release Celebrates Across The Four Lps, Cd, And Book Which Make Up The Lavish Illuminated By The Moon Release.

Recorded In October Of 2016 At The Alvin Lucier 85th Birthday Festival At The Zurich University Of The Arts, The Box Gathers A Remarkable Range Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known. It Begins With Wonderful Stagings Of I Am In A Sitting Room And Music For Solo Performer Performed By The Composer, Before Presenting The Work Charles Curtis Performed By The Cellist For Whom It Was Composed, And Double Rainbow, A Recent Work, Performed By The Incredible Joan La Barbara. Over The Course Of The Set's Many Discs, We Encounter Works Ranging From Nothing Is Real (strawberry Fields Forever), Braid, Two Circles, Hanover, Step, Slide And Sustain, And One Arm Bandits, Performed By Oren Ambarchi, Stephen O'malley, And Gary Schmalzl, With Further Contributions By Charles Curtis And Many Others Involved In The Celebrations Of Lucier's Life And Work. The Collection, By Offering An Expanse Of Material Otherwise Unavailable In The Composer's Discography, Opens A Rare Window Into The Breadth And Range Of Territory Which He Has Approached, As Well As Into The Unique Humor Which Has Quietly Bubbled Through His Entire Career. It Is A Singular Recording Event, The Likes Of Which Are Unlikely To Be Repeated.

A Worthy Tribute To One Of The Last Century's Most Important Composers, Offering Insight, Recognition, And Critical Investigation, Long Overdue And Lovingly Produced. Including An Extensive, Lavish 120 Page Book, With Numerous Unseen Images. Pressed On 180 Gram Vinyl, This Limited Edition Of 500 Individually Numbered Copies Is Unquestionably One Of The Most Beautiful And Important Releases Of 2018.

Key Selling Points: - Limited Edition Of 500 Handnumbered Units From Legendary Electronic Music Pioneer Alvin Lucier

- Lavish Box Set Including 4lps, 1 Cd, And A High Quality 120 Page Booklet.

- 180g Vinyl

- Incl. Download Coupon To Redeem All Tracks

- Over 190 Minutes Playtime

- Remarkable Collection Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known.

- Mastered & Cut By Helmut Erler At Dubplates & Mastering, Berlin.

Bath-come-London party purveyors, Origins, take to channelling some of their creativity into the creation of their own Origins label. At the helm for the debut release is Bristolian up-and-comer Tommosini. Having heard Move D unleash the beauty of 'Another Dimension' at Freerotation last year, Origins knew they had to find out who the mastermind behind this deep house gem was....and the rest, they say, is history.

'Another Dimension' transports you through the galaxies via a combination of dreamy pads, crisp percussion, full-bodied bass and those sensual deep tinged vocals. Future classic in the making.

The A2 'I Don't Stop' carries on the U.S flavoured deep house with a vocal house track that wouldn't be out of place coming from the shores of Chicago masterfully intertwining a bumping bassline, soft organs and those introspective, luscious vocals.

Flip it over and you're treated to two interpretations of 'Another Dimension'. First up fellow Bristol bass badboy, Hodge, serves up a signature remix, chopping the vocals and layering them behind a pounding kick and machine gun percussion to give that bass heavy flavour he's become so well known for. Deadbeat steps up to close out the e.p. with a heavyweight techno rework of the original, complete with hypnotic bleeps, phased hats, and intermittent sub bass goodness, all tied together with a driving kick to give a real industrial feel to the remix.

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

Walter Gibbons, a true master of the mix, a disco legend, a pioneer of dance music. There's literally very few who can lay claim to progressing the artform of studio mixing and technique than the late Gibbons. His contribution to contemporary music cannot be understated, first as a DJ where his drum laced experimentation captured the ears and minds of his peers and the dancers, then later as a mixer and studio genius where he continued on his quest. Often fixated on the percussion and breaks within records his versions would often dive into spaced out, dubby and stripped back territory that very few of his peers were even contemplating at that time, fervently reconstructing the tracks themselves and often the time, space and dancefloor within which the record was being played. A true original, Gibbons was behind many of the 'definitive' versions of the classics, his unique style often catapulting records that were just fine in their original form into brand new colourful, cosmic interpretations that flourished sonically and rhythmically with brand new sounds that bristled with vision.

Salsoul Records thought a well programmed and thought out retrospective of this legends output was in order and this incredible collection of tracks is where we find ourselves. A stellar compilation across 2 heavyweight slabs of wax featuring of some of Gibbons' finest works. Included you'll find genre defining cuts like his mixes of Double Exposure, Loleatta Holloway, Love Committee, First Choice and many more.

A truly essential package for the die-hard Disco aficionado or for those who are exploring this most important movement in dance music for the first time. Curated with the full input and backing of Salsoul Records and carefully selected to reflect the truly timeless nature of the music contained within. For listening, for dancing, for turning on a party!

Remastered by Optimum Mastering. Artwork & design by Million Dollar Disco. Fully authorised.

Music Mania and Indica Dubs is proud to present the fourth release in their Mania Dub series. Following the classics 'Almighty Dub' (MD001), 'Rastafari' (MD002), 'Light Up Your Spliff' (MD003), comes another of the UK Dub scene's most popular producers; Vibronics, with two of their most popular anthems from the early 2000s: Red, Gold & Green / Terror. Both of these killers were previous released on different labels, and we have collated both songs into one giant release! Vibronics, the future sound of dub, have been vibrating the world with bass since 1997. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label.

'Red, Gold and Green was the first time I worked with Horns - all played by Stevie Splitz - and now I've been working with him ever since... Terror was made with using the most basic equipment, set up in a temporary studio at home just to build some of raw exclusive dubplates that were never meant for release - they have gone on to be some true Vibronics anthems.'

The master tracks have been provided by Steve Vibronics for us to ensure the original heavyweight sound!

Daniel Terndrup Is A Los Angeles-based Dj And Producer. A Longtime Record Collector And
Digger, Daniel Has Become A Local Authority On Bygone Music. He Hosts Regular Radio Shows
On Dublab (crosseyed & Painless) And Nts (heat-wave) While Also Throwing A Weekly Party
For Heat-wave In Collaboration With Wyatt Potts At Former Hollywood Stripclub, Gold
Diggers. Daniel Started Making Music A Decade Ago As One Half Of Cosmic Kids. Alongside
Ron Poznansky, He Made A Name For Himself Producing Heady House And Astral Dance Tunes,
And Releasing Records With Cult Labels Throne Of Blood, Let's Play House And Dfa. In Addition
To Racking Up Plays On Original Cuts, The Duo Was Regularly Tapped To Deliver Remixes For
Heavyweights Like The Rapture, Holy Ghost!, Poolside And Superhumanoids.
After A Handful Of Releases With Cosmic Kids, Daniel Pivoted Toward His Own Project As Daniel
T. His Solo Output Is Inspired By Everything That You Might Find Leafing Through His Record
Collection: Funk, Post Punk, New Age And Pop Of Yesteryear (think: Compass Point All Stars To
Yellow Magic Orchestra). The Music He Releases As Daniel T. Is A Reflection Of His Global Taste,
But Indelibly Filtered Through His Southern California Surroundings

Blurb Attached
Following His 2015 Solo Debut Tetrachromat, Released On Friends Of Friends Sister Label
Young Adults, Daniel T. Returns With A New Album Called Heliotrope, Out This Summer On
Cascine. In Contrast To The Steady Dance-oriented Tempos Of Tetrachromat, Heliotrope
Moves Across More Dynamic Landscapes, All United Under Daniel's Sun-soaked Sensibility.
From The Breezy Bounce Of call,' To The Lithe Cover Of Tatsuro Yamashita's Classic windy
Lady,' He Effortlessly Wades Into Pop Territory. Elsewhere, On The Neon Glow Of moonlight
Bounce' (inspired By Dan's Near-religious Love Of Roller-skating) And The Ebullient First Single
'heat-wave', His Trademark Mid-tempo Swing Shines As Bright As His Synths. Heliotrope Is A
Reflection Of His Global Taste, But Indelibly Filtered Through His Southern California
Surroundings

Sugardaddy are a UK electronic music duo formed in 2006 and is the musical brainchild of Tom Findlay (one half of Groove Armada) and singer song writer Tim Hutton (Hybrid, Groove Armada, Way Out West).

Hypnotise" has an altogether late 80's heavy, low slung, boogie vibe, caressed with beautifully haunting yet soulful vocals.

Greg Wilson remixes an extended rework, holding the vibe of the original and effortlessly extending certain aspects of the groove, creating a 9 minute dancefloor monster!

Situation are next up with a late night, deep house dub interpretation which builds to a discoesque guitar licked, infectious, yet hypnotic bombshell.

BitterSuite finish the release with a chunky funk fuelled version, full of slap bass and a bucketful of soaring, atmospheric synths, cleverly weaving those wonderful vocals and building to an electro jazz funk masterpiece.

Ce Ce Rogers' spine tingling, seminal hit 'Someday' gets a much-welcomed official remastered, reissue 31 years after it first took the scene by storm. Produced by Chicago's master, Marshall Jefferson, every element is unmistakable - from the dynamic bass and sweeping flutes that set the scene for that instantly recognisable piano riff, to the raw soulful beauty of Rogers' vocals. 'Someday' is a record that truly captures the euphoric, loving nature of the early house music scene - epitomising a timeless spirit and hope for future harmony within society.

Often cited as one of the greatest dance records of all time, it's influence is clear to be seen from the sheer number of covers and records that have since sampled it. An indisputable masterpiece, complete with dub mix and accainstrumental versions, this is an essential 12" for any record collector out there - house head or not.

Fresh off the back of their debut label release with Archie Hamilton and Venda, Subsonic Music has delivered another sterling stripped back, dubbed out and groove based release from Australia's Dylan Griffin & Chad B including a catchy interpretation by the internationally celebrated master of minimal sounds Alexkid and an exquisite (vinyl only) remix by the critically acclaimed Monika Ross featuring her trademark groove.

Orlando Voorn Comes Through With A Hi-tech Soul Future Classic. Original Mix Is A Prince-in-detroit Tinged Electro Floor Filler. Two Remixes From Gary Gritness, One A Full-on Assault Of West Coast Electro Funk And A Djax-inspired Cut Of Speaker-busting Bonus Beats. Hidden Away On B2 Is An Otherworldly, Dub Techno Masterpiece, Reworked By Cv313.

Deadbeat graced ZamZam with a release in our very first year of operation. Lending his name & gravitas to our young effort with ZamZam06 meant a lot to us at the time, and is something we never forgot, so we couldn't be happier to have him back for a second outing. Canadian by birth, now residing in Berlin, Scott Monteith is known the world over as one of the most adventurous and reliable producers in the areas of techno and dub-inflected electronic music. Extremely tight quality control over multiple full length albums and countless singles on seminal labels including ~scape, Echochord, and his own flawless BLKRTZ have made him a household name in dub techno and beyond.

Deadbeat's second ZamZam sets aside obvious techno constraints for a mid-tempo reggae scorcher that sounds like it was beamed straight from the humid & heady glory days of the Black Ark studio. Anchored by a tar-thick bassline recalling Lee Perry's 'Dub Organizer,' 'Wail Ball and Cry' leans hard into its rockstone drum kit, with whip-sharp turnarounds, clattering Binghi drums, melodica stabs and restrained yet ever-present flange and reverb keeping the atmosphere swampy and sparkling. A sweet falsetto intones on the loneliness and alienation we all navigate in these times of political debasement and (social) media spectacle.

'Dub Ball and Flange' mutes the vocal for a traditional version focused on nuance rather than over-the-top effects; high hats take the spotlight through expert filter & phaser work, as the heat inches up in the room with a stew of bubbling reverb & delicate echo trails adding to the already simmering & shimmering vibe.

Mastered by Sam at Precise

The Moment We've Been Waiting For. Youngsta's Sentry Records Continues To Set The Pace And Raise The Standard With One Of The Most Sought-after Artists In The Current Dub And Dubstep Scene. After Releases On Institutions Such As Deep Medi, System And Zamzam Sounds - Egoless Is Back For Another 12' Shell. Revealing The Next Masterpiece Of The Croatian Heavyweight, The Prolific Imprint Welcomes Its Next Family Member And Two Mammoth Tracks. From Vintage Fx To On-the-fly Arrangements And Live Instruments - Egoless' Production Style Encapsulates The Jamaican Roots, Transferring Its Spirit Into The Modern Era.

Heading Straight Into The Abyss Of 'decolonize', We're Being Greeted With Tastefully Overdriven Tape Hiss, Obscured By Reverb. Oriental, Sitar-esque String Plucks Take Form, Wielding An Increasingly Inquisitive Nature. Alongside The Organic, Percussive Swing The String Plucks Cease For A Moment - A Fierce Vocal Statement Excites The Air As The Full Intensity Of This Sonic Weapon Hits The Speakers And Every Last Fibre In Your Body. The Superbly Orchestrated Arrangement Flows In A Continuous Groove, Led Onward By Haunting Surges And Psychedelic Flute Arpeggios. On Top Of The Stomping Foundation, Longing Spheres Conclude The Anthem And Leave Us Crave For A Rewind.

Turning To 'global' - The Alarm Bells Of An Apocalyptic Future Reverberate Into To Your Ears. Gargantuan Drone Pulses Lead The Way For Tribal, Acoustic Drums To Stir The Dance. A Daunting Swing Hurls Its Monumental Weight. Deeply Imbued With Rhythm - The Meticulously Crafted Sound Design Leaves Us Dancing In Awe. Life-like, Vibrant Flute Performances Form A Harmonic Composition Of Exceeding Quality, Sure To Fire Up Any Dance. Polished By Creative Vocal Sampling And Egoless' Fine-tuned Sense Of Controlling Tension & Release - These Tracks Will Stand The Test Of Time - For This Year And Beyond.

With The Ever-growing Demand For Victor "ticklah" Axelrod Productions It Is Our Profound Pleasure To Present His Latest Masterpiece - Whatcha Doing (to Me) B/w Strike Three. Originally A Stand-out Album Track From Charles Bradley's "changes" Long Player - Then Titled "you Think I Don't Know (but I Know)" - Axelrod And Co. Artfully Transform The Soul Groover Into An Early Reggae Stroller, Ala 1970 Bunny Lee. Charles' Signature Plaintive Vocals Provide A Beautiful Juxtaposition To The Lighthearted Bounce Of The Inversion's Island Beat. On The Flip You'll Find The Dub Version Titled Strike Three, That's Sure To Make Our Beloved Dj Demographic Select The Number 2 In The Ol' Order Box. Thankfully Cb Was Able To Hear This Version Before He Passed, To Which He Said "ooooooo! I Love It!" We Think You Will Too!

"Oozing.. oozing soul, oozing feel, oozing the essence of rhythm and the body. This is what Elbee Bad is about. A native New Yorker who has long since transplanted himself in Berlin, Elbee Bad AKA The Prince of Dance is back on Thema Recordings with a masterclass mini album that will resonate for years to come. "Crossing Dimensions" is more than just a record, it is a philosophy on turntablism and what it means to be engaged in this culture. Sitting comfortably on the shelf next to artists like Mr. G, Moodymann, and DJ Sprinkles, Elbee recalls this genuine house feeling while adding a spice that could only be summoned out of his creative nuance. From the anthemic knowledge of "Request Monster" to the bass blistering sonnets of "Crossing Dimensions", Elbee showcases the sound of an artist who is deeply in touch with himself, the crowd, and the history of this music. No filler, no bullshit, just truth, love, and HOUSE.
Text by: Nathan Levenson"

Last spotted tomfooling as Tryck & Ton with Edvin Edvinsson, and prior to that as Tiedye on Mike Simonetti's Italians Do It Better imprint, subversive Swede Anton Klint makes his debut on Simonetti's latest label 2MR with two more vitally trippy, heavily dub-informed originals.
'Mun' chugs at a stately 107. Rippling in places, squiggling in others, there's an unabashed FX weirdness bubbling and popping over the insistent shimmering dubwise groove. Tweaking, freaking but running at such a smooth temper there's space between the chaos, Anton is balancing some heavily hypnotic alchemy here.
'Strupe' takes things even lower and slower. A dusty bluesy chugger, unhurried-yet-relentlessly building with a great sense of cosmic drama, listen and marvel as more elements are precision introduced throughout the seven minute trip. A masterclass in modern day honkytonk.
Remix-wise we're thrusted into the later hours with a technoid twist from Andre Laos. Maintaining Anton's original's trippy charm and measured pace but re-amping it with grittier foundation, teasing risers and an insurgent synth strike, it's the perfect complement to one of 2MR's most singular releases to date. Open wide.

'The first release from Berceuse Heroique arrived at the Honest Jon's basement the 21st of April, we didn't sell it until the next day, though, 'cause we don't like all that RSD bullshit. This April we wanted to celebrate 5 years since that day, with our 50th release, but manufacturing records is becoming a very weird place where time and deadlines don't exist. So, today we are releasing 3 new tunes by our dear friend Florian aka Don't DJ and a remix from one of our favourite artists ever, Mr. Newworldaquarium. It's properly cut on two 12"s (180g vinyl as always) and properly mastered by our favourite mastering engineer, CGB of the D & M crew.'

GMT (Phil Moffa, Guy Gerber and Seth Troxler) heads of the A side with a bang. The haunting strings of the original wind their way through drums reminiscent of jacking 90's house before the
drop of the classic Decompression bassline, chopped and spliced sure to make your mid section feel nice.
Mike Shannon touches down with a modular synth rework that takes the original and twists it into a modern acid trip and groove signature of his programming style. Like surfing a spaceship through a technicolor wormhole to planet funk.
Deadbeat shows his strength with a spaced out dub version. A master of his craft he delivers a reverb drenched, morphing grove that will transport your head to an indica haze.
Natalia Escobar stretches the pulls the track into an intense ambient time machine. This escape into the 5th dimension will induce shivers down your spine and make your 3rd eye burst into flames.
We hope you enjoy the work of these talented navigators! Safe travels :
Volume 3 is still to come and will feature DJ Rush, DJ Sodeyama, Quenum and S Katz (a.k.a.Katsuhiko).

For its tenth year as a label, 4Weed Records proudly presents Zion Kingdom, a special EP we've been working on since long time. A feature between historical sound system Dread Lion Hi Fi, also active as producer and promoter, and Mr Biska, this release is enhanced by legendary Henry Tenyue's trombone melody, aka Matic Horns, and it is mixed, dubbed and mastered by Steve Vibronics.
Over the years Matic Horns has been collaborating in studios and live performances with the best Jamaican and English talents such as Gregory Isaacs, Freddie McGregor, John Holt, Luciano, Aswad, UB40, Horace Andy, just to name a few. Dread Lion Hi Fi crew is a historical Italian sound system, that has been a reference point for the reggae vibez in Italy, promoter of historical events such as the Milano Dub Club and the Dubwise Festival, where the best producers, singers and selectas of the international scene have been hosted. The combination with master Steve Vibronics was born far away in time, from a consolidated relationship over the years that brought about this collaboration.
The track opens with a magical trombone melody by Matic Horns that perforates the pad carpet laying down the whole tune while indicating the path, a victorious march to Zion. The guitar riff, which perfectly fits to the trombone melody, introduces the drop of a deep overwhelming rhythm that transmits the desire of moving and dancing, and at the same time a spiritual mantra for high meditation. The production is enriched by three different dubs, mixed and made unique by Steve Vibronics' technique, reverbs, filters and delay, a very guaranty for the lovers of Uk Dub in roots and culture style.

A1: David Goldberg Revealed His Exceptional Talent Releasing An Extraordinaire Debut Ep On Svs Records. m4l-uv' Is A Euphoric Breakbeat Track That Won't Fail To Make You Dance.

A2: Kit Curse Made His Mark Within The Dnb Scene During The Last Years Having Released On Labels Like Cyclone, Onset Audio Or Shadowforces. weird Solace Master' Is A Broken Ritual That Reveals The Producers Experimental Side.

B1: zezbo Version' By Skee Mask Is A Superb Dnb Trip Leading You Through An Industrial Shadow World. The Producer Upholds His Reputation As An Exceptional Artist All Along The Way.

B2: Top Shotta Runs The Uk Bass Orientated Label Ruffhouse. m-performance Riddim' Somehow Sounds Like A Race And A Fight Both At The Same Time.

B3: The Style Of Bean Is A Postmodern Blend Of Ambient, Idm And Dubstep. tears' Showcases This Eclecticism Within Just Three Minutes.

Pietro 'Bingo' De Lisi and Alex Carpentieri aka Italian duo System of Survival, have long been renowned for their raucous live cuts, the likes of which have firmly established their name amongst fans of discerning house and techno. Regulars at Ibiza institution, Circoloco at DC10, the boys knack for a tune has also brought them to the attention of respected label outlets such as Bpitch Control, Freak n'Chic, Moodmusic, Rawax and Get Physical. However, their latest release - released here via the emerging Deset Music - might just be their best yet. The label's inaugural release sees the boys perk up with two stunning originals and are back by remixes from none other than two Chi-town legends, Boo Williams and Ricardo Miranda.
Opening up the sounds of the release is 'Nu Soul Era'. A raucous, deep cut that displays all that's excellent about System of Survival, this one goes firmly down the rabbit hole in search of kicks. Characterised by its quite brilliant and catchy baseline, the action is dark and trippy throughout, with a firm emphasis placed on a groove that never lets its guard down throughout. A majestic start to the EP, it gets us underway with some distinction.
System of Survival's other original is 'Funky Left Funky Right'. Again, the duo expertly showcase their penchant for melodic structures, this time via a bleepy baseline that's perfectly suited to peak-time floors. Ricardo Miranda's interpretation goes deep and off-kilter, but remains true to the original's full-on characteristics. A stunning indication of the producer's eclecticism and studio mastery, it's an intoxicating take on a track that's never lacking in suspense.

Seeing us out the door is Boo Williams' remix of 'Nu Soul Era'. The 'Mortal Trance' producer can always be relied on to bring the heat in his own inimitable way, and he does so here with the sort of panache for which he's best renowned. Injecting the original with every more bounce, he wastes no time in getting down to business, setting his stall out via an acid-led, 909-flavoured remix that offers up a tantalising version of what's arrived before. An all-round stunning EP of various shapes and sizes, there's plenty here for fans of discerning house and techno to get stuck into on this one.

Newly signed to Rhythm Rollers, Mr. Wonderful & Technical J introduce The Boss, a 7' vinyl scratched masterpiece with outstanding production and a compilation of diverse and unique scratch samples to DJ/Producer to utilize.
This unique piece of vinyl has a 'Skip Proof' scratch side dedicated for the DJ/Producer with over 4.30min of vocals, drums, synths, bleeps and basses that can make any DJ/Producer standout from the rest.
The Boss is a live Studio scratch track that will have any crowd rocking.  Super low sub frequencies, punchy drums and ear pricking scratches that only Wonderful and J could produce.
Samples
Choosing the right samples for our record was the major focus for this release. We wanted DJ's to standout from the crowd, so spent considerable time getting vocalists and secessionist in the studio to record some very individual samples for DJ's to use.
Skip Proof Technology
'Skip proof' technology - is a way of recording scratch records so that they do not skip from one sample to another. This is achieved by first calculating the time it takes for one revolution of the record (1.8sec). Once you have this information you can then customise your DAW to that specific measure (133.3333bpm). Then layout your samples so they repeat at the start of each bar.
Extra Deep Grooves
The record plant cut extra deep grooves perfect for the more aggressive style of scratching we all love (these will not jump). Making sure the weight of the vinyl was correct giving that nice feel and long lasting audio sound.

Winter thaw marks the return to Furanum of Uncto, the Silesian dyad Domink Muller and Rafal Furst, with their first full release of collaborative material since 2013's seminal FU009. Like its predecessor, Unctuous offers four cuts of viscerally engineered and rhythmically exacting dystopias, each ably situated within a striking 'synth-etic' narrative. It is this latter aspect of each arrangement that perhaps most noticeably demonstrates the pair's singular and evolving approach to composition, born out in the calculated emphasis on hardware-based expressionism.

The opening title track stands as a testament to the above: while deceptively sparse at the outset, its ponderous advance, both heavyset and indomitable as it gathers pace, is framed in the midst of an unfolding panorama of stark analog wails. Further interspersed with resonant timbres more akin to the vocalizations of some hell-beast luring its prey, the eponymous behemoth ingratiates its listener, beckoning submission to its will with the promise of exhilaratory assimilation. Such a hive-mind state attained, exhilaration does follow, yet so does a concomitant loss of agency, leaving one thoroughly subjugated and enslaved to its cadence. Perhaps as a manifestation of dramatic resistance to such a fate, 'Trust No One' daringly defies the impositions of its predecessor. Instead, it animates and emboldens the beholder through its rhythm, ineluctably driven by a sense of accelerating linear intensity. Thus arriving at a climactic percussive build whose isochronal blows shatter any remnants of doubt, angst transforms into raw conviction as one is propelled into a delirious realm of solipsistic certitude.

Situated amidst the foreboding sound of blade clashing with blade, 'Cold Knife', on the other hand, is driven by an entirely disparate off-beat progression. As its anticipatory rhythmic thrusts cut through an advancing fog of shivering drones with frigid precision, one seemingly undergoes a cyclical plunge into a state not unlike one marked by the visceral dopaminergic rush of contact with extreme cold. Finally, 'Metzgers Tochter' ('Butcher's Daughter') closes the EP with a ruthless exploration of the contrast between the gruesome and the feminine. In a similar way to the opener, the track's meter is staggered and undulating, yet also steadily punctuated with breathing room between its crushing blasts. Such scenery thus serves as a canvas for the expression of the titular character's 'beauty and the beast': a paradoxical synthesis of attraction and aural brutality, held in tension by the unceasing throbbing of the composition's beats.

Mastered & cut by CGB at Berlin's Dubplates & Mastering,

This 3 Track Ep From The Legendary Lee Perry Brings Together New And Unreleased Tracks Recorded At Mad Professor's Ariwa Studio In South London. The Ep Kicks Of With 'this Is The Upsetter', Which Sees Lee Chanting And Philosophising Over A Rollicking Bass, Underpinned By Understated Guitar And Perfectly Placed Hats, And Continues To The Straight Up Dub, 'lion Share Dub'. And On The Flipside Is The Title Track, 'game Of The Throne', With Brass Section And Backing Vocals Belting Out Soul Fire, With Lee Offering His Words To Selassie. Mastered By The Legendary Noel Summerville, Artwork By Henry Dubroot Alderson And G.s-l Studio.

Paul Dickow Aka Strategy Is A Musical Polymath With A Signature Sound Derived From His Immersion In Hardware-based Electronic Music. He Has Spent Close To Two Decades Traveling Freely Through House, Techno, Rave, Noise, Ambient, And Sounds More Difficult To Categorize. Strategy's Sound Is Inimitable Because It Is Literally Built By Hand - His Hands. Through All Of This Sonic Journeying, Including Multiple Full Length Releases, A Constant Has Been His Love Of Reggae And Dub, Yet Somehow A Proper Dub Album Has Never Emerged - Until Now.

After Two Much-loved 7' Singles On Zamzam - To Say Nothing Of Dubwise Excursions On Idle Hands, Shockout, Peak Oil, 100% Silk And More - dub Mind Paradigm' Is The Fulfillment Of A Clear, Simple Goal. "i Set Out To Make A Full Set Of Dub Tracks Good Enough To Make An Album -- Something That Had Always Eluded Me-- And It Worked, Finally. A Simple Exercise In Seeing If We Could Launch The Capsule To Orbit Planet Reggae And Make It Home Again.'

Reaching Planet Reggae, The Album Explores Analog Caverns Of Dubwise At All Tempos, From The 80s To 140, Full Of The Ghosts Of Ancient And Future Technologies, Glimmering Shards Of Hope Among Heaps Of Folly, Ruin And Rubble. Music Fans With Crates Deeper Than The Contemporary Will Find Shades Of Wackies, Firehouse, Unity Sound, Burial Mix And More, But Only Winks And Nods... No One Sounds Like Strategy, And Strategy Sounds Like No One.

Mastered By Sam Precise.

Art & Design By Polygon Press.

Distributed By Unearthed Sounds Ltd.

Limited To 700 Vinyl Lps - No Repress, No Digital.

'Middle of the Road Less Travelled' is not only the debut release by Michal Turtle on Light of Other Days, it is also his first new material released since the amazing reissues put out by Music From Memory in recent years. The three tracks on this EP were written and produced by Michal in 2017 with additional production and guitar playing by Light of Other Days' very own HOVE.

The two met back in 2016 when HOVE contacted Michal after he heard the 12' «Are you Psychic» and was blown away. As it turned out Michal was living in Basel which is only a short train ride away by train from the Light of Other Days home base in Zurich. The two started meeting and playing music together. Soon after, they put together a live-show for Michal's music which had its debut show at Phono Festival in Denmark in 2017. During this time, they started working on new music together as well. The result is this EP.

The music on 'Middle of the Road Less Travelled' is a continuation of Michal's musical exploration into other-worldly territory. Michal is a master in building hypnotic textures from repetitive rhythms that collide with trippy and atmospheric synthesizers. The delayed and dubby guitar lines by HOVE were recorded during rehearsal sessions in Michal's living room in Basel and the last track of the EP 'Agallo (Real)' ends with vocals performed by Lucianne Lassalle. Besides playing in local bands with Michal back in the 80s, Lucianne also performed and co- wrote early Michal Turtle tracks like 'Phantoms of Dreamland' or 'Village Voice' from his first record 'Music from the Living Room'.

"30+ minutes of life affirming ambient and drone coming from Zen Zsigo, otherwise known for his work under the Cremation Lily alias and as one of the spearheads of the current UK tape scene, where he has been mixing things up for 7 years via his Strange Rules label.

Winter Orbit was inspired by science fiction and it's relation to modern life, recorded in 2015 using a mix of both modern and archaic equipment it was later released on Belgian tape label Audio. Visuals. Atmosphere. on an initial run of 33 tapes.

Winter Orbit is now newly presented via an expanded re-issue, chronicling the original material, re-issued on one side (Fragments in Hologram Snow) while showcasing new material (For Artifice Rose) which was created in response to the initial release by Zsigo in 2017.

As usual, remastered and cut @ Dubplates and Mastering, Berlin and pressed at Record Industry, Holland to ensure optimum listening quality."

Shunter, the new album by the Berlin-based duo Driftmachine, is their most ambitious work to date. Although instantly recognizable, featuring their trademark Kosmische and Avant-garde sounds, it also presents a new journey into abstract and hallucinatory worlds. Filled with eerie textures, their electronic visions are darker and more vaporous than ever.

Driftmachine's fourth album (also the fourth one for Umor Rex) offers a new perspective on their ample sound spectrum and systemic narratives. Shunter overlaps and mutates their post-industrial-dub motives. It was conceived and produced in search of a very different kind of imagery, with sections of noise and field recordings intersecting with analogue sounds, a mixture of contrasted fragments, where the usual creative process of modular-synthesis leads Gerth and Zimmer to the discovery of a dark, hazy and diffused experience. There is a protean quality to the rhythmic elements, with tempos constantly contracting and expanding, a departure from the mono-beat-rhythms of "Nocturnes" and "Colliding Contours". The first half of Shunter is made of four pieces named "Shift", although individually separated, they are conceptually linked and can be understood as a sort of score. Imagine a late stage of the industrial revolution, with the interaction between heavy machinery and human beings. The second half of the album is not completely separated, but it has three other substantial melodic moments. Somewhere between the hauntological and the realms of archive-music, a huge range of subterranean beats and distinct patterns dotting the landscape of early electronic and post dub music.

All songs written & produced by Driftmachine (Andreas Gerth & Florian Zimmer), Berlin.
Mastered by Rafael Anton Irisarri. Design by Daniel Castrejón.

Following their work compiling last year's hugely well-received Ten Years of Jaunt EP, Blackhall & Bookless return to their label with four varied, equally confident shades of their distinct, versatile dancefloor vision. 'Forward' is an instantly enveloping slice of big-room techno that's entirely club ready and yet focused on atmosphere and tension, taking no prisoners and yet unfolding on it's own terms. That same ecstatic and almost ethereal club pressure reemerges on 'Voyager', under which gently unleashes a skittering landscape of blissful breakbeats and Vangelisesque synths. Inspired by the unforgiving sea that borders their hometown in the North East of England, 'Ocean' is perhaps the most intense moment on the EP, dragging listeners into wave after wave of undulating dub chords, always underpinned by driving, raw and percussive drums. Ending in forgiving ambience, this moment of respite leads to the conclusion, 'Occupy'. A beatless send-off, it nonetheless remains equally compelling and vast in it's filmic and complex sound design, showcasing Blackhall & Bookless' finely tuned meld of the substantial and the subtle. Tinged with the North Sea air and the pulse of Detroit, Blackhall & Bookless continue to master the sound of agile, accessible yet uncompromising club music.

Presenting 'Envelope'. Album written, produced & mixed by Milan W. and pressed on 180g vinyl, by Ekster. Coming out on the 6th of June 2018, with foil-stamped cover-drawing by Gerard Herman. Mastered & cut by Helmut Erler at Dubplates & Mastering.
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Milan W (AKA Milan Warmoeskerken) is an Antwerp-based musician. In 2015 he released the Slo Mo cassette, on local label JJ Funhouse. The Intact LP a year later. Compositions constructed from gentle, yet persistent, rhythms. Intricately textured downtempo echoes. Brain-dancing, rather than four-to-the-floor raving. 2017`s split with Ekolalis, for The Hague`s BAKK, made clear the direction Milan`s headed in. His contribution being a seventeen minute float. The kick largely removed. The textures cut-up, expanded and magnified. Envelope, for Ekster, builds on this work.

The harlequin turns the handle. The contraption sucks in air, and breathes. Blows out tone poems. Wordless ballads that soundtrack enchanted scenarios. Issues forth magic. A sorcerer`s apprentice casting its spell. Animating the inanimate. To everything a life. Sets the frozen fluttering. Pirouetting in red shoes. Illuminates what was dark. Astma sings a Gamelan lullaby. Summons comforting angels to a post-Industrial landscape. Glaasjes has Jazz ghosts inhabit an empty bar room. Spirits stealing excuse-me`s under its deserted spot. In Limbo amplifies their whispers. Lead soldiers court jewellery-box ballerinas behind shuttered shop fronts. On Heraldic Snippets, a tin infantry marches. Ten thousand men up to the top, and back down again. Keys make-believing that they are massed brass and fife.

The bellows pump, and the pipes all the while wheezing. An automaton philharmonic at the bidding of a steam-punk master. Analogue and digital. Clockwork and glitch. Malady finds sounds isolated, extrapolated, mutated. Orchestral`s organ-grinder moves with urgency, and alchemy. Spinning straw into gold. Snare rolls become bubbling mercury. Metallic, yet fluid. Racing at the speed of flight and escape. Slope is the music of water chasing through crystal caves. Slow Runner, a funeral crawl. Shoved into motion by a drama of strings remembered.
Like the charismatic Rat-Catcher of Hamelin, the harlequin turns the handle, and we bang the cup.

Face Time is the second release from the trio of Oren Ambarchi, Kassel Jaeger, and James Rushford, following on from their 2016 debut Pale Calling. Recorded at the GRM studios in Paris in June 2017, the record immediately returns to the idiosyncratic sound-world of the trio's first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record's two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts and the sound of a Cristal Baschet to take centre stage, but each time returning with the inevitability of a an idée fixe.

Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record's final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou. Bringing together three of contemporary experimental music's most individual voices, Face Time is an essential slice of outsider electro-acoustics. Cover design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin.

First released in 1995 on Jonah's own Aba Christos Tafari Records,Intergalactic Dub Rockis a trip. While the 90s rave continuum buried down the hole of cosmic sci-fi culture, dub's fascination turned elsewhere after 80s touch-stones like Shaka'sBrimstone & FireandCaptain Ganja and the Space Patrol(re-issued by Bokeh last year). But Jonah takes things way far on this, his most adventurous outing: let your needle cruise along these bleeps and strings of 50s space travelling dreams, and the flutes and melodicas of planet earth, hear them clang with the hardest dub FX units the UK could buy at the time. It's one of the most righteous and outward-looking steppas LPs, now liberated from the hands of Discogs-types with a previously CD-only bonus track, 'White Nile'.

Inyotef, Bongoman, Jahman Dan, Kheru - Jonah Dan goes by many names and many trades - akete nyabinghi master, vocalist, producer and filmmaker. For many years he was the go-to studio percussionist for the UK dub scene, collaborating with basically everyone: Paul Fox, Jah Warrior, Robert Tribulation, Jah Fingers, Tony Roots, Alpha and Omega. Along with Bush Chemists (stars of BKV 020...) and Disciples, he toured the continent, spreading the message of UK dub and laying the seeds for a lot of the EU scene today. At some point his Aba Christos Tafari Records morphed into Inner Sanctuary, one of the greatest 90s labels still in operation, go check.

Raga Abhogi
1) Alap
2) Jod
3) Jhala

Raga Vardhani
4) Alap
5) Jod
6) Jhala

Zia Mohiuddin Dagar : rudra veena
Annie Penta : tanpura

Concert recorded at the home of Shantha and Niranjan B. Benegal, Seattle, Washington 9 March 1986.
Recorded by Niranjan Benegal. Files obtained from Jeff Lewis.
Mastered & Cut by Rashad Becker at Dubplates & Mastering 1117 & 0318.

Liner notes by Renaud Brizard, edited by Stephen O'Malley & Ian Christe.
Front and back cover photos by unknown.
Interior photography by Niranjan B. Benegal, Dan Neuman & unknown, Seattle 1978-1980. .

Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar.

Dhrupad, for those who do not know, is a branch of Hindustani classical music said to "show the raga in its clearest and purest form". It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance ... in short I was hooked on this new (to me) and ancient form of music from the first listen, and feel that a more or less continual listening & reviewing of Zia Mohiuddin Dagar's recordings in the years that followed have influenced my own approach to music quite heavily (if, albeit, indirectly).

In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access a massive archive of recordings and developed these two paired titles for my label. It's been a long path to arrive at actually releasing them but also probably in many ways one of the most significant releases I've worked on. And I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time.

Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad (Bahauddin Dagar continues the lineage as a master rudra veena dhrupad player of note today). Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release.

Ragas Abhogi & Vardhani were recorded in a private house concert in Seattle at the home of the Benegals in March 1986 (the week before the accompanying release SOMA029 Raga Yaman was recorded). The Benegals were friends (& Shantha Benegal was also a student) of Dagarsahib who sometimes hosted Hindustani music concerts in their home. It's a rare glimpse of a more intimate, personal and perhaps different kind of performance considering the form of dhrupad.

-Stephen O'Malley, March 2018, Paris, France

Stephen O'Malley would like to especially thank Bahauddin Dagar, Jeff Lewis & Jody Stecher for their enthusiasm, cooperation, patience, insight & advice toward developing these editions. Thank you also to Laurel Sercombe & John Vallier from the University of Washington Ethnomusicology Archives, Shantha Benegal, Philippe Bruguière, Dan Neuman, Ira Landgarten, Renaud Brizard, Ian Christe, Peter Rehberg, Rashad Becker, Daniel O'Sullivan & Kristoffer Rygg, all for their direct or indirect cooperation, assistance & patience.