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Here is the highly anticipated sixth volume of the well received electronic compilation series from the relaunched 1980's color tapes label. As with the other volumes you can find great examples of cold wave, minimal wave and synth electronics and pro to EDM made by obscure British bands in the 1980's such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord and Mystery Plane

"Up there with V-O-D selections, the Color Tapes series so far has provided invaluable insight to hidden or much lesser-known currents of the ‘80s cassette subculture which gave birth to myriad artists, styles and industry conventions whose influence can still be felt over 30 years later. " - Boomkat

“Electronic work that’s way different from mainstream pop of the period - often forgedout of the same instrumentation as the hits - but in a stripped down way - with lots of dark and moody corners!” Dusty Groove

“Evil Synths and evil beats” - Norman Records

“Gary Ramon’s re-born Color Tapes imprint is every bit as essential as it’s Minimal Wave and electro-focused predecessors” - Juno

Limited edition of 500 copies comes with poster insert

Queried on his favourite word in the German language, Masayoshi Fujita will pick 'getragen' - without a sliver of hesitation. Further questioning will reveal that he loves the term's semantic signifiers, its inherent sense of "expansive, deep, quiet and sombre." And yet, 'getragen' leaves plenty of room for interpretation: depending on context, it might also indicate wearing apparel or the state of being carried - two more mundane interpretations that I would rather keep from him. Does Masayoshi's own definition, however, apply to 'Bird, Lake, Objects'? Only to a limited extent. Compared to previous Faitiche releases, 'Bird, Lake, Objects' is certainly the most 'getragen' of them all. Nevertheless, this is by far not the first association that comes to mind. From a distance, these tracks seem rather introspective, cautious even - and reflect the recording situation: deliberately pared down, reduced to a single microphone in space and a separate track for all other instruments, each movement and action is chronicled by the treacherous mike. This confronted me with some unexpected and unfamiliar problems. For example, we had to swap out the seating in the studio as my favoured chair had a characteristic creak. Other, external influences were proved our control: fire engine klaxons, street noise and footfall became part of the recordings and their improvisatory nature. Each movement required careful orchestration, fully aware of its irrevocable nature. Space itself was always present and an audible entity, except on 'Stripped to RM' (recorded without a microphone or vibraphone track). After extensive deliberations, we decided to forgo the vibes on this piece - a very similar version had already been released in 2008 (on the compilation 'Enjoy The Silence', Mule Electronic, 2008). Jan Jelinek, February 2010

The original, the inspirational, the bombastic, the never bettered, the one.
'Don't make me wait' is all of the above and so much more. Classic to the core. Huge earth shattering record right here.
OK, so the scoop, for the uninitiated is this - the Peech Boys were Larry Levan's group, we're talking early 80's NYC here, 1982 to be precise, around the height of the Paradise Garage as Larry was making the transition from superstar DJ to producer. He brought a sparse, dubbed out, narcotic late night feel to the overall sound of this record. This was a short-lived project, but the influence is still felt today, the Peech Boys DNA is inside the veins of modern dance music, as is Larry's. There is no underestimating what an impact this record had. 7+ minutes of electronic bliss, trailblazing stuff, and don't get us started on the dub. Do yourself a favour, BUY this classic if you don't own it already, you'll keep coming back to it time and time again. Guaranteed. This essential 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

Rivage was one of the records during my early days into Modern Soul I was desperate to get hold of, 'Strung Out On You're Love' is up there in my top ten and I managed to pick a copy of the 45 when in the USA in the Early 2000s for a decent price. I only found out there was a rarer LP with a longer version of the track around the same time, with the bonus of a pile of solid Funk, modern and sweet soul tracks. Fast-forward to 2019 and friend Angelo Angione hooked me up with the band who were excited to work with me on a reissue. Now those who know the LP will know it's rather odd cover, this was a marketing idea by someone at the Label, despite the band not wanting to use it that's the way it ended up. We decided to put things right and have reinstated the original cover shot of the band. This LP is simply one of the finest 70s LPs, it's mad that it has not been reissued before now…enjoy.

Djebali and Jorge Savoretti combine to deliver their ‘Fraires’ EP on Infuse, accompanied by a remix from Stephan Bazbaz.

Two producers at the heart of today’s modern house and minimal scenes, Paris favourite Djebali and Argentinian DJ and producer Jorge Savoretti have grown to become two of the most consistent and impressive talents active within the scene today. With over thirty years of experience between them, releasing material via the likes of Freak’n’Chic, Raum…musik and Cadenza plus Djebali’s own self-titled imprint, the pairing now turn their attention to new ground as they make their collaborative debut on FUSE sister imprint Infuse this summer, offering up three fresh productions via their ‘Fraires’ EP alongside a remix from Tel Aviv’s Stephan Bazbaz.

The slow-blooming and hypnotic sonics of ‘101’ open the EP in style as the two talents merge sweeping synth lines atop of warped electronics and slick percussion shots, whilst Stephan Bazbaz’s remix ups the tempo and builds on the original with a combination of energetic builds and icy hats. On the flip, ‘Pigalle’ delves into a deep journey guided by a resonant lead line and hazy background murmurs, before closing with the classy ‘Devote Ville’ – a smooth and well measured production which oozes sophistication and quality from the opening minute.

O YAMA O explores a certain domestic and democratic quality of everyday life, born through associations to folk music of Japan and a folding of myth, tradition, and routine; the non-spectacular and the sublime.

Formed of musician and artist Rie Nakajima and Cafe OTO co-founder Keiko Yamamoto, the group has performed since 2014 at venues and festivals such as noshowspace, Ikon Gallery, Wysing Arts Centre, Supernormal, Borealis Festival, Mayhem, and allEars Festival.

Nakajima’s performance often focuses on the use of found and kinetic objects, using modest items such as rice bowls, toys, clockwork, balloons and small motors as instruments to create a “micro orchestra”. Elements are layered into impressive and immersive atmospheres. Yamamoto alternatively floats and charges through this with body and voice; chanting, incanting, thundering, whispering, stamping on the floor.

Their debut album consolidates their musical conversations into keenly paced studio music, the duo working with additional instrumentation and a resolved focus on melody to provide vivid portraits of folkloric Japan in song.

They move between pop and the philosophical, defined by the overall space afforded to texture and movement. In small, delicate sound an intimate musical climate is established that reflects on life, telling stories of improvised clockwork, whispered dreams, small movements of the hand and the rhythm to be found in the shuffle of a deck of cards.
Grandly theatric and dramatic flourishes add solidity to these illustrations, operas driven by the swooping energy and power of Yamamoto’s voice can be playful or emotionally charged, particularly when the duo arrange themselves in ensemble with violinist Billy Steiger and percussionist Marie Roux. Production by David Cunningham creates the shadowy presence of a leftfield Flying Lizards dubwise depth that adds subtle strangeness to the atmosphere. The result is something raw, full-bodied; full of energy, grace and mystery.

After seven years, the second release of Max Loderbauer on Non Standard Productions arrives again in his style of post - german - electronic - avant garde. “Donnerwetter” is the perfect blue print of modern reduced electronic adventures. Carefully chosen out of a pool of recordings produced by Max in the last years, slightly edited and arranged into a full length album.

Universal Music are proud to release all hit Queen studio albums sourced from the original master tapes mastered by Bob Ludwig. This 18 vinyl LP box set comes with a lavishly illustrated 12 x 12 inch 108 page hardback book which features introductions to each album, quotes from Queen themselves, hand-written lyrics, rare photograhs, memorabilia, and information on singles and videos. *Re-press

ANNA HOMLER & ALESSIO CAPOVILLA - VASI COMUNICANTI

Vasi Comunicanti is the oneiric record born from the collaboration between L.A. performer and avant-garde artist Anna Homler and Alessio Capovilla, co-founder of Gang of Ducks.

Alessio Capovilla (1985, Turin, Italy ) is an Italian composer interested in sound modelling.
Imperfect sounds, unpunctual distortion and unsuitable atmospheres are constantly researched by Alessio.
A dialogue between ancient tools and new technologies through synthesis, computer music and field recording, crossing beats and genres towards something not easily definable.
Co-founder of the collective Gang Of Ducks, on which he's published two releases ("NO" and "Eocity") under the moniker of XIII, alter-ego through which he mainly examines the most tactile and digital part of his sound.


Anna Homler is a multy-disciplinary artist working on a blurred line between music, performance, spiritual and visual arts and giving birth to several different projects.
In 1985 she released, in collaboration with composer Steve Moshier, the seminal album "Breadwoman & Other Tales", shamanic and meditative songs brought to life with astonishing live performances.
The record was then re-released in 2016 by NYC label RVNG Intl, bridging the gap with a new generation of listeners, discovering the universal and unique world of Homler.
Capovilla, who was born in the same year of the original release, is one of them. His work focuses on imaginary landscapes and oneiric feelings. He has released two records on Gang of Ducks with his XIII moniker, dedicated to his digital and more computer-oriented sound.
The two of them met for the first time for an improvised live performance in Torino in 2017, after which they decided to spend studio time together exploring where this connection could lead.

The record flows along 5 tracks, with Capovilla taking care of synths, drums programming and audio engineering, and Homler singing in her melodic phonetic language, mixing unique voice and sound effects .

"De'la cocce" moves around on a slow quasi-dub rhythm accompanied by whistle and vocal interventions. In "Ricordo" Anna's voice is more prominent, travelling through a digital dimension made of flutes, Buchla Music Easel sequences and rainsticks.
The B side starts with "Bread Dance", where different layers of vocals and drums repeat themselves in an obsessive and haunting atmosphere.
"Be'ya Sa'di" is an ambient and cinematic piece, which quietly introduces "Mem", the most emotionally and intense song of the collection, transporting the listener into a different dimension.

The whole record creates a world with no geographical coordinates, where humans meet their primary feelings in a suspended time, escaping the present and the intelligible world.

Can you truly believe this record was released in 1965 ? Forging a brand new hybrid of space-age, easy listening and spy jazz the American pianist and composer born in New York in 1927, put together one of the cornerstone of the genre. Before switching to the Moog synthesizer ( right on time with the moon landing in 1969) he had some very influential theme music releases on MGM Records and Command. But The Man From O.R.G.A.N. was a monster in itself. How could you go wrong with this trio of guitars, a bassist and three guys playing percussion? And Dick himself bringing the Lowery Organ (and the Theater model in particular) to the front of the stage ? Dig yourself !

"There's a fresh new undercurrent to his fourth LP, Everything Will Grow Again, the first single of which (Carrie) was released on 17 April. The album sees Fakear fusing styles with more muscle than before, ushering in hints of Mount Kimbie, Floating Points and Jon Hopkins and embracing accidental synth sound effects.
It’s been six years since the worldwide success of “La Lune Rousse”, his first oriental-inspired EPs released by Nowadays Records, and the halting, vibrant vocals that catapulted Fakear onto the scene, with the musician now finding himself keeping on-stage company with heavyweights such as M.I.A. and Bonobo.
Everything Will Grow Again is a more candid, sincere exploration of harmonisation this time, with a sturdier technical weave underpinning the whole. The background murmurs of Jupiter-8 synths and a Matrix Brute recur over the album’s eleven tracks. Fakear’s long-standing communion with nature, a source of inspiration to him from the very start, are combined with his trademark acoustic chords on tracks such as “Together” and “Sekoia”. An entire section of the album has a decidedly club-inspired feel (“Structurized”), opening out into a series of analogue waves of sound reminiscent of Mount Kimbie and Moderat (“Linked”)."





d 4. Rituals feat. Luiza Fernandes
[e] 5. Carrie [feat. Alex Metric]

Here we have a 7” featuring two tracks from the forthcoming Blue Note: Reimagined album on which modern artists take on jazz classics.

Names You Can Trust is proud to present a special collaboration with Barbès Records and the legendary godfathers of cumbia amazónica, Los Wembler's de Iquitos. Featuring two songs mixed expressly for 7-inch directly from the reels of their 2019 album, VISIÓN DEL AYAHUASCA, it's the latest entry in the group's historic canon of a particular brand of bonafide psychedelia, a worthy addition to a catalog of recordings that have made their way around the world to fans, DJs and sound systems since the group's beginnings in the late '60s.

The band's 50 year-old origin story begins when electric instruments started showing up at the port city of Iquitos, Peru. This seminal moment of international trade at the gateway to the Amazon inspired a shoemaker named Solomon Sanchez to start a band with his five sons. Los Wembler's were the first band in the capital of the Peruvian Amazon to play popular local rhythms with electric guitars. Their revolutionary sound, fuzzy lysergic guitar helixes wrapped around melancholic melodies, would go on to have an enormous impact on the whole of South American popular music, echoing throughout the continent and further, into the States and eventually across the world.

The past few years have seen a new wave of interest in the band's music. Los Wembler's, the sons, now fathers and grandfathers themselves, have brought their trademark sound on recent tours to Mexico, Europe and North America, where it has been embraced by a new generation of musicians and listeners.

As Los Wembler's prepared for a lengthy tour in 2020 to coincide with this new 7-inch issue, the world abruptly changed course. The COVID-19 outbreak has had particularly devastating consequences in the Peruvian Amazon. With an urban density of around a million people, Iquitos is the largest isolated city in the world, reachable only by boat or plane and surrounded by the vastness of the rainforest. A buzzing multicultural city, Iquitos was catapulted into modernity during the late 19th century's rubber fever. It is home to not only the members of Los Wembler's, but several legendary and influential musicians who helped lay the groundwork for the roots of chicha, the distinctively Peruvian brand of cumbia.

What is Randolph & Mortimer? A folk duo, a pair of accountants, a techno act…a law firm? What started off as an ‘art project’, influenced by 80s Industrial, 90s rave music and inspired by the documentaries of Adam Curtis, has morphed into a full on New Beat / Body Music dance-floor moving machine. Their studio releases have gained support from some of the biggest underground DJ’s in the world like Ancient Methods and gone on to top various genre sales charts on Bandcamp. Whilst the R&M live shows have seen them share bills with Godflesh, Youth Code, PIG and 3Teeth.

In 2019 it was time for R&M to throw a marker down and so came “Manifesto For A Modern World”, the debut album comprised of tracks from the “$ocial £utures”, “Hope Tragedy Myths” and “Citizens” EP’s plus some additional songs. This album is basically a greatest hits of Randolph & Mortimer. A statement of intent. All killer and no filler. The original limited edition CDs and tapes sold out and it had some incredible reviews. A Model Of Control called it “An absolutely outstanding release” and super cool New York DJ Andi Harriman (Synthicide) made it one her of top 10 albums of 2019 on Post-Punk

So here we are in 2020 and the Randolph & Mortimer story has seriously stepped up a gear with this double vinyl version of the album featuring all Manifesto tracks plus the acid styled dance-floor favourite “Apply Yourself” and four brand new tracks (“Crystal Peaks”, “Stateless”, “What Are You?”, “Fantasy Land”) which make up a whole new EP.

Limited edition of 400 copies with folded poster/insert and sticker.

2LP: Gatefold with colored vinyl, Side AB: translucent Purple / Side CD: translucent Green. 12x24 inch fold out insert

Velvet is Adam Lambert's ode to 70's, guitar driven rock and funk music done with a modern twist and accentuated by his distinct and incredible voice. Best known as an international superstar who blew the world away on the eighth season of American Idol. Since then he's gone on to have a fully-fledged solo career, and tour the world with Queen. In addition to his musical achievements, he became the first openly gay artist to chart with a number one album in the US and Canada.

Siti of Unguja tells the story of pioneering women, of the ‘golden
voice’ of Siti Muharam, heiress to the singular legacy of her great
grandmother, the mother of taarab, Siti Binti Saad.

On the Corner teases this first taste of a landmark recording that the
label embarked upon two years ago on Zanzibar. Siti of Unguja has a
transformative atmosphere, brimming with romance, passion and
protest.

Zanzibar is an Island archipelago that lies 6 degrees South of the
equator and 30 miles off the East African coast out in the Indian
Ocean. Known for its spices, traditional Dhow sailing boats and being
a mercantile trading capital of Swahili culture.

The modern history of Zanzibar can be animated through the life and
legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing
village of Fumba, on Unguja (Zanzibar’s largest island), she became
the first Zanzibari recording artist and her recordings sold in tens of
thousands across the swahili world.

The tracks recorded for Siti of Unguja demonstrate Siti Binti Saad’s
eclectic influence on Zanzibari taarab and her great granddaughter,
Siti Muharam imbues the compositions with feeling. Siti Muharam’s
golden voice carries the poetry and invects a timeless passion. It is
Muharam’s deep humility and love that brings the spirit of these two
women together.

With Sam Jones at the controls, taarab’s conservative layers were
opened up and given more than a little wiggle room. Under the
direction of Matona, the recording of this album paid homage to Siti
Binti Saad’s innovations by bringing back the percussive Kidumbak
style of music that originated on the streets of Zanzibar. By strippping
back the typically dense string section of taarab a space was created
for Muharam’s beguiling timbre that is gilded with emotion.

Rival Consoles is 21-year old IDM-smith Ryan Lee West from Leicester in the Midlands of England. After having supported his city neighbours and label comrades Kyte on an extensive European tour in November 2008, West locked himself away all winter to finish his first full-length album, set to see the light of day in mid 2009. In the meantime fans of his debut 'The Decadent EP' will be pleased to hear that on February 23, 2009 Erased Tapes Records will release an exclusive 4-track 7" single / download bundle ? Rival Consoles' take on classical music entitled 'Helvetica'. Instead of X-Box versus Playstation, here West plays classical against dance music! Influenced by impressionists like Claude Debussy and modern electronic artists such as Autechre and Daft Punk, Ryan Lee West created a unique signature sound for Rival Consoles. A playful and brutal mix of electronic beats, emotive piano melodies and warm synth string arrangements. Ryan repeatedly performed at the Tate Britain Museum in London where he drew over 2000 visitors into his unpredictable, yet detailed sound drawings. He was the first to represent Erased Tapes Records at the British Music Week 2007 in Cologne, Germany. Limited to 500 copies only: with download code. Album due later in the year, and it will be one of the years hittest tips...

ORANGE COLOURED EDITION

The second volume of Nothing Is Real’s self-titled compilation builds on their towering reputation as leading lights within the global electronic music community. As the label’s first release distributed by the respected Dutch record label and store Bordello A Parigi, the collection is set to further establish their international presence and spread their eclectic sound far and wide.

Bringing together diverse influences from across the spectrum of electronica and into new wave and ambient music, Nothing Is Real stand at the forefront of modern dance music as sonic innovators that continue to push boundaries with each offering.

Curated by Alberto Iovine and Alessandro Fumagalli, also known under the stage name Modular Project, this four-track collection takes listeners on a journey through the outer atmosphere of techno, expanding and evolving the genre into new forms along the way.

Cantor’s opening track kicks things off with a hypnotic, driving groove built on acidic synths before Niv Ast & Roe Deers bring a human touch to the proceedings with a vocal-led heater that recalls classic ‘80s sounds. Dharma pairs shuffling rhythms with extraterrestrial soundscapes that recall Squarepusher and Aphex Twin, before Argia closes the record with force and momentum, surrounding voltaic synthesizers and tribal drums with expressive atmospherics.

For the third instalment of the Dispatch Blueprints series, another of our favourite artists presents their unique take on the Blueprints ethos.

Continuing the theme of exploring organic musical progression, DLR delivers two exceptional tracks that perfectly capture the spirit of the label.

An idea in development for several years, 'You Leave' began life as a hardware-based tune. No longer using the same equipment when returning to finalise the idea, the track was rebuilt with modern emulation, combining old school inspiration with contemporary techniques.

'Intermix' is a stripped-back, two-step journey. Slowly developing changes progress into dynamic and unexpected directions.

AD and Worldline deliver Toy Opulent’s third release - and it’s first vinyl imprint.

Soft Serve Angel projects a clear and present sense of techno drive and a delightful symphony of melodic synths. The beginning is minimal and evolves into a full cacophony of beauty and craftsmanship, layered with the vocals of the mysterious Crisis Luxury. Here, meanderings of childhood tones echo from an East L.A. ice cream truck. From the hailed vehicle emerges the soft serve angel - with a vanilla cake cone prepared, just for you, on a sunny California day. This track is incredibly versatile.


A Soft Serve Angel remix is presented to us by a master of his art, Persuader. He shows us, once again, that minimal drive that we can all count on to provoke thought and movement with modern engineering skills and a familiar old school flair.


Bubble Gum Eyes is minimal perfectly pitched protocol of TR-909 love with a morphing bassline and epic-scale science-synth work. The track addresses both a question and an answer.


Rocket POP! I mean, who don’t love a good rocket pop? This dubby dub dub mix contains fragments of the entire release that sums it up, and finishes it off perfectly - the cherry on top of the soft-serve angel.

RIVAL CONSOLES IS 21-YEAR OLD ELECTRO ACID-SMITH RYAN LEE WEST FROM LEICESTER. INFLUENCED BY IMPRESSIONISTS LIKE CLAUDE DEBUSSY AND MODERN ELECTRONIC ARTISTS SUCH AS AUTECHRE AND SQUAREPUSHER, HE CREATED HIS UNIQUE SIGNATURE. A PLAYFUL AND BRUTAL MIX OF IDM ACID BEATS AND WARM, EMOTIVE SYNTH STRING ARRANGEMENTS. IN FEBRUARY HE RELEASED AND TOURED THE MORE QUIRKY "VEMEER EP" UNDER HIS SECOND MUSICAL ALIAS APARATEC, WHICH SOLD LIKE HOT CAKES AND EARNED HIM A LOT OF FANS. RYAN RECENTLY REPRESENTED ERASED TAPES RECORDS AT THE BRITISH MUSIC WEEK 2007 IN COLOGNE, GERMANY AND CRAFTED REMIXES FOR UPCOMING LABEL COMRADE AND PRODUCER JUSTIN LOCKEY (YOURCODENAMEIS:MILO). "THE DECADENT EP" WILL HIT THE UK SHOPS AS A FUSION OF TRADITIONAL AND CONTEMPORARY FORMATS - A 10" VINYL RECORD WITH A DOWNLOAD CODE, THAT ALLOWS THE PURCHASER TO BE ABLE TO GET THE ENTIRE EP PLUS BONUS TRACK DIGITALLY FOR NO EXTRA COST.

Silver Vinyl repress

The debut of Hamburg-based Quadratschulz on Clone Dub Recordings. A mini album with tracks ranging from a poppy version of Rephlex style braindance to melodies reminisching a modern day John Carpenter soundtrack to almost old Viewlexx style electro. A versatile album where Quadratschulz showcases his broad range of influences all very firmly rooted in the 90's rave.

For their sophomore album, Chemical Reaction, Galaxians have stripped back the music and pumped up the vocals. Emma Mason's unstoppable voice elevates the group to a fully-formed musical act. This new LP is all about her voice.

Mason's powerhouse vocal on the West End Records-inspired Chemical Reaction beckons you onto the dancefloor. Jed Skinner's bright and breezy synth melodies allow the song to really breathe, whilst Sam Bell's front-and-centre conga groove (straight out of Double Exposure's My Love Is Free) and Matt Woodward's intricate rolls ramp up the track's energy and momentum. The shorter Mama Ghetto Vogue Edit is brought to life by Darren Pritchard, vogue dancer and mother of Manchester's House of Ghetto, who meets a neon wonderland in the electrifying video.

Elsewhere on the album, Heartbreaker champions female empowerment and personal freedom over a pounding boogie groove. It's a tight arrangement which drops into a delay-drenched Levanesque drum break before crescendoing back into a final chorus via one of Skinner's trademark JX-3P synth solos.

On the proto-house funk of Fight For Love, where Emma flexes her vocal chords to jaw-dropping effect, a failing relationship is thrust into the spotlight over a punchy Linn Drum groove. On the silky shuffle of after-hours jam Work It Out, which brings to mind the classic Sly & Robbie Compass Point productions, Emma croons about a lover, her voice cast in a softer, more subdued glow. Heat of the City sizzles with the essence of an urban summer, and is peppered with heart-stopping hand claps.

Third single Horizon sees the band in more reflective low-key mode, and could be their minor hit of the summer. There's some neat drum programming here, intertwined with Woodward's intricate fills and hi-hat playing.

On Not The Money, Mason's vocal shifts to a lower register in the mid-section, bringing to mind Grace Jones at her most commanding.

All in all it's a life-affirming experience, one born out of a sense of community and collaboration. Seven years on from their early explorations Chemical Reaction sees Galaxians retain sight of the principles that make their output, and dance music as a whole, so vital - commonality of experience, singular moments shared by a crowd, and rhythm as the best medicine.

Of course, Dubblestandart have been keeping a version of the dub flame alive for the last two decades. Formed in 1988 as a reaction to the stagnant Austrian pop scene, the group was heavily inspired by the Black Ark, On-U Sound and Jah Shaka, infusing such dub influences within their heady blend of hardcore reggae and new wave, which soon brought them into the European public's consciousness and as a kind of "European" version of the famous DUB SYNDICATE. Soon, they were so in demand as to be backing Lee Scratch Perry, dub poet Lilian Allen, Dillinger, Ari Up, Ken Boothe, Marcia Griffiths, Chezere and orthers. Well, Austria's / Viennas's finest moments in dub working and collaborating with the new technological dimension of modern dub : Paolo Baldini from Italy. Baldini's stunning excursion into deep dub, chilling dub and dubble-tough dub will reach the DubFiles into perfection @ DUB ME CRAZY. Paolo Baldini's handling of this mission has been exemplary: his production and remixing skills are pleasingly individualistic, retaining plenty of originality and professionalism without seeming stoic, dull or contrived. His collaborations with Mellow Mood, Hempress Sativa, Dub Fx and others are showing faith of what DUB is living for. Since 2007 Paolo Baldini works under the top level name "Alambic Conspiracy" and became world class dub extraordinary performer, bass player, mixologist, producer and provocateur!

Re-Release

Black Truffle is honoured to present the premier recordings of two recent works by legendary American experimental composer Alvin Lucier. A friend and contemporary of pioneers like Robert Ashley, David Behrman, Gordon Mumma, and Christian Wolff, Lucier has been crafting elegant explorations of the behavior of sound in physical space since the 1960s. Lucier is perhaps best known for I Am Sitting in a Room (1970), in which he repeatedly re-recorded his own speaking voice being played back into a room until the room's resonant frequencies entirely obscure the spoken text. Beginning in the early 1970s, he has written a remarkable catalogue of instrumental works that focus on phenomena produced by the interference between closely tuned pitches, such as audible beating, often using pure electronic tones produced by oscillators in combination with single instruments.

Demonstrating the restless creative drive of an artist now in his 80s, the two recent works presented here both feature the electric guitar, an instrument Lucier has just recently begun to explore. In Criss-Cross, Lucier's first composition for electric guitars, two guitarists using e-bows sweep slowly up and down a single semitone, beginning at opposite ends of the pitch range. The piece is a model of simplicity, exemplifying Lucier's desire not to 'compose' in the conventional sense, but rather to eliminate everything that 'distracts from the acoustical unfolding of the idea'. In this immaculately controlled performance of Criss-Cross by Oren Ambarchi and Stephen O'Malley, (for whom the piece was written in 2013), a seemingly simple idea creates a rich array of sonic effects - not simply beating patterns, which gradually slow down as the two tones reach unison and accelerate as they move further apart, but also the remarkable phenomenon of sound waves spinning in elliptical patterns through space between the two guitar amps.

In the comparatively lush Hanover, Lucier draws inspiration from the beautiful photograph that provides the LP with its cover, an image of the Dartmouth Jazz Band taken in 1918 featuring Lucier's father on violin. Using the instrumentation present in the photograph, Lucier creates an unearthly sound world of sliding tones from violin, alto and tenor saxophones, piano, vibraphone (bowed) and three electric guitars (which take the place of the banjos present in the photograph). Waves of slow glissandi create thick, complex beating patterns, gently punctuated by repeated single notes from the piano. The result is a piece that, like much of Lucier's instrumental music, is simultaneously both unperturbably calm and constantly in motion.
Stunning LP design by Stephen O'Malley including an inner sleeve with a portrait of Alvin Lucier by Kris Serafin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Belin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Berlin.

Spanning multiple styles and genres in a seamless blend of danceable music, the album reference synthwave, italo disco, fun and blissed-out synth sounds throughout a constantly evolving record, merging modern feels with rich tapestry of old 80's melodies.

Mono Han are brothers Alessandro and Davide, who collectively have a deep and long understanding of electronic music. Davide is a co-founder of N.O.I.A, one of Italy’s first electronic live acts to perform and record with drum machines and synths as early as 1978. He was also behind seminal Italo outfit Klein + M.B.O and proto-house hit “Dirty Talk”. Alessandro, following in his brother’s footsteps was inevitable and he too became hooked on the incredible new sound palette emanating from the early electronic machines.

Since then they have released under an array of aliases, have clocked up numerous club hits and this project brings them back to their 80’s roots.

Arguably poised as Kool Keith’s most sophisticated release to date, “Saks 5th Ave” serves as both a stepping stone forward in the artist’s prolific career, as well as a much needed reminder that the world’s most innovative emcee has a thorough grasp on far more than your average rapper. Touching on everything from the use of high fashion products to personal experiences including a near fatal car crash which occurred in 2017, The 16 track studio album produced by the versatile beat maker Dean “Landon Price Beats” Trotter channels Keith in a smoothly conscious state while laying down effortless bars over modern yet timeless hip hop production. From the artist who brought you "Dr. Dooom”, “Sex Style”, “Keith” and everything in between, “Saks 5th Ave” is the latest and greatest haute couture in a world of Gap and Old Navy hip hop.

Never a dull moment on Neroli: after a string of releases from the likes of Fred P, DEGO, Patrice Scott, Chaos in the CBD and Trinidadian Deep it’s now the turn of PATRICK GIBIN together with KAIDI TATHAM.
The duo has been already responsible for some heat on Patrick’s own Blend It label, and here they are teaming up once again for a whole EP.
This time they enroll New Jersey majesty JOSH MILAN of Blaze/Element of Life fame on vocal duty with extra the help of Dawn Tallman on backing vocals and they turn the song ‘Love To The World’ into a modern day Classic…..Anthem Alert! But there’s more evidence of brilliance from Gibin and Tatham with the boogie ‘Groove on’ and JazzFunk House joint ‘Don’t Be Rude’ where mr keyboard Kaidi lets loose on Bass and Guitar!

On Sunset features ten classic yet modern Paul Weller songs. On Sunset is a soul album. At the same time it’s also an electronic album, an orchestral album, an album packed with masterly pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s. Most of the album sees Weller multi-tasking on various instruments with accompaniment from his regular band - Ben Gordelier appears on all tracks and Andy Crofts on most whilst Steve Cradock pops up with his guitar on 4 songs. An eclectic and sometimes surprising gathering of guests appear on On Sunset including Slade’s Jim Lea contributing violin to the Bonzos-esque “Equanimity”, and Paul’s old Style Council chum Mick Talbot adds his signature Hammond Organ sound to 3 tracks. The beautifully lush “More” features a verse sung by French singer Julie Gros, from the band Le Superhomard (whose album Meadow Lane Park was one of Weller’s favourites of 2019) as well as the return of The Strype’s guitarist Josh McClorey. English folk trio The Staves contribute backing vocals for 3 tracks. Once again Hannah Peel sprinkles her magic over the album with string arrangements and The Paraorchestra were invited to add their expertise to 4 tracks. Formats include Black double Gatefold Heavyweight LP, a CD Mintpack and a Deluxe Hardback CD version with additional tracks.

IZIPHO SOUL are ecstatic to collaborate with Marlin McNichol’s Angel Dove Global.

Legendary 70s funk band Ripple return with their two original members - Curtis “Kazoo” Reynolds & Keith “Doc” Samuels - as RIPPLE 2.20.

For the first project, we present a brand new version of John Edwards’ ‘Exercise My Love’, this is no ordinary cover, check out the slick production and Doc Samuels’ incredible vocals!

On the flip we’ve gone as funky as we’ve ever dared to venture. A remix of Ripple’s signature song, with a fresh modern twist, that will ignite your record rooms now and dance floors soon!
Limited edition of 300 copies

The #1 Best Selling Track for 2019 in Electronica / Downtempo genre on Beatport, Namito - 'Stone Flower' sees a new vinyl release featuring a previously unreleased, and vinyl only, remix by Satori. It also serves as a teaser for Satori's upcoming full length album on Sol Selectas Records.

Iranian artist Namito, who has made quite a name for himself over the years in the Techno scene of Berlin, diverges from this tip for 'Stone Flower', putting a new twist on a Persian classic. Creating a hypnotic deep house groove, with ethereal uplifting lyrics, listeners and dancers alike are taken on a journey to a time when Persian culture was at its peak of creativity and freedom.

Namito heard this traditional song at a family gathering in Iran, sung by his 2 sisters Mojgan and Marjan, and was instantly moved by its beauty. He invited his sisters into the studio the very next day to record their vocals, and the result is 'Stone Flower', which pays homage to the Persian tradition, while embracing the modern edge of electronic music at the same time.

For this special vinyl only remix, Satori winds his way deeper down into the electronic abyss, with a reinterpretation that maintains the original Persian vocals, but also blends in elements of an old Afghan interpretation of the same classic song, creating a tougher, club-leaning version.

The artwork by Helia Jamali, also of Persian decent, takes us into the mystical world of ancient scared geometry and displays the beauty of her home country Iran.

Part two in his trilogy of what seems like an aural romp through dance music’s key components, Luke Vibert follows up his ode to the ‘Amen break’ on the sumptuous ‘Luke Vibert presents Amen Andrews’, with a pretty damn thorough modelling of rave roots, in ‘Luke Vibert presents Modern Rave’.

When it comes to bashing out creative, highly complex, yet seemingly simplistic rave bangers, Luke Vibert certainly has the chops for delivering the goods in spades. As an innovator in the field for labels like Ninja Tune, Warp and Rephlex, Vibert digs deep into his floppy disc collection for a glorious ride through familiar samples and hooks, breakbeats and funky basslines and earworm melodies for an indispensable collection of feel good modern rave.

Re-issue of an extremely now rare 45 from 1977 that sells for £1,000 if you can find an original copy. The release is one of only two releases for the Cygnet label recorded at Malaco Studios. Earl composed both sides, "Very Special Girl" originally the B side, but switched around here as it became better known for its spins on modern soul room dancefloors.

The latest project by belgo-moroccan producer Reda Senhaji, alias Cheb Runner, focuses on breeding a new style of music between electronics and Gnawa. Taking inspiration from New Beat to Techno, Acid House and Gabber, the grooves are relentless, stiff and club oriented, relying heavily on analog synths and drum-machines. The sound is darker, more experimental and mature than his previous Gan Gah project.

Cheb Runner digs into the acoustic sounds of his youth, for an organic feeling of warmth and celebration. The syncopation of the classic Gnawa percussions, the “Tagnawit”, its groove is undeniable. Featuring two traditional Gnawa singers based in Brussels, Mâalem Driss and Mâalem Hicham, the EP is a reunion for the belgian Gnawa scene, keeping the vibe alive.

In a world of dematerialized culture, we tend to forget where we come from : by putting Gnawa music at the center of his production, Cheb Runner creates a bridge with the past. The young producer is a son of Gnawa himself, this is the music he grew up with and played as a kid.
Now he brings it to the club scene; Cheb Runner’s first EP is experimental, brutal, innovative. Getting past definitions and genres, it opens new horizons for North-African producers, showing them how to use their roots to make new beats. It encourages both tradition and modernity in Music. In 2019, Gnawa music, dance and culture was added to the UNESCO Intangible Cultural
Heritage list, demonstrating both the relevance of the genre and the necessity to preserve it.
of the genre and the necessity to preserve it.

Cheb, the Arabic word for “young boy”, is traditionally used to describe the young generation of Raï singers – like Cheb Hasni, Cheb Mami or Cheb Khaled. It means the new generation is here, to create something new with something old. The reference to the Ridley Scott movie Blade Runner is just that: while the Cheb comes from the bled, a moroccan village in the Agadir region, the beats come from the club scene of an industrial city, like Berlin, Detroit or Molenbeek/Brussels.

Cheb Runner takes you on a trip through space and time, as well as to pass on ancient rhythms to inspire the next generations.

Fresh from their release on John Digweed's Bedrock Records under their more covert Techno guise 'Cypherpunx' the Brighton based duo Flip Fantazia unleash their debut album ‘The Trip’.
Touching on influences from Air to Bonobo, The xx to DJ Shadow, ‘The Trip’ guides you down a road less travelled meandering through Downtempo, Electronica & Trip Hop with a few Jazzy twists & turns.
Essentially Flip Fantazia is a meeting of two minds,
four hands, several synths, quite a few guitars, some very clever computer software with a variety of drum machines. The prolific duo spend most of their time writing, recording, producing, mixing & mastering original music down in an old bank vault in Brighton... well, Hove actually! Their real names… Douglas Horner & Tim Belcher.
Born from a project focussed mainly on music for Sync, writing for Ninja Tune PM, Cavendish Music, Delimusic, BMG PM & Deep East + more this is their first artist album to be commercially released.
Their first brief for Ninja Tune’s Production Music company was to create an authentic 60s sounding Samba song and a Boogaloo / Salsa, both of which appear on the Ninja Tune Latin Excursions album.
Along with a contemporary breaks / glitch remix of the classical masterpiece Flight Of The Bumblebee and a piece of funk with a foodie flavour for two other Ninja Tune production music albums. Another brief came in for some Australian influenced Beach House from delimusic to be used on the BBC Commonwealth Games Gold Coast 2018 coverage, so out came the Didgeridoo and five new tracks were born. Writing to brief is a delight & an adventure for Flip Fantazia covering many genres from authentic Samba to electro disco new-wave post modern cosmic soul funk afro-boogie punk alt+indie dance crossover and everything in between! So it was tough to narrow The Trip down to 10 original tracks which best illustrate the authentic Flip Fantazia sound.

2x12"

Parisian label Another Moon are pleased to announce the imminent release of the second collaborative album by Scott Monteith aka Deadbeat and Paul St Hilaire aka Tikiman entitled 4 Quarters of Love and Modern Lash. When asked about about the album's motivations and production process, Monteith had the following to say: “I first heard Paul's voice back in 1996 when I stumbled upon the first Burial Mix 10 inch in a local shop, and it would be no exaggeration to say it has echoed in my mind ever since. We began working together in 2008, and it's fair to say the experience of performing and learning from him has left an indelible mark on my artistic process and my outlook on life in general. He is possessed of a truly electrifying spirit. I’ve had a folder on my hard drive called “For Tiki” for 14 years now, for those more often than not late night studio moments when I stumble upon a rhythmic or musical phrase and hear that unmistakable voice bubbling up in my mind. When that folder fills up with enough of those little magic moments I know it's time to call him, though strangely enough, he more often than not ends up calling me around those times. Such is his deep universal awareness.” “I wrote the initial sketches for what would eventually become this new album over the course of last year to a large extent as a way of trying to process what I perceived as a creeping darkness and sickness in both my own life and the world in general that desperately needed exorcising. When I received his initial responses I nearly fell off my chair. It goes without saying that Paul is a lyricist and poet second to none, and anyone familiar with his enormous body of work can attest to that. And yet, there was something in these latest pieces that hammered the proverbial nail clean through the wood. They perfectly captured this sense of rising tension, of a world that was getting almost psychedelically weirder and darker by the day, and both held a mirror up to this and offered some much needed release. Little did we know, nor could we possibly have imagined, that by the time the record actually hit the shelves, things would get exponentially weirder and darker still.” “It is my great hope that at some point in the coming months we will be able to get back on the road and share these new pieces with people in a live setting, as performing with Tiki is truly one of my greatest joys, and I think it’s where the fire in our work together truly burns brightest. In the meantime, it is my great hope that these 4 long form meditations might provide a little solace for people in their isolation, be it quietly, eyes closed lying on the coach, or cranked up, full on raving in their living rooms.”

RAWAX presents the very talented DUBFOUND aka Dima Kulakovsky on the Llimited Series. The "Secret For Granny" EP is a great functional post modern electro record - worth to check!