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In 1981, Nick Robson wrote Stars. The song can pretty much be described as a slow, cosmic disco song. It has an unusual feel, and it comes as Oslo-based Neppås third release. This 12" holds the 12" mix, the 7" mix, and the original B-side Eye To Eye. The original 12" is as rare as they come, and here you get the original material, fully licenced, and remastered. The process of recording the material back in 1981 was not an easy one, as Nick Robson recalls:

"Fame by David Bowie is one of my favourite songs, period. I was 18 when i wrote Stars and i wanted to write something that was my version of Fame and quite honestly, as a tribute to the song. If you listen to the bass lines, there is a hint of similarity in the two. Even the lyric of Stars has a passing reference to Fame.
Stars was one of four songs recorded at Gary's Rock City studio to supply the first two singles and form the basis of the first album. The other three tracks were Eye To Eye, Boys and She'a Like Ice. Although all four tracks were finished, for one reason or another, Boys never made it to pressing and i walked away from the business to pursue a career in film.
Stars itself, was the most ardous and problematic track that i've ever recorded. It took around 14 days to finally get an agreed mix when the budget probably only ran to three days. Part of the reason for this is the enormous quantity of music tracks recorded in the song. In those days, we only had 24 recordable tracks available on the Otari, so once you had recorded 23 or less actually, you had to bounce down sub-mixes to a single track to free up another batch of tracks. I think that there are around 46 tracks of instruments alone on Stars so although that kind of track usage is not uncommon now, back then it was rare. It remains the single most expensive song i ever recorded. The B-side Eye To Eye, on the other hand, was written, recorded and mixed in one day."

»KAMILHAN; il y a péril en la demeure« is the conclusion of a 5-part cycle of works by artist Grischa Lichtenberger which was initiated with the album »LA DEMEURE; il y a péril en la demeure« in 2015 and continued with the triple EP release »Spielraum, Allgegenwart, Strahlung« in 2016. In addition to the concept of „demeure“, ones residence as a symbol for the joy and artistic possibilities one can find in isolation, Lichtenberger places a further emphasis on the expression of the voice, represented by the word „Kamilhan“. „Kamilhan“ is a non-existent word, an expression that Ernst Bloch once mentioned in an anecdote about his childhood. Fascinated by its sound but without knowing its meaning, it remained vivid in his memory in its purely „material“ form. Lichtenberger also refers to this childish perception of language. Words that we do not know, but repeat in our thoughts until they become insignificant. Lyrics in a foreign language that we do not understand and still sing along and imitate. With computer-generated voices, Lichtenberger tries to reproduce these experiences. In his tracks we hear syllables and phrases that are similar to words and that seem familiar to us, but whose meaning remains a secret. As on the previous album, the tracks on »KAMILHAN« are constantly torn apart and reassembled. Borrowings from hip-hop and even pop are unmistakable, desired, and yet delusive. Rhythms that are repeatedly broken in order to re-organize themselves into new temporal patterns. Melodies that are pierced by precisely these intricate rhythms. Voices that lack any empathy due to their artificiality. Lichtenberger himself describes these tracks as „crooked ballads“, which, by deliberately following classic pop song structures, try to sell us the absurd as the normal, and in turn smuggle some hope of recognition into the absurd. »KAMILHAN; il y a péril en la demeure« will be released on May 08, 2020 on CD and as a limited double vinyl edition including a handmade and signed silkscreen print.

Studio Mule drops “Anthologia”, the final chapter of a close look on the work of the Tokyo born DJ and producer Takayuki Shiraishi, a jack of all trades, that sways through Tokyo’s vast music scene since the late 70’s, a time when post punk grooves called the tune. As part of the band BGM he released in 1980 the album “Back Ground Music” on the legendary Osaka based underground label Vanity. Last October Studio Mule reissued BGM’s no wave, free funk mini-mal treasure. A few Month earlier Studio Mule already published “Missing Link”, a thrilling retrospect on Takayuki Shiraishi's unreleased material from the late 1980s, a creative period of which only a little ever saw the light of the day.

And now “Anthologia”, a record that is dedicated to his work during the years 1990 to 1996, a time span, in which Shiraishi moved on to produce house, downbeat and playful electronica. In 1995 he released the ambient/techno 12inch “Spectral Colours” on the R&S sublabel Apollo under the alias Planetoid. Two years later he manifested his techno leaning creativity under his given name on the album “Photon”, a record that helped launching Japan’s techno scene. It was followed by two more long players, that display his wide musical taste with ambient, house, breakbeat and other genre blending styles. Besides producing, Shiraishi was also a prominent figure of Tokyo’s club nightlife, DJing alongside Jeff Mills as well as Krautrock icons like Holger Czukay.

“Anthologia” features three unreleased tunes of this lapse of time, as well as highlights some work Shiraishi produced together with his friend Jun Sonohara as Musica Nova and a hidden gem he tuned in for the “Isolated Audio Players 1” compilation, published by the Tokyo based Pickin' Mushroom Recordings label in 2000.

The three unreleased tracks display his love for diversification. “Distant Thunder” is a drone driven ambient voyage, that slowly melds into a gentle rhythmic sensation driven by loose hi-hat patterns and a soft chord crescendo. On the opposite, “Lapis Lazuli” comes around as a mellow melodic downbeat trip enlarged with twisted rhythms and cosmic infiniteness. “A Voy-age” shows his love for house music with a grooving arrangement that comes close to the kinky house gems of contemporary producers like Lowtec. Also, the already known “Isolated Audio Players 1” compilation tune “Flicker” is located in the house spheres, delivering nervous jacking minimal vibes emerging from a precise produced dance of melodies, grooves and sound effects.

In comparison, the four Musica Nova tracks show again another side of Takayuki Shiraishi’s many musical talents. “Birds in Paradise” is an elegant triphop tranquilizer, while tunes like “Nocturnal Tribes” and “Green on Green” express his passion for electronic arrangements that think out of the box with airy melodies, slow-motion big beat rhythms, jazz particles and an overall cosmic sound complexion. The tune “Shifting Sand” goes the same direction, while adding esoteric reverberations and a touch of Drum and bass.

Together the eight tracks turn “Anthologia” into something more than just an anthology of Takayuki Shiraishi’s work. In association, all compositions work like an album that overwhelms with a reasoned story-arc, who slowly rises to a hypnotizing peak, from where all downswings to a calm finish, that makes you want to start all over again.

On Miniatures, Swiss composer and producer Samuel Reinhard looks to indeterminate techniques of mid-century experimental composers to produce a sonic path forward that’s as refined as it is evocative. While Miniatures is built from recordings of short piano gestures decaying towards silence, amid the four movements that comprise the suite, something else grows. Notes cycle, collide, and wash away within boundaries the artist has set, but in their wake new processual textures develop. A hiss blankets the harmonic material, and clicks that once marked sharp cuts between repetitions become a percussive undercurrent.

Working with digital tools, Reinhard conjures the interior of an animate environment and extends an invitation to notice the small stuff that swells when we settle in with duration.

EOD returns to bbbbbb with a fresh EP entitled ‘Zone’, perfectly demonstrating the producers buzzing and lush signature sound. On Zone EOD debuts brand new material, continuing to blur the lines between genres with a hard-hitting five-track release complete with complex drum arrangements, ethereal soundscapes, enchanting melodies and dystopian brushed sequences.

Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘. The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.

Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.

The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel.

Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’.

The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect.

This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters. These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

Unglued’s reputation for producing serious bassweight across the D+B spectrum continues in 2020 with his ‘Zen’ EP. He spans through silky smooth sounds on ‘Zen’ ft. Cimone, bouncy funk on ‘Mic Strangler’ with the legendary MC GQ, sharp-edged grizzle on GLXY collaboration ‘Algorithm’, and tearout heat on the soundsystem slayer ‘Datafile’. Setting things in motion is the lyrical weapon ‘Mic Strangler’, with OG host and MC extraordinaire GQ, who’s spent three decades leading the game. Unglued deals out damage on the beat with MC GQ’s playful twists, wrapped up in a big bruiser of a bassline.

Title track ‘Zen’ is a mesmeric stream of atmospherics, rolled out in perfect tandem with the angelic vocals of rising singer/songwriter, Cimone. GLXY joins the fold for ‘Algorithm’ - a techy rattler that’s stripped back in design but packs a punch. Rounding off the EP is the darkest addition, ‘Datafile’, Unglued takes no prisoners as he unleashes this lethal stepper. Unglued has had a steep and steady rise in drum & bass after signing to Hospital Records and releasing his sought after solo material, as well as his iconic remix of High Contrast’s anthem ‘If We Ever’.

This infamous rewiring caught the attention of major players, from Andy C to Annie Mac - who also selected his track ‘Born In ‘94’ as her Hottest Record in 2019 on BBC Radio 1. Unglued’s jungle knowledge has him in regular international demand, in 2019 alone he tore up sets at Glastonbury, Rampage, Boomtown, Let It Roll, ADE and on Med School’s final tour across Australia and New Zealand. He’s showing no signs of slowing down in 2020 with back-to-back bookings, including support at Wilkinson’s London headline show, Kings Of The Rollers’ Printworks Royal Rumble showdown and Hospitality On The Beach 2020.

TERANGA BEAT proudly presents Vol.2 of Kyriakos Sfetsas' 1976 "Greek Fusion Orchestra" project. Sfetsas' vision behind the formation of GFO, was to create a piece of work that would expand the boundaries of Greek traditional music. The result was a Progressive-Jazz Fusion masterpiece comprising complex and intriguing compositions, performed by Athens' best musicians of the day.

Following the success of Vol.1, Vol.2 is a compilation of musical pieces Sfetsas recorded with the group right upon the completion of the Vol. 1 material. Vol.2 is still reflective of his ambition of bringing together progressive jazz and traditional music, but it does so in a different manner. Although the element of traditional music remains present, it does not provide the compositional foundation for the songs (e.g. most pieces are no longer based exclusively on traditional musical forms). More jazzy and more complex than Vol.1, Vol.2 has a darker feeling, presenting Sfetsas not only as a musical experimentalist, but also as a demanding and distinctive composer, who truly puts his musicians through the test.

Following the success of Vol.1, Vol.2 is a compilation of musical pieces Sfetsas recorded with the group right upon the completion of the Vol. 1 material. Vol.2 is still reflective of his ambition of bringing together progressive jazz and traditional music, but it does so in a different manner. Although the element of traditional music remains present, it does not provide the compositional foundation for the songs (e.g. most pieces are no longer based exclusively on traditional musical forms). More jazzy and more complex than Vol.1, Vol.2 has a darker feeling, presenting Sfetsas not only as a musical experimentalist, but also as a demanding and distinctive composer, who truly puts his musicians through the test.

Theo Kottis’s celebrated ‘Turning Around’ and ‘Clear’ get a joint 12” vinyl release on 24 April on Skint Records, alongside the Gerd Janson remix of ‘Turning Around’ and an exclusive remix of ‘Clear’ by Hubie Davison.

‘Turning Around’ was one of 2019’s stand-out tracks, receiving top reviews, Annie Mac’s ‘Hottest Record in the World’, and played widely at festivals. One of the main supporters was Running Back label boss and “the DJ’s DJ” Gerd Janson who gives the uplifting disco workout a high-octane sheen, with a cascade of shimmering
beats and a poignant, powerful refrain.

On the B-Side is ‘Clear’, born out of a sample clearance issue which inspired TheoKottis to write an original piece of music that was ‘clear’ of samples. The end result is an exciting fusion of Italo disco and ‘80s synth-pop, complete with a euphoric vocal.

Exclusive to the vinyl release, acclaimed Irish-born and now London-based producer Hubie Davison delivers a deeper and tougher reworking, which is perfect for peak-time dance-floors. In Hubie’s words: There’s nothing better than being given a load of quality source material and license to have fun with it, and that’s exactly what happened here. I’ve been following Theo for a while now, so it was a joy to open the hood on ‘Clear’ and have a go at it. Having Gerd Janson on the other side makes it even better. Hopefully people enjoy these mixes as much as I do.”

2x12" Red Coloured Vinyl with Black Splatter, Inhalt des Deluxe Boxset: CD Digipack, 2xLP Gatefold, bedruckte Innentaschen, exklusive Box-Set-Farbe: rot transparent, Wanduhr mit dem Cover Motiv, Kühlschrank Magnet, A1 doppelseitiges 4c Poster, A5 Fotokarte, Sticker, Button, Größe der Box: 33 cm x 33 cm x 16 cm, im Hartkarton Material mit Deckel

Brooklyn-based cellist Clarice Jensen’s gorgeous
sophomore album and first for FatCat’s pioneering
130701 imprint, ‘The experience of repetition as death’
was recorded and mixed by Francesco Donadello at
Vox-Ton studios in Berlin in late 2018 and mastered by
Rafael Anton Irisarri.
 Following up her hugely impressive 2018 debut, ‘For
This From That Will Be Filled’, which included
collaborations with Jóhann Jóhannsson and Michael
Harrison, all of the material on this new album was
written and performed by Clarice alone and all of the
sounds on it were created with a cello through a
variety of effects and effects pedals.
 Clarice has recorded and performed for a host of
stellar artists including Jóhann Jóhannsson, Max
Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of
the Lid, Dustin O’Halloran, Joanna Newsom, Nico
Muhly, Dirty Projectors, Frightened Rabbit and Beirut.
 Receiving glowing critical acclaim, both her previous
releases made it into Pitchfork’s End Of Year charts.
 For fans of Jóhann Jóhannsson, Hildur Gudnadottir,
Stars of the Lid, Max Richter, Pauline Oliveros, Harold
Budd, A Winged Victory For The Sullen, Sarah
Davachi, Resina, Maria W Horn, Ellen Arkbro, Kali
Malone, Christina Vantzou, Abul Mogard, Galya
Bisengalieva, Richard Skelton, GAS, Steve Reich.

Alien Recordings was born in the late 80's by Andy Panayi and
Alec Stone, out of a love of music and DJing. They also ran a
night around London called Alienation, playing a mix of house,
electro, breakbeat and techno. They're back as (An) Alien with
new material for your listening pleasure; alongside music by
legend Terry Francis as well as Panayi and Stone themselves
(A²), the likes of Stopouts (Rob Collman + Navigator) were
staples of the imprint and they front up for "Tales From The
Archives Part 2.2". There's the brooding Drexciyan electro funk
of "Kill All Humans" originally from 1998, a remastered version
of "Sandstorm" from their release on Robin Ball's
Groovepressure imprint in 1999 and on the B side is the
underwater cybernetic epic "Freaks" by A².

“History repeats itself, first as tragedy, second as a farce” -Karl Marx
Uun returns for his fifth entry in the Ego Death series. This EP was created in solidarity with the global leftist movement that has risen to fight fascism around the world. Tonally the record stays intense throughout, which expresses the passion and immediacy of this coalition. For if we do not understand the past, we are doomed to
repeat it.

"Small Worlds" (2004) a is 42-minute composition for improvising sextet by Austrian double bassist, composer and improviser Werner Dafeldecker. The score is written for any instrument and divides the players into two virtual trios whose constellations change every 3 minutes. No restrictions are made regarding material or playing techniques, the only specification is that in each 3-minute trio, one player has the role of the "dynamic leader" which means that no other player within the trio should play louder than the one on that leading position. Apart from that, the only other restriction concerns how pauses are to be made when two players interchange their positions within the trios.

According to Dafeldecker, the object of the piece is to provide a structure that doesn't curtail the qualities of the musicians, yet forces them to listen very closely to each other and make focused decisions about parameters that are often overlooked in completely free improvisation. Especially, the given structure avoids the emergence of certain clichés that are often present in Free Improvisation, while retaining a very high level of openness with regard to how the piece is performed.

The first published recording of "Small Worlds", by Australian ensemble Quiver, was released in 2017 on CDr by Tone List. This LP contains a recording made in 2004 at Taktlos Festival in Basel, Switzerland, that features the line-up that Dafeldecker originally had in mind when he wrote the piece: Burkhard Beins (percussion), Martin Brandlmayr (percussion), Werner Dafeldecker (double bass), Klaus Lang (organ), Michael Moser (cello), and John Tilbury (piano). Partly, this constellation later also played together in the long-running avant-garde group Polwechsel.

Edition of 300 in regular sleeve with three inserts: two featuring an extensive conversation between Werner Dafeldecker and Matthias Haenisch discussing "Small Worlds", Polwechsel and Free Improvisation in general (German and English), the third reproducing the score of the piece.

We instantly fell in love with Razen the first time we saw them live in September 2018. It was during a unique Sunday morning mass at the Friedenskirche (which translates literally to mean ‘the church of peace’), as part of the Meakusma Festival. Slightly sleep deprived and still euphorically intoxicated from the night before, their performance in front of a full mass of devotees had a biblical aura to it from the first note they played. They delivered a stunning set which was somehow, paradoxically, both relaxing and formidably tense.

Two years later and the group are now bringing their talent for restraint and slow tension-building to the fore on “Robot Brujo”. Each of the six improvisations on this double LP is made up of the barest of materials, with the three musicians relying on a limited combination of tones. They lay their focus on small variations in timbre, timing, articulation and vibration, which creates a narrowing of consciousness, and feels something a bit like staring meditatively at the minute changes of leaves blowing in the wind.

Recorded over two sessions, in what Razen themselves refer to as their detached playing style, "Robot Brujo" stands as an auditory magnifying glass of concentration, in all its uncanny and minimal glory.

It is yet another new step up from the deep listening ensemble from Brussels, after 10 years exploring music together.

Apparel Music is the platform, Chevals the protagonist, vinyl the material, end of March 2020 is the period of time decided for the landing of the Frenchman’s first solo body of work for the “lovers dogs” label. “Be Yourself” is the title of the four tracks EP by the artist which, by the headline itself, sounds like a declaration of intentions, an acknowledgement of his qualities as a producer, shaping up four different aspects of his creative attitude in a remarkable musical effort. The EP takes off with the title track which is a perfect display of Cheval’s capabilities when it comes to the art of developing intersecting harmonies and melodies, setting up the perfect ground for a smooth vocal line that keeps on repeating the concept in a hypnotic loop: “just be yourself”! With “Keep On” the Bpm increases to design a beat driven track that winks to northern European rhythmics in an apotheosis of upbeat acid lines, a vibey overlapping of loops we advise against light-sleepers! Side B starts with a more rhythmically classic composition called “Good Good” which is also the last of the three original tracks; here the strings section mashes up with the vocals, as usual expertly crafted by Chevals and again some hints of acid bass line to form a proper dance floor hit. B2 is dedicated to Madcat’s remix of “Good Good”, where the French producer explains his point of view with a more funky oriented version of the track but keeping the essential parts intact. Impossible not to be excited by this EP by the Parisian producer who finally slams his fist on the table in what is his best musical statement so far. Bare with us until the end of March to listen to this pearl.

Afro futurist sensations Onipa unleash their debut album, combining Afro grooves, electronics and fierce energy for an effervescent celebration of cultural and musical encounters.ONIPA means ‘human’ in Akan, the ancient language of the Ashanti people of Ghana. It’s a message of connection through collaboration: from Ghana to London, our ancestors to our children, Onipa brings energy, groove, electronics, Afro-futurism, dance and fire! Born out of deep collaboration between long-time friends K.O.G (Kweku of Ghana of KOG and the Zongo Brigade) and Tom Excell (MD, guitarist and writer of acclaimed jazz/ soul afrobeat pioneers Nubiyan Twist), the group features KOG on vocals, balafon and percussion, Tom Excell on guitar, percussion and electronics, Dwayne Kilvington (Wonky Logic) on synths and MPC and Finn Booth (Nubiyan Twist) on drums.

The group have worked closely with Ghanaian star Wiyaala who features on three tracks, singing in the Sisaala language from the North of Ghana. The album also features collaborations with South African rapper Spoek Mathambo, Lesotho star Morena Leraba, Ghanaian percussion master Afla Sackey and Tanzanian sisters Pendo & Leah Zawose, each adding their own flavour to the project. “Through the musical prisms of London and Ghana our influences join together to create, a fundamental thread of traditional African rhythms, instrumentation and storytelling, interwoven with electronics, urban soundscapes and synth bass. We use technology, but it should never use us, our music is live and about deep human connection.” (Onipa)

Kicking off 2020 – Great Circles takes a step away from the dance floor with the release of the monolithic new work from Philadelphia-based artist Radere, ‘I Do Not Want What I Have.’ This long-in-gestation set of slow burning electronics and shadowy drones is part of the label’s growing selection of releases dedicated to deep listening, following on from the 2017 Prefix Moniker LP.

Radere is the ongoing project of Carl Ritger, who has worked under the nom de plume since 2009 and has deep ties to the Great Circles family. He played some of his earliest shows at Inciting HQ, the recently shuttered, label-affiliated venue, and invited Justin Gibbon AKA Westov Temple and Great Circles label founder to contribute to some of his earlier recordings. While he started out as a more straightforward ambient guitarist, Ritger’s work developed into more experimental textures as he explored modular synthesis and processed found sounds.

Ritger’s releases from his time spent living in Denver, CO c. 2011-2018 are marked by a particular strain of east coast nihilism and an angular aesthetic that keeps the listener off balance. Now back in his native Philadelphia, the two long-form pieces that comprise ‘I Do Not Want What I Have’ represent a perhaps more nuanced meditation on pain and loss. “Spitty Kisses,” the 15-minute album opener, takes aim at the listener with a brutal salvo. It is almost sadistic in its sonic intentions – acerbic modular sound and abrupt stuttering in the material leave a listener personally affected. “You’ve Been A Ghost Your Whole Life,” on the flip, delivers a salve for the A-side’s wounds and resolves its masochistic tones.

Written through a period of intense personal trauma as a means to seek comfort and solace through creative action, it’s clear that the puerile humor of nihilism is gone and grown out of in Ritger’s work.

FFO: taking long walks off of short piers, the legend of the monk Kelpius living among the trees of the Wissahickon, traditional creation and destruction stories in polytheistic faiths, and John Coltrane.

The record is accompanied by a digital-only series of remixes by friends of the artist and regular collaborators, including new works from Borne and Shivers, as well as Great Circles alums Westov Temple, Chaperone, and WOLF DEM.

unperson’s forthcoming ‘The Ghosts That Gave’ EP will be released digitally and on 12” vinyl via Negative Space Ma, kick-starting a new chapter for the enigmatic producer as he glides between ambient, techno, breakbeat, footwork and UK funky with unquestionable prowess across 6 varied but inter-woven tracks.

The EP is framed around the concept of juxtaposing moments of euphoria and melancholy found within club music, delicately expressing intricate textures and emotion for the quiet corners whilst maintaining a dance-floor sensibility.

“Ultimately, I wanted to build a body of work that explores and extends upon various corners of the Harcore Continuum. Through the juxtaposition of fleeting moments of euphoria scattered amongst twisted, melancholic soundscapes, I aimed to express fluctuating emotions which denote the spirit and energy of the club/UK sound-system culture”. unperson

Following on from the release of 'Modern Jazz Dance Classics, Volume One' in 2019, which was popular on the jazz underground, the Staubgold's MJDC sub label returns with another compilation comprising mainly of contemporary artists carefully selected by DJ Jeff The Fish, this time on a Latin trip for 'Sol Vibrations: Latin Dance Movements'.

There are carefully selected tracks from all over the world to make a great set and selection, including three acts based in Catalonia (Tromboranga, The Santiago Acevedo Ensemble and Antoine 'Tato' Garcia), some from the US (Camille, EC3), the UK (Alex Wilson, Born 74), France (Mayomi, Camarao Orkestra), Japan (Jizue), Brazil (Fabio Chagas), Cuba (Jean Pablo Torres) and Uruguay (La Calenda Beat).

For some time now in the continual hunt for new DJ material to play in the jazz scene, the Modern Jazz Dance Classics label (a division of Staubgold) has been coming across great tracks by current artists that are often only available on digital or CD format. The brainchild of French based DJ Jeff The Fish and Markus Detmer at the Staubgold record label in Germany, MJDC aims to provide DJs with this new music on vinyl and inject new sounds into the jazz dance scene.

Spencer Clark is back with a futuristic eco-friendly record. It’s life on earth as you never heard it.

The story goes like this: Spencer wanted to do a soundtrack for the yet to be made “Avatar 2”. And if you know Spencer’s work, you’ll know that he engaged on this mission reading material that influenced the rich and crazy imaginary world of “Avatar”. If you think about it a little bit, something like “Avatar” could have really come out from the mind of Spencer Clark.

But it didn’t. So, he dwelled around the idea of that soundtrack, working on what is now known as “Avatar Blue”. The record we now release is a selection he made from the 2CD released last year on his own Pacific City Sound Visions.*

Like many of Spencer’s other alias or incarnations, Star Searchers introduces the listener to a new world. Besides making sounds/soundtracks for alternative realities he cares about making a world for his music to live in. It’s never superficial or dedicated just to the act of imagination, Spencer creates sounds that sustain the reality he imagined. That’s why they’re so rich and consequential in the realization of music as a medium.

“Avatar Blue” is music but also literature. And cinema. Star Searchers’ sound creates an absorbent sound about what’s happening in aquatic life. It goes beyond the perception of what we’ve seen or what we’ve known, it’s a neo-future aquatic life, with a world building structure and sounds and narratives that go along with it.

All done with a sound-aesthetics that could be described as slowed-down-trance, that fits 1980s synth nostalgia and dreams of sci-fi to come.
*Note: The 2CD version is available as a digital download with a purchase of the album on selected stores.

Ferrum is a large-scale exploration of inharmonic timbres, oscillating between brutal grinding textures and intricate percussive singularities, created by digitally transforming recordings of various metallic objects.

Susanne Kirchmayr's new album takes a close personal look at the spectral richness of iron and other metals, in various shapes and sizes, recorded, processed and arranged to a carefully curated selection of musical miniatures. Some of the results are an obvious nod to her Electric Indigo DJ alias, music that could be played on the dance floor of an alien cargo ship, both highly familiar and foreign at the same time. Others offer almost steady-state like meditative qualities, vibrations from deep within, on a sub atomic level, full of light and motion on the tiniest possible scale. The limitation in material opens up a seemingly unlimited world of colours and rhythms, oscillating, resonating and highly immersive.

After the first classy, deep and aetherial 12" back in May 2019, B2 Recordings is back with it's second release, and here we see the labelowner Bengoa move things forward with a three-track EP of all original material following a five-year hiatus. Title-cut 'Forest Law' takes the lead with robust, organic percussion at its core while wandering subs, airy, circling synth lines and vocal chants ebb and flow throughout the groove to create a rolling, hypnotic groove. 'A Little More' opens the flip-side next, embracing a dub leaning feel with choppy stab echoes, crunchy drums and bumpy bass hits before 'Corponation' rounds out the release, laying focus on expansive voice murmurs, airy atmospherics and an acid tinged bass hook alongside loosely shuffling, jazz tinged drums.

Venus Volcanism is the musician and electronic artist Rena Rasouli. She presents her first solo mini-album “Rizitiko’ on Optimo’s sub-label, Weaponise Your Sound, using traditional folk songs of her native island Crete as a basis for this work.

‘Rizitiko’ evolved from Rasouli’s thesis titled “the music performances based in traditional dialect focuses on the healing ability of sound”. The songs were created and sung by folk troubadours. Expanding on these oeuvres, Rasouli seized on the idea that the melodic use of voice is the oldest form of therapy in human culture. This primary and ritualistic material was intertwined with electronic and natural ambient soundscapes. The resulting compositions express the omnipresent sensations and emotions that play a key role in the healing process whilst communicating an intense connection to the collective unconscious. Traditionally sung by men there are numerous reasons to believe that many of the songs were initially created by women. To sing them in a female voice projects a different approach to the traditional rendition – one closer to that of a lullaby.

“Take The Leap!” (1994) saw Toyah revisit some of her classic hits – “It’s A Mystery”, “Thunder In The Mountains” and “I Wanna Be Free” – as well as earlier punk material in a heavy rock style. Six original compositions also feature, written with Nick Beggs (Kajagoogoo), Cris Bonacci (Girls School) and Simon Darlow (Buggles). Includes previously unseen photography and adds five revisited classics on Side Four.

First ever release on vinyl, and pressed on 180 gram clear vinyl.

First single from Monophonics' new album "It's Only Us".
This is the first new material from the group since their 2015 album "Sound Of Sinning" and they're picking up right where they left off, blending authentic soul with hints and leans of psychedelic elements as well. And on the heels of Kelly Finnigan's debut solo record, the group just continues to get stronger and stronger with regard to production and songwriting. This 45 of "Chances" hits stores on February, 21th and their new album will be out on March, 13th.

• 180 GRAM AUDIOPHILE VINYL • LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON RED COLOURED VINYL

The pioneering hip hop group Treacherous Three released several albums, starting with the compilation record Whip It in 1983. It consists of material they record in their early years like “Feel the Heart Beat”, “Whip It”, and “The Body Rock”. The spectacular production makes it sound smooth, while the song length of +5 minutes let you stay focused on the lyrics.

Following on from Myele Manzanza's acclaimed 2019 jazz album, 'A Love Requited', we have a 2020 addendum to that project; an EP of remixes by a set of diverse musicians from all corners of the globe.

Detroit legend Theo Parrish starts off the proceedings. Theo & Myele have previously worked together on various projects over the years, such as with live outfit, The Unit, whilst Myele's 'Surgery Session' of Theo's track 'Moonlight' was picked up by The Vinyl Factory last Summer as well. On his remix of 'Itaru's Phone Booth', Theo maintains the tempo & structure of the original track, whilst tempering the horns and adding some spaced-out keys & a little low end theory to the equation, making this a flip seasoned with Theo's unique flavour.

Mark de Clive-Lowe follows with the most uptempo track on the EP, a delightful bruk refix of 'Big Deal'. Fellow New Zealander, regular collaborator (notably on Manzanza's sophomore album 'OnePointOne') and hugely respected musician in his own right, MdCL delivers a hefty groove direct for the clubs; heavy drums & sci-fi synths lead the way atop of the original's powerhouse horns, switching up with some MAW-esque 4/4 tribal business to close out.

Cardiff's finest, Earl Jeffers & Don Leisure, aka First Word label-mates Darkhouse Family, kick off the flipside with their take on the appropriately titled 'Family Dynamics'. Fresh from their solo & combined projects (producing for Kamaal Williams, running house label Melange, and creating beat-tapes like Halal Cool J & Shaboo), the duo turn out some punchy boom-bap vibes which pulsate throughout the track, accompanied by some sweet vocal hooks, transposing the original into a plucky heads-down neo-soul tinged stomper.

Borrowed CS is another New Zealand artist that's been bubbling away in the underground NZ electronic scene for several years now, as a DJ and a musician. He ends this selection of remixes, taking the original jazz components of 'Pencarrow' and transforming it into a synth-boogie lead piece of brooding broken beat - a 'Clear Path Depiction' even.

Released on Worldwide Award-winning UK label, First Word Records, the original album was also co-produced by another antipodean label-mate, Ross McHenry, who released a new album recently.

The son of a Congolese master percussionist, Myele Manzanza's roots in jazz and African rhythm are well established. Adding his long-time influences of hip hop and dance music into the mix, this EP exemplifies his approach to fusion, and his persona as an ever-evolving artist, drummer & composer. Since his days as part of Electric Wire Hustle, he had his debut release on BBE, has released three solo albums, and done tours & collabs with folks like Jordan Rakei, Miguel Atwood-Ferguson, Recloose & Amp Fiddler. Since moving to London from New Zealand late last year, he has already shared stages with Hiatus Kaiyote, The Bad Plus & Alfa Mist, rocked The Jazz Cafe & Ronnie Scott's, and ably demonstrated his DJ side-hustle chops at stations like Soho Radio, Worldwide FM & NTS, as well as behind the decks in a few danceries across the capital, and behind his drum kit daily.

Already hard at work on brand new material, expect to catch Myele Manzanza live at various shows & festivals across the UK & Europe this coming Summer.

'A Love Requited - The Remixes' is available on 12" vinyl & all digital outlets from March 6th 2020.

On his third and album, Rainbow Doll, the New Jersey house mystic Joey Anderson speaks to us. Of course, like everything Anderson does, the message is encoded. On tracks like "Beside Me" and "Cindy," his voice rings out in dream incantations-on the latter, he repeats a Mark Hollis-like mantra over a perfect, minimalist house loop while the former sounds like the late, great Ron Hardy taking the razor-and-tape to Ike Yard.

It's his third record for the Berlin-based label Avenue 66, and graciously illuminates the dream logic introduced on his debut for the imprint, the 2013 leftfield classic "Above The Cherry Moon." While Rainbow Doll satisfies those outre impulses, the album's core comprises what are perhaps Anderson's most indelible dance tracks to date, like "Bounce With It," a jacking anthem which sees him at mission control, sending widescreen synth lines soaring through the atmosphere.

With the aforementioned vocals punctuating five of the eight tracks, Rainbow Doll is Anderson's most personal work to date. It's his first album in four years, but also his shortest, most concise full-length. Even with a more direct approach, the elusive, dreamlike quality which has made his work so intriguing remains intact. He speaks of dreams throughout the record, even as his uncanny methodology comes into focus. More than ever before, we understand the materials Anderson uses to construct his Escher-like tracks. We hear his fingers on the keys, the sturdy east coast house beats he learned to dance to. The dreams have become lucid. As he puts it deep in the album, they "seem so real."

Stap me! When you think you've heard it all, someone comes up with more earth shattering music, restoring your faith in humanity (well, almost). Back in the early 2000s, after locating those first Moondog 78s, and adding them to the mix at Honest Jons, assembling the compilation that became The Viking of Sixth Avenue, was a kind of musical cloud nine - a voyage of discovery, attempting to chart the worlds that Moondog had created. Now it's Spring again - as winter encroaches - and Mississippi expose us to some never before heard material. It's killer grade, recorded by yet another genius, Tony Schwartz, the pioneering Folkways field recordist, the first man to record Louis Hardin, aka Moondog, who in the 1950s also recorded a day in the life of a dog canine variety and a New York cab driver, among many others.

Behold! A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 field recordist Tony Schwartz frequently checked in with Moondog, his favorite street musician. Tony Schwartz made recordings of Moondog’s earliest compositions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

Side one kicks off with an unreleased version of Moondog’s classic composition “Why Spend The Dark Night With You?” followed by the first ever complete recording of his “Nocturne Suite,” a beautiful piece of classical music performed with members of the Royal Philharmonic. The side ends with the complete “On The Streets Of New York” 7” EP, which was released on Mars records in 1955 and subsequently re-released by Honest Jon’s Records in 2004 on their excellent Moondog anthology. Side B features sketches of Moondog compositions never released, many with the man himself howling and chanting over his homemade percussion set.

Moondog’s music is as universal as it gets - part classical music, part Native American, part European folk, and part something completely unique. Moondog is one of the towering figures of 20th century music. This record comes with liner notes featuring never before released interviews with Moodog by Tony Schwartz and is housed in an old school “tip on” cover. All tracks fully licensed from the Library of Congress.

“Andy Bey is one of those few jazz vocalists who are so singularly personal and distinctive in style that they communicate the material they choose more in the manner of an instrumentalist than a vocalist. On these recordings from 1995, his first after 1974’s “Experience And Judgment”, he sings and accompanies himself on piano on a series of standards, including four by Duke Ellington (including “I Let A Song Go Our Of My Heart” and “In A Sentimental Mood”), two by George & Ira Gershwin (“Someone To Watch Over Me” and “Embraceable You”), Cole Porter’s “You’d Be So Nice To Come Home To”, Jerome Kern’s “Yesterdays”, and others by Ann Ronnell and Tadd Dameron. The setting is intimate and showcases his broad range from baritone to falsetto and his angular and often sparse piano accompaniment. This is the first time these recordings have been issued on vinyl.”

In der Pause' (During the Pause) was the title of the last track on the b-side of , the first album by Die Tödliche Doris. In der Pause' was pause music, as well as the announcement of the interval between their debut album, released in 1982, and the box format project 'Chöre und Soli' that followed in 1983. The original sounds of In der Pause' survived on a single audio tape dating from 1981.Now, about 35 years later, Chris Dreier and Wolfgang Müller have used the material recorded on the audio tape as the source for five new tracks of pause music. The material on the original audio tape has was reworked using Moog analogue effect modules and Ableton Live. It has been supplemented with archived announcement interludes from radio and television stations, including German stations WDR, NDR and HR, Radio Italy IBF and Radio Kamerun.Sprechpause' was recorded in 1981 — 1982 by Chris Dreier, Nikolaus Utermöhlen and Wolfgang Müller and reworked by Wolfgang Müller and Chris Dreier in 2017.

Despite working often alone, Savvas Metaxas is someone who rather thinks in terms of community and connectivity, who prefers alliances over ego, who is a sound artist as well as a musical activist.

Coming from Thessaloniki, Greece, he co-founded Granny Records, puts up local shows, worked with the Goethe Institute, did site-specific sound installations in London, collaborates with other experimentalists like Spyros Emmanouilidis and released brilliant albums on fellow tape travellers Coherent States and Falt, among others.

Why is it important for us to write down these trophies/landmarks/selling points? Because Savvas is not at all about trophies/landmarks/selling points, he is about connecting things, and this, in our humble opinion, is one of the most fundamental qualities of experimental music, and experimental art in general. It is about rearranging disparate materials, transcending different layers of reality, speaking without the use of words or clear significants.

On the four tracks of „Transmitter“, he is exploring sound in a classical set-up, experimenting with chance-operational radio frequencies and their impact on harmonic structures extracted from synthesizers.

The result are compositions with a haptic quality, a glimmering, grainy music that is directly effecting the room in which it is played in. So despite its broad frequential range: don’t play this tape too loud, as it really interacts with its surroundings. Hence, the names, or rather name tags of these tracks are mostly devoid of interpretation and are purely descriptive. „Words“ is, easy to suggest, a composition based on a voice talking in greek, while „Stormy And Colourful“ is a specification of what is heard on that piece. These two are framed by „Heterodyne“ and „Paradoxical“ - characterizations of the techniques used in the working process.

The artwork of the tape is a continuation of this work method. Clear structures, using the specially built typeface and the spinning of letters and words to manipulate perception and to obstruct a simplification, reducing the logic of words to a sign language that obliterates meaning and identity, a process which, as Simon Reynolds put it, induces ecstasy.

The first release under Richard Wilson's Rognvald alias kickstarts the new WIFE series with four solid punches of breakfueled rave mania. The pitch black title track "R.O.G.N.V.A.L.D" serves as a fierce introduction to his fresh material with its epic scale combination of relentless drum work and meticulous arrangement. Up next is the hefty chunk of "Whistle Posse", all rude basslines and rave whistles finely tuned for maximum dancefloor damage.

"Lowcol Junglist" opens the B-side with it's masterfully slick drum control and enormous bass drops followed by the subterranean drum hypnosis of closer "Asbiorn". This is bass charged jungle warfare apparatus with a modern ruffneck flex from a man who knows how to murder the dance with precision.

For the new Arma release Ena explores different, distinct facets of his sound across three productions. “Pale” distills his vision of techno as a minimalist, repetitive construct. Working around non-standard time signatures, he creates a densely woven lattice of percussive pulses, which cut a polyrhythmic path through nightmarish sheets of noise. “Secondary Color” uses a broader palette that opens the Ena sound up to the light,,, “Wired” heads further away from the grid in pursuit of sound design exploration, as a rack of pipes and chambers strike, boom and chime against artful distortion and cavernous reverb. While Ena has historically been hesitant about remixes of his material, he warmed to the idea of long-time Arma friend JASSS reworking “Wired”. Taking the track into her own fiercely individual sound world, she uses the harmonic tonality of the original as a jump-off point for an epic, emotionally forthright chiller loaded with coldwave bombast, trap hats and Silvia’ own voice. Coming from entirely different angles of approach, Ena and JASSS are bound together by their fearless individuality. You can sense the slithers of pre-existing music somewhere in their constructions, but such familiarities are no more than faint echoes of places they passed through on their way to somewhere new.

When Elena Colombi launched the Osàre! Editions label in the autumn of 2019, she explained that the label would become home to bold, daring, future-facing music rooted in experimentation and free-spirited musical abandon. These are all descriptions that could apply to the label’s latest release, a retrospective album of little-known works by Greek musician and producer Thanasis Zlatanos.

Many will not have heard of Zlatanos, or Nekropolis, the band he fronted alongside dear friend and regular collaborator Trygve Mathiesen, yet the music he made during the 1980s was otherworldly, intergalactic and undoubtedly alluring. These songs and instrumentals made extensive use of analogue synthesizers and lo-fi drum machines, as well as Zlatanos’s trusted Gibson Les Paul guitar and his own distinctive voice.

Stylistically, the musician and producer refused to settle on a specific sound, preferring instead to create inspired, often mind-altering pieces that join the dots between wave music, skewed leftfield pop, ambient, prototype electronic and Madedonian folk music. Operating for much of the period from a crumbling house earmarked for demolition, Zlatanos kept up a daily music-making vigil that resulted in a vast vault of music, most of which has remained unissued since the 1980s.

The breadth of and width of Zlatanos’s distinctive approach is laid bare on Retrospective, a compilation album prepared by Colombi and the artist himself that draws on tracks from his numerous albums, those by Nekropolis – whose sophomore set “The New Europeans” was banned in Norway – and his epic archive of previously unheard material.

The artist’s singular but wide-ranging musical vision is free for all to see across the 13 tracks stretched across the vinyl version of the album (digital buyers also get a further four superb cuts). It veers attractively from the ghostly, traditional-meets-futuristic new age electronica of “The Crystal Sight (Excerpt)” and the doom-laden coldwave throb of “Master Chameleon”, to the undulating, soft-touch creepiness of “Surreal Moment”, the Vocoder-laden operatic poignancy of “The New Barbarians” and the squally guitar solos and effects-laden electronics of “The Light”.

Words from the artist___:
"I live in the Internet. Visits from outer space make me compose. I breathe here. I am the master chameleon, the psychedelic clown. I am not here anymore, neither in the picture, nor the reflection. Our bed is a boat that takes us tomorrow without us.

Here is an album of dreams and digital emotions. Analogue recordings made with a Prophet, a Moog Rogue, a tape recorder and a Gibson Les Paul guitar.

As far as I can remember I have always been in a recording studio. I listen to, understand and live my life through songs and music. I have worked alone and with friends such as Trygve Mathiesen. Although I am a guitarist, I continue to work with synthesizers on music that blends elements of Macedonian folk music, recordings from the streets and embryonic electronic sounds.

Some of my albums have been critically acclaimed, others banned by radio stations. For years I worked on endless recording sessions in a crumbling house that should have been torn down. The music on this retrospective compilation was recorded at various points between 1982 and the present day. Some of the compositions first appeared on previous albums, while others have never been released before. They were sat on tapes waiting for a saviour. Now that saviour has arrived and they can be free.

For further proof of Zlatanos’s unique sonic approach, check the startling contrast between the bass-laden slacker pop headiness of “No Expectations” and the spacey ambience of “The Dead Don’t Remember”. Considered together, the selected pieces and those elsewhere on Retrospective forms a snapshot of a genuinely unique and visionary musician, composer and producer. It’s a celebration of someone whose work has previously been overlooked."

Five track EP of previously unreleased drum heavy Gallic hard-bop and risqué acidic folk.

The long-lost Parisian skin flick ‘Jeunes Filles Impudiques’ (AKA ‘Schoolgirl Hitchhikers’) marks a particularly vulnerable period in the career of one of the most underrated and misunderstood directors to emerge from the rising smoke of the 1968 Parisian social explosion.

From a director with early links with the Paris underground, the letterists, the surrealists, improv theatre and the free-press comes the reclaimed audio tracks from one of his rarest celluloid moments - but let’s not confuse this for high-art. Finders Keepers make no bones, this is Jean Rollin’s maiden voyage into adult entertainment, directed under the pseudonym of Miche Gentil with a flimsy plot, questionable acting skills and an awesome little schizophrenic soundtrack.

This long-lost movie has been buried for some 40 odd years, with a musical score bursting to jump out of the can and down your tone arm, now made possible by a recently renovated negative print and new source material. These original Pierre Raph (of ‘Requiem For A Vampire’ infamy) compositions from the publishing Library Of Paris’ Musicale Editions Dellamarre (of Acanthus / Unity fame) come straight from Rollin himself as an introduction to Finders Keepers’ new Rollinade series documenting some of the finest musical moments of the director’s career as an avant-gardener, counter-culture vulture and Gallic vamptramp, all housed in their original hand-painted promotional artwork.

"Art Is A Cat" is The Dining Rooms' eighth studio album - thirteenth if we also consider five remix and rework records - in over twenty years of career. It comes out five years after the fully instrumental "Do Hipsters Love Sun (Ra)?", and shows itself as a new milestone in the artistic path of the Milanese duo formed by Stefano Ghittoni and Cesare Malfatti.

In fact, "Art Is A Cat" hosts every facet of The Dining Rooms' music, mostly nourishing the intuitions delivered in past albums such as "Experiments in Ambient Soul" (2005) and "Ink" (2007). It preserves all the characteristics of their typical signature: songs balanced between folk and soul, dub expansions, instrumental hip hop and cinematic atmospheres. Not to renounce to any of these aspects and given the high quality of the recorded material, Stefano and Cesare decided not to sacrifice anything, and wrote and produced a 19-song full-length for a total duration of about sixty minutes.

"Art Is A Cat" also hosts a large group of guest singers, both historical voices of the band and absolute novelties, who also co-wrote the lyrics; the vocal parts are interspersed with the group's instrumental classics, from funk-fueled visionary downtempos to more experimental micro-songs. Sean Martin and Georgeanne Kalweit therefore return with two songs each (one of the two sung by Georgeanne has its lyrics written by Jake Reid, a London-based singer who already collaborated with The Dining Rooms in "Lonesome Traveler" in 2011).

Among the new entries we have, first of all, the Italian-Tunisian Rahma Hafsi on the sensual ballad "Little Girl" sung both in English and Arabic, while the very young Italian-Salvadoran Beatrice Velasco Moreno sings, together with Sean on backing vocals, the spoken-word "Teach Me To Dance", the spiritual "Sweet Love" and the title-track, an orchestral folk moment among the most inspired ones in the entire band's history; Lola Kola, queen of Tropicantesimo, also brings an absolute novelty in the world of The Dining Rooms, presenting for the first time an Italian-sung piece: "Nella Sua Loca Realtà", a post-melodic song dedicated to the fragility of love.

The vocal parts series ends with two episodes in which Stefano resumes his past as a singer (in the '80s with Peter Sellers & The Hollywood Party) with the Indian-flavoured "Ohm And Raga" and the existentialist ballad "She Says I'm Bad".

"Art Is A Cat" is therefore a complete and very fascinating album, destined to excite and leave its mark.

First run on marbled vinyl!

During a career spanning decades, under a spread of monikers, Lee Norris has weaved musical gold. Shipwrec know this. Once again the dutch imprint delves into the Metamatics' archives to come up with audio treasures. Instamatic, released in 2014, is the source material for the "Instamatic EP" with four tracks being revisited from the album. As with all of Norris' work, a depth of expression can be enjoyed from the outset. Mixing elements of electro, electronica and IDM, "Neon Future Blue" is a warm textured and simply addictive opener. Subtlety and form are tinkered and toyed with in the ruffled edges and stark lines of "Cosmic Emotion" before the grandeur and isolation that is "Metamatix." Fragility and the ephemeral combine in the closer. "Haethear" casts whimsical notes to the wind, gentle currents shift as basslines bubble against crushed beats. Simply sublime from a true master.

“The 45 Collection” by Lewis Parker is released on a five x 7-inch vinyl set, including unreleased songs and instrumentals from the multi-faceted producer. Record No. 1 is: Incognito (original) B/W Instrumental Original and unreleased version of “Incognito” taken from “It’s All Happening Now”, 2002. The man with the golden sound is back to showcase some rare material from his personal archives for the first time with this beautifully packaged and limited-edition 45 set. The set of 5 seven-inches features unheard original versions, instrumentals, and unreleased songs from a classic period of output between 2002-2006, including beats from the sessions of his critically acclaimed “It’s All Happening Now” LP and the “Put a Beat to a Rhyme” remix project. All this is available for the first time. After a long stay in Queens, NY, soaking up the energy and grittiness of the city and working with Joey Bada$$, the London-born musician is back in the UK. After several successful previous releases with KingUnderground Records, Lewis is now releasing a special treat for long-time fans. As Parker continues to maintain his musical integrity and commitment to the traditional Hip-Hop aesthetic while simultaneously pushing his sound forward,KingUnderground brings a rare snapshot of the veteran producer’s cuttingroom floor.