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The Artist
When P.P. Arnold arrived in London on September 23, 1966 to support The Rolling Stones as one of Ike & Tina Turner's backing singers,
The Ikettes, little did she know that her world was about to be turned upside down. The shy but vivacious 19-year-old caught the eye
of Mick Jagger, who would persuade her to stay in London and record as a solo artist – ultimately leading to a five-decade career
working with everyone from Jagger, the Small Faces, Rod Stewart, Barry Gibb and Eric Clapton, to Nick Drake, Peter Gabriel, Roger
Waters, the KLF, Paul Weller, Ocean Colour Scene and Primal Scream, to name a few.
Five decades after she became a '60s icon with the timeless pop hits 'The First Cut Is The Deepest' and 'Angel Of The Morning' on
Rolling Stones manager Andrew Oldham's ultra-hip Immediate label, soul singer P.P. Arnold is set to release a double-album of stunning
new material featuring contributions from, among others, Paul Weller, Ocean Colour Scene's Steve Cradock, The Specials and P.P's
songwriter son, Kodzo.
“I've been a fan of P.P. ever since hearing 'The First Cut', and then 'Tin Soldier'. Her voice is still as great as it was when she was 18/19
years old! Steve Cradock has tried to keep something of the early Immediate Records sound on this new record, whilst still sounding
fresh, and it is for me one of the finest in her collection” – Paul Weller
The Product
“It's great that I'm coming back with this record,” says P.P. “Even now, I'm still finding my way, because the industry changes every
decade, and you're sometimes out of the loop. For me it's all about faith, meditating, love, praying… try to be ready and don't give up
the fight. That's the message.”
'The New Adventures Of P.P. Arnold' was recorded and produced by life-long P.P. enthusiast, Ocean Colour Scene star and Paul Weller
band guitarist Steve Cradock at his Kundalini Studio in Devon – after a 51-year gap in P.P. Arnold's recording career.
The beginnings of the album - spanning classic orchestral soul ('Baby Blue', 'Finally Found My Way Back Home'), sunshine pop ('The
Magic Hour'), house music ('Hold On To Your Dreams'), a spinechilling gospel elegy inspired by her daughter's death ('I'll Always
Remember You'), two Paul Weller originals ('When I Was Part Of Your Picture', 'Shoot The Dove') and an epic, edgy 10-minute reading
of Bob Dylan's poem 'The Last Thoughts On Woody Guthrie' – can be traced back 25 years to 1994. Worldwide tours with Roger Waters
put the project on the backburner, but when Cradock rediscovered the tapes during a house move four years ago, both parties were
excited about the prospect of finally completing an album. And so they did.

Beacon Sound and Jacktone Records are pleased to announce a limited edition joint vinyl release by Hugo RA Paris titled Threaded Habitat. The new LP from Paris follows two of Jacktone’s most popular releases: Mystique Youth (2015) and Horizons Beneath The Surface (2016), which appeared under his alias, Lavender.

The transition to the Hugo RA Paris moniker with this album marks a more personal shift in approach. Threaded Habitat combines ambient textures and techno rhythms to reflect tension between humanity and nature—particularly the cyclical nature of collapse and renewal. It also marks Jacktone's first collaborative release with the record store and label Beacon Sound, which has put out works from veteran experimental musicians like Terry Riley and Colleen. Beacon Sound is an important node in Portland, where Paris also lives and developed the flagship modular product for leading Eurorack manufacturer 4MS: the SWN.

The album's closing track was entirely composed on a SWN prototype and recorded in one take. In fact, much of his work is done in layers of single takes with minimal processing to preserve its raw emotion and embrace minor imperfections. As an MIT-trained engineer and physicist, working with hardware—from modulars to guitar pedals and tape loops—is essential to his process of not only making but exploring sound.

Threaded Habitat captures moments of claustrophobia and bliss in seven tracks and three accompanying videos directed by New Zealand artist Sam Hamilton. Visual art plays a central role in many of Paris’s projects, which include intricate audio-visual performances and scores for full-length films like The Modern Jungle (La Selva Negra) and its forthcoming follow-up.

The LP will be available to pre-order on July 1st with a limited, exclusive content sample pack. The handmade vinyl package features photography by Sam Hamilton and will be released July 19 through Jacktone and Beacon Sound’s webshops, with worldwide sales beginning August 2nd. A remix release will arrive later in the Fall.

350gsm Sleeve with selected UV High Gloss Varnish, Liner Notes by Midori Takada and Gareth Quinn Redmond, Sticker

"Conceptually derived from the work of Japanese minimalist composer Satoshi Ashikawa, I have composed an album which hopes to engage, enrich and reflect the listener's surroundings, an Environmental Music." - Gareth Quinn Redmond

Working with Still Way as a base for inspiration, Gareth Quinn Redmond takes Ashikawa's meditative sound designs to more dramatic and lyrical landscapes, gracefully instilling his personal touch into the master's melodic patterns and presenting six pieces which blend and reflect the modern listener's ever changing environment. As Midori Takada explains in the liner notes, "Even though Gareth is deeply influenced by Still Way, he looks above, toward the air and the sky. He pays respect to Ashikawa's approach, but adds bold elements from another dimension…Satoshi Ashikawa aspired to crystallize the sound structure of nature that exists in the environment. Gareth tries to capture what flourishes out of it."

Laistigh den Ghleo is released in conjunction with Satoshi Ashikawa's Still Way (Wave Notation 2) reissue on WRWTFWW Records.

Mihail P (Verdant/Where We Met/Magnonic Signals) returns to Distant Worlds with 4 more communiques of inter-dimensional wonder. Here, the Macedonian sonic strategist sets his sound palette ever wider whilst still maintaining his signature emotional pads and haunting melodies integral to all his productions. His hauntological approach bears fruit throughout -the future fails us so let's explore different futures, different interpretations of the past, the present. Certainly a maturation in sound, this manifesto offers up 4 distinct meditations on the continuum of electronic sound from the early 90s through to the present day and beyond...

Hold The Sun is a talented electronic music act based in Sweden. New to the scene and making quite an impact, while the artist wants to stay as anonymous as possible, her otherworldly electro and colorful appearance on stage are creating a stir that's got people talking.

For her debut longplayer, Hold The Sun has put together a mixture of deep electro beats, thick analogue basslines and a rich retro feel to the production and synthwork. Wrapped in the hypnotizing format of melodic minimalism over a variety of tempos and vibes. This stylistic edge is combined with a flair for deep storytelling in some tracks, John Carpenter-esque melancholic synth work and even a meditative ambience on occasion. It is this breadth of sound which truly showcases her talent.

An LP that feels like a ceremony of hypnotic sounds and retro-tropical electro beats. Begin the spiritual journey - Join the dance!

Available on vinyl for the first time in 40 years, Outernational Sounds proudly presents a cornerstone document from the Los Angeles jazz underground, Flight 17 – the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott.

"The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people and ask, “Now what can we do to make this community better? What can we do for this community together?”...That’s how the Pan-Afrikan Peoples Arkestra – the Ark – began, with the knowledge that we wanted to preserve the black arts in the community."
Horace Tapscott

Horace Tapscott’s Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. Countless musicians passed through its ranks, and in Tapscott it was led by a musical visionary who should be ranked with the very greatest names in the music. If P.A.P.A. doesn’t have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn’t ring bells like Monk or Tyner, there’s a reason why: in an industry dominated by record labels, a band that doesn’t record doesn’t count. And the Pan-Afrikan Peoples Arkestra didn’t record for nearly twenty years. But recording success was never their concern – they weren’t about that.

First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, UGMA got down at the grassroots. They played for the people, organising fundraisers in parks and coffee houses, hosting teach-ins and workshops for young and old, and mixing it with radical theatre groups, firebrand poets, political radicals, Black separatists, community groups and churches. They lived communally, supporting each other and their people, and built an ark for the Black arts in the heart of the city. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But through all this, they never released a note of music.

It was the intervention of Tom Albach, a fan of Tapscott and the group, that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. From the surging avant-gardism of Herbie Baker’s title track to the laid- back summertime groove of Kamonta Lawrence Polk’s ‘Maui’, or Roberto Miranda’s uptempo Latin jam ‘Horacio’, Flight 17 showcased the radical voices of the Arkestra’s members. Led out by Tapscott’s hard-swinging piano, this is the first flight on wax of the West Coasts’ foundational community big band – energised, hip and together. Open up the gates and prepare for departure!

This edition of Flight 17 contains two tracks previously only available on the 1997 CD edition: ‘Coltrane Medley’ and ‘Village Dance’, recorded live at the Immanuel United Church of Christ. It is released as a limited vinyl-only edition on a 180g pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.

‘One of our favourites’ iD Magazine

‘Mesmerizing’ The Guardian

‘Keep an eye on this guy!’ - Gilles Peterson


Catching Flies’ music draws from a wide-ranging palette of influences including jazz, soul, hip-hop, house and electronica and has previously seen him handpicked by Bonobo to provide support on his World Tour. Over the past few years, his music has gathered the support of Gilles Peterson, Annie Mac, Lauren Laverne, Julie Adenuga & Huw Stephens, critical acclaim from the likes of iD Magazine, The Guardian, Dazed & Confused, and Nowness, and a growing fanbase which has seen him perform both Live and DJ sets across the UK, Europe, the USA and Asia. This has culminated in over 60,000,000 streams to date.

Catching Flies is set to release debut album ‘Silver Linings’ on 5th July 2019. Containing shades of house and jazz, to hip-hop and electronica, ‘Silver Linings’ is a melodic mesh of bright electronics and intricate rhythms. It’s a beautiful, moving record, with sounds that unmistakably come straight from the heart.

Producer, multi-instrumentalist and DJ George King began Catching Flies in late 2012, when he recorded and self released his first two EPs. With huge radio and press support around the world - including multiple #1’s on Hype Machine, BBC Radio support from Gilles Peterson, Mary Anne Hobbs, Lauren Laverne, Tom Ravenscroft, Nemone, Annie Mac, Huw Stephens; praise from i-D, Dazed, The Guardian, Complex, Notion, The Line Of Best Fit, Clash, Dummy and more - he’s since attracted millions of listeners.

Against his instincts he signed with a big management agency and got talking to a label: it almost derailed his career. He explains “What I'd found so inspiring originally was the total freedom to make a tune on my own terms and just decide to put it out the next week. There was a hunger that came with that, and a sense of achievement from being the driving force, but as soon as I tampered with that ecosystem, it wasn't as exciting anymore”.

Touring with electronic music giant Bonobo - who also included him on his BBC Radio 1 Essential Mix - allowed him to watch up close someone who had taken a slow and steady path from tiny clubs in Brighton to arenas worldwide, and see it was possible to do without any compromise. After being teased through a succession of warmly received singles this past year, and seven years on from that first EP recorded and released from his bedroom, his debut album ‘Silver Linings’ is now ready to be revealed.

“It's taken me a while because I didn't want to speak until I had something to say. I wanted to make something positive, hopeful and colourful...The world isn't in the best place at the moment, and the last thing it needs is another dark and moody electronic record. I wanted ‘Silver Linings’ to be a scrapbook of the last three years. It’s definitely eclectic, and it’s supposed to be. Over three years a lot changes, your perspectives change, your tastes change; and I wanted to celebrate that by picking tracks that meant the most to me. One of my favourite things about making music is that it takes me right back to where I made it - the keyboard I used, the chair I was sitting on, the room I was in. It kind of teleports you back to a certain point in your life. A bit like a diary entry.”

Recalling those moments brings back a range of memories: ‘Satisfied’ began by being tapped out on a £15 keyboard bought from Kentish Town Cash Converters, ‘Yǔ’ was made in the mountains of China during a few days off from touring, while an evening on Hampstead Heath inspired ‘Kite Hill Theme’. Also featuring on the album is ‘New Gods,’ a collaboration with London’s bright stars Jay Prince and Oscar Jerome and the beautiful and meditative ‘Opals,’ inspired by the likes of Ryuichi Sakamoto and Alva Noto.

Catching Flies is already looking to the future, closing the first chapter in an exciting and inspiring story, ‘Silver Linings’ is only the beginning.

“A few weeks after I finished the album, I moved out of my house I made all the music in, so it feels like the closing of one chapter and the beginning of another. I can’t wait to make the next one now.”

“A genius” - Nai Palm
“One of the most incredible live performances I’ve seen” - Gilles Peterson
“He's like a human centipede sewn out of all the greatest musicians from the past 80 years” - Liam Pieper

Emerging from Brisbane’s music-art bohemian West End in 2008, self-taught, prodigious musician Lachlan Mitchell aka Laneous, began his eclectic and colourful journey in music as the leading member of funk band KAFKA, stamping his trademark falsetto croon on an Australian music landscape that wasn’t quite ready for an artist whose standout influence was D’Angelo’s ‘Voodoo’. Word of their talent soon reached UK’s perennial tastemaker Gilles Peterson who featured the band on his compilation, Brownswood Bubblers Four alongside other breakthrough acts at the time, Mayer Hawthorne, Floating Points and Lone. A world-class guitarist, vocalist, composer, visual artist and – significantly - muse, Mitchell’s unique ability to shine, create and inspire across genres was his obvious forte, even then. Regularly sought after to provide features for other bands and cover art for Hiatus Kaiyote albums Tawk Tomahawk and Choose Your Weapon, he worked diligently to support his community. But while Hiatus’ Nai Palm told media Laneous was “a genius” he often credited music and drawings to pseudonyms.

In 2016, after 8 years of humbly dominating the Australian underground art, soul and jazz scene [with ‘mutant-soul/croon punk’ cult group Laneous & The Family Yah, reggae band Kooii and improv-jazz-beat trio, Vulture Street Tape Gang] Mitchell relocated to Melbourne - a move that would instigate and inspire the long-awaited debut solo LANEOUS record that fans and peers had been craving for nearly a decade. Excited to create new music with an artist they’d previously referenced as an inspiration, Paul Bender and Simon Mavin (Hiatus Kaiyote) came on board swiftly, joined by Hudson Whitlock (Cactus Channel) on drums and Donny Stewart (Jazz Party) on vibraphone and flugelhorn - a key element in bringing Mitchell’s vision of an exotica/soul infused album to life. In classic Laneous fashion, the musical references for the record run deep, winding through an eclectic array of artists from Martin Denny, Burt Bacharach and The Beach Boys to Shuggie Otis, Wild Cookie and Wu-Tang.

The debut single Modern Romance was unleashed in October 2018 with a kinky, captivating visual accompaniment that marked the return of the Laneous legacy. After selling out the Melbourne launch of the single, the band was invited to headline Gilles Peterson’s Worldwide FM x Northside Records live Melbourne broadcast, teasing exclusive album cuts and drawing high praise from Peterson, stating it was “..one of the most incredible live performances I’ve seen’.

Out May 10 via Soul Has No Tempo, Mitchell’s MONSTERA DELICIOSA stands as a sublime genre work, peerless in Australia - his magnum opus bears the name that’s backed him from day one:

Hoarder is the latest project in a long line of collaborations between Andy Butler (Hercules and Love Affair) and multi- media artist Joie Iacono. Building a sonic world sourced from organic, electronic, and found sounds, the two have waded neck deep into noise-oriented, darker territories over the past 3 years in the studio, and just the tip of the iceberg is revealed on this first EP with London based Khemia Records,
While the four tracks definitely nod to 80’s industrial and techno, with Butler’s knack for arrangement and tenure producing music, and their combined years steeped in the culture, the Ep feels inspired by the era rather than replication or straight homage.
The intention to create a complete visual world alongside these musical experiments is very evident in the video for “Tetanus Spike”. Culling from her years as a visual artist, working with under names like David Armstrong, Dike Blair, Annie Sprinkle and Billy Sullivan, Iacono’s nuanced and sometimes brutal take on portraiture and her inherent sense of rhythm with the moving image boldly comes through. The anti-aesthetic and chaos they are investigating most definitely reflects from their shared love of Fluxus and Actionist art, and the power of performance. Ultimately, in an existential moment of fragmentation, unease, and a creeping sense of powerlessness Hoarder’s approach feels right. Rejecting the superficial and longing for lost authenticity, the time to destroy and rebuild has indeed come, and Hoarder can and will further help provoke it’s onset.

On 28th June 2019, drummer / producer / composer Myele Manzanza will release his eagerly anticipated third album 'A Love Requited' on First Word Records (winner of Worldwide Awards 'Label of the Year' 2019).

Produced with award winning Australian bassist & long time musical collaborator Ross McHenry and featuring a plethora of New Zealand and Australia's finest young instrumentalists, 'A Love Requited' is as much a musical journey as it is an attempt to process, work through and come to terms with the life around him.

"The music on this record was written often as a place of psychological refuge from the tensions of an ultimately failed relationship at home, as well as an attempt to come to grips with thought patterns and personal history that caused an often problematic relationship to music itself. Meditating on themes of love, fear, family, anger, death, ego and acceptance has helped create a narrative arc that grounds the album as well as a mode of therapy to begin working through these issues for myself.

'A Love Requited' is easily my most personal work to date and my hope is that beyond the music itself it may be of help to others, if only to say that your not alone in your struggle to make sense of the world".

This album also features the stellar talents of APRA award winning NYC based pianist Matthew Sheens (John Pattitucci, Cecil McBee, Ross McHenry Trio), alto saxophonist Jake Baxendale (Antipodes, The Jac), trumpeter Ben Harrison (Dave Douglas, Horns Of Leroy), trombonist James Macaulay (The Lagerphones, Epic Brass), multi-reedist Jason McMahon (The Shaolin Afronauts), flautist Adam Page (NZSO, John Psathas, Noel Gallagher), guitarist Django Rowe (Wizard Tone Records) as well as additional keyboard contributions by longtime collaborator Mark de Clive-Lowe (Ropeadope Records, Mashibeats), Brenton Foster and Jack Strempel.

Where Manzanza's debut album 'One' presented his ability as a producer / beatmaker, and his sophomore album 'OnePointOne' showcased his live performance and band leader prowess, 'A Love Requited' puts Manzanza's skills as a composer to the fore.

"Over the last few years I've really enjoyed the process of getting away from music software tools and just sitting at a piano with some manuscript paper and a cup of coffee and seeing what comes of it. I'm a very amateur pianist and my music theory knowledge is fairly limited, but in some ways that's an advantage as I'd be starting with a basic barometer of "does this sound good to me?", without too much consideration for formal rules and structure. From there, developing the arrangements to present to musicians forced me to get a better understanding of melody, harmony and orchestration and to really hone in on refining my ideas to a point where I now feel as much satisfaction and confidence putting myself out on the world stage as a composer as I do playing the drums."

'A Love Requited' will be available on vinyl & digital from the 28th June 2019.

Together as AceMoMa for the first time, AceMo (Adrian Mojica) and MoMa Ready (Wyatt Stevens) have crafted a sound that captures the contrasting grit and shimmering new energy that can currently be found in New York City's electronic music scene. Booming drum & bass and four on the floor house beats are paired with airy synth leads and watery vocal samples, giving the tracks a sense of strong forward momentum as well as a softer, more introspective side. Their new four track EP sounds like what a long night out in NYC feels like in 2019.

Jenkem Recordings is the music imprint of Jenkem Magazine , a skateboarding and culture media outlet, based in the same neighborhood Mojica and Stevens are creating and performing their music. Jenkem Recordings’ main goal is to continue to push the strong connections between music and skateboarding by finding new artists to support who have a strong connection to both communities. The AceMoMa EP marks Jenkem Recordings second release, with many more to come in the future.

French lifeguard and sonic artist Roméo Poirier’s long sold out debut tape finally gets a vinyl reissue. “Plage Arrière” is a deep sea meditation on a constellation of Greek beaches across three islands. Trumpets, echo-clicks and Harold Budd-esque shimmer piano whirl together on these seductive scapes, which recall the sub-aqeaous ambitions of Jürgen Müller or Jan Jelinek inspecting a coral reef.

Like sand-caked postcards, or pieces of seaglass tumbled and re-engineered by their surroundings, each piece exists a keepsake from the song's namesake beach.

These missives glide in and out of earshot, bustling like miniature engines, finely tuned and rhythmically confounding. They echo the factory sampling work of YMO on Technodelic: industrial but somehow good-natured, a symbiosis of machinery and wildlife - like an artificial reef or propeller blades smothered in algae.

Plage Arrière is Roméo’s second album this year following “Kystwerk”, where he joined forces with the Norwegian poet Lars Haga Raavand. “Plage” also marks the inaugural release for SWIMS, a new experimental-focused imprint of Cold Blow, who are releasing the LP alongside London label and NTS residents Kit Records.

The album has been remastered for vinyl by Sam Annand of Esk. Building on its original artwork, the vinyl edition features new photography by Roméo himself.

The much anticipated follow up to January 2018's 'Season 1' album, which sold over 12k on vinyl and over 6.5k on CD. Formats are double black vinyl with bonus 7"and standard CD. Both formats feature 16 songs. Artists include The Who, Madonna, Howard Jones, The Pointer Sisters, Wham, REO Speedwagon, Teena Marie, The Cars, John Mellencamp, Vera Lynn, Foreigner and more (full track list still TBC). Co op advertising across Netflix. Ads, features and reviews across all press. Online/social media activity. Poster campaign and database mailout. Vinyl format released on July 26th.

Music for building bridges, healing and shrugging it off, Fear not 'cause Time will heal your wounds, these tracks are the sound of friends having fun with the medium of House.

CAIN closes out his Fine Grains triptych with a vivacious EP of signature bass shuddering, polyrhythmic drums. ‘High Call’, his first 12” on the now Amsterdam-based label, offers 6 original tracks and a remix by Japanese producer Jun Kamoda in homage to the revelatory spirit and pre-medieval origins of carnivals. Artwork by Dutch/Scottish artist Roos Dijkhuizen created through ink and water drawings.

Colours emerge from the dark, glowing torches and fire embers flicker through the night. ‘Caapi’ warmly draws you into proceedings, an alluring tease of soothing chimes and preview of the infectious shuffling drums that will follow. From ‘Apsara’, Cain sets us on the front foot. A pounding, stuttering rhythm ignites the track, as spinning chord sounds echo and a haunting, hallucinatory vocal lead us on. The carnival is fully alive in ‘Gundon Night’, a sinister and menacing broken track steered by Cosssack warrior chants. High on the mountain we reach the pinnacle of ‘High Call’, a triumphant lead track with CAIN’s recognisable warm and driving, rhythmical drum patterns. The otherworldly psychoacoustic melodies of ‘Taiyi’ and slower-paced triplet drums structures of ‘Zetwal’ make these tracks the outliers of the EP, but they also complement and help to complete the picture. Jun Kamoda’s zany turned up marching techno take on the lead track signs out ‘High Call’ in playful, multi-coloured order.

Music by Davide Luciani (guitar, organ, synth and electronics). Recorded and mixed in Berlin in between 2017-2018 by Davide Luciani. Mastered by Simon Scott at SPS Mastering. Illustration by Anna von Hausswolff.

Biography:

Davide Luciani is an Italian electronic music composer and media designer, based in Berlin since 2011. He has a background in the Italian noise-rock scene with projects dating back to 2005. "Calming Counts" is Luciani's first solo release.

His solo practice places acoustic instrumentation into analogue/digital synthesis to create works that bridge the territories of noise, drone rock and minimal music. His approach to electroacoustic music – which he voices with guitar, piano, strings, accordion, synthesisers, VST sorcery and loopers – has a distinct harmonic hue, with layered repetitive patterns and instrumental polyphonies.

As sound and visual designer he has directed and curated a wide variety of projects from soundtracks to space design. His collaborations have been hosted at highly regarded institutions and venues such as Venice Biennial, Berlin Atonal, Ström Festival, Bayreuth Festspiele, Museum Omero, Tresor and MUSMA.

Luciani was a member of the label/platform Dromoscope and has collaborated as visual artist with Grün (Daniele de Santis) and Claudio Rocchetti. In 2014, together with sound artist Fabio Perletta, he co-founded Mote, a multidisciplinary design studio whose practice addresses arts and music.

A year on from the highly-acclaimed album 'It's A World Before You', Kaidi Tatham brings more new music to First Word Records - a continuation of his previous EP's for the label (2017's 'Changing Times' & 'Hard Times'), here we enter 'Serious Times'.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. Dubbed by Radio 1's Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince in the sense that he can play most instruments, and play them well. His contributions as a musician, composer & producer have included work with Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more over the years, additionally to being a key player on Jazzy Jeff's PLAYlist album 'Chasing Goosebumps' along with Masego, Stro Elliot, 14KT, Tall Black Guy, Rich Medina and the like, and various projects alongside Dego (2000 Black) and First Word label-mates Eric Lau, Darkhouse Family & Children of Zeus.

'Serious Times' is another 4-track set comprised of Kaidi's unmistakable style, encompassing broken beat, jazz, boogie and hip hop. The EP starts off with the hype jazz-funk bruk of 'Cost of Living', maintaining the tempo into 'Don't Cry Now' which leads with a sweet latin-tinged piano riff. Onto the flipside, and we're treated to the slinky synth-boogie of 'Sugar' before dropping the tempo down & closing the selection with a warped but jazzy instrumental boom bap piece entitled 'Zallom'.

Kaidi is a national treasure quite frankly, and this EP is another mere taster of this man's endless talents and unique vibes. Some grown folk music, perfect for these 'Serious Times'…

Vinyl & digital released on Friday 19th July 2019 on First Word Records (Worldwide Awards 'Label of the Year 2019').

Archival reissue of the ethereal wonder from Italian architect / music installation & soundtrack master Piero Milesi. This lush adventure of mediative synth and melodic scores for lyricon and small chamber ensemble contains tracks from films "The Nuclear Observatory Of Mr. Nanof" (L'Osservatorio Nucleare Del Sig. Nanof, 1985), "The Oversize House" (La Casa Fuori Misura, 1985), theatre play "King's Night" (La Notte Dei Re, 1986), and video "The Presence Of The City" (La Presenza Della Citta, 1984) produced by The University For Architecture of Milan.

- For fans of library music, soundtracks, leftfield, synth, WRWTFWW Records, Vladimir Cosma, Piero Umiliani, sci-fi, experimental movies, and astronautic mineral engineers of the mental system.

It had taken him almost three years to record, but in 1985 Jake Hottell finally finished his debut solo album, Break The Chains. Inspired by his opposition to fracking, anger at government corruption and a series of profound spiritual experiences, a hundred copies of the album were pressed and given away to radio stations, friends and local business interests in Hottell’s home state of New Mexico.



The album would have remained an obscure footnote in musical history had it not been for the efforts of DJs Danny McLewin and Jeremy Spellacey. Between them, they tracked down Hottell to hear his story, offering the former electronics engineer and Nashville-based music producer the chance to get his music to a whole new audience. Now, some 34 years after the private press edition was produced, Spacetalk is giving Break The Chains a full release for the very first time. Hottell began recording the album in 1982 after reading Your Body’s Many Cries For Water, a best-selling book by Dr Fereydoon Batmanghelidj about the health benefits of clean, purified water. Remembering the poisonous, methane-laden water that came out of his mother’s taps in the 1970s – a by-product of extensive fracking activity in the area around the family farm – Hottell wanted to create a set of tracks that registered his concerns, reflected his recent spiritual experiences (many of which he still finds it difficult to discuss today) and offered a meditative listening experience.



The resultant set is suitably cosmic and emotive, with Hottell cannily fusing gentle drum machine rhythms and dreamy synthesizer motifs – influenced, he says, by a love of the contemporaneous new age output of former jazz label Windham Hill Records – with his own glistening guitar passages, which sit somewhere between the homespun riffs of country music and the classical guitar solos that have long been a sonic staple of Spanish styles such as Flamenco. Many of the tracks have stories attached. “Horizon” features a profound spoken word vocal from local man Darald McCabe – whose homemade purified water helped Hottell recover from serious illness – while “El Rio dos les Delores” was composed after discovering that fracking was taking place on a local Native American reservation. “The Truth Is All I Want”, meanwhile, reflects Hottell’s growing exasperation at the extent of corporate greed and government corruption in the United States.



This new edition of Break The Chains has been painstakingly re-mastered from the original master tapes, while extensive new liner notes shed light on the remarkable musical and personal experiences that inspired Hottell to create an obscure, overlooked classic.

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

After making music individually for a couple of decades, Peraud and Ferguson decided to collaborate for the first time, joined together by an instinctive desire to blur the boundaries between improvisation and composition.

FZR Sethi is a visual artist, musician and composer who works in several mediums under the expression of draw/paint/volume/sound. His work, either canvas or sculpture, hinges on the fundamental principles of his art, as evidenced in his use of the geometric form.

Ferguson created his alias Rubbish T.C (Rubbish Techno Consortium) in 2015, producing slow and heavy techno made with martial patterns of movement. A producer for 15 years, Rubbish T.C. has been prominent in the free party scene for years.

Moving away from a dance-inflicted mode, Sâd Hu achieves more of a balance with skill and craft. A dense, textural approach hints at something more expansive and insidious. Diversity and richness unexpectedly coalesce into an eerie, percussive scapefest over sonorous layers of droning bass tones and raw power.

Straight out of one of the UK’s most innovative bass music hotspots, Bristol, two of the scenes fastest rising stars Glume and Phossa join the Subaltern roster with their massive debut split EP.
A - Glume & Phossa - IMHK A collaborative effort from the two talented producers, the EP opener IMHK packs double the punch as well as showing a lot of love for the details. Setting the eerie vibe of the release straight off the bat, IMHK is a surprisingly refreshing track that will light up any dance. Waterfalls of melodies meet hard bass hits, all surrounded by a masterfully-composed, rich-in-details and continuously-evolving drum beat. Get ready to walk into a medieval world of wizards, spells, castles and dragons - Glume and Phossa will be your guides.
B1 - Glume - Shriek Time to enter the dungeon and follow our loyal conductors deep underground. Relentless is the term that comes to mind when indulging in this stone cold, yet somewhat uplifting banger. Glume’s solo piece on the EP delivers pulsating bass waves accentuated by tonal percussion lines, embedded into a horror-movie-like atmosphere.
B2 - Phossa - Deathly Stare It’s Phossa’s time to tell the tale on the third track of the vinyl, showcasing some of his signature style synth lines embedded in an ever-creeping atmosphere. Heavy standing bass walls accompany the trippy cascade of sound, ever enchanting and luring the listener deeper into the maze. Will we find our way out?

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

This third release of Black Lotus on Florian Meindl's FLASH Recordings enqueues in her reflection on space and physics and hypnotizes the listener in her usual kind.

According to ancient and medieval science, Aether is the material that fills the region of the universe above the terrestrial sphere.
In mythology it is seen as the personification of the heaven - the soul of the world and element of all life. An undetectable substance.
The invisible material thought to permeate all the empty space in the universe. The pure air that the gods breathe in the heavens.

Kicking off with the opening theme, with its wild synth hook and sweeping ride, ÔAetherÕ induces a solid trip on the dancefloor.

The second track explores deeper territories with its dynamic cymbals, spacey 303 textures and monotonous dark mood.

Distant Signal is a supernatural story about incessant galactic bleeps, accompanied by heavy kicks and a highly energetic percussion.

Safe trip!

Our first long-player for 2019, Daze Island, by French producer Malouane, is a seasonally-appropriate departure for Let's Play House that's more summertime meditation than dance-floor ammo.

Across these ten tracks, Malouane takes us on new age-indebted journeys down cobblestone paths banked with flowering cherry blossom, to clear-sky tropical beach sunsets, on hang glider flights across endless fields of golden wheat. As the LP progresses, the tempo picks up and the ambient washes and puffs of pads pull back to make way for dancier rhythms, but even in these moments, Daze Island is a tranquil affair, pressed first and foremost with a desire to independently explore the mysterious worlds within.

• Durham born Ruth Copeland was an unusual signing to the Invictus label but her folk-funk albums have become cult items in recent years

• Collaborations with her husband Jeffrey Bowen, George Clinton and members of Funkadelic, this is her highly acclaimed second album and is hard to find on original pressing

• Funk/Rock classic, ‘I am What I Am’ has never been available on vinyl since its 1972 initial release and features the club classis ‘Gimme Shelter’

• Demon Records are proud to reissue on 180g heavyweight vinyl with printed inner sleeve and original artwork

Tekvision Volume 1 was a stone cold classic, with Rolling Stone charting it at #3 in their top 20 EDM records of 2017. Two years on, Cornelius ‘Traxman’ Ferguson returns with the second instalment, featuring 7 exceptional new Footwork productions. Traxman is a bonafide OG, with a discography dating back to the halcyon era of Ghetto House in the late 80’s and early 90’s. 30 years on, Traxman is a revered figure in Chicago’s urban music scene, having presided over the evolution from Ghetto House to Juke and from Juke to Footwork culture. Originally released in 1989, Work Dat Mutha Fucker by Steven Poindexter is considered to be one of the most influential tracks from the early days of Ghetto House. Traxman remixes it brilliantly on this release, reworking the stripped back, minimalist drum beat of the original into an upfront Footwork pattern. This sense of continuity is equally evident on Let Me See You Naked feat. DJ Juicy, and Traxman’s remix of To Da Hoooz by DJ Deeon. These productions successfully capture the sexual energy and exuberance of Ghetto House, turbo charged at 160 BPM. Elsewhere on the record, Traxman explores different moods whilst always keeping the dance floor firmly in mind. The opening track It’s Lasting Bass lays an infectious vocal harmony over complex drum patterns and a fearsome bassline. Osaka opens with mellow, sultry keys before introducing a wobbling synth and diced up Orchestal samples. 4 Da Lyfe is a soulful and slightly more meditative track, with a vocal loop expressing solidarity and self-affirmation. Wildcard feat. Jana Rush, stands alone as the only track without a vocal element, instead utilising a piercing and insistent synth to create a powerful sonic intensity. Overall this is triumphant record, and a worthy successor to the original Tekvision release, proving once again that Traxman is an unrivalled exponent of MPC-driven footwork energy.

Following up on the release of his first album in eight years, Agoria has collaborated with enigmatic French musician Jacques on new EP ‘Visit’, out 14th June.

The two-track offering pairs electronic elements with organic, real-world sounds to masterful effect. Title track ‘Visit’ is the best example of this, with a wonky beat trudging through a plethora of immersive sounds. Meanwhile ‘Jardin’, with a grooving bassline, has a greater dancefloor focus.

“The first time I met Jacques, we were sitting at the same table but we didn’t exchange any words,” Agoria explains. The second time, a year later, we started speaking. A lot. During hours. About Vipassana, a technique of meditation that you practice in silence. The third time, I thought I should share his words and breaths, delivering the untold. So I offered him to record a Sapiens Talk. The fourth time, we both agreed it was finally time to record music together.”

Jacques is a musician who pushes back the border between music, sound and noise, using music as a medium of expression on his quest of transversality. Invited to several TEDx conferences to talk about his obsession with the idea of infinity, he has also revealed his new theory called “Vortex”, which he created with Alexandre Gain in 2015.

His first album in eight years, Agoria described Drift as “sitting on your sofa between your guilty pleasure and your tasteful opinion”. The deeply melodic 10-track LP came off the back of a much-lauded Essential Mix for Pete Tong’s BBC Radio 1 show, which was later nominated for Essential Mix Of The Year.

The new release comes amidst Agoria’s first ever Ibiza residency, which kicked off on 31st May at the Blue Marlin. Named after the new album and featuring everyone from DJ Harvey and Gerd Janson to Groove Armada and Idris Elba, the unique day-to-night parties will take place every Friday until 27th September. He will also take his all new live show on tour this summer, with dates including Barcelona’s Primavera Sound, Belgium’s Pukkelpop and Lowlands Festival in Amsterdam.

Milan-based imprint Just This present Cristalli Ionici, a four-track EP from Italian duo Abstrakt featuring a Marcel Fengler remix.

Abstrakt is a collaborative project from Luca Rambelli and Filippo Scorcucchi concerned with the intense study of spatial timbres - a psychedelic trip represented as a sonic aesthetic.

A relatively new endeavour, their debut on Just This offers an expertly crafted voyage into the outer reaches of the imagination. Sonically, the EP files under ambient techno, brandishing swirling textures and tangible effects to create a blissful meditative state.

For his remix of the title track, Marcel Fengler places the subtle complexion of the original and places it inside a driving rhythmic pattern of syncopated percussion and unrestrained energy.

Eraldo Bernocchi is SIMM – one of the originators of Dark Hop. The
Italian musician and producer has worked with Harold Budd, Mick
Harris, Bill Laswell, and Robin Guthrie, and is a versatile, masterful
studio composer, as well as a renowned live performer and improviser.
Odessa’s Medium (Igor Oklander, Pavel Kostyuk, and DJ Koss) are the
newest sensation out of Ukraine in the world of drum & bass. Their
technical production ability and live drum & bass show are unmatched
in the current era. Nailed is a classic, black silk creeper, a film noire
dungeon score sound. Eraldo’s distantly familiar horrorscore guitars
are backed with a stomping broken beat, and the deepest, darkest sub
to be found in the genre. Nailed is SIMM at the height of Bernocchi’s
dark power – crawling, surveilling, hunting. No Questions is what it
says it is on the wrapper – an absolute mauling 2018 dark hop
MONSTER – without question. The crew has cooked up a bass drop of
titantic, megalithic proportions, which must be heard to be believed!
Stepping out of their normative drum & bass format, they play with the
notion of half time drum & bass, while keeping it 100% dark hop tempo.
Limited Edition Print by Petullia Mattioli

“Acid Sensible EP” released by Johnkôôl Records is a compilation of tracks composed by french producer Botine (already seen on Acid Avengers Records) along those formative years. It is truly the fruit of back-and-forths between the stage and studio environment from 2013 to 2016.

The term Acid Sensible first appeared in Clément’s graphic work as he developed his musical adventures. It’s a tale in which pets, organized in a micro-society produce music that will free them from humans and their alienating lifestyle. Acid Sensible is how they name that musical genre they created and that Botine appropriated himself. Built on a complex mix of influences, Acid Sensible is a careful and melodious pop balance between new-beat rhythms and meditative sounds sourced from IDM, Braindance, Psychedelic Rock and Krautrock.

Most of the tracks on the EP were composed on analog devices. The recording was done in one take only, thus preserving its powerful esthetic sourced from the live environment.

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

Spearheaded by James Dean Brown (also known from Perlon's Narcotic Syntax) and Victor Sol, and featuring other rotating members, Hypnobeat is a true product of the open-ended spirit of DIY music that proliferated in the 1980s. The prescient project championed deft, machine-powered rhythm programming as its modus operandi long before the practice would become a dominant global cultural form. Since Hypnobeat was revived in 2012 with Helena Hauff joining JDB on stage for improvised live performances based on one 707 and three 808s, there have been a string of archival releases shining a light on the early and more recently recorded works of this forward-thinking venture.

This latest collection for Artificial Dance comprises three freshly unearthed iterations. Long-form A-side track 'Polychrome Desert' is a pure percussive exercise, programmed and recorded by JDB in 1986 with a chain of three 808s filling out a stereo panorama. The intention was to create a pure, meditative rhythm drawing on African influences and reinterpreted through what was then the music technology of the future. 'Spies In Malaysia' is a live recording from a concert Hypnobeat performed in 1985. Its lurid melodic passages and crunchy percussive blasts formed the closing track of the set, which was met with rapturous response. Recorded in the same year, 'Sumatra Railway' was the product of an impromptu session between JDB and Victor Sol. The song finds the pair exploring a more shadowy, surf-inspired sound, laden with echo and freewheeling through seven minutes of sun-kissed, subtly tropical subversion.

With each successive release, the plot surrounding Hypnobeat thickens in a tangle of 1/4' jack cables and ancient effect pedals. From its shifting line-up to the diverse sonic repertoire, it remains one of the wondrous plants of German electronic music in the pre-techno era.

Dub echo, hip-hop lyricism and heavy guitar fuzz are boiled down into a heady, characteristic musical brew.

On “Dreaming Is Dead Now”, multi-talented wonder Skinny Pelembe meditates on grief, heartache, stunted aspirations and fresh possibilities in post-recession Britain. For his debut album, the Johannesburg-born, Doncaster-raised artist weaves together a patchwork of personal and musical touchstones; memories and observations are dreamily laced together, sun-dazzled California folk diced with the murkier corners of the UK dance lineage.

Tipping a hat to West London broken beat as much as My Bloody Valentine, the album was co-produced by Malcolm Catto (of The Heliocentrics, who’s previously worked with Yussef Kamaal, DJ Shadow, and Madlib), who helped to distil down its bounty of ingredients into the record’s distinctive flavour. Tough, tight-programmed rhythms are washed over with fuzzy overtures, and the title track is the product of a studio session with a foundational drum & bass duo (credited under the covert alias of The Bleeding Edge). It’s the rare kind of record where the messy, in-between musical spaces are given a light to shine.

First discovered through the Gilles Peterson- and Brownswoodfounded Future Bubblers programme, Skinny has since made it onto Peterson’s iconic Brownswood Bubblers compilation series, performed and collaborated with fellow Future Bubbler Yazmin Lacey, and been tipped by the likes of Ghostpoet and James Lavelle. Praise has also come from The Observer, The Quietus and Huck, with previous singles “Spit / Swallow” and “I Just Wanna Be Your Prisoner” bumped up onto heavy rotation on BBC 6 Music’s A-List. He’s also been in demand for live sessions with The Vinyl Factory and Worldwide FM, and supported Nightmares on Wax and Maribou State.

Cosmic Bridge’s club focused ‘Earthbase Series’ continues with ‘Nocturnal’ the new release from Russian producer A.Fruit.

Four tracks that fuse Footwork, Drum’n’Bass, Techno and bold sound design into the 160 BPM framework. A er a heavy hitting set of releases via Russian imprint Hyperboloid, Irish modern trendsetters Rua Sound, and the ever vigilant Med School, so please welcome A.Fruit to the Cosmic Bridge roster.

Label boss Om Unit says: “Anna has a rare ear in this 160bpm world; one foot firmly in the techier sound-design lane, and one in the world of fun dance floor sounds. Well mixed, and not too serious! It’s great to have her on board and we look forward to sharing a stage soon!”

Kicking things off is ‘Make Them Shake’, a hypnotic and contorted expression of footwork with bubbling bass and drum FX - only for the boldest of dancers. ‘Polykarp’ comes complete with rugged old school hardcore chops twisted into a technoid stepper. ‘Deep Insight’, is reminiscent of early Moving Shadow Jungle; hypnotic & minimalist with tight drums, glitches and jazzy late night moments. Closing track ’Before You Go’ is a breaks filled, garage-footwork workout; cheeky vocal cuts and rolling syncopated rhythms for your waistline!

Formerly clandestine, today manifest, both sacred but also profane, sometimes meditated, very often improvised, the Kabar transpires in the daily Reunion, getting rid with insolence of any label that dares to impose. The Kabar is a fleeting but bubbling manifestation of an identity and a local culture that is still difficult to define. A moment of life and sharing where handcrafted instruments, neighborhood meetings, ritual dances and lyrical demands are mixed. A meeting.

Born from the musical union of maloya and electronic music, Digital Kabar is a compilation at the crossroads of cultures, porous to all sound experiences. It's also the result of a friendship that drives InFiné at Les Electropicales festival, from the fascination of a small team dedicated to the independent musical cause for a musical scene and its diversity.

Digital Kabar features tracks & reworks from Jako Maron, InFiné affiliate Labelle, Alex Barck, Christine Salem, Boogzbrown, Loya, Sheitan Brothers,Ti Fock, Force Indigène, Agnesca, Zong, Psychorigid, J-ZeuS, and Kwalud.

Following on from their recent album on Italian imprint Just This, Hunter/Game present the Silence Remixes out June 7th, featuring contributions from Radio Slave, Inland and Jamaica Suk amongst others.

Silence is a spiralling voyage into the depths of blissful ambience and meditative techno from Milan-based duo Hunter/Game. Arriving after a series of acclaimed EPs on the same label, it is an aesthetic statement of intent, carving out serene spaces of melancholy and upliftment.

For the remixes EP, a carefully chosen selection of artists provide varying interpretations of stand-out tracks from the album. Radio Slave turns ‘Dead Soul’ into a marching ground of melodic techno, whilst Inland breathes robotic life into ‘Crashed Sounds’ and Wrong Assessment levitate ‘Fragments’ over murky waters. Closing off the vinyl is Jamaica Suk’s ominous restructuring of ‘Reaction’.

Owners of the digital release will receive three further remixes. Vessels turns ‘Evolution’ into a broken dreamscape of stepping percussion, whilst Just This affiliate Scissors forges a stripped back, tripped out version of ‘Memories’. Also featured digitally is a second version of Jamaica Suk’s ‘Reaction’ remix.