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Following the 'Screaming Ghosts' collection highlighting the music of C Cat Trance, Emotional Rescue and Malka Tuti return with the first of two EPs where the band's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.

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.

Making his debut on the label, Spanish producer Kuo Climax is welcomed to the Hot Creations fold. A solid two track release that has already been heating up dancefloors across the globe, the talented artist showcases his distinct style and proves why he is hotly tipped for 2018.

The EP opens up with Whyte, a pulsating track with a warped bassline and oozing synths. Two and a half minutes deep it disperses into a breakbeat-esque breakdown that dives back into the familiar 4/4 beat. Title track Nacrem is a smooth roller with an underpinning bass and intergalactic vocal stabs. The EP highlights the Spanish producer's ability to bring balance to his output, providing music perfectly attuned for the floor.

Born in Malaga and now residing in Barcelona, Kuo Climax has released on respected labels such as Knee Deep In Sound, Solid Grooves and VIVa MUSiC. 2018 will see the producer launch his own vinyl-only imprint, LFOFL, that aims to recognise the progress in technology without losing the essence of true dance music.

2x12"

Soma Are Proud To Present The Debut Album From One Of Techno's Most Prolific And Renowned Producers, Tensal. As One Half Of The Duo Exium, Hector Sandoval Has Already Carved Out A Career In Techno Spanning Over 20 Years, With Countless Release On Their Self-run Nheoma, Warm Up Recordings & Pole Group, To Name But A Few. In 2014, He Started The Tensal Project As An Outlet For His Own Productions Which Allowed Him The Scope Of Pursuing The More Direct And Minimalistic Approach With His Music And Also His Dj'ing. After Hooking Up With The Soma Camp In Early 2017 And Releasing A Collection Of Well-refined Singles, Tensal Delivers His Debut Album, Graphical. Searching To Go Beyond The Realm Of Standard Techno, Tensal Lends His Considerable Production Experience To This Project And Creates A Sophisticated And Immersive Album Experience That Flows Gracefully Between Idm And Techno.

With The More Stripped Back Approach At The Forefront Of The Project, Belga Gives Us An Insight Of What To Expect From The Album; A Refined Sequence And Melodic Element Build Gracefully And Hypnotically, Ending Abruptly To Leave You Wanting More. Santolaya Picks Things Up And Brings With It A More Pensive And Exploratory View Before The Droning And Atmospheric Roj0 Leans On A Decidedly More Experimental Side. Aimed At Bringing Tension To The Project, Convulsa's Waves Of Sub Bass And Syncopated Percussion Set The Tone For A Pulsing And Edgy Affair. Tensal Brings 4x4 Into Play With Polariex. Slow Paced Yet Staunch In It's Approach, A Gritty Synth Hook Stands As The Backbone. A More Hypnotic Approach On Egoaio Looks To Bring In The Standard Tensal Sound But As Always, New And Experimental Sounds Are At The Forefront. Closing Out The Album, The Focus Begins To Shift To A More Dance Floor Orientated Attitude. Zomb Is A Quintessential Dj Tool, Drawing On The Power Of Restraint, As Its Gradual Swells Create Perfect Cohesion Throughout. P R U V I 4 Continues The Ongoing Theme Of Tension As Multi Layered Hooks Surge Forth Against A Backdrop Of Forceful Drums And Undulating Noise. Tensal Ends His Debut Lp On A High With The Punishing Mimix. Pounding Kicks And Twisted, Tripped Out Synths Are Driven In Intensity With Chopping High Hats That Slice Through With Vigour.

With Graphical, Tensal Has Constructed A Body Of Work That Is More Than The Sum Of Its Parts; Easily And Intelligently Displaying His Production Prowess By Crafting A Sonically Accomplished Album.

Next Up On Out-er Is Inland, Aka Ed Davenport, An Artist Who Has Long Been A Friend Of The Label And Whose Powerful Techno Sound Is A Perfect Fit. His Three Originals Come With A Remix By Tresor And Tiercel Artist Bnjmn.

Inland Has Collaborated With Out-er For Some Time Now, Contributing As A Remixer And Was Involved In Their Events In Italy, Germany And Holland, From Label Showcases To Workshops And Panel Discussions. He's Released On The Likes Of Ostgut Ton, Nonplus+, And Runs His Own Counterchange Label, Which Recently Celebrated Its 10th Release. Up First Is The Perfectly Driving 'r-13', With A Concrete Bass-end Down Low And Celestial Synth Patterns Up Top. The Train-track Percussion Locks In The Momentum, While The Beautiful Waves Of Sine Wave Bleeps Keep Your Heart And Head Closely Connected.

Flipping The Vibe Completely Is 'eminent Domain', A Surging Old-school Indebted Ride, With Its Hypnotic Mutating Synths, Overdriven Percussion And Icy Hats. It's A Majestic Track Followed-up By 'planitia', A More Twisted Modernist Techno Cut With Turbulent Synths Wrought With Tension And Steel Plated Drums Hitting Hard. Glassy Harnonic Layers Add Colour Resulting In An Utterly Absorbing Trip.

Long Time Friend Bnjmn Has A Unique Take On Melody And Texture In His Work, Proven By A Series Of Excellent Lps And Eps On Labels Like Rush Hour, Tresor And His Own Tiercel Imprint. Here He Flips 'r-13' Into An Eerie, Loopy Dub With Slithering Synths And Distant Bell Drones Fluttering In And Out Of The Mix. The Layered Drums Add Real Dynamism To This Floating Yet Intense Interpretation That Closes Out An Ep Of Inventive Modern Techno.

Here We Are Releasing The Second Album Of Cologne Born Producer Thyladomid Who Is Familiar To Many Through His Work On Hamburg Label Diynamic Which Has Lead Him To Perform Around The World, Together With Artists Such As: Adriatique, Solomun, Kollektiv Turmstraße, Hosh, David August, Stimming, And Many More. More Then 30 Minutes Playing Time, 6 Tracks And Artwork By Florian Kramer Offer A Lot To Discover. Thyladomid Is Famous For His Forward Thinking Deep Melodic Dance Music Which Earned Him Respect And Support From Many People Of The Scene And Evolved Also In Cooperations With Adriatique And The Singer Mahfoud. You Can Find Two Tracks Featuring Mahfoud On The Album. With His First Album "interstellar Destiny" In 2015 Thyladomid Has Already Changed Towards More Introspective Music And You Will Hear He Has Taken That A Step Further Here. In Comparison To His First Album, "places" Refers To Different Places Which Inspired Him To Write The Album And Offers A Higher Level Of Complexity In The Making Of Music Which Has Helped Thyladomid To Enhance The Moody Quality In A Dazzling Way Sometimes Even Spine Tingling When You Let Yourself Go To Explore The Abundance Of The Trax. As He Said In His Own Words: - the Albums Intention Was That Of An Organic Produced Album With Different Moods. Instruments Such As Piano And And Violin As Well As Field Recording Bring Alive A Special Quality. The Bouncing Of Stones On A Frozen Pond Recorded With Multiple Microphones Suggest For Example An Authentic Spacious Quality. The Self Recorded Percussion, Sometimes Quite Exotic Were Included In All Of The Tracks. The Combination Of Synthetic Sounds With Traditionally Instruments Was One Of The Big Challenges For Me. The Piano And Prophet 6 Und The Moog Sub37 Were The Main Instruments Used For The Album'. Thyladomid Started Working On The Album 2 1/2 Years Ago. His Classical Training On The Piano Helped To Quickly Come Up With A Musical Theme Which Is Based On Different Tonalities Which Were Then Linked To Each Other And Which Actually Helped To Structure The Whole Release. The Good Weather In Summer Was A Good Inspiration And Finally Led To The Idea To Dedicate Tracks To A Certain Place, A Place Which Means A Lot For Him. From That Idea The Title Of The Whole Album Derived: "places ". "a Little Church In Amsterdam" As He Says "is Such A Track Encouraged By The City Of Amsterdam I Love And Respects So Much And Actually Have Spend So Much Time In. It Is A Track I Played Outside In My Garden To Friends And Which Works Perfectly For Me.' "a Little Church In Amsterdam" Is A Track Where Melodies Bloom And Flourish. It Feels Like Zooming In On Nature Grasping A Time Lapse Symphony. "blossoming Limburg Ft Mahfoud" Was Born In The Capital Of Limburg Which Is Located In The South Of The Netherlands And Reflects The Summer Of 2017 And Was Recorded In A Warehouse. It Reflects The Intimacy And Synergetic Level Between Mahfoud And Thyladomid. The Fantastic Deep Vocal Track Is Spiced Up With Lots Of Acoustic Details Which All Happen In The Background But Effectively Surface To Pull The Listener Into His World. "night Owl" Is A Lyrical Dreamy Piano Piece With A Melancholic Note And An Ear For Details. Acoustic Finesse Presented On An Episodic Scale. We Guess The Track Was Influenced By The Works Of Four Tet Or Pantha Du Prince. "kollwitzplatz" Is A Small Park In Berlin's Prenzlauer Berg Which Was Thyladomid's Home For 2 Years . - the Cafes And Restaurants Laced By The Alleys Of The Kollwitz District Resemble A Piece Of Home For Me And Represents The Time Of My Stay In Berlin'. Musically "kollwitzplatz" Is Full Of Life. You Can Hear Children Talking While The Piano Attracts Sounds Like Moths Are Attracted To Light. The Track Offers This Richness Of Percussive Elements And Sound Sources Creating A Stunning Complexity Which Does Not Limiting Itself But Rather Creates This Free Flow Of Acoustic Signals. You Instantly Will Feel: There Is A Lot To Discover At "kollwitzplatz". "underwater Rhapsody", The Title Says It All: It Has That Episodic, Free-flowing Structure, Featuring A Range Of Highly Contrasted Moods, Color And Tonality. What It Actually Means To The Listener Is That Grande Chords Meet Dissonances Of Sound That Fly In Like Drones Cross The Big Time Melodies That Gain A Centrifugal Force At Times... And All This Leaves You Dizzy And Creates Another Big Listening Experience As The Whole Album Is Directed To Entertain You In A Smart And Distinguished Way.






[E b2 | Places Ft. Mahfoud

Ark Angel Jah Mel is a recording artist, songwriter and musician from Jamaica. Beginning his career as a performer on the stage shows of the Twelve Tribes Of Israel of which he has been a member since his youth, Jah Mel made his debut sharing the stage with artists such as Dennis Brown, Bob Marley, Freddie McGregor, Sugar Minott, Brigadier Jerry & Denroy Morgan. His writing credits include songs written for Marcia Griffiths, Cecile, DaVille, Itana & Jah Mali, for whom he also produced tracks on his debut album El Shaddai. Jah Mel has worked with all of Jamaica's top producers & musician in Jamaica such as the great Sly & Robbie, Steely & Cleevie, Earl Chinna Smith, Steve 'Lenky' Marsden & Donovan Germaine to who's Penthouse label Jahmel was signed.

Jah Mel sees himself as a musical bridge between the original reggae sound & the dancehall sound of today, representing what he calls the real dancehall revolution, merging the spirituality of the old school & the energy of the new school. 'Guiding Star' and 'Stand Up To It' are the perfect examples to overstand this definition. Both song were produced by Roydale Anderson aka Andy's. 'Guding Star' will definitely give you thrills if you are into
deep synth and heavy digital rhythm while the superb piano notes will warm you in the analog style. Beware of 'Guiding Star' dub version called 'Guidance (Dance Mix)' that will break any bunker. 'Stand Up To It' rhythm is an adaptation of one of the most classic Jamaican riddim called 'Heavenless'. You will never know this riddim like before; This version takes the riddim to another level. A positive song with a bionic nuclear bomb
dubwise! Play it loud, Jah is our guiding star!

Tune after tune, Coops consistently delivers truly original and unique music, his newest single 'Jetpack' taken from
the recently announced 'No Brainer' project is no exception. Twist up a paper plane and take ight with Coops as he transports us out of the mundane into completely uncharted territory with this perfectly executed audio/visual experience. At High Focus Records, we are rm believers in artistic freedom, so when an artist as versatile as Coops delivered this 14 track project, it was a 'No Brainer' to share these highly innovative creations with the
world. 'Jetpack', alongside previous singles 'That Jazz', 'Bob Dylan' & 'What You Want' can all be found on Coops'
forthcoming 'No Brainer' project which is now available to pre order on limited edition splatter vinyl, CD, cassette tape and on all digital platforms. This forthcoming record showcases Coops' versatility and creative approach to his craft displaying a broad palette of sounds and moods. The cosmic cover art shows the two sides of the brain, representing the different approaches Coops has taken when crafting this project, ranging from experimental modern soundscapes to that classic Hip Hop sound. 'No Brainer' isn't really a album but more an experiment... I made most of these tracks alongside music I'd been making for an album... People have always tried to categorise me as a "Boom-Bap artist" but that I have never been. I am constantly making music of different styles and never work on one project at a time. Sadly some of these tracks never see the light of day, even though they are still of high quality and sick, so this time it was a 'No Brainer' that I put some of these tracks out.' - Coops
Coops - 'No Brainer' is offcially released on the 27th of April 2018 on High Focus Records.

ESHU, the production collective and record label from Nijmegen are back with their next offering. Their 12th release is a various artists release that features BLM, Jburg and Steven Siwalette alongside label members Ivano Tetelepta and Jocelyn Abell. It comes on the heels of Tetelepta's absorbing dub techno album, Senang, and is another high class offering. Nijmegen based Siwalette is first, previously contributed to the label as part of SYS. His Stragglers is a sparse but atmospheric track with industrial drones and slowly turning drums taking you through a desolate factory late at night. His second offering is Alien Encounter which is just as it sounds - a spooky, unsettling bit of cinematic sound design with menacing bass and icy pads all growing in loudness until they eventually consume your mind. Lastly on the A-side, UK producer and Fear of Flying label boss BLM lays down a skeletal groove that's embellished with beautiful, yawning synths. Scattered little details and fx making this a cavernous piece that encourages your mind to wander and get lost. On the flip, Jocelyn Abell and Ivano Tetelepta cook up a heavyweight, mid tempo bit of dub techno with sharp hits and rolling kicks lulling you into a trance. Last of all, the emerging Jburg picks up the pace with a perfectly chiselled bit of rock solid dub with looping drums and icy hi hats sinking you deep into its midst. This is an excellent EP that packs in a range of fascinating sounds for both the home and the club.

Combo Lulo is that rare possibility of true magic moments manifested. Embodying the classic sentiment of a New York supergroup with an ensemble of friends and like-minded musicians whose resume is too full of credits and accolades to grasp in one shot, the band is a testament to what can happen when locked together for a two-day session in a Brooklyn studio.

Drawing inspiration and direction from band leader, composer and multi-instrumentalist Mike Sarason, Combo Lulo moves side to side from effortless Jamaican foundation rhythms into the further reaches of Caribbean influence...incorporating a natural transition between Jamaican classics and the essence of Afro-Latin ritmo. It's a musical match made in heaven and, more importantly, it's carried out with the gentle and deft touch of veteran studio musicians with deep appreciation and nuanced understanding. Together with Names You Can Trust, it's a locked in groove that is a perfect slice of roots, collaboration & present day experimentation that is sure to have any listener feeling nice.

After putting out Kito Jempere's well received Sea Monsters album last year, Hell Yeah now serve up another selection of remixes of it. Accomplished musician Jimi Tenor, plus Miskotom and Max Essa all contribute before a 7", also taken from the album, lands later in summer. First up is Jimi Tenor, the legndary Finnish musician who has released on Warp, collaborated with Tony Allen and has his own band as well as occasionally playing sax with Kito Jempere Band at live gigs. He flips Puzzled into five minutes of stripped back and moody electronics with plenty of his own flute playing in the track. Busted drum sounds, spooky sci-fi synths and scattered hits make it woozy and late night and utterly absorbing. Miskotom—a newly emerging pair made up of Mik and his wife Andra, both based in Vilnius, Lithuania with credits on Pleasure Unit and Balearic —then reimagine 'Ampa' as a beatdown but of deep house with trudging drums staying low and shimmering synths drift out in all directions. Crunchy hits bring a subtle sense of funk and reverb drenched vocals bring a heavenly feel to the soul drenched grooves and summery keys.
Then comes Max Essa, the Japan based Brit who is a regular on this label as well as the likes of Is It Balearic. His first remix is a huge one that is sure to soundtrack many a boat party this summer. It's a gorgeous rework of 'Ampa' that puts achingly blissful vocals front and centre as low slung bass and slowly turning drums sink you into a pan-pipe laced reverie. Secondly, Essa offers a Dub Reprise that removes the vocals and places all the focus on his churning drums and new age grooves.
This is another perfect package of masterfully electronic horizontal sounds.

Since the early 1990s, keyboard player Jessica Lauren has been a familiar part of London's alternative music scene. Jessica's keyboard skills have augmented the live performances and studio recordings of world renowned artists such as Jean Carne, Tom Browne, Dexter Wansel and James Mason, Japan's United Future Organisation, and UK soul diva Juliet Roberts.

Her previous Freestyle album 'Jessica Lauren Four' (2012) highlighted Jessica's minimalist approach, something rare and refreshing in the jazz world: she instills her compositions and playing with a refined sense of space which makes her music as much about what she doesn't play as what she does.

The albums' opener - Kofi Nomad is a deeply percussive afrocentric epic, featuring the beautiful baritone saxaphone of Tamar 'Collocutor' Osborn, one of the most in demand woodwind players working today, underpinned by a powerful foundation of percussion courtesy of Richard látúndé Baker, Phillip Harper and drummer Cosimo Keita Cadore.

Jessicas' amazing skill for writing simple, understated yet superbly memorable and catchy hooks remains undiminished. Highlights in this new collection are almost too numerous to mention, but Amalfi is a breezy bossa, which conjures up images of easy living days and sun dappled Mediterranean coastlines, whilst the angular and brooding Simba Jike has something of an Eddie Harris style deep, dark groove over which Jessica riffs and solos beautifully on grand piano - and Tamar once again blows freely, whilst 'level' Neville Malcolms' upright bass figure roots the entire thing in a solid, almost primeval sound.

The albums closing statement Argentina is a masterpiece of pathos and perfectly demonstrates Jessicas' approach which is almost akin to a minimalist architecture style of composing and playing, such is the strength of its atmosphere and subtlety.

It's rare to come across a debut album that delights and surprises in equal measure, but that's exactly what you can expect from Human Call, the first full-length excursion from daydreaming dancefloor fusionists Earthboogie.The East London-based duo of Izak Gray and Nicola Robinson has previous form when it comes to creating beautiful, funk-fuelled fusions of soundsystem-ready rhythms, humid instrumentation and intergalactic audio explorations. To date, they've released a pair of fine EPs on Leng, both of which did a splendid job in showcasing their unique musical vision.Even so, this vision has never been clearer than it is on Human Call, a vibrant eight-track missive that fixes the sticky tropical cheeriness of African and South American dance music - be it Afro-disco, Afro-funk or samba - with a wide range of complimentary sounds, styles and influences, from spacey analogue electronics, sun-kissed Balearica and hazy West Coast jazz-rock, to chunky dub disco, snappy retro-futurist house and bouncy, dub-fuelled club workouts.Throughout, Gray and Robinson showcase an impressive level of musicianship, variously combining crunchy drum machine hits and dusty old synthesizers with razor-sharp electric and acoustic guitars, rich bass, cascading saxophone solos and hazy, life-affirming vocal harmonies.The result is a string of memorable highlights, from the sticky tropical-house-meets-dub disco futurism of 'Human Call' and fuzzy disco-funk righteousness of opener 'Overground', to the post-punk disco jauntiness of 'Stargazing' and samba-infused dancefloor bliss of Nina Miranda collaboration 'Silken Moon'. Cheery, absorbing, imaginative and hugely entertaining, Human Call offers a perfect snapshot of Earthboogie's distinctive musical world.

Truly nuts and really kind of essential... the Starship Commander had his whole approach to the Synthesiser Voice technique. B-Boys/Girls delight. Check the instrumental cut, Mastership - a head nod synth voyage of the highest order. Limited copies. TIP!
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'How are you doing, Earthling' That's how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo.

Left Ear Records went back to Coleman's original master tapes for their vinyl reissue of the Commander's 1981 private press album Mastership, a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, 'Laugh and Dance.' It's an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world.

Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn't afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late '70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo.

The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman's sister, a seamstress, created his outfits.

Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he's starting to get the feeling again.

Now 62, he's currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he's using metal ceiling tiles to line his walls. It's starting to look like a spaceship. Coleman promises, 'There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo!
Pat Padua'

On this joint EP with Reggie Dokes, Gari explores the world of deepness without hesitation. He takes us on an intergalactic mind trip, while keeping it true to the dancefloor.
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On the A side is Reggie Dokes, who gives us deep house, then without shame moves us into that Detroit style of techno, cultivated by the Motor City. Mr. Dokes likes to walk in both worlds of house and techno, and not confine himself to one particular genre. This EP is the perfect
marriage of two creative producers, who bring excitement and inspiration to the dancefloor.

Having pinned to perfection the sonics of the Adriatic, Croatia's Love International Festival bottles up their blissed out rhythms and sunrise sessions for the inauguration of Love International Recordings, fittingly, with a first release from UK producer Begin.

Bringing the Love International feel to wax and digital, the label will encapsulate the range of music the festival's secluded party paradise has become renowned for. All the way from the balearic tinges of this first release, to the meatier house, techno and electro selections on show at Barbarellas.

Begin aka James Holroyd has a long history with Love International. Dating back to the early 2000s, Holroyd was one of the first guest DJs at the old Garden festival on the former festival site in Petrcane. Long serving Chemical Brothers tour DJ, Back to Basics resident since the 90's and Bugged Out co founder, Begin has long paid his paid his dues to the scene. In the words of Dave Harvey: 'he's been an absolute workhorse in dance music for time'.

Love International 001's tracks seemingly fit the festivals own daily lifecycle. From the docile guitar picking of meditative EP opener 'Wood Trees' to the slow daybreak funk of 'Daypulse' where synths pierce through the track like sun rays through the Adriatic dusk, the EP is a holistic reflection of what one might hear at one of the festival's fabled sunrise sessions. 'Garden Interlude' ushers in a fresh burst of energy, with the revitalizing sounds of piano house, paired with warming neo soul vocals. 'Into The Fun' is a self fulfilling prophecy, closing the EP on a quintessentially balearic note.

His latest release I KNOW from Elypsia Records is a quintet of Detroit inspired remixes of the song 'I Know'. Inspired by Kevin Saunderson, his original TECHNO MIX (7:06) is a hardcore and high energy track with intensity to match the wildest of crowds. The EP also contains 3 remixes of the track, each exposing and accentuating the brilliant aspects of his complex tune. It begins with the LUCIEN FOORT REMIX (6:41), a lively big room hit with a punch fit for an epic Saturday night. UK MIX (6:46) follows with subtle electric melo-dies and rhythmic drum and bass patterns that give listeners the feel of wonder and excitement under a clear starry sky. With a clean and gravitating groove BIT FLOAT REMIX (7:42) would fit perfectly in any Ibiza party with flair and style. This release is a masterpiece of its own and nothing less than the product of a man who was born with beats and melodies ingrained in his soul. For Orlando Voorn, making music is more than a way of life, it's a necessity. From the early age of 9 his natural intuitions became apparent when his drum teacher told his parents he could play everything that was shown to him, even though he had no ability to read a score. He began to DJ at the age of 12, and 3 years later won the World Mixing Championships of 1983 at just 15 years old. Steve Clisby, from the popular American band 'American Gypsies', recognized Voorn's ability and taught him chord structures, which gave him the tools to begin composing tracks using keys and bass. His artistry then took off, making a name for him-self with his vibrant dance tracks under the alias 'Frequency". Today, he's known as one of the Netherland's most inventive and ingenious producers in the world of electronic dance music. Having produced a wide variety of music under a number of monikers including 'Fix', 'Format', 'Urban Nature' and 'X-it', his diverse ability stems

Following the release of Baba Commandant's debut album "Juguya" in 2014 on the mighty Sublime Frequencies label, Mawimbi is proud to present Wasso, one of the best cut from the
album in brand new mixing shape alongsides killer electronic remixes from the likes of Mawimbi signee Loya and Mr. Boom.
A rather eccentric and mysterious character from the Ouagadougou underground scene, Baba Commandant started out as a traditional Bobo dancer, before engaging in a rich musical career and joining Burkinabé star Victor Démé as one of his touring musicians. Influenced by the likes of Fela Kuti, King Sunny Adé and Moussa Doumbia, Baba Commandant plays dozo n'goni, an instrument associated with traditional Donso hunters, bridging the gaps between different generations and strata of Burkinabé society. Recorded at the notorious Ouaga Jungle Studios, "Wasso" is a prime example of the band's unpolished and raw sounds, merging Mandinka blues, dub and Nigerian afrobeat with a punk feel. The A-side also features a remix by Mawimbi signee Loya, whose leftfield reinterpretation moves at
a much higher pace with epic modular synth motifs and subtle organic layers of sounds. The B-side of the record is made of two DJ-friendly remixes with impressive mixing work from Toulouse-based producer Mr. Boom. Stripping the original track down to its most lively elements, both mixes are perfect club-ready weapons for tropical-minded and house DJs alike.

Omaggio brings the heat once again with the reissue of Prana People, self titled LP originally released in 1977 on Prelude. The Aleem brothers Taharqa and Tunde Ra (or Albert and Arthur) are Prana People and brought a perfect treasure of disco/funk/soul to make you want to dance from the funked up "Is Your Life A Party" to that slow, head nodding sexy groove of "Wishful Thinking" to proper hands in the air feel good disco of "Angels Say Flee" to the perfect strings and flawless soul of "All Around My World". The combination of the tracks and strong production make for an endlessly playable album, and with the legendary brothers, who since the 60's have their place in music history, this is an instant buy if not already owned to add to The Aleems discography of your collection.

Mikkel Metal returns to Copenhagen's Echocord this May with his new mini LP 'Just Enough Light', comprising six originals from the Danish artist. Copenhagen based producer and DJ Mikkel Metal has been a beacon of light in the Danish electronic music scene and further afield for nearly two decades now, with the Dub Techno imprint from his hometown, Echocord, being the predominant home for his output, whilst also releasing material on Cologne's Kompakt, Tartelet, Semantica and Avant Roots, a telling sign of the quality embodied in his work. Here though we see Mikkel deliver a mini album concept in the shape of 'Just Enough Light' and opener 'Awake' perfectly sets the tone with emotive, dynamically unfolding atmospherics, tension building bass drones and spiraling dub chords subtly easing us into the project. 'Bregnan' then stirs in some classing Dub-Techno tropes with billowing stab sequences, lumpy subs and off beat high hats carrying the hypnotic groove for six and a half minutes. 'Jech' then strips things back to an almost beatless amalgamation of murky chords and modulating synth whirrs. Opening the flip side of the release is 'Include' which embraces a brighter feel via ethereal pad swells, jazztinged synth melodies and bumpy 909 rhythms before 'Konkin' edges back into the eerie, brooding aesthetic with bubbling echoes, broken drums and menacing bass swells at its core. 'Restore' then closes the package on a stripped-back vibe, laying focus on an ever- eveolving singular dub chord to ebb and flow around thunderous subs, kicks and bright hats.

The new Alec Empire Album, now out on vinyl with Cargo ! An excellent product (sound is wide open large and strong) the new aspect of Alec Empire is his Lou reed/Iggy Popy & New Order way of singing. The result is a perfect fusion... Welcome to the Breakcore Croonerz !

Her Majesty's Ship is proud to present 'This Never Happened', the latest album from hugely talented French-American singer and producer Yan Wagner.

This always inventive and off kilter artist has had many top releases on labels like Kitsune and has worked with the likes of the legendary Arnaud Rebotini and Etienne Daho. He also has a side project, The Populists, is producing the first album of Calypso Valois and wrote the soundtrack for the short film 'Victoria' by Mathilde Marc. Someone who plays events like SXSW and Montreux Jazz Festival, Wagner's playful disco-pop tunes always find their way into the emotions of those who hear them.

For his second album, the artist wondered what to do: surprise everyone with a selection of ballads or serve up the electronic sounds that defined his last effort Forty Eight Hours. The answer lies somewhere in between, with covers of Frank Sinatra and Lee Hazlewood mixed in with fresh and catchy disco production. Unlike the last record produced by Arnaud Rebotini, this record is producer by Yan himself with a triple objective: to favour the first takes, the heat of the sound and to reduce the post- production to a minimum. It makes for something authentic and real, and is an album of artistic self-questioning, tenacious dreaming and overcoming doubt.

Says the artist, "The songs on this record are a series of lies; views of the mind. 'This Never Happened' is a collection of stories that never happened. Ten tracks talking of vain loves, of nocturnal experiences and of life and truth, which are all so short.'

Starting with the retro synths and shiny arpeggios of the title track, ensuing cuts like 'Blacker' are real chuggers with almost de-humanised vocals over the robot beats. 'SlamDunk Cha-Cha' is descended from Bowie with its camp synth wiggles and sung- spoken vocals. Switching up the tempo, slower tracks like 'Grenades' are perfectly glowing and frazzled with their pixelated melodies and cold chords. More upbeat affairs like 'No Love' are like lighter and cheerier versions of Depeche Mode, and the Sinatra cover 'It Was A Very Good Year' is a stirring, synth heavy version that is every bit as tender as the original.

This is a fantastic album of timeless electronic songs and is sure to be one of the standout releases of the year.

Synthek is quite simply a master of deep hypnotic abstract techno. The Berlin based Italian has made plenty of waves since his first vinyl releases back in 2010 and has gone on to secure residencies at Tresor. The Hidden Dimension sees Luca retrace his account of entering hidden dimensions in musical form. Breathe and Surrender starts off proceedings in ambient bliss, setting the tone perfectly for Process Recall to introduce percussion and bass into the flow, before Duality takes centre stage and shows off Synthek's impeccable production skills in creating a serious deep slice of hypnotism. Harmony then takes things back down to earth and wraps up the story with a calming presence.

The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect'
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Music is the healing force of the universe. It's an ancient idea bandied about by Pythagoras and Plato. In the last century, music as medication has been explored by musicians as diverse as Albert Ayler, Spacemen 3 and Pauline Oliveros. Nowhere did this concept gain more traction than in the so-called realm of New Age Music, an entire movement of synth droners and echoey flautists recording home-baked healing mantras on 4-track. In recent years, thanks to cassette collecting devotees and open-minded music journalists, New Age has shed its flowing robes and is being mined for the truly incredible music that swells under its pastel surface. Musician/acupressurist Sam McClellan's 1982 Music of the Five Elements is one of those revelatory discoveries, an unrivalled work of intense research and focus, simultaneously a near perfect work of art and a scientifically sound elixir for body and mind.

After studying electronic composition at Hampshire College with Randall McClellan (no relation), Sam McClellan became intrigued with the possibilities of healing through music. He explored this idea by applying the ancient Chinese philosophy of medicine to the principles of musical composition. Using the pentatonic scale (the traditional scale of Chinese music), McClellan related each of the notes to one of the five elements (Wood, Fire, Earth, Metal Water), and created five variations for each. He experimented with tempo, beat, pitch, duration, and sound quality, studying the effect on people's energy levels. Using the results of his tests he developed a comprehensive theory of sonic healing and spent the next year composing an album designed to help people achieve inner balance, reducing anxiety and energy depletion.

Music of the Five Elements is not only the acoustic massage' that McClellan set out to make, but is a fully realized and peerless piece of music. Taking cues from Minimalism, American Primitive guitar (Fahey & Basho) and even psychedelia, the album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction.

Our boss Claude VonStroke is the busiest guy we know. When he's not traveling the world or curating an event, he's in the studio every day putting in hours upon hours, relentless in perfecting his craft. He's had a slew of hits the past couple years in the form of remixes and collaborations, and now with the 'Walay (My Bae)' EP, Claude gets back to some inventive and somewhat 'out of the box' solo works.

The title song leads with a melodic riff and an funky vocal that sounds like a defective cyborg is proclaiming love for his partner, 'Walay.' This quasi-human uses the slang 'My Bae' to try and pass for human and we almost believe in his passion. The sound harkens back to old classic rave tracks but also pushes very modern production techniques.

On the flip, 'Raw Nerve' is an emotional exploration in both sounds and lyrics. A melancholy VonStroke dives deep into his insecurities and fears with sonically mutated lyrics like 'I'm feeling so sad, I'm feeling real bad today. When I see you on the street I dont want to compete.' You can feel the social instability oozing out of the vocal only to come back at the close with a violently hard bassline embodying the personal angst and frustration that goes along with not 'fitting in.'

*New Artwork* Early 80s rarity 'Movin On' by Zambian band Witch finally gets a repress on Invisible City Editions!
Known for their psychedelic fuzz masterpiece 'Lazy Bones', 'Movin On' shows a different side of Witch and features a whole new sound, capturing both the spirit of the early 80s and the changing political atmosphere in Africa with a perfect blend of MJ/Jake Solo boogie, and Fleetwood Mac AOR moves. The album showcases the band at its creative peak, blending American and African influences with stellar musicianship. Featuring synthesizer work by the great Patrick Mwondela. This is the African boogie version of Band On The Run.

In recent times Alex Pletnev has been making his mark on the musical stratosphere with an array of works from from cold wave edits, through gorgeous adaptations of african and world music to tribal techno originals. He joins us as Pletnev for "Aztec Code / Daywalker", a 12" combining his abundant influences to take us to bizarre, far-off places.

"Aztec Code" is a pure dance thing. Inspired by the fat kicks and live bass lines of the Big Beat era, Pletnev combines a jumping beat with african percussion and a charismatic vocal that seems to call out from between the palm fronds of somewhere steamy as we work up a sweat. Tenderly crafted with samples taken from almost 10 records, one-shots, drum layers and melodic licks are treated and mixed, giving rise to a warm, lush atmosphere perfect for circling a fire deep in the tropics.

On the flip, "Daywalker" is a completely original, synthesised outing. A sleazy lead line charms and slithers upwards between layers of syncopated tabla and a sultry acidic groove. The tune spins and twists around this central oriental theme, ever-evolving as layers of detailed percussion and ad-libbed melodies intensify the tone.

Sound artist Eva Geist joins Fleeting Wax label head Mehmet Aslan to spin "Daywalker". The pair create a sonic bridge between the two originals. Their hazy rework dubs out some electronic elements, adding contorted sound design, distant vocals, lofi samples and an italo leaning bass. A mystic incantation for spaced out late morning moments.

It's been 4 years since the last music compilation on MindTrip. Mutable Minds brings together a mixture of five exceptional and talented artists whose sound matches perfectly with the MindTrip philosophy. Head honcho, Pfirter, and Swedish Pär Grindvik contribute the first track of the release with their diversified collaboration embodied in a hypnotic and extraordinary tune whilst Diego Amura takes the lead with a track that is characterized by driving rhythm and haunting sequences. Savas Pascalidis debuts on the label with a trippy-sci-fi interpretation and the release closes with one of the latest guests on MindTrip Podcast, Fanon Flowers, who takes us into a dark, mental and conceptual techno journey. The final outcome is mesmerizing and all four tracks can be seen on different aspects of an all night long set. This is MindTrip!

This August sees Stone Foundation release their fourth studio album 'A Life Unlimited' featuring ten new original recordings.

Last year's album 'To Find The Spirit' was easily their most successful seeing the band reach No. 33 in the Independent Charts, receive regular Radio 2 play, achieve glowing reviews in The Mirror, Scootering, R2, Jocks & Nerds magazine and saw the band tour Japan twice where the huge attendances helped secure them a recording contract with the prestigious P-Vine label and an appearance at Fuji Rocks festival.

'A Life Unlimited' features contributions from Graham Parker (The Night Teller), US soul stalwart Nolan Porter (Beverley), vocal harmony group The Four Perfections (Pushing Your Love) and Blow Monkeys frontman Doctor Robert
Howard (A Love Uprising). 'A Life Unlimited' sees Stone Foundation develop their unique style of soul, funk & jazz to a much broader scale. Horn driven arrangements add colour to an inspired display of songs that are unquestionably the group's strongest to date. Thought provoking lyrics and strong melodies sit upon a stylish musical bed.

The first single from the album 'Beverley' was the title music in the award winning (best film at the Portobello film awards & East End film festival ) Cass Pennant & Alexandra Thomas film of the same name starring Vicky McClure (this is England) and Laya Lewis (Skins)

Clear & White Mixed Vinyl
After a hectic weekend you awake dazed and confused deep in the urban jungle. As the sun starts to rise, in the distance a lush pad starts to drift closer. The sounds of your past... a time when everything in the world was right, perfect. Tearing breakbeats release, kinetic energy moves your body and you start to reminisce about friends, love and music. Days gone by, the vibe never ends.

Jem One kicks off 117 spring with 3 fresh cuts pressed on a special edition clear & white mixed vinyl.

Slow Motion's 38th (!!) Release Comes Courtesy Of Berlin-based Gallo Who You May Know As Part Of Balearic Gabba Soundsystem. Joining The Family For His Debut Solo Release Gallo Drops The Tempo For Three Deep-cuts Of Blissful Balearica. Backed Up With An Acidic, Chugging Re-rub Of 'faron' From Fabrizio Mammarella Which Is Perfect When The Sun Goes Down, Orange Stripe Arrives Just In Time For Summer. How To Get The Most Of This Track: Combine It With Blissful And Dreamy Beach-excursions Or With A Sunset Aperitivo. This 38th Release Has 'future Classic' Written All Over It.

The Miles Davis Quintet, in 1956, were maybe the best and most accomplished young group in jazz. And the quartet of albums that they recorded on 2 days that year (Cookin', Steamin', Relaxin', and this title, Workin') are some of the most famous and timeless jazz recordings in history. They recorded this heavily over the course of 2 days to satisfy contractual obligations, but you wouldn't know it by hearing the recordings. Davis, Coltrane, Garland, Chambers, and Jones are a seamless and incredibly cohesive group, playing off each other perfectly, and it's somewhat shocking to know that they only existed in this particular incarnation for less than 3 years.

Double Vinyl edition of 300 copies w/ download code and etched d-side.

Breaching is the debut album from Leeds-based, 6-piece, post-metallers Hundred Year Old Man. Hot on the heels of recent EP Rei, Breaching emitsthe same heaving intensity and unforgiving, wall of sound approach. Dense and billowing riffs are intertwined with field recordings and spoken word passages to form an unyielding, sprawling piece of work that delivers the bands artistic vision perfectly. The more ambient, drone sections of the record compliment and allow the real songs to take flight. Debut single Black Fire is reworked to give the track a new lease of life, whilst the other heavy hitters here; The Forest, Long Wall, Disconnect and Ascension are a continuation of the excellent work found on the Rei EP. Breaching contains masses of atmosphere and is a ferocious and immersive listening experience. An epic, monolithic voyage full of texture, depth, aggression and emotion. This is an album that should be approached as a whole, with patience and attention. The rewards will deliver a unique, crushing and quite simply superb record.

* In come the first of three releases celebrating a decade of pioneering label Kapsize. Fronted by leading light of Bristol dance music, Joker showcases one of his most iconic sounds to date.

* Suave sophistication not out of place in a Bond or Bourne film, backed with dancefloor aggression, 'Anamorphic' oozes the hi tech international espionage Purple sound Joker has carved out for himself. Opening with plush synth and horn washes, leading into unmistakable arpeggiators and guitar riffs, 'Anamorphic' manages to combine Joker's signature sexy RnB vibes into perfectly engineered system smashing bass lines with ease and style.

* 'Forever' explores the same theme with soundscapes and synth washes that Vangelis would be proud of. A textural flight over the landscape Joker painted with 'Anamorphic', 'Forever' gives listeners a chance to take in the sights and sounds of the neon cities and skylines that Joker made his name on.

* Joker continues the exploration and continuation of the sounds that made his name, elements of 'Snake Eater', 'Tron' and 'Neon City' can be found here with a new slant. A showcase of a unique pioneer at the top of his game.

* Breaking into a new century, following last months 100th release on the label, Ishan Sound collaborates on 2 killer tracks with Bristol-based Hodge and Alex Hughes aka Muttley.

* 'C5' refers to cold explosives and makes for a perfect title for this stark, cold rhythm. A circling melodic synth line sets a moody context before the floor drops out and an industrial strength sub drives things forward at 130bpm. Deep, hard, dark, original. Exceptional quality from Ishan Sound and Hodge.

* Flip for a 140bpm excursion from Ishan Sound & Muttley, melding elements of trap, grime and dubstep meticulously to form an engaging sonic that is both fuel for the dancefloor as well as providing introspective qualities for bass weight meditation. 'Still Smoking' sums it up appropriately.

Do you like Love songs After spending a lifetime spent avoiding this subject in song, Joel Sarakula finally admits that he does. On his new album "Love Club" Sarakula relives the golden age of Soulful and Romantic Pop music and connects it with a modern aesthetic. While a deeper message of love and peace flows through the record, Joel Sarakula is no old fashioned hippie: ",Love Club' is about connecting to reality and re-framing the idea of romantic love and loss in the present, loveless age ". Featuring eleven songs touching all genres from disco to blues, from soul to soft-rock, Joel Sarakula's "Love Club" is a profound pop statement.

Joel Sarakula has travelled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway, via the dive bars of Europe and the US. It was the hodge-podge musical tapestry of England's capital that finally drew him to a settling point, in the wake of seemingly never ending run of shows. With personal tastes that span from the more avant-garde to soul and pop greats like Sly Stone, Todd Rundgren and Hall & Oates, there are clear nods to contemporaries like Unkown Mortal Orchestra, Erlend Oye and Toro Y Moi in terms of ambition and style.

With his last two albums "The Golden Age" and "The Imposter" collecting strong radio plays at BBC Radio 2, BBC 6, BBC London, XFM Joel Sarakula has been play-listed nationally in Europe including Flux FM, WDR 5, Radioeins, Bayern 2, Deutschlandfunk and Deutschland Kultur Radio in Germany as well as in Benelux and Italy and Spain. He is a regular fixture on the live festival and club circuit in the UK, Europe and internationally including appearances at SXSW, Primavera Sound, Glastonbury, The Great Escape, Liverpool Sound City, Scala London, Tallinn Music Week, V-ROX (Vladivostok) and Reeperbahnfestival Hamburg.

"Love Club" is Sarakula's bold and unashamedly emotional next step. In essence the album is a homage to the soulful singer & songwriter artistry of the Seventies filtered through a darker contemporary lens - fitting for these uncertain times. "I always shied away from generic love songs," the Sydney, Australia born songwriter admits, "but on this record I embraced the subject wholeheartedly... and intellectually, looking at themes of love, lust, loneliness and everything in-between." Take the first single "In Trouble", co-written with Michele Stodart of The Magic Numbers, as the best example for Joel Sarakula's unique, and honest approach to making music. "We Used To Connect" questions the changing nature of relationships in our social-media addicted world: 'We used to connect in the real world too, now the touch of your hand is a digital cue'.

"Coldharbour Man", on the other hand, examines the identity of the song's narrator and the artist vs. fan dynamic all wrapped up in a disco love song: "There's a lot going on in this particular track. I feel my writing has grown emotionally...", explains Joel Sarakula. "Just best to listen yourself and make up your own interpretation!: 'We met in a song come to life like some fantasy cliché, though I'm known for my moves in the dark you flooded sunshine on my day'. Then there's "Baltic Jam", capturing romantic love and loss in authentic 70s confessional singer & songwriter style and of course "Dead Heat", a song about how there is struggle in the most perfect relationship pairings as the match is so even: "I recall an ex-girlfriend of mine... when we first met, we thought we hated each other but we eventually flipped that emotion and realised we had a deep passion and love for each other, there just was a lot of underlying sexual tension!" : 'It's a battle we could only win, if we lose. We'd be stronger if these lonely ones became two'.

More than a year in the making, Joel Sarakula recorded "Love Club" in various studios around London and Berlin capturing soulful performances from his many musical comrades on vintage analogue equipment. "This record has truly been a labour of love. Recording and privately sharing these performances amongst my collaborators started to feel like a bit like a club - I guess that lead to the album title! I was surprised how much I actually enjoyed the 'love-making process' and I look so much forward to playing these new songs on stage with my band." We can't wait, Joel Sarakula.

A wonderful companion piece to the totemic Fed, we proudly announce the first ever vinyl edition of Korp Sole Roller by Plush. Liam Hayes' magical fourth full-length LP was previously only available on a rare Japanese import CD. Produced and arranged in 2010 by Pat Sansone (Wilco / The Autumn Defense), it finally arrives in a limited edition of 500 copies.

The common impression of Plush is that of an underground rock myth, lent greater poignancy by the lofty vision that galvanised his music. Yet while he has long been a cult concern, clued-up celebrity fans periodically declare their profound love for Hayes' maverick genius. Indeed, after Jason Schwartzman introduced Plush to Roman Coppola, several stunning songs from Korp Sole Roller soundtracked Coppola's A Glimpse Inside The Mind Of Charles Swan III.

As ever with Plush, it's easy to imagine you are listening to a privately pressed rarity from the mid-late 1970s. Or one of the criminally neglected jewels from the discography of Jimmy Webb or Burt Bacharach. The sound on Korp Sole Roller does differ crucially from Fed, however. It is more streamlined. These 10 gorgeously seductive creations careen around ornate string and wind instrument arrangements and producer Sansone's deft work is likely the reason for this. Yet, brilliantly, it still possesses that sun-warped take on classic pop-rock, that Plush specialises in. That peculiar "down-lifting" phenomenon of performing upbeat songs in an enigmatically mournful way.

Upon completion, Korp Sole Roller barely received anything resembling a release. Press coverage was zero because none of the major magazines or blogs knew of its existence. His management at the time essentially buried the album in order to concentrate on other releases. Looking back on this decision, it really made little sense. Everyone involved in its creation of these near-perfect gems is extremely proud of it. Liam himself has described it as the favourite of his albums. Pat's delicate work is astounding. Remastered especially for this special limited edition, it is presented in a sumptuous gatefold jacket with high-end art photography throughout, including full colour inner sleeves. Finally, here's your chance to own a slice of kaleidoscopic pop history.

Sam Vicary A.K.A Hunrosa (meaning "to dream") is an electronic music producer capturing the wild organic senses of his childhood and anchoring it with a darker 2am undercurrent. Based in Manchester, he is principally a bassist and currently a member of The Cinematic Orchestra, Paper Tiger and The Dominic J Marshall Trio, as well as performing with Manu Delago, Imogen Heap, Matthew Halsall, Anil Sebastian and Stuart Macallum.

His latest offering 'Ransome' is a heavily rhythmic journey, full of textured hand percussion and soaring strings, accompanied by the beautifully melodic vocals of Alice Higgins drifting overhead. The Clap Clap remix sees the Black Acre mainstay exploring expansive territories, polyrhythmic hand percussion and textured electronica perfectly intertwine, drenched in dub ambience, heightened by scattered arpeggios and swirling synths. The music is inspired by a coastal upbringing, represented in the music via field recordings, as well as being aided by visual stimulus throughout the writing process.