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Body Parts is the debut studio album by Prophet Posse, a collaboration side-project of Three 6 Mafia with members of its then-label, Prophet Entertainment. The Prophet Posse group was known as a larger, “offshoot” version of Three 6 Mafia, as it included each member of Three 6 Mafia as well as all the artists signed to Prophet Entertainment. All the artists featured on the album were Prophet Entertainment artists with the exception of guest act Dayton Family.

It was winter. Six Parts Seven had returned to Ohio after touring out to Washington State, to record Casually Smashed to Pieces. There was down time between the recording and the actual release of that album in January 2007, and we were rehearsing, playing local shows, and collaborating, with most of us involved in other projects to keep the momentum going (Mike w/ Talons, Al w/ Beaten Awake), but the one we all came together over was recording an album with Joey Beltram, the songwriter behind Goodmorning Valentine, a local band we shared players with, a band we deeply admired. The music on Kissing Distance came together over two weekend days. There were a lot of people around; 6P7 and GMV players coming and going from the Saint Ledger House. There were handles of whiskey, there was weed, stacks of Marlboro Reds for the ones still dragging butts. We all went 'dancing' at Thursday's, in Akron, Ohio, on Saturday night. Not sure how we were productive the following day. Chalk that one up to relative youth. Over those two days, songs were cut without any prior rehearsal time. None of us remember how the idea came up. In hindsight, it seems inevitable. The first song on the album, "Mediation in D," had been written a couple of years before, and was the decided spark that set the fire blazing: for both bands, this song was the starting point, an invitation to take things further, to expand, combining players from both bands, our 'toolbox' had increased in size from a single hammer to a toolbox. Everything came easily at this point. "Drunk from the Bottle," is the first of the one-take/one mic songs: an SM58 used for both vocal and guitar, making it impossible to over-think anything: You got the version, or you did not, that simple. "Instrumental #2," is the last full/core band recording by Six Parts Seven. The first piece in our catalog written/arranged by Tim Gerak. This song would have been developed on our follow-up to Casually Smashed to Pieces. Alas, an album never came to be. The ache in this is real. It's there in the bass guitar, tuned high and open, played with a slide, and utilizing one of Jamie Stillman's pre- Earthquaker Devices fuzz pedals. "Lonely Daughter," is another one-take/one-mic song, notable for the lead-guitar, played by James Matthew Haas, who overdubbed his part, months later, standing alone on the deck at Joey's folks place, playing to the moonlight, making magic...

The Good Parts wurde im Dezember 2017 veröffentlicht und ist das dritte Album des gefühlvollen Pop-Sängers und Songwriters Andy Grammer. Angeführt von der beschwingten Single "Fresh Eyes", wurde das klanglich vielfältige Album von Grammer als der bisher authentischste Ausdruck seiner Musik beschrieben.

Es ist das erste Mal, dass das Album exklusiv auf blauem Vinyl veröffentlicht wird.

London based label Private Parts jump across the pond to welcome the formidable Dutch duo Young Adults to unleash 4 tracks directed straight for the floor. The NSH (Nieuw Hollands Spoor) label bosses do what they do best, mixing between rolling tech and broken beats. An EP taking you all the way through tripped out machine funk, twisted wobbly basslines, dubbed out, electronic madness. Private Parts are delighted to welcome Young Adults to the family.

The music of Robert Schumann and the artistry of Sviatoslav Richter are a natural match. Schumann was loathe to use flashy, purely virtuosic elements in his compositions, a fact brilliantly illustrated in the vast majority of his works for solo piano. Rather, Schumann was much more likely to tell a story, paint a picture, or read a poem through his music, although his works were not overtly programmatic. Richter possessed a technique virtually unrivaled during his career and was able to definitively toss off even the most technically demanding works. At his heart, however, Richter was a poet and an artist with profound musical insights and introspections. This album, featuring recordings made in the late '50s, is one of Richter's surviving albums in which poor sound quality does not distract listeners from this artistry. His performances of the C major Fantasy, the Op. 82 Waldszenen, and the Op. 12 Fantasiestucke are magnificently refined, unhurried, and unsullied by some pianists' need to make the works flashier then they need to be.

8 years after his debut album entitled "What You Give", it's time for the Greek musician's second long player! No doubt, this is Bengoa's most mature work to date and a product of countless studio hours. Pushing his electronic sound forward, the Greek musician, dj, songwriter and label owner, delivers an outstanding 9-track LP, floating between trip hop, nu-jazz, mid and downtempo motifs. The extensive use of physical instruments like saxophone, trumpet, guitars, piano, percussion and bass add musicality and deepness to the whole record, on which Bengoa has also written most of the lyrics himself. "Music For Your Red Parts" flows like an undercurrent of nervy isolation and late night melancholy, toying with the emotional structure of it's own sound. Songs that signal something memorably, indelibly and hypnotically sexy, without talking about sex. Music that you feel - strong, soft and filled with emotion. It wants to meet you in your deepest parts. It will play games with you, fill you with sorrow, or send you into a deep reverie. out now through SAOS RECORDS.

Fractal head rearrangement from Keith Fullerton Whitman on his first vinyl release in what feels like years, here blessing Japan’s NAKID label with a new instalment in his forever-evolving Generators project, arcing from bleeping post-Kosmische sounds into completely unexpected drum mutations in footwork and grime modes. It’s properly head melting gear that links the algorithmic mind-fukkery of Laurie Spiegel with the floor-bending rhythmic experimentation of Mark Fell, Rian Treanor or Jana Rush, and the first in a three part series that offers some of the strongest gear we’ve heard from one of the very best in the game.

Modular synth scientist, critic and historian Keith Fullerton Whitman first debuted his »Generators« set in 2009, using a modular setup to create non-repeating melodic patterns that basically came close to generating themselves. Over the course of hundreds of live shows (and a handful of releases on Root Strata, Editions Mego and other labels), Whitman glacially honed his process and allowed the concept to slither down different avenues, mutating as it picked energy from the various venues it was situated in. His rigorous method meant ‘Generators’ was never played out the same way twice, veering from psychedelic Kosmische experimentation to obliterated, off-grid Techno.

In 2019, on the tenth anniversary of the project, Whitman was invited by the GRM in Paris to set up in Studio C, where he avoided the arsenal of pristine, museum-worthy modular synthesizers and instead reprogrammed his classic ‘Generators’ patch. Recorded in a single take using luxe analog- to-digital convertors, the result is a 45-minute durational piece, split into two distinct sides for this release.“Very little manual interaction happened,” Whitman explains. The music is, as its title suggests, generative, and at this point basically sounds as if it reached its most advanced, final form. The first few minutes of the opening side mine the original theme, with clocked LFO shapes triggering oscillator blips in mind-expanding non-looping patterns. Soon, percussion enters the matrix, at first wrong-footing us with a 4/4 fake-out - possibly nodding to the piece’s 2010 Root Strata iteration - before splitting into staccato polyrhythmic abstractions of the most loose- limbed and deadly variety.

General MIDI drums can sound almost hilariously boxed-in, but handled by Whitman they show off a plastic cultural sheen to piercing effect, deployed in a way that re-draws the rhythmic bass music of someone like Jlin while nodding to Mark Fell and Rian Treanor’s quasi-generative dance explorations. These comparisons take on even more weight on the second side, where Whitman opens up his filters to allow the synth bleeps to sing even more loudly, introducing that all- important clap/hat interplay that dialogues with Atlanta and Chicago simultaneously.

Honeycomb Music is extremely proud to present the latest 7" vinyl release from the incomparable Josh Milan, entitled "Come Dance With Me (Parts 1 & 2)". This song, about a man desiring a woman who is preoccupied with someone else, is an impeccably produced mid-tempo tune, cleverly done in two parts. Each part showcases Milan's unmatched talents as a singer, songwriter, and producer. Milan explains that the inspiration for this song came from jazz artist Kurt Elling. "In the song, 'Change Partners,' Kurt Elling sings about desiring a woman who is dancing with another man. He's waiting for his chance to get close to her, asking her to 'change partners'". Milan was also inspired by his childhood experiences of performing in the Brooklyn Boys Chorus where they sang classical music. The classical guitar is performed by the incredible Dave Manley while the operatic vocal is performed by the phenomenal Dawn Tallman. It is hard to properly express the amount of dynamism at play in one song! All of these performances are goosebump-inducing and deeply spiritual. With Josh Milan at the helm, "Come Dance With Me" is a sure-fire winner with surprising twists and turns along the way.

Brainbox is a Dutch progressive rock and jazz fusion group from the late
1960s and early 1970s. Parts is their second studio album, released in
1972, and featured none of the original Brainbox members. As a result, the new Brainbox sounded more progressive than ever on Parts, as the band explored new sounds. The album features elements from psychedelic rock, blues, folk, jazz and pop, and even classical. It is a classic prog rock title, not least because it’s the last album the band released before they first broke up, and belongs in the record collection of any fan of the genre. Released as a limited edition of 500 individually numbered copies on yellow vinyl.

Limited Edition hand numbered 7” – 1000 Copies: Rare groove legends Timeless Legend are best known for “I Was Born To Love You”, but this disco rarity from 1979 has risen to prominence in recent years and near impossible to find on 7” for less than £200. Respect the Mighty Zaf and the late great Phil Asher for their brilliant 2018 remix on 12”. These original versions a must for 7” collectors and disco fans

Marika “Politissa” Frantzeskopoulou was a Greek singer from Constantinople, renowned for her precise, fluid and graceful performances and depth of feeling.
Backed by some of the best musicians of the era on lyra, violin, oud, kanonaki and guitar, Marika’s repertoire and techniques drew from Byzantine and Ottoman musical traditions.
She possessed an ability to devastate her audience through her expressions of grief, exile, and tragic love, running the gamut of cafe aman, torch songs, lilting and fragile odes to heartache, heavy Piraeus style rebetika, and ecstatic Near-Eastern climaxes, all with a visceral sense of atmosphere, emotion, and fatalism.
Marika’s voice is complimented beautifully by her backing musicians, creating a pulsing acoustic foundation over which her voice soars with clarity and purpose.

Notes From The Forest Floor was originally premiered in a different form in July 2015 at The ICA as part of an evenings event dedicated to the work of Italian composer Giacinto Scelsi. Played in almost pitch dark the hour long piece was played prior to a concert of work by and inspired by Scelsi. Chris responded to Scelsi's microtonal works using recording of insects and other wildlife/environmental sounds from La Selva tropical rain forest reserve in Costa Rica. An edited shorter piece from this installation was on the Scelsi Ep titled Invertebrate Harmonics which gathered great reviews from the Quietus to the Vinyl Factory. Whilst working with Chris again this year having had the stereo ICA installation version sitting on his hard drive for 5 years Adrian Corker asked Chris if he would be interested in releasing it.Chris was soon after heading back to Costa Rica working with David Attenborough and offered to make new recordings and develop the original piece.

Georgia Rodgers Line Of Parts was originally premiered at Huddersfield Contemporary Music Festival in 2019 as part of the Huddersfield Professional Development Programme for Female Composers of Electronic Music project. Originally having trained a an acoustician Rodgers work is concerned with" timbral detail". She has had work performed by ensembles such as Apartment House and The Riot Ensemble but for Line of Parts worked with the Huddersfield Immersive Sound System(HISS) using its network of 48 channels and 66 speakers.The piece and stereo mix down of this work is composed of field recordings made in the Cairngorms and North London, sine waves and voice.

At last, another chance to get a classic soul masterpiece on 7” vinyl, even if you can score an original copy for about £800.

Timeless Legend were Jackie Hogg, Allen B. Burney, Donald Harmon, and Michael Harmon from Columbus, Ohio. Their music is among the most elusive on the rare funk/soul scene with the 7” of “I Was Born To Love You” a huge crossover club. Few have actually ever set eyes on this album either, and those who own one have paid £2,000 for the privilege.

Lost PHILIP GLASS Recordings from 1975 - ORTF
The newly discovered and unreleased concert from 1975 recorded by the Philip Glass
Sextet at La Maison de la Radio, Paris.
The sextet is composed of Philip Glass, Jon Gibson, Dickie Landry, Michael Riesman, Joan
La Barbara and Richard Peck.
Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974. This
performance in France includes part 1, 2, 3, 11 and 12 on a double LP.
Also included a very rare Philip Glass interview from 1974 in his NYC loft during the
rehearsals of this piece, produced for the French radio by Daniel Caux - musicologist and
co-founder of Shandar Records.
A never before released -Philip GLASS (1975) live recordings, released in partnership with
the National Audiovisual Institute - INA.
"A new sound and a new chord suddenly break in, with an effect as if one wall of a room
has suddenly disappeared, to reveal a completely new view." - A. Porter

Dark Entries reissue the 2nd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1986 Carolyn moved into her family's building in downtown San Francisco providing a space to develop her own art and music for the next two decades. She was the only tenant of the five story building. The top floor had 36 abandoned rooms with building materials and holes between floors, staircases that created natural reverb. It was during this isolated time that Carolyn would start working on her second release, 'Parts of The Insomnic Wheel,' 60-minutes of ten untitled pieces that ran into each other. This was also the first release on cassette due time constraints of the LP. She spent many nights at the 24-hour diner across the street chatting metaphysics, parallel universes, the 5th dimension and astro-projections. Carolyn would sleep next to paper/pencil and report dream states, experimenting with mental techniques, investigating how far her mind could go. It was a journey to unravel the 'dark night of the soul'. Utilizing her industrial surroundings, Carolyn would bang on sheet metal and record percussion on found materials. Originally released by Ladd-Frith in 1986, this reissue adds 4 unreleased bonus tracks recorded during the same period. Each copy includes a 16-page zine with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Repress

The second and final release of Scott Grooves' Parts Manager series on Natural Midi- representing another four parts of the Scott Grooves sound.

Rescued from defunct formats, prised from dark cupboards and brought to light after two decades in cold storage... OKNOTOK will be issued on June 23rd through XL Recordings, coinciding (roughly) with the original 1997 release date(s) of Radiohead's landmark third album OK COMPUTER.

OKNOTOK features the original OK COMPUTER twelve track album, eight B-sides, and the Radiohead completist's dream: 'I Promise,' 'Lift,' and 'Man Of War.' The original studio recordings of these three previously unreleased and long sought after OK COMPUTER era tracks finally receive their first official issue on OKNOTOK. All material on OKNOTOK is newly remastered from the original analogue tapes.

Strut present a definitive vinyl edition of the groundbreaking compilation 'Nigeria 70'. Originally released in 2001, the collection set the benchmark for a new generation of archive labels and releases mining the vaults for rare Afro funk and Afro jazz fusions and helped to paint the wider picture of the 1970s Lagos scene beyond Fela Kuti's catalogue for a legion of soul, funk and dance music enthusiasts. This definitive reissue features the original LP remastered and pressed on 180g triple vinyl in a gatefold sleeve.
Narrated by Wunmi with commentary by the late Nigerian academic "Elder" Steve Rhodes, this one-hour piece is an essential snapshot of the 1970s Lagos scene and the cultural and political context from many of the key players of the time. It includes interviews with Ginger Baker, Fela Kuti, Ebenezer Obey, Segun Bucknor, Joni Haastrup of Monomono and many more.

Statik Selektah is a renowned DJ and Producer based in NYC, born and raised in Boston.
Statik hosts a weekly radio show on Sirius / XM Shade 45 every Thursday from 7PM to 9PM.
Statik has produced recent tracks for Eminem, Joey Bada$$, Action Bronson, Danny Brown, Royce Da 5'9' and Dej Loaf.
In 2014, Statik Selektah released his album, 'What Goes Around' (DDM CD 2375), and in 2015, Statik Selektah put out his 7th studio album, Lucky 7 (DDM CD 2430). He is now prepping his 8th album, '8,' for a December 8th release date.

The First Release On Power Trio, The New Label From Ben Nevile Dedicated To A Return To Musicality. More Than 15 Years Ago This Montreal-based Artist Created Many Of The Seminal Deep, Minimal Tracks For Labels Such As Mosaic, Telegraph, Context, Background, And Vancouver's Nordic Trax. Ben's Contributions To Music Extend Into The Technical Realm As One Of The Programmers Of Max/msp, The Signal Processing Environment Integrated Into Ableton. But As A Musician In The Studio, This Artist's Work Is Intentionally Not About Technology. It's About Performing Songs That Tell A Story. The Three Tracks On This Power Trio Record Are Inspired By Physical Instruments And Acoustic Space. The Power Trio Is An 808, A Rhodes Piano, And A Bass, With Stunning Saxophone By Erk Hove. Vital Sales Points: - Previous Releases On Mosaic, Telegraph, Context, Nordic Trax

In 1982, a group of friends deep into post-punk, jazz and dub got together in Mad Professor's studio and lay down their youthful interpretation of a NYC disco cut. Their unique take included trombone, vibraphone, piano, and an ital dose of tape delay. They called the song Trouble and released two versions (vocal and dub) on their friend Tony McDermott's !Drum! label with artwork inspired by Russian Constructivism. TIP!
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The group, comprised of Justin Langlands, Chrysta Jones, John Schofield, Tom Dixon, and Dave Killen, decided to call themselves A-Team, having no idea that Mr.T and Co. would make them almost totally ungoogle-able 30 years later. The result of their adolescent studio idealism sounds akin to otherdisco misfits like Arthur Russell, Maximum Joy, Talking Drums and wouldn't sound out of place on legendary NYC label 99 Records. Remastered with an extended Club Dub formaximum dance-floor action.

e mighty Man Power returns to Correspondant. One of the earliest labels to champion his explorative technoid landscapes, and deliver his debut album, the Mexico based composer makes a welcome return with three truly singular trips...

'The Zen Of Xen' comes in two segued parts, comprising almost 13 minutes of full intergalactic immersion. Laced with the alluring deep-dream vocals of Tel Aviv's Xen, anchored with tripped-out humanized harmonics and weaved with soaring pads, it's a genuinely emotional narrative that's been cooking away on Man Power's creative wishlist since he first met Xen at a show five years ago.

Elsewhere 'Heart For Yes, Life For No' will have you spitting rainbow emojis all night. An incredible piece of vibrant melodic techno rooted in synthesis, galvanized with emotive layers, driven by feels it sets us up perfectly for the fantastical finale 'Hubris'. Cosmic, soft-focused, sparkling but topped with a choral chant that comes in from nowhere and arrests every sense as the elements rise and fuse with theatre.

By far one of Man Power's most techno-focused and biggest records to date.

Atangana Records's back with its second release, once again a long-awaited reissue, once again digging into the Caribbean music with a classic track from Les Maxel's (from Guadeloupe), Le Retour de Toto'. As usual, the remastered tune comes with a remix and a B2 just' coming with the remixer's add parts.

Originally out in 1976, Le Retour de Toto' on Disques Debs International is a brilliant dancefloor killer, magnifying the cross-world between zouk and latino music, biguine and calypso. You can hear from the prominent hi-hat all the energy of the dance moves you could improvise on that kind of joint. With a lot of break, wonderful horns and backing vocals, Le Retour de Toto' will enjoy all the summer dancefloor and airwaves for some time...

Deni Shain says : When we discovered this gem with my friend Likkle Ben, over a night of digging, it's mainly the keyboard break that drove us nuts! We were already hearing the edit that we'd make for our gigs... It didn't take long for me to contact the family of Henry Debs, introducing Atangana's project. They loved it, and at that time I went to studio with my friend Papastomp to start remixing it... I love how we added step by step the addparts, giving respect to the original tape...

Komponist und Filmemacher Anthony Tombling Jr aka CUTS arbeitete bereits mit Fuck Buttons, James Holden, Haxan Cloak und Wire zusammen und veröffentlicht nun den Soundtrack seines Experimentalfilms "EXIST" auf Village Green (CD, zwei Vinyl-EPs). Inspiriert von einem H.P. Lovecraft-Gedicht, erkundet der 40-minütige Film die Phänomene Albträume und Schlafparalyse. CUTS' Musik basiert auf düsterer Electronica mit Einflüssen von Mogwai und My Bloody Valentine. Der Track "Bunsen Burner" wurde bereits in Ivor Novellos prämiertem Soundtrack zu Alex Garlands Sci-Fi-Meisterwerk "Ex Machina" eingesetzt.

At the summer party on the occasion of my soon-to-be 80th birthday, many friends came. As it said on the invitation: 'The Eschenau Chaos Band will play.' While the party was going on, people asked me when that band would be playing, and I replied: 'Now! You are that band', and I randomly handed out all of these instruments. Hartmut Geerken was clued in and had brought some as well - Sun Ra's Sun Harp among others. I started with a moroccan hand drum, bendir, and off it went. Unpractised." - Herman De Vries Herman de Vries, born 1931 in Alkmaar, is a Dutch visual artist who has been living in Eschenau in the Steigerwald region (Franconia, Germany) since 1970. Having started out as an Art Informel painter in the 1950s, his interests shifted in the ensuing years, and in the 1970s, he became focused on found objects from nature and their rtistic-philosophical qualities and implications. He has made paintings, collages, texts, sculptures, installations, a.o., and has dealt with plants, earth, and other parts of nature from botanical, medical, historical, as well as psychedelic viewpoints.Recording made on June 18, 2011, in Eschenau. Edition of 300 with liner notes by Herman de Vries and photos of the event on the back sleeve.

Consummate Berlin dub science by the maestro.

Beautifully textured, shuffling Lagos funk, on home-made percussion… militant horns… and a walloping, filthy-stinking kick-drum like the bucking, hairy hind-most of the Devil himself.

The Dub is Warrior Charge, 2016.

What a record. Bim squared.

New York City's grittiest returns from the underground with a new batch of polluted grooves. Gut Nose follows 2014's acclaimed Vicetopia 12" and Filthy City album / mixtape with Escape The Matrix, a five track EP showcasing yet again how versatile in this city's styles the man can be.

Drew McDowall's back story reads like a primer of psychedelic fiction woven into statements of the unbelievable, superhuman and outright insane. Somewhere in the chaotic madness, comes an artist such as McDowall with total control and absolute calm within his songs and artistic method.

Growing up in the gangs of 1970's Scotland, Drew McDowall started to shy away from the daily violence once punk took hold of the counterculture youth. Drew McDowall quickly scrambled to form his own punk band in 1978 with his then wife, Rose McDowall, called The Poems. Shortly lived, the Poems released a single and various tracks but more importantly, the band allowed McDowall to network with other local musicians in Glasgow, such as Orange Juice, and allowed him to travel down to London thus forming friendships with Genesis P-Orridge, David Tibet and countless others, bringing Drew into the fold of the experimental revolution happening in the UK brought upon by Throbbing Gristle and executed by bands such as Psychic TV and Current 93.

During the 1980's, McDowall found himself in the ranks of P-Orridge's Psychic TV and collaborating with the mysterious duo comprised of former Throbbing Gristle creator Peter 'Sleazy' Christopherson and the enigmatic John Balance who had been creating esoteric and progressive electronic music under the title of Coil. It was during his formative collaborations with Coil that McDowall saw himself shift from occasional contributor to austere full-time member of the arcane outfit. McDowall's impact on the band's sound was apparent as the releases transformed from their previous avant pop signature to a more complex and methodic electronic imprint accompanied by even more abstruse subject matter than previous years. McDowall would continue honing his compositional skills with Coil until the release of the band's two most broad-minded albums, Astral Disaster and Musick to Play in the Dark.

The past decade, Drew McDowall found himself living in New York City and re-appropriating himself within the local music scenes he found himself contributing to. In 2011, alongside his friend and collaborator, Tres Warren (Psychic Ills), McDowall found himself exploring his passion of meditative drone and abstract sound patterns in their project Compound Eye. In recent times, McDowall's production work has provided the music world with some of the most outstanding remixes for bands such as Nine Inch Nails, Azar Swan and Long Distance Poison as well as his well-received scores he composed alongside artist Tamaryn for the works of Bret Easton Ellis. Outside of his collaborative duties, McDowall formed an audience as a solo artist, playing countless performances and showcases around New York's electronic music haunts.

Dais Records approached Drew to solidify his standing as a leading electronic musician with the recording of new material neatly wrapped up in his debut album entitled 'Collapse'. Recorded in 2015 in Brooklyn, NY, McDowall's synonymous modular synthesizer compositions are augmented by obtuse sampling cut-ups and contributions from Nicky Mao (Hiro Kone / Effi Briest) rounding out the lumbering sequential knot work that has become synonymous with McDowall and craft.

Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.

Bell Gardens - Take Us Away -
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.

Crafting another beautiful experience in sensorial delight, fleet.dreams returns to Vinezza with the label’s 3rd offering “A Voice Without Color” - born from an ever-deepening practice of groove-powered depth tech melded with realms of dubwise kineticism, enchanted cognition, and expressive, dreamlike synthesis.

“A Voice Without Color” finds fleet.dreams’ music in its most rave-activated mode yet, crafting 4 pieces of infinitely mixable spectral matter - all part of their own universe beckoning to be heard under the glow of stars in the night sky, or floating amidst the mesmerizing fog & lights pumping out of the system on your favorite dancefloor.

Awash in kaleidoscopic splendor and psychedelic intrigue, “A Voice Without Color” finds kinship in everything from the best of expansive dancefloor kineticism, time dilated wonder, and the vivid reverbations of the natural world floating in the mix. At once quintessential, contemporary, and ubiquitous is fleet.dreams’ own remarkable production technique, each track unfurling in seemingly endless swells of simmering rhythm and hypnotizing atmospherics - new memories of circadian entrancement in their molten essence, designed to blissfully guide you deeper and deeper towards the primordial exhilaration of movement. Undulating with vivid pulsations and clarion calls for the hips and mind echoing across a spiraling gyre, the sprawling waltz of “A Voice Without Color” glides through dazzling chroma and effulgent radiance greater than the sum of its parts.

Painting with bold, prismatic strokes of iridescent friction amidst the listless gray of our increasingly dispassionate timeline, fleet.dreams delivers another EP of style, substance, and vision for the dancers and DJs alike - a future classic of a possible world ready to be activated together.

*words by Kiernan Laveaux

Early support from: Kiernan Laveaux, Daniel Rincón (NAP), Scott Zacharias & Amelia Holt

Nu Vision is a modern salon for visionary leaders, fighting for their art, standing by truths, defending voices, honoring progenitors, whilst pushing forwards towards a new paradigm. The band all have their own stories and extensive discographies, records released on labels you might know, gigs played in places you might have attended but none of that matters. This is a new beginning. A group. A collective.A movement. Nu Vision is a band in the classic do-you-believe-in-alchemy sense. Equal parts rhythm, damage, and deep feeling. Their friends at DFA noted that the album “sounds like Depeche Mode scoring a Michael Mann montage: brooding,motorik, and shot through with black-and-blue beauty.” this idea is taken further in the first video from the album for track one / side one “Time” that launches the project publically along with the albums announcement. The palette of ‘The Seed’ is defined and refined in the best way. It’s an album that opens up many pathways. Brisker, freakier tracks like “Shadow In The Dark,” “R U Serious?” and “Humanity” run towards a softer finish with “Somedays” and the seven-minute, eyeliner-smearing closing ballad, “Lullaby Garden.” These are proper songs made with vintage machines, with a sound that carries obvious influences. ’ The Seed’ pulses forward as the body of the beast is turned inside out, wearing a beating heart on its sleeve, honoring those who left us too soon - DAF’s Gabi Delgado, Nitzer Ebb’s Douglas McCarthy, Depeche Mode’s Andrew Fletcher, and Sandwell District’s Juan Mendez. It’s important to note the emotional core of ‘The Seed’ album is the song ‘Synchronicity’ that is filled with both love and regret, the story of losing a friend without properly making amends. It is unquestionably heartbreaking, but is also delivered with a pang of hope, the feeling that with so many sunrises caught, so many additions and subtractions in life, a perspective has been gained. This is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A New Vision

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

Nu Vision is the latest project of Duke Cooper, band leader and label boss of Nation, Kode and DirtyBlends. There are three humans who make up Nu Vision, and they all have their own stories and discographies, records released on labels you might know, gigs played in Chicago or Berlin or someone’s loft, lives lived, friends made, sleep lost - fighting for theirart, standing by truths, defending voices, honoring progenitors, whilst pushing a new paradigm. Time is both fleeting and heavy for us all, but it is not without receipts.

Nu Vision is a band in the classic do-you-believe-in-alchemy sense - equal parts rhythm, damage, and deep feeling. Drenched in nostalgia and futurism, The Seed is a singularity of sound + vision; as if heavily rotated by VJ Dave Kendall on MTV’s 120 Minutes but materialized via today’s technology.

The Seed 10 inch provides additional music inspired significant icons Section 25, Liaisons Dangeruses and Adrian Sherwood having paved the way with their prior successes..- this package of The Seed is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A NU VISION.

The Seed 10 inch provides additional music inspired significant icon band: Section 25 from the period of 1981-1984 with a more electronic-dance direction, process which culminated in the album ' From the Hip ' and remix single "Looking From A Hilltop", both released in 1984 as "Insecure Man is about being true to manhood with Robert Lane leading the charge with his vocabulary message of the current state of society.

Insecure Dub focuses on the period of 1981-1984 with an alternative electronic-dance direction process as an inspired blueprint from Nu Vision inspired from Adrian Sherwood having paved the way with his individual success.

Inspired from electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics Liaisons Dangereuses created a unique style anything other than a Berlin or Düsseldorf ‘thing’ – that was propelled to an international underground phenomenon of fame.

Nu VIsion was inspired to create a blueprint from the period of their productions of 1981-1982 with an electronic-dance direction paying homage with passionate craftsmanship utilizing what equipment was possible in the studio at the time of this recording featuring new members; Zoe Murphy & Fletch The Stranger on vocals and James Chazz on Saxaphone with a Ring Modulator.