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Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

Initially a duo formed in Berlin, FITH have since multiplied and expanded to become a revolving collective of musicians and poets spread out across a Paris/Manchester/Berlin axis. The project, currently comprised of members Dice Miller, Enir Da, Rachel Margetts, ChrIs Lmx, & Arnaud Mathé gesture towards notions of the literary salon, expanded cinema happenings, and the ancient traditions of Greek oratory and religious sermons. Driven by the spell of the spoken word, minimal percussive refrains, oneiric textures & deep melodic synths, FITH channel cinematic imagery, enigmatic narratives & spiritual frenzy.

Their self-titled debut 12' album was released via their collectively run imprint Wanda Portal in November 2016, a 'quietly alluring debut of post punk tempered avant-pop songs' (Boomkat) that laid out the project's foreboding mystique and intoxicating dream sequences with a lurking, devastating sense of purpose and (mis)direction. Other outings have included myriad solo collections of poetry, a two-track release of lurid dissonance and elegiac elevation (Signs / Cornerstone, December 2016) and an extraordinary reinterpretation of the soundtrack for cult film & iconic document of modern alienation Wanda (1971, dir. By Barbara Loden)

With Swamp, their sequel to this activity and their first appearance on Outer Reaches, FITH become a refined force, on a record where all their compelling pluralities and attributes are honed and augmented; everything dilated to delirium. The atmosphere here is one of veiled dread and psychic disturbance, a haunting and macabre psychedelia strewn with echo and dub FX, fragmentary fever dream poetics, elemental drum patterns and volatile synthetic interference. Although the collective conserve the raw crux of their earlier material their execution is, in this special instance, heightened by an intent to broaden and prolong their unique strain of intensity.

Emphatically sinister openers like Forest and Pound present sidereal sequences before building to barrelling, corrosively processed percussion, paroxysmal free jazz and a baleful, concrète-inflected score of electronics, while Swamp introduces phasing currents and a vocal evocative of a chorale from some forgotten giallo film. Elsewhere l'au delà (the beyond) presents a stunning, sombre passage to another state entirely, like some desolate new inflection on Coil's Going Up, before Bialystok shifts into a finale of transportive and meditative evaporation. Together these tracks make for an incredibly immersive and congruous conception; an utterly complete and mesmerising document.

In Swamp's various dimensions perhaps there's comparisons to be drawn with the ritualistic krautrock of Conny Plank and Holger Czukay's Les Vampyrettes, with the hallucinatory, tribal rhythm cycles of Shackleton & Anika's Behind The Glass collaboration, with the primeval drone of Jeremie Sauvage, Mathieu Tilly and Yann Gourdon's France project, with the echoic, disquieting chamber intimacies of Tuxedomoon's Pink Narcissus material and with Lucrecia Dalt's eerie free verse abstractions. But really, we've not heard anything like this before.

Discussing their own inspirations and touchstones the collective cites Franz Kafka, Dario Argento, Lucrecia Martel's La Ciénaga (The Swamp - the film the record is named after) and Yiddish ghost theatre as figures, works and artforms that were prominently drawn upon during the making of Swamp. Yet whilst their imprints could be traced by some, they resemble more of a covert presence within a nuanced whole rather than obvious aspects which moor this record to any familiar setting.

Instead, the acutely unsettling yet poignant spoken word of Miller and the mercurial nocturnes and visitations produced by Margetts, Lmx, Mathé and Da make for a record of strange, novel and striking energies. In revealing the remarkable location and period in which Swamp was recorded Margetts and Miller give a vivid indication as to how these energies are so potently invoked:

'The record was mostly recorded in a caretaker's wing of a 17th century castle in Normandy. It was early March 2018, and our first encounter with the Spring. We had no idea how everything would unfold. There was a lot of tension. Some of us felt compelled to get out the attic room where we had set up our makeshift recording studio and just walk and walk down the vast flat meadows and explore the relics of the wartime barracks, others wanted to keep recording. The outside was serene and inviting, and even though we had been cooped up indoors recording for long stretches of time, we could see from the corner of our eyes, the branches of the trees quivering; an impersonal energy blew through us and then things just happened.'

Sublunar Records, the label run by Sciahri and Dagdrom, starts 2019 with his tenth re- lease.

'Corpora' is a new trilogy project whose elements will see the light throughout the year.

Part I involves Nuel, known for his collaboration with Donato Dozzy on the Aquaplano project and author of for two genre defining album on Further Records.
His contribution 'Intarsia' is a polyrhythmic mixture of ascending synth spirals where every element is tuned for maximum clarity and impact.
Then Sam KDC, an integral part of ASC's cutting edge Auxiliary label and regular on Geoff Presha's Samurai and Samurai Horo, comes in with 'Skirmish', a ritualistic experience where a memorable melodic figure is surrounded by delicate drum patterns. On the B side co-founder Sciahri releases all the tension with 'Linfa', pushing his signature sound into heavy atmospheric disturbances where distorted grooves bounce among skittering bits of percussion.

Jonny Rock is somewhat of a sorcerer, an omnipresent eye that gathers secret ingredients from far and wide—old school House oddities, hypnotic melodies of the Orient, the furthest reaches of Disco, the easy pace of Turkish psychedelic funk—fusing it all into his own shrouded code, a string of immaterial messages, both subliminal and lucid, that highlight his eccentric sense of storytelling and nuance. He imbues a sense of familiarity in his music, implying history that might not be studied but still feels learned, a quality inherent to productions born from a vast catalog of influence (and the inseparable sample material). Jonny conjures euphoric acid flashbacks, herds of crowds through Istanbul alleys, the misty morning residue from raves of yore, orchestral winds blown across the Aegean riviera, and he manages to concentrate their essence into singular details such as a snare drum. Both sides of his eternally-awaited ESP debut lean toward his dark arts—'Tye Die Techno' drives a relentless hard-edged drum kit that could throw an otherwise self-respecting Goth into a heated breakdance battle, while the title track and theme, 'Ode To A Happening On Earth,' plays with the imagery of ritual, fantasy and role-playing—but throughout this malevolent stew, there is a sustained hint of the artist's playful nature. No matter how murky the trip becomes, Jonny is always there, a light at the end of the tunnel, with a big hug to reassure that everyone will be OK. He is one clever bastard—if you know, you know.

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

Gaining traction, gaining speed, the primaeval ritual reaches its boiling point, melting the borders of mind and flesh: a turgid vortex of unstable potential, constantly mutating and morphing itself. Unformed and unstructured morphogenetic flows of matter-energy-information, self-organizing processes constituting a veritable non-organic life: the Body without Organs, that glacial reality where the alluvions, sedimentations, coagulations, foldings, and recoilings that compose an organism occur, a motherly womb detonating hydrogen bombs in her prefrontal cervix, atomizing the doors of perception with sheer gargantuan sonic tremor.

Music and Poetry of the Kesh is the documentation of an invented Pacific Coast peoples from a far distant time, and the soundtrack of famed science fiction author, Ursula K. Le Guin's Always Coming Home In the novel, the story of Stone Telling, a young woman of the Kesh, is woven within a larger anthropological folklore and fantasy. The ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet (Le Guin's conlang, so she could write non-English lyrics), and with early editions, a cassette of field recordings' and indigenous song. Le Guin wanted to hear the people she'd imagined, she embarked on an elaborate process with her friend Todd Barton to invoke their spirit and tradition.

For Music and Poetry of the Kesh, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist (the two worked together previously on public radio projects). But the cassette notes credit the sounds and voices to the world of the Kesh, making origins ambiguous. For instance, The River Song' description reads, The prominent rhythm instrument is the doubure binga, a set of nine brass bowls struck with cloth-covered wooden mallets, here played by Ready.' According to writer and long-time friend of LeGuin, Moe Bowstern (who pens the liners for the Freedom To Spend edition of Kesh), Barton built and then taught himself to play several instruments of Le Guin's design, among them the seven-foot horn known to the Kesh as the Houmbúta and the Wéosai Medoud Teyahi bone flute.' Barton's crafting of original instruments lends an other-worldly texture to the recordings of the Kesh, not unlike fellow builders Bobby Brown and Lonnie Holley. Bowstern notes, Other musician / makers have crafted their own Kesh instruments after encountering the earlier cassette recordings that accompanied some editions of the book.' Both Barton and Le Guin are sensitive to the sovereignty of indigenous Californians and were careful not to trample the traditions of the Tolowa people who lived in the valley long before the Kesh. You research deeply, and then you bring your own voice to the table,' said Barton. Within the Kesh culture, the numbers four and five shape the lives, society and rituals. Barton composed loosely around these numbers, patiently listening to the land of Napa Valley for signs and audio signals from the natural elements. Todd incorporated ambient sounds of the creek by Le Guin's house and a campfire they built together. The songs of Kesh are joyful, soothing and meditative, while the instrumental works drift far past the imaginary lands. Heron Dance' is an uplifting first track, featuring a Wéosai Medoud Teyahi (made from a deer or lamb thigh bone with a cattail reed) and the great Houmbúta (used for theatre and ceremony). A Music of the Eighth House' sends gossamer waves of the faintest sounds to float on the wind.' Like the languages invented in the vocal work of Anna Homler, Meredith Monk, and Elizabeth Fraser, the Kesh songs and poems play with the shape of voice.

The Music and Poetry of the Kesh cassette was meant to accompany and enhance the experience of reading Always Coming Home. Presented in this edition as a long-playing album, where only traces of the book linger (the jacket offers some of Le Guin's illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport—offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures. A line from the Sun Dance poem reminds us, We are nothing much without one another.' Freedom To Spend gives new life to the recordings of the Kesh people in the first ever vinyl edition of Music and Poetry of the Kesh, out on LP, and digital formats on March 23, 2018. The LP will include a deluxe spot printed jacket with illustrations from Always Coming Home, a facsimile of the original lyric sheet, liner notes by Moe Bowstern, multi-format digital download code and a limited edition bookmark letter pressed by Stumptown Printers in Portland, OR.

This past Monday, January 22, Ursula passed from this realm to another leaving a life spent building and exploring other worlds while challenging social concepts of the real word she inhabited.

Freedom To Spend had been working under Ursula's enthusiastic endorsement and with Todd Barton, her musical collaborator on Kesh, to give the music that accompanied her 1985 epoch a new life. With the Le Guin family's encouragement to move forward with our planned release, we are humbled to play this small role in sharing Ursula's work.

As Pete Swanson, one third of Freedom To Spend, stated, Ursula's legacy is her work which transformed the world, and this is another piece of the universe that her imagination birthed becoming real.' Listen to A Teaching Poem / Heron Dance' below.

Comprised of Vancouver producers and multi-instrumentalists Nick Wisdom and Astrological, Canadian duo Potatohead People boast a number of noteworthy accolades thanks to a their signature sound drawing influences from 90's boom-bap, future soul, classic jazz, deep house and boogie/funk. Beginning with a series of EP's, including their landmark "Kosmichemusik" EP, Potatohead People's productions quickly made their way to artists like Illa J who tapped the duo to produce his now critically acclaimed self-titled album, as well as producers like Kaytranada (who co-produced Illa J's "Strippers" with the pair). Supporters such as Soulection, Nightmares on Wax, Pomo, DJ Spinna, Big Boi, and Phife Dawg have also played formidable roles in championing the sound of Potatohead People worldwide.

Now with three years since their last release, 2015's critically acclaimed debut album Big Luxury, Potatohead People are back their long awaited new album Nick & Astro's Guide To The Galaxy (due out May 11th via Brooklyn label Bastard Jazz) The record picks up right where the pair left off, showcasing a leap forward in production chops, musicality, and songwriting. The first single "Quest For Love" "with it's neck snapping drum break, lush rhodes chords, cosmic synths, guitar & horn flourishes and unexpected musical changeups bring in the hip-hop infected musicality the duo has become so loved for, while Nick & Astro collaborate vocally on top. "Morning Sun" featuring Danish vocalist (and Anderson.Paak collaborator) Nanna.B is in part a melancholy piece with knocking drums, an infectious bassline and a soulful, shimmering hook, while "Do My Thing" featuring Canadian singer Kapok and Illa J is a neck-snapping Hip-Hop joint perfect for the dancefloor. "Liftin' Up" featuring San Francisco's K-Maxx ventures into West Coast boogie territories, while the album's closer "Rituals" goes for a deeper more atmospheric electronic vibe.

A cosmic, phased-out percussion adventure by Shimshon Miel, a lone-wolf hippie from Tel-Aviv who experimented with hallucinogenic psych-folk, and self-released his only album in 1977. Fortuna Records reissues two of the album's killer cuts for the very first time, alongside a late-night club edit by Kalbata. Expect extra trippy percussion soundscapes layered on top of a thumping bass guitar in wild 70's style stereo action. Kalbata's remix is a straight up voodoo ritual, adding much needed 808 subs to the jacked-up original.

"Emotional Rescue begins the first in a series of reissues looking at the music of guitarist Carl Weingarten and his Multiphase Records label, starting at his highly sought after collaborate album with Walter Whitney, Dreaming In Colors. With an early interest in photography and Super 8 film leading to a degree in cinema production, Weingarten's other, self-taught, love was the slide guitar. Taking its blues roots and merging them with his visual arts background created a unique "painting in sound" style of playing. While looking to break into the film industry he began writing and recording his own film scores and other music for modern dance companies. From this, he founded Multiphase Records in St Louis in 1980. By the time of Dreaming In Colors, the label had released a series of cassettes and vinyl albums offering abstract, experimental, jazz-fusion, new wave and increasingly, new age compositions. Throughout this period the work of engineer, keyboardist and programmer, Walter Whitney was often present and by the 1985 release of Dreaming In Colors the duo had collaborated for a number of years and released several projects together, most notably as members of the Delay Tactics band. Recorded during off days from the Delay Tactics sessions, the album came together at Whitney's Subterranean Sound studio with a focus away from the bands guitar driven instrumentals to explore a multilayered approach to synthesis, blending textures with Whitney's original samples and sound design, while Weingarten's guitar moved from shining solo moments to complimenting the overall oeuvre, all with heavy washes of delay. This ecumenical approach led to the creation of this compelling album. A masterful conceptual whole that is linked by rich melodies and a concise playing style, heavy on substance while never forgoing the uplifting vibrations. "

It was chance that brought about the release of One/Three, Dabrye's debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late '90s producing jungle, techno, house, hip-hop and more using the All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the contours of di-erent musical personalities. Dabrye was his hip-hop wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Umma-era Jay Dee, and the calculated subtlety of Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye's arrival with an unavoidable contribution to Detroit hip-hop. Ghostly International is reissuing the album in 2017 for the first time, including a long overdue vinyl edition.

On its release One/Three was the rare album that appealed to both fans of Slum Village's smooth yet rugged hip-hop and enthusiasts of the distinct American IDM released by labels like Schematic. Over the following decade, the inadvertent demo submission turned into a body of work that placed Dabrye alongside innovators such as Prefuse 73 amid the cannon of a new generation of producers. Today, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between J Dilla and Flying Lotus.

One/Three is a record that says much with little. There are no obvious hip-hop tropes. Instead Mullinix captures the ingenious minimalism of '90s hip-hop instrumentals to build tracks both supple and hard, joyous and melancholy, full of sharply angled rhythms and warm rubbery basslines: 'The Lish' throws a sickly sweet saxophone against digitally fragmented melodies, 'How Many Times (with this)' draws you in with an irresistible, clipped guitar groove, the rhythmic stutter of 'Smoking The Edge' makes your head spin with pleasure. Playing with his inspirations, Mullinix injects omitted downbeats for imagined rhymes and repurposes the intricacy of ragga jungle for breakdowns.

But what really defines One/Three is the rhythmic sensibility and metric modulation of Detroit's school of hip-hop production, which Mullinix was a fervent student of. The beats feel like they're constantly escaping a rigid tempo grid even though they are, in fact, pretty tight. A lot of it is nuance,' Mullinix explains. I've been known to say that I'm not impressed by spectacle. I think that nuance is what really captivates people.'

If you like your beats with a dash of class, do not miss this. An essential purchase of the highest order.' -BBC

- First time all tracks from the original 2001 release appear on vinyl.
- Remastered by Daddy Kev
- Standard weight black vinyl is inserted in to 3.5mm matte finish vinyl jacket.
- Download card includes free download of the Payback EP

Lvis Mejía's newest project, titled Anthropology of AmnesiA is an acousmatic essay addressing our utter necessity to remember in the face of existential oblivion, an innate behaviour of the human race.
Presented as a 33 minute long continuous composition, Anthropology of AmnesiA unrolls as a series of chapters, the contemplative character of the piece opening a particular frame within the listening experience, where Lvis Mejía attempts to convey the phenomenon of the collective consciousness through the cultural traces we leave behind.
Mejía's takes the idea of one species, one culture, one past' and places it at the center of the concept of the piece. Anthropology of AmnesiA examines a number of interpretations of rituals, orchestrations, chants, synthesis and field recordings - nestled within the piece are recordings of animals, fire, water and a human heart - the sum of these sonic identities incidentally reshaping their roots.
The diversity of the sonic sources highlights the comparative study element of Mejía's work yet the common thread remains the human experience, recorded stories and the viva voce.

Hot on the heels of the critically acclaimed 2017 LP Windswept - which soundtracked David Lynch's Twin Peaks, Digital Rain is Johnny Jewel's latest album. Jewel is known for his extensive collaborations with film makers David Lynch, Nicolas Winding Refn, and Ryan Gosling, as well as for his work with groundbreaking musical groups such as Chromatics, Glass Candy, and Desire.

The 19 movements of Digital Rain are three dimensional beds of analogue warmth encompassed in raw electronic moisture. The result is an expansive pallet of soft color amid canyons of jagged oscillations. According to Jewel, "Digital Rain is a mirror image of itself designed to play as a singular liquid movement."

"After living a few years in a desert climate, I realized I was nostalgic for the constant presence of precipitation from every city I once called home. The sound of hail ricocheting off my roof in Houston...The floods crashing in from the Gulf of Mexico that would destroy my mother's house three times...The constant kiss of drizzle on the streets of Portland, and the morning rain against the windshield of Trimet city bus number 15 that I would ride home after recording all night...The snow buried row houses of Montreal where my daughter was born, and the rhythmic feel of ice cracking under my boots for six months straight."

"The desert is constant, and I love this repetitious ritual of Los Angeles so much. As moisture and humid weather seem more and more like a dream I once had or a fading memory of the places I fell in love with...I wanted to make a record without drums, without lyrics, vague in form. Each track morphing and eclipsing the next like the ever-changing movement of clouds obscuring the moon."

Cut By The Legendary Bernie Grundman In Hollywood. Recorded in Joshua Tree / Mixed in Los Angeles.

MW present two classic Minimal Wave tracks which have been on heavy rotation for years now, Computer Bank' and Like I Am, Comme Je Suis' remixed by The Floor (Veronica Vasicka & Karl O'Connor).

Five Times Of Dust was formed in Bristol, U.K. in 1981 by Mark Phillips and Rob Lawrence. Mark had answered an advert that Rob had placed in a local record shop and later that year they went on to record and release their first tape, The Dadacomputer. A standout track from that tape, Computer Bank' is a seminal, proto-techno banger'. The Floor remixed it a while ago to DJ it out and since then have been receiving many requests about where it could be purchased.

The flip side features Unovidual & Tara Cross' Like I Am Comme Je Suis'. It appeared on our first compilation entitled V/A The Lost Tapes LP, in 2006. Unovidual was a Belgian producer involved with the Micrart Group (Autumn, Linear Movement, Twilight Ritual) and Tara Cross, a long lost girl from Brooklyn' who used to play in small NYC downlown clubs alongside Madonna during the early 1980s when she was still an unknown. Unovidual and Tara collaborated on several tracks through the mail during this time as well as in the studio. Like I Am Comme Je Suis' was recorded in a studio in Ghent, Belgium in 1985.

We find both of these tracks prime examples of innovative and pioneering synth wave tracks that work on and off the dance floor. And through these mixes, The Floor aim to stay true to the artists' original intentions whilst making the songs more dance floor oriented.

Featured alongside these remixes, are two unreleased tracks. Rob Lawrence's Armoured Car' which at one point was released on a compilation CD as Robert (not to be confused with Rob Doran from Hard Corps) and Unovidual's Imponative', a beautiful minimal synth track which has remained unreleased to this day.

The Five Times of Dust / Unovidual & Tara Cross EP is pressed on standard weight royal blue clear vinyl and housed in a hand stamped disco sleeve. Limited to 600 numbered copies.

A diverse techno E.P, each track suitable for a specific time, place & audience.

Everything's possible, nothing has to be, probably best describes the current selection. While Artik brutally transforms the Industrial into the techno format, Chris Moss Acid and Spaceinvasion ride the 303. The former combines analog-synths with repetitive peaktime-techno, while Spaceinvasion interprets this through a sluggish, yet no less brutal, flow. Lastly, Lucindo scatters nuances of trance. Rave!

Alternatively titled: 'Homoswavesailors', Jack Cccoy's 1984 film about the birth of windsurfing details, through the gaze of the sport as a pre-historic ancient ritual, the exploits of a few of the sports originators. Backing up the clear 80's blue visuals of waves white washed wind blasted FX, is a variety of original pop and synth music made by the films' composer, Chris Eggleton. There are no song titles, rather each track is spiced-up with wind and wave sound fx, which were originally meant to act as sound accents for wave sail action in the film. The pop songs are beach-spiked hits, sounding like New Zealand's flying nun rock, or blasted out prince chorus funk, but with added film sound fx, the essence of the silver screen begins to creep into the medium of audio disc! The synth music on Tradewinds sounds as if Tangerine Dream made inspirational beach movie tracks during the height of their 'Firestarter' period. The mix is arranged by Pacific City, so that the summer doesn't crash and burn. For the first time in history, Pacific City Sound Visions presents: the original motion picture soundtrack to 'Tradewinds' on vinyl LP. Break down..... shake down..... ya busted......

Fresh from his 'Vanishing Point single on UK label Hypercolour, which saw the lead track hit the Beatport Leftfield House & Techno sales chart at #1 for four weeks, A Sagittariun is back on his Elastic Dreams label with the 'Slightly Ajar' EP. As always, A Sagittariun brings an eclectic melting pot of flavours to each of his EPs, blending Detroit techno, ambient house, highly charged electro, dramatic synths and transcendental vibes. 'Stingray' combines future techno beats with apocalyptic bass and melodious keys, with an almost early 1980s synth pop vibe to it, whilst 'Burning Crystal' is the kind of introverted and deep ambient electronica that has shaped the two A Sagittariun albums (2013's 'Dream Ritual' and 2016's 'Elasticity'). 'An Infinite Number Of Possibilities' is relentless, frenetic and funky, as a myriad of warped sounds and riffs flash past the heavy drum work, and '720 Degrees' closes the EP with crunchy 808 electro patterns, FM bass and huge melancholic strings straight out of the Derrick May rule book. A Sagittariun will be performing at the Berghain, Berlin on 26th August, showcasing a new live set before embarking on further dates at the end of the year.

As felines usually do, TYV's latest effort and Gop Tun's fourth enterprise purrs and prances along with elegance and nonchalance. From the first elements of percussion up until the last trace of reverbed and delayed textures leave the speakers finally at rest, Miau engulfs its listeners in a powerful stream of melodic strength and rhythmic intensity. Not surprisingly all of this mojo relies heavily on very typical chromatic nuances, familiar to anyone who's acquainted with Brasil's rich musical diversity and solid foundations.

Miau is a ritualistic utterance, an onomatopoeic journey that takes us deep into an utopic place where innocence is untainted and our best memories are left untouched, but never forgotten. Features that are somehow enhanced in Tuff City Kid's own Lauer's version, which is Idyllic in its pads and entrancing in its beats, but still elegantly nostalgic in its feel.
Da Terra maintains the festive atmosphere and heats up the oven a tad more. Some earthly delights await those willing to cross the dense layering of percussive vegetation and arrive at a beautiful glade where the main hook meets the strings and chants that conjure a particular vibe of uplifiting melancholia.
This is a feast for your senses, guaranteed to overload your neurotransmitters just like our native meals.

The totality of the many in one: Cologne Tape, an on and off gathering band from all over the world, did not call their second album "Welt" without reason. The collective incorporates the nucleus of the label Magazine and consists of the artists Ada, Barnt, Jens-Uwe Beyer, Jörg Burger, John Harten, Philipp Janzen, Mario Katz, John Stanier and Axel Willner. All members live scattered between Berlin, Cologne and Hamburg. They meet rarely and abruptly, but each of them always has the feeling that something relevant needs to be done. The ensemble's name represents a city and the musical recordings that are made in it.
Their "rst release, "Render", marked the start of the label Magazine in 2010 and found the way into DJ sets by famed artists like Dixon with music, which does not necessarily have the dance#oor in mind. Subsequently, little, absolutely sublime pieces of Cologne Tape appeared in the public.
Sometimes in the middle of a Magazine mix for London's online magazine Dummy, or on compilations like "My Heart's In My Hand, And My Hand Is Pierced And My Hand's In The Bag, And My Heart Is Caught" a double-vinyl sampler for an exhibition by British video artist Phil Collins.
And now, after six years of more or less overwhelming silence, "Welt" arrives and brings the world eight musical arrangements, all of which answer to the same name and only differ numerically in their title. They were performed and recorded at the Dumbo Studios in Cologne as part of a happening, during which the nine Cologne Tape members gathered in a room to play a solemn concert for themselves without a given frame.
Un"ltered emotions, which were later, re"ned with drums and synth sounds by John Stanier and Axel Willner and then arranged into a dramatic story arc under the direction of Jens-Uwe Beyer. Furthermore some of the recordings feature friends of the collective such as Mexican artist Rebolledo, the guitarist Burkhard Mönnich and the singer Isis Lace, who all happened to be close by and joined the band spontaneously during in their musical ritual. Now the recordings of their time without time will see the light of the day.
They all tell - together and alone - stories of deeply felt musical
experiences, which quickly become profound experiences too for those who listen to Cologne Tape, when they play the grand piano, synthesizer,vibraphone, organ, drums, guitar and more while celebrating afreewheeling ceremony. Panoramic music that enables the listener to enter a world of sounds and rhythms, which all re#ect in depth what Cologne Tape is as a band and a piece of art.

Krishnanda is an album in the truest sense of the word - a spiritual, psychedelic Brazilian masterpiece from start to fnish - celebrated by everyone from Seu Jorge and Kassin to Floatng Points, Madlib and DJ Nuts. These days, originals change hands for thousands of dollars. Pedro dos Santos, born in Rio in 1919, was a percussionist virtuoso, composer and inventor of instru-
ments that apparently included oddites such as the 'Tamba' (electrifed bamboo drum) and the mouth berimbau whistle. Nicknamed Perdo 'Sorongo' afer the rhythm he invented, that features throughout 'Krishnanda'. A highly spiritual man who was regarded as a philosopher by many. He worked with greats including Baden Powell, Elis Regina, Maria Bethany, Elza Soares, Sebastão Tapajós, Roberto Ribeiro, Milton Nascimento, Clara Nunes, Paul Simon and Arthur Verocai, playing on
his legendary self-ttled LP. In the same vein as Verocai and his self-ttled LP, 'Krishnanda' was Pedro's chance to shine with his own, and only, solo recording. Krishnanda was produced by Hélcio Milito, the drummer of Tamba Trio, and arranged by conductor Joppa Lins, and originally released in 1968 on CBS (Brasil). Musically, the album touches folk, samba,
afro-brazilian and psychedelia plus added efects, with a lyrical depth and diversity to match; themes including morality, percepton, existence and ego. Despite the genius of the record and the infuence that it had on musicians at the tme of release, it
disappeared into obscurity. We frst discovered the record around 2003, through a friend Julio Dui. Around that tme Brazilian funk and bossa was the favour of the day, so didn't catch our ear immediately, however it contnued improve with age and now we consider it to be one of the best albums ever made, regardless of genre or origin.

Ben Sun returns to Delusions for his 4th release on the label including three more tracks which show the Australian via London on his best form yet. Full Moon kicks off the Tides EP at full throttle with a muscular conga-led disco house roller. Slurping 909 hats and the most twisted of synth solos courtesy of regular collaborator Fantastic Man (and his beloved Juno 60) provide the icing on this simple bass-cake which never fails to energize the dancefloor in the most special of ways.
Star Ritual drops next, going heavy on the percussion once again for a minimal stripped back drum tool which packs a mighty punch. Dubbed out vocal hits punctuate the beautifully loose groove with subtle hints of afrobeat implied by the bassline making for a warm summer track dripping with tropical vibes.
Finally we have Glass Waves bringing the EP to a glorious close, all chiming synths, bouncing moog bass and waves of chords layering on top of a heavy drum track. Ben repping an early 90's blissed out Nu Groove mood on this one and managing to sound as fresh as ever in the process.

ears ago he started putting together some selections for a friend of his: Luca. The intention was to pick songs to be played during car rides, and like any other kind of ritual, this too would come with strict rules. You'd have to go throw the whole selection of 100 tracks without skipping, because every single one was important. Be it the sounds, the arrangement or its creativity, each track was there for a very specific reasons. It quickly became a monthly event which for several years evolved in a deep musical research without genre boundaries: Disco and psychedelic, soundtracks, library music, exotica, electronic and dance music, italo, new wave, pop or prog. Tracks of each and any historical period and provenance had been featured in this special compilations. But it wasn't always that easy to come up with the right piece and eventually Francesco started producing a few on his own to fill in the gaps. After six tracks, it was quite clear that there was a project developing, one in which he could finally experiment freely, leaving behind the rules that often come with dance tracks. Of course, no name could have been better than the one of his friend that had inspired everything And so L.u.c.a was born. Now, while preserving the same mind set, L.u.c.a is back with an album that embraces a new-hippie vibe, strongly pervaded by a mystical naturalism. This is a whole new universe in the making, where rumbling magmatic atmospheres evolve gradually in a journey through an idealist new world, celestial interludes revealing a full take over of nature, with a pervasive library feel that dates back to the great Italian masters, carrying on Edizioni Mondo's legacy.

Fasziniert von der Dynamik elektronischer Tanzmusik und der ungeheuren Kraft und Reichhaltigkeit von Live-Instrumenten, schufen Chris Davids und Liam Ivory, aka Maribou State, mit "Portraits" ein unwiderstehliches Album. Es ist ein Album, auf dem sich Organisches und Synthetisches umarmen und an James Blake oder SOHN erinnern und dessen Groove es durchaus mit dem von Moloko aufnehmen kann. Maribou State setzen uns atmosphärischen Dubstep gepaart mit House und einer gesunden Prise Pop vor - "glitchy, sad and slow" (The Guardian), aber ungeheuer tanzbar und garantiert aus der Mitte des Herzens kommend. Die letzten 18 Monate des Duos waren strikt getaktet: An den Wochenenden wurde wild durch die Gegend getourt (von England, Europa, den USA und Australien war alles dabei, die Bühnen von Glastonbury und Bestival waren nur zwei der Meilensteine auf ihrem Weg), während man sich unter der Woche disziplinert den Albumaufnahmen widmete. Bei Radio-Schwergewichten wie Zane Lowe oder Huw Stephens schaute man auch vorbei und werkelte ganz nebenbei an einer schönen Palette von Remixen für "alte Hasen" wie Kelis, Lana del Rey oder den Crookers. Die harte Arbeit zahlt sich mit Erscheinen des Debüts nun endlich aus.

France proves to be rich pickings once more for the Minimal Wave label with this absolutely superb collection of "ritualistic minimal electronics" from French duo DZ Lectric + Anthon Shield. Crossing paths in Paris in the early 80s, Christian Dezert (DZ Lectric ) and Michel Lecamp (Anthon Shield) bonded over a mutual appreciation of The Stooges, Throbbing Gristle and Suicide and went on to record numerous albums together over a five year period. The focus of Minimal Wave's attentions on the Lickin' LP is the cassette Confessions D'Un Masque the pair released in 1985, with eight tracks lifted and remastered from the original reel to reel tapes. DZ Lectric + Anthon Shield's sparse yet manic approach, described as "challenging and hypnotic" by Minimal Wave, will appeal to fans of CHBB.