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The Danish label/imprint arbitrary announces the release of Framework 3 (arbitrary11) by Mads Emil Nielsen. Framework 3 is the latest instalment in Nielsen’s sequence of graphic scores and recordings. The series includes the Danish composer’s own subjective translations of visual materials and sound pieces accompanied by visual notations.

On this release he collaborates with Katja Gretzinger and Nicola Ratti. Published as a limited edition art print folder, Framework 3 consists of risographed scores and recordings on 10” vinyl and CD – with recordings by Nielsen, along with graphic scores by Gretzinger and contributions by Ratti.

Raised in a family of architects Nielsen has for several years been occupied with the question of “how do you intuitively sonify an image?” along with the complementary processes of translating sounds and music into illustrations and scores. In early 2019, he produced various drawings and sound pieces which formed the starting point for the three tracks on this 10” vinyl EP. The audio is derived from synthesizer recordings and basic electronic sound sources (sine waves, feedback, noise) and percussive loops combined with recordings made in the studios at EMS (Elektronmusikstudion, Stockholm).

The audio material was translated by graphic designer Katja Gretzinger into a series of visual notations made while listening to the music. Gretzinger developed various symbols, forms and structures, such as points, bars, 3D balls, irregular patterns / “swarms” and regular patterns (vertical hatchings). These were combined with found image materials and cut-outs from old prints and layered with large geometric forms, which define the individual character of each of the three parts. The resulting 18-page graphic score is included in the release in the form of risograph printed sheets.

Nielsen then invited musician Nicola Ratti, who is also trained as an architect, to create sonic re-interpretations of the graphic score. Ratti reinterpreted the imagery as a selection of sound elements positioned in a three-dimensional area; which he visualized as the space between the composer / artist, Ratti himself and the loudspeakers. These recordings are included on the CD.

1, 2, 3 written & produced by Mads Emil Nielsen, Copenhagen / Berlin, 2019 / 2020 (reworked and combined with a live recording from Standards, Milan, September 2019). Recording by + thanks to URSSS. CD: 1, 2, 3 written & produced by Nicola Ratti, Milan, 2020.
Scores by Katja Gretzinger. Artwork/design (packaging, discs, text) by Mads Emil Nielsen.

Four smoking hot disco tunes picked by Mr. Fonk and reworked by our veteran edit producer and KitKat resident Billy Idle. Sounding like the mid 70s and early 80s, these tracks have all been tested thoroughly on our Disco Bizarre floor to maximum effect. No fillers, just thrillers!

Apollo Brown, one of the first members of the Mello Music Group production team, is the Detroit producer first grabbed the nations attention on Finale's Pipe Dream & a Promise album and then again as the Detroit Red Bull Big Tune Champion. The Reset is the first Apollo Brown-produced release in 2010 on MMG.

The Reset was an introduction to Apollo Brown's production: Reworked tracks, fresh verses, new production, new hooks, and new features, recombined to create an entirely new album that captures the haunting street soul of Detroit.

Producers: Apollo Brown
Featuring: Oddisee, Tranquil, Hassaan Mackey, Buff1, Magestik Legend, Diamond District, John Robinson, Kenn Starr, Rapper Big Pooh, Black Milk, Stik Figa
(Original Release May 25, 2010)

Legendary labels Decca Records and Blue Note have joined forces for Blue Note Re:imagined; a brand new collection of classic Blue Note tracks brought together for the first time, reworked and newly recorded by a selection of the jazz scene’s most exciting young talents today. Representing a bridge between the ground-breaking label’s past and future, the project will feature contributions from a rollcall of internationally acclaimed jazz, soul and R&B acts-Shabaka Hutchings, Ezra Collective, Nubya Garcia, Mr Jukes, Steam Down, Skinny Pelembe, Emma-Jean Thackray, Poppy Ajudha, Jordan Rakei, Fieh, Ishmael Ensemble, Blue Lab Beats, Melt Yourself Down, Yazmin Lacey, Alfa Mist, and Brit Award-winning Jorja Smith.

This is the next 7’’ singles installments with Steam Down’s version of Wayne Shorter’s Etcetera (ft. Afronaut Zu) and Yazmin Lacey’s version of Dodo Greene’s - I’ll Never Stop Loving You.

Volume 2: Another healthy dose of iconic reworked, retouched and edited tracks steamily rising up from the unique and magic poolside of Pikes Hotel (Ibiza). Trusted taste that sees Jazz N Palms warm-up the monthly exclusive Ronnie Scott's (London) jazz concerts held at Pikes.

Jazz music fused sartorially with Latin, funk, rock and international sounds to be enjoyed under the palms and sun of the Mediterranean sea.

Coming next on the Brookside imprint is a double sided, colour vinyl 12” banger featuring two new versions of First Choice’s epic “Armed and Extremely Dangerous” reworked and dubbed out by none other than Hot Mix 5 & Chicago House legend Ralphi “The Raz” Rosario.

Ralphi returns to Brookside and updates the track with a brilliant reworking on the drums and vocals, while adding a soulful keyboard track to give it an updated feel. Flip it over to the B Side and we have a new version of “Love & Happiness” remixed from the original multi track tapes by NY DJ/Remixer Mike Maurro who takes the track to over 10 minutes with instrumental extensions and beefed up drums keeping it respectful to the original as always.

Produced by and dedicated to the late legendary Reid Whitelaw.

The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). Hie previous solo work include Relief (released here on The Helen Scarsdale Agency in 2013) and The Lonesome High for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships.

Related Ephemera is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. “Horrifying,” Millis explains “is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.” Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones.

That said, Millis does cite the intrusion of exactly one field recording, a broken toy, and a few notes from a cello. But the construction of these rarified tones, crispy textures, ghostly rattles, and fluid resonance that ripples through all of Related Ephemera has its origins in the tactile nature of the vinyl medium. It’s hardly the stuff of sentimental nostalgia though. Related Ephemera is more an act of time travel, slipping backwards and forwards with the scratch of a needle (Watch out! What pre-recorded needle jump sound is not your turntable going haywire!). The emotional core to the album is that of a resigned melancholy, almost Bergman-esque in its starkness but not without a brief moment of dark humor.

Here is an album that aligns itself aesthetically with Nurse With Wound’s Soliloquy For Lilith, Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics.

The vinyl was mastered and cut by Helmut Ehler at D&M Berlin, whose expertise was necessary given that part of the original compositions from Millis’ reworked surface noise were exceedingly problematic to cut. The D&M cut does temper the composition into a mysterious, diaphanous cloud; where the digital-only mastering provides a cascade of insects gnawing within your inner ear. Two facets. One piece of music.

A Selection of the most iconic Tracks emanating from the unique-
and magic poolside of Pikes Hotel (Ibiza), reworked, retouched & edited for Maximum Aural Pleasure!

"Jazz N Palms" is the brand commissioned to warm up the monthly exclusive Ronnie Scott's (London) jazz concerts. Jazz Music fused with Latin, Funk, Rock & international Sounds, to be enjoyed under the palms- and sun of the Mediterranean Sea...

The Boogie Twins aka Ashley Beedle and Ray Mang have reworked and edited one of Paul 'Trouble' Anderson's biggest signature tracks.

A message from Ashley Beedle:
"My Electric Ballroom crew, that were later to become the infamous Shock Sound System, was myself, Stan Zepherin, Dean Zepherin, Paul Denton, Cecil Peters and Ricardo Da Force (R.I.P.)
We loved going to the Electric Ballroom to see the legendary Paul 'Trouble' Anderson who was killing it in there with Boogie, Electro, Hip Hop and Disco - he was such a huge musical influencer.
When he dropped 'Heaven and Earth' in the mid 80's, the joint went ballistic.

That tune ruled London and became not only a rare groove classic but remains a much loved staple of today's club scene - all because of Paul's exceptional ear for music.

In der Pause' (During the Pause) was the title of the last track on the b-side of , the first album by Die Tödliche Doris. In der Pause' was pause music, as well as the announcement of the interval between their debut album, released in 1982, and the box format project 'Chöre und Soli' that followed in 1983. The original sounds of In der Pause' survived on a single audio tape dating from 1981.Now, about 35 years later, Chris Dreier and Wolfgang Müller have used the material recorded on the audio tape as the source for five new tracks of pause music. The material on the original audio tape has was reworked using Moog analogue effect modules and Ableton Live. It has been supplemented with archived announcement interludes from radio and television stations, including German stations WDR, NDR and HR, Radio Italy IBF and Radio Kamerun.Sprechpause' was recorded in 1981 — 1982 by Chris Dreier, Nikolaus Utermöhlen and Wolfgang Müller and reworked by Wolfgang Müller and Chris Dreier in 2017.

It's been a while but the sharpened Label from Marseille is back for his second release : the Brawshleter EP .

This various hosts 4 tracks from 3 members of the D-Mood Squad and offers a nice trip around their universe.

FACE A is dedicated to KUMANOPE : A1/GLITTERING WOODS & A2/BREAK OF DAWN : two trippy tracks with jungle rhythmic signatures and chopped-reworked breaks everywhere. A well-known sample used with class coupled with a perfect ambient and vapored atmosphere which will bring you back for sure to the UK of 90'.

FACE B starts with a Dancefloor Friendly weapon by JOZ. B1/DON BREAK is a techy track with minimalists fx, dubby and delayed chords, breaks samples and an acid bass line to spice up the whole thing!

SUAVE occupies the end of the release with B2/LA MADONNE. A trip into the suavity and the deepness of this track is perfect to start the night or to let the dancefloor breath in the middle of it ! Exhilarating melody and endless acid bass line are the main ingredients of this little beauty made with love in our missed studio !

"When You Died" is the first single that anticipates The Dining Room's next full-length album, four years after "Do Hipsters Love Sun (Ra)?".

Side A contains the original version of the song, a funk cut with a 70's psychedelic taste, featuring Sean Martin on some vocals. On the flip-side (Side B), the same track has been reworked by 'Massimo Martellotta' (Calibro '35) to become an compelling disco soul midtempo tune.

Phillipi is set to release his debut solo EP ‘Amadurecimento’ on November 29th via DEEWEE, the multi-faceted label and creative space operated by brothers David and Stephen Dewaele (2manydjs, Soulwax).

São Paulo duo Phillipi & Rodrigo dropped their beautifully uplifting debut album ‘Paciencia’, which earned the backing of an eclectic array of supporters including 6 Music, Mixmag, DJ Mag, PAPER, Tiga and Joe Goddard + more.

While ‘Paciencia’ pulsated with a euphoric beach party vibe, Phillipi’s solo project explores much darker territory. By uncompromisingly maximising the bass alongside a relentless beat, lead track ‘São Paulo’ is immediately oppressive and ominous. That intensity only amplifies as it’s blown open with tribal percussion, almost whispered vocals and glitchy synth stabs. ‘Vibe De Verao’ then takes a more progressive approach, with minimalist techno constantly evolving in surprising and inventive ways.

The EP’s second half extends Phillipi’s impossible-to-pigeonhole approach. In complete contrast to the preceding tracks, ‘9000’ is cinematic in scope and lighter in tone, feeling like the score to a lost ‘70s sci-fi cult classic that’s been reworked for 2019. And ‘Gelo Seco’ caps an unorthodox sonic adventure by setting a spliced, stuttered vocal simple around a dancefloor-friendly soundscape - making the title, the Portuguese phrase for dry ice, entirely appropriate.

As with all DEEWEE releases, ‘Amadurecimento’ was recorded, produced and mixed at the label’s inspiring headquarters Ghent, Belgium.

Ike Yard’s latest releases on Noiztank with the “Sacred Machine” (EP 2017), and “Rejoy” (LP 2018) are reworked by CUB (Regis and Mønic), Antechamber (new Codex Empire’s project), Grebenstein, Rebekah, Richard Fearless, Mønic, and Sedvs -a compilation of diverse remixes that expand the industrial electronics of the NYC-band to different sides and atmospheres of techno music.

NO MORE don't need much of an introduction - the legendary Kiel-based (No)Wave / PostPunk band project took the worlds dancefloors by storm with the release of their seminal single "Suicide Commando" in 1981 which was later re-introduced to the Techno / Electro youth of the world, when Munich's DJ Hell famously reinterpreted the tune in 1998.

Still actively touring and releasing on a regular NO MORE are now making their debut on the freshly launched Intrauterin Recordings-offshoot EL CABALLO SEMENTAL..

The labels cat.no. 001 is a first time on vinyl release taken off NO MORE's "The Return Of The German Angst" digital mixtape and sees one of the bands hit tunes being reworked in a unique, highly captivating manner, pressed exclusively as a limited to 200 copies whitelabel edition on purple / violet vinyl.

"123456789 (baze.djunkiii + Herr Brandt Dream A Nudream Remix)" exceeds the bands natural musical realm by far and transfers the song into MoombahGoth / DubWave territories previously unheard of, not only for a classic band like NO MORE.. The rework picks up latest developments from the urban and bass music world whilst keeping the haunted vibe of the original songs chorus intact, slighty references NuBeat / PostPunk and Dub, adds lush, dreamy Cosmic guitar textures and even winks to the underground whistle and rave posse with a sweet as candy piano breakdown.

In their conjunctional remix work we see Intrauterin Recordings-founder baze.djunkiii, quality electronic music activist and prolific DJ for more than 20 years, and Herr Brandt, founding member of the classic German Wave / Indie / Alternative outfit The Convent as well as of the praised underground Synth Pop / Minimal Wave band Sonnenbrandt, effortlessly merge the best of two musical worlds to create something new and captivating, like they used to do on the decks with their former BETA-ZERFALL parties which were the main and initial reason the two of them and NO MORE came together in the first place.

a A- 123456789 BAZE.DJUNKIII + HERR BRANDT DREAM A NUDREAM REMIX

one less than the infamous ILL_K is making his much anticipated return to Subaltern with a full EP on the imprint, accompanied by fellow producers Chad Dubz and Koobas.
**
*A. ILL_K - **WARP 6*
Bringing back the original jungle influence into the realm of dubstep, the title track ‘Warp 6’ sets the pace of the EP right away. In his trademark crisp and weighty production style, ILL_K lays out a true roller, carried by fierce sub lines and cutting edge percussive work. The melody gets repeated and reworked into many different sounds - sticking in your head until you crave for the next time round.
**
B1. ILL_K & CHAD DUBZ - NINJA TECHNIQUE
Joining forces with the ever busy Bristolian and Foundation Audio boss Chad Dubz, the second track of the release is a real bass-face inducing beast. Keeping up the dark and gritty feel, ‘Ninja Technique’ unleashes merciless waves of bass and ever-so-punchy drums that will shake raves and ravers around the globe.
**
B2. ILL_K & KOOBAS - WALKING HOME
On the third track of the release - and the second collaborative effort - ILL_K and Koobas serve yet another masterpiece that transports authentic Metalheadz jungle vibes into the 140 sphere. Ground-shaking and groundbreaking.
Legend has it that the Fiesta parked in the market has still not moved to this day.

Dutch underground acid-techno act Random XS strikes again with two rugged and authentic dance floor rockers. After a long awaited re-release of their Djax-Up-Beats classic 'Give Your Body' last year on Delsin, they return with a pair of fresh and unheard acid jams on the closely related MOS Recordings. Both tracks recorded in the early '90s, but only recently finalized and improved for heavy club impact. It's an EP full with gurgling 303 grooves and raw energy in the traditional and energetic Random XS way.

Hailing from Cardiff, Elmono has previously released on Cold Recordings, launching the label with it’s first release and following up with a twisted take on Swamp 81 style UK bass 4/4 music. His debut on Tectonic shows off a different flavour altogether, combining all the classic elements of old school UK rave music - and giving them a fresh twist. Tempos run around 128-130bpm while the mood captures the essence of 92-94, as hardcore mutated into jungle.

We kick off with ‘Cooper’s Dream’ which filters upward from a muted position, dropping into a jungle-tech format, building up to a strange melodic bass line as we are taken further and further into the void of Cooper’s hallucinogenic dream space!

‘For The Future’ begins with a short, gentle intro before dropping wildly out of the blue into a tearing bass drop that will rip apart the walls of any dance. Harking back to the old school ways, the track develops with sample snippets and ‘ardcore synth stabs.

Flip then for ‘Endorfiend’ which runs with the theme of jungle/hardcore ingredients, reworked for 2019. Swooping bass hits and melodic chimes leave one foot in 1992 and the other in the here and now.

‘Shermi Paradox’ closes up the EP with splashing drum breaks, dissonant chords and synths, spinning acid like elements alongside Detroit-esque bass patterns.

It’s no secret that the Irish know how to party. That energy is epitomised in the bubbling scene of homegrown talent rising through the ranks all over the island. House of Disco, having recently moved back to the Irish shores, let loose their first 4 track sampler EP in 7 years, ‘Home Turf’, showcasing the best in under-represented young Irish producers.

Taking the first slot, Dublin’s LPM hones in on that signature HoD sound with some expertly interlaced late ‘70s samples, reworked and repackaged into a bomb of a filtered, disco house, hand-raiser that’s got sunshine stamped into it’s very core. Newbridge locals, Mix & Fairbanks then offer up a deep, synth-laden gem, drenched in weighty stabs, analogue melodies and squiggling top lines.

On the flipside, the young gun from Killarney, Shee gets soulful for ‘Me You Us’ with low-slung vocal samples and hazy pads layered over the top of swirling disco loops. Lastly, Wicklow native Purple Ice signs off this killer Irish EP with a blissful, piano infused groover that’s eyes closed ecstasy from start to finish.

Bang on!

Obscure World is a re-issue label focused on 90's electronic music.

Cosmic Galaxy was founded in Rome by djs and producers Massimo Berardi & Luca Cucchetti pioneers of Roman Techno & House underground scene, originally released on Virtual World in the year 1994.

Walkin' on the moon is reworked by DJ GLC newcomer producer and dj of the roman techno & house scene.

Canadian composer Scott Morgan’s 12th long-player as loscil takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay.

It’s a deeply fitting analog for Morgan’s own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space.

The name Equivalents referred to Stieglitz’s notion of the photographs as being equivalent to his “philosophical or emotional states of mind;” the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapor.

The entirety of the record was created specifically for the album with the exception of “Equivalent 7,” which began as a dance score for frequent collaborator Vanessa Goodman.

The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid.Cloud photographs taken by Scott Morgan at various locations throughout Cascadia in 2018.

Primarily known for his work behind the boards with heavyweights; Kon, Bosq and Soul Clap, Caserta steps out from behind the console to present the first release on his new imprint...BridgeBoots.

Caserta and co. manage to source a vocal from a “blue- eyed soul” classic, usually reserved for the end of the night and craft it into a dance floor stomper.

With the aforementioned Kon holding down the flip side with a smooth reworked dub, BridgeBoots is off to a hot start!

DJ Support:

“Daymn. Loving this flip. Super smooth and that Kon Dub is tight in the pocket.” - “Love this -- both mixes are fire. Definitely in that.
Eli
Soul Clap

"Heavy warm up" sweet spot for when the room is starting to bubble or those Sunday roof-top jams! Will be rinsing this summer for sure.” –
Marc Meistro,
Sol Power Records

Black Truffle is pleased to announce the release of this genuine head-scratcher, the first collaboration between DJ/mixtape-compiler Kayo Makino and underground legend Tori Kudo. Originally created to be played between acts at the launch of Eiko Ishibashi’s acclaimed The Dreams My Bones Dream and then reworked and refined for LP release, the two side-long pieces are sonic environments constructed by Makino for Kudo’s piano to inhabit, or, as the LP’s credits suggest, a cinéma pour l’oreille in which Kudo’s piano plays the starring role. Beginning with a soothing field recording of crickets dramatically punctuated by smashing glass, the first side finds Kudo playing his way repeatedly through one of Satie’s 1897 Pièces froides. Best known to many listeners for his role as leader of the ecstatically shambolic rock unit Maher Shalal Hash Baz, Kudo’s performance of Satie’s whimsical yet haunting melody is alternately halting and fluid, delighting in the hesitations of unstudied technique and the subtle variations between repeated attempts. While the combination of Kudo’s piano and the background of crickets initially suggests a documentary approach to recording – as if the we are simply hearing incidental sounds creeping through an open window – things take an unexpected turn a few minutes in when Kudo’s piano is suddenly doubled. Layering two separate attempts at the same piece of top of each other, Makino’s unorthodox mixing blurs Satie’s original into a fog of stumbling echoes that becomes increasingly dreamlike as the chirping crickets are overtaken by pattering rain, German dialogue and traffic sounds. The second side begins in a similarly inscrutable vein, with snatches of birds and film music providing a gentle backdrop for Kudo’s improvisational variations on a chord progression that, as his performance builds over its twenty-minute duration, somehow begins to suggest the sadly swaggering grandeur of Mick Taylor-era Rolling Stones. Makino accompanies and eventually overwhelms Kudo’s piano with a bizarre layer of digitally processed voice and drums, stretched out into a disorienting haze before suddenly retreating to leave Kudo’s piano accompanied only by a barking dog. Seemingly unrelated to anything else being produced in the world of contemporary music, this is a striking collaboration between two unique musical personalities that bridges the mundane and the surreal, opening up a dream-space both haunted and hospitable.

Italian electronic music mastermind ABYSSY and the Marseille underground hero DONARRA, share for the ALLEY VERSION's 4th release the split E.P. "CLOSE".

ABYSSY aka Mayo Soulomon has, over the years, released records of great interest for Mathematics, New Interplanetary Melodies and many other labels, marked by Detroit and Chicago influences reworked in his personal complex cut.
DONARRA comes to ALLEY VERSION after two beautiful E.P. for Skylax Records and La Chinerie, and recently spotted with its synth-dark-industrial-punk moniker Cardinal & Nun, on L.I.E.S.

The opening ABYSSY's "Close To Me", an obscure rough track totally jacked with the legendary rhythm sampler E-MU SP1200, is an instant cult.
In the following "Lower Michigan Ave", a hypnotic dark plot of analog synthesizers runs on a leftfield rhythm cut, while a whiny female voice condenses the air.

First track of DONARRA's side, "Nostalgie Futuriste", is a surreal sound voyage where are merged Chicago House and Zen atmospheres.
In the culminating Detroit style banger "Rivières Lumineuses", the trippy movements of percussions and synthetic melodies are pure magic.

Exclusively on limited 12" vinyl.

Five years after his track 'Mr. Croissant Taker' appeared on Soulwax's Grand Theft Auto V radio station, Belgian producer Transistorcake releases his official debut release, the 'Future Plans' EP on Eskimo Recordings. Featuring 4 tracks of hazy electronica that would sit neatly alongside early releases on Aphex Twin's Rephlex label or recent excursions by the likes of Palmbomen and Betonkust.

Opening tracks 'Future Plan I' and 'Future Plan II' sets out Transistorcake's stall nicely. Swirling synth melodies, an ever evolving bassline that leads you down a labyrinthine maze and diaphanous strings and pads all add up to create an ecstatic yet at the same time melancholic quality to the music that manages to sound both ancient and modern.

"Future Plans I and II are constantly changing routes of ideas, improvisations and coincidences," explains Transistorcake, "nothing is a constant in the two numbers, outside the pulse of the drums. You can see them as two possible versions of the future or as an old version of the future alongside its current variation."

Whilst cut from the same cloth as the previous tracks 'Ribbles' has more than a touch of the Nordics to it. Sparkling, playful melodies glitter like snowflakes caught in the flash of a strobe light before a pulsing disco beat rockets the track into the stratosphere. In his own words the track is "an ode to spontaneity and dancing without braking. I pictured it being played by a live band next to a pool at an LA cocktail party in the '80s."

Closing the EP we have 'Kluts', driven by a stuttering, head-nodding, rhythm that recalls that rapping sound of a woodpecker in the forest, the track is gently swaddled in a warm embrace of synthetic stings that gradually develops and asserts its dominance over the course of nine, all-too brief as it happens, minutes. For all its gauzy textures there's also an undeniable solidity to these tracks, an underlying organic quality and nostalgic warmth that permeates them.

Having previously studied jazz composition and played in several bands over the years, Transistorcake brings a sense of spontaneity to the often all-to-structured world of electronic music. This EP just capturing a snapshot in time of these songs that can be endlessly reworked and reimagined in his live set, where live bass and drums, are added to his collection of vintage synths to an endless back and forth between man and machine.

After S3A's 'Deep Love' contribution last year we are stoked to present you this great collection of music! Coming from the French underground S3A aka Max Fader is absolutely no stranger to the scene. With releases on Local Talk, Quartet Series and his own 'Sampling As An Art records' he is deeply rooted in House, Hip Hop, Disco, Soul and Funk serving residencies at Paris clubs 'Concrete' and 'REX' he has become a local favourite as well with his DJ and Live sets. We are more than excited to release this special debut album that showcases some older and recent work, with live acoustic songs from early 2017 recorded at the Paris 'Red Bull Music' studios to new sample based House and Disco infused tracks in the signature 'S3A' style we got to love so much in recent years. 'Fever", 'Friends, 'Joint No. 5 and 'Greed' are all funk fuelled jams composed by Max, re-played and recorded again in several live jams with fellow musicians Nicolas Taite, Raphael Vallade and Pierre Vadon and edited in the studio by S3A afterwards, they breath this special Soul and Funk love Max got into by listening to 'Masters at Work' and old Disco jams. The latter 'Greed' has a special story, it is a cover of an early 'Laurent Garnier' track that got reworked by 'Avril' in the early 00's, here Max wanted to present his own Jazz and Funk perspective on that same track. The club stompers 'First Day With Lucien", 'Lockwood", 'Clarence J. Boddicker' and 'Leaving 19th' are the true party business on this album and range from Deep House to more classic edit style Disco tracks with live improvisations played on top of them.

mule musiq's sub label studio mule has formed a group of shifting members and are now releasing a debut album with 8 tracks of reworked obscure japanese gems.

the album contains the three singles the group released so far, featuring miyako koda of the ex-perimental pop band dip in the pool -- whose "on retinae" was reissued by music from memory to great acclaim -- on vocals and mule musiq staple kuniyuki on production with direction by label head toshiya kawasaki.

one of them, "carnaval," is a cover of the japanese dance classic by taeko ohnuki, produced by ymo. "shinzo no tobira" is a remake of the track by mariah, a band led by sax player yasuaki shi-mizu, from their album utakata no hibi -- which was one of the reissues that sparked the global interest in obscure japanese music in the last few years. studio mule's version features japanese lyrics rewritten by miyako koda. "face to face" is a cover of the ambient pop gem from the ultra rare album desire by yumi murata of mariah -- an album visible cloaks is a fan of.

also included is a rework of "kagami no naka no jugatsu," a song by tamao koike produced by ymo, turned into a dubby balearic pop track -- dubbier than the version included on the yen label compi-lation -- sang by nanako sato, one of the artists enjoying some newfound success following a string of reissues stemming from the "city pop" revival craze. the oriental ambient pop "yugao" by singer songwriter mioko yamaguchi is covered by vocalist saho terao, whom some describe as this gen-eration's taeko ohnuki.

"the april fools" is a rework of yukihiro takahashi's track, which itself was also a cover of the origi-nal song by burt bacharach. this new version boasts a more experimental arrangement with nanako sato handling the vocals. ymo's "ballet," originally with vocals by yukihiro takahashi, was reconstructed into a dance floor-ready instrumental by kuniyuki. many say yoshiyuki ohsawa's "soshite bokuwa toho ni kureru" is one of the greatest songs of the '80s. the 12" dance version is reshaped here into a melancholic balearic house track.

the album cover is by the increasingly popular hotshot photographer kota shouji.

Last year saw The Last Poets celebrate their 50-year anniversary with the righteous, politically-charged poetic record, "Understand What Black Is". Now to continue the party, Brighton production-maestro Prince Fatty has reworked the album with a fresh twist and blend of smooth, dub-delights. Set to land on the 29th March, the revolution marches on - this is "Understand What Dub Is".

After Prince Fatty's involvement in the production of the original project, he was the perfect person to help update the record with five decades of experience for a new audience to enjoy. The ten tracks of "Understand What Black Is" depict a relevant, historical philosophy of identity and race that has followed The Poets over the last 50 years. Since the origins of the civil rights movements back in the late 60's, Abiodun Oyewole and Umar Bin Hassan (two of the longest-standing group members) have provided social commentaries and a voice to African-American consciousness that has now been heard on a global scale.

Their raps, exploitations and insights quickly evolved into the origins of hip-hop in Harlem, New York back in 1968, and now in 2019 they continue to voice their dedication to the cause with the backing of slick rock-steady infused beats to keep things moving. Having had their work sampled by the likes of NWA, Dr Dre, Kanye West, Snoop Dogg and countless others is just a testament to the timeless sounds and prophecy they have created, and now Prince Fatty has stepped up to put his stamp on it.

Prince Fatty's ever-reliable work gives "Understand What Black Is" another lease of life as he maintains an undeniably slick groove throughout. Both therapeutic and warm, the soulful rhythms of "Understand What Dub Is" provide the perfect platform for The Last Poets to delve into everything from Trump's inauguration, nods to Biggie Smalls and respect to Prince. The calm, collective and downright thought-provoking words go hand-in-hand with the roots-driven reggae medleys with ease - this is dub in its rawest form.

Not only do these songs explore personal struggles and individual endeavours, they also represent a collective of deprived aspects of humanity and socialism, that perhaps now need to be pointed out more than ever. Although there is a variation of sound, the overlying topics remain a constant - it is time to "Understand What Black Is" once more.

Daniel Avery broadens the exquisite sonic universe established on last year's critically-acclaimed sophomore LP Song For Alpha, presenting the collected B-sides & Remixes. Showcasing cuts from the album's writing and recording process, as well, Avery also invites a number of his contemporaries and some of the most vital underground producers in the world to rework his original material, with transformative results.

The frosty melancholy of Citizen // Nowhere is reworked by London producer Manni Dee into something altogether monstrous. Introducing itself with a kick drum powerful enough to level a warehouse, and only getting more urgent from there forward, Dee's remix blends a knowing rave glint in the eye with a nonetheless uncompromising stance.

The Copenhagen-via-Moscow producer Anastasia Kristensen immediately justifies her status as a rapidly rising talent on the scene, locking into a delicate yet no less powerful groove for her sparkling remix of Glitter. Seamlessly heightening the almost meditative qualities of Avery's original, she weaves a blissful rhythmic trip, taking in razor-sharp percussions and spectral dub techno.

A longstanding fixture on the Midwest US rave scene, Patrick Russell applies his typical grit to 'Song For Alpha's firmly dancefloor focused centrepiece, Diminuendo. In subtly shifting the focus to the track's passages of overwhelming feedback, he sculpts a black hole of snarling electro and piston-like breaks, sure to prove an inviting wormhole to those willing to surrender further, deeper and darker.

Release no. 1 on Rapscallion brings 3 ridiculous broken reworks that are sure to raise an eyebrow or two.

We're not being told who in particular is responsible for such goodness here but rest assured an accomplished veteran must be at the helm for sure...

Kicking things off is 'A Dis Yah Secret Friend' - A Secret Friend of messrs Asher and Forge at the legendary Inspiration Information nights. A proto broken sound, at a point where Sir Paul was playing with the influences, instruments, melodies...definitely an important piece in fusion history. Kaidi's 'Dis Yah On I Love' provides the beat.

First up on the flip is 'Find a Way'. Take two different versions of Stanley Cowells I'm Trying to Find a Way/ Trying to Find a Way (Both as deserving of an edit as the other), add a bus load of bottom end, beautifully layered percussion and a jazz mash up it is then! A Dingwall's classic in its origin guise, and a future classic in it's reworked (clouseau-esque) Rapscallion disguise.

'Little Rudeboy' closes things...Originally out in '84, only 1 minute at 32 seconds in length and strewn with proto Brazilian boogie synthesizers boogie vibes, a rework/edit of this has been a long time coming. Paired with the Cosmosis broken classic and a surefire dance floor stormer is upon us...Clever stuff indeed !

For their next trick, Get Physical treats everyone to a taste of their latest big project, India Gets Physical, with a single from Kone Kone that includes remixes from Reboot and Todh Teri (who will be curating and mixing the bumper forthcoming compilation). Mumbai's Kone Kone has an unconventional DJ style, creating audio-visual productions that are 'a new route to discover old media.' Kone Kone's electronic sounds explore Indian musical practices with a lo-fi finish, including references taken from disco, funky basslines and rolling toms. This superb latest track is a tribute to Indian cinema's '80s dance music. Entitled 'Come Closer,' it is a brilliantly loose and louche house track propped up by elastic bass. A whole world of instrumentation and exotic percussion enrich the groove while female vocal coos and soulful pads bring rich colours to lift the listener. Remixer Todh Teri is behind the acclaimed Deep In India release series and is at theheart of the revival of Indian cinematic sounds, where Bollywood sounds are reworkedfor the modern dance floor. His brilliant version has heavier drums doing big loops and pulling you further in each time as the synths bring cosmic vibes. Last of all, label stalwart Reboot's Muscleflexx Remix is darker and more edgy, with late night dance floors in mind as the pulsing synths and slippery drums gradually unravel. This is a great introduction to the next exciting chapter in Get Physical's country- focused compilation series.

The 'Insights' EP is Spinscott's second release on the US based Elm Imprint label, as a highly anticipated follow up to the internationally successful 'Make It Funky / Lovelight' single. 'Insights' features 3 tracks that represent a progression of styles, and satisfies the demand for Classic Jungle sounds, fresh Drum And Bass, and deep '160' flavors.

Side A: 'Phaseout' - This forward-thinking Drum And Bass tune starts out with a moody & mixable intro, staccato drums and bass hits, before dropping into a precisely arranged dancefloor rhythm. Impact exceeds maximum threshold after the break, with the injection of an unexpected layered kick pattern, which has proven to leave no one standing still! But don't mix out too soon... the final phase features an exclusive drum break sourced from a family 45 pressing, circa 1968, sliced and reworked for it's debut appearance here. Phaseout has moved audiences during pre-release plays at Spinscott performances in the US, UK, and beyond.

Side B1: 'Rocker' - This 160 BPM tune was meticulously crafted using drums, effects, and other sounds from multiple genres of dance music, and engineered to make people move! Starting out on a jazzy tip with 808s, sax notes and various fx elements, it doesn't waste time getting to an onslaught of swinging drums and vocal artifacts. Rounding out with some classy Rhodes melodies, strings & short-cut Amens, 'Rocker' delivers an audible message for people to rock, swing, and move to the music! DJs will enjoy cutting in and out of this one, with many changes and elements to mix & blend with.

Side B2: (vinyl exclusive): '#7' - This oldschool style Jungle track FINALLY appears on the vinyl version of this release to satisfy over 5 years of relentless demand! Originally filmed as one of Spinscott's Real-Time Jungle videos, '#7' is the one that opened the floodgates to international recognition and performances worldwide. (see link below) Previously only available in video or performed live at shows, Spinscott has produced a full length 'dj friendly' version, featuring all the original elements of the original performance. '#7' was created and produced 100% on the MPC 1000 (as seen in the video), and features classic drum chops and layers, reverse bass, raw pads, and more.

The four tracks on this EP represent a bit of a transitional phase for Louis Jaquet (aka Kid Who), marking a move from a basic setup with an MPC2000XL sampler and a computer to a fully-fledged hardware studio. The initial versions of these tracks were quick jams that he had made early on in this change, but which had lay dormant on his hard drive for some time, before being revisited and reworked for this release with the new equipment.

'Rhythm Code' began life as an exercise in using only freely distributed software synths, and the majority of those sounds are still there, bar some additional acid sequences and tweaks to the rhythm parts.

On 'ZF Cut' his focus switched to samples, in an effort to squeeze the most he could out of his MPC, which at the time had only recently been upgraded. The unassuming beige box gives colour to anything you feed into it (breakbeats in particular), and a host of basic onboard effects add further quirky character, in this case hollow drones and rumbles which are the core of the track.

One of Kid Who's early purchases was a cheap old Yamaha multitrack cassette recorder, which presents many opportunities for sound manipulation. Different tape speeds, tape types and manual manipulation during playback open up a world of noisy, woozy atmospheres, some of which formed the basis of 'Spool Night'.

Of all four, 'Timescape' required the least revising, and the version presented here is very close to the original, 100% computer-based draft. Although the beat was built with Roland 707 drum machine sounds, a staple of early Chicago house records, he wanted to juxtapose these with a more up-to-date techno aesthetic, with a handful of final touches added in the new studio to finish

The four tracks on this EP represent a bit of a transitional phase for Louis Jaquet (aka Kid Who), marking a move from a basic setup with an MPC2000XL sampler and a computer to a fully-fledged hardware studio. The initial versions of these tracks were quick jams that he had made early on in this change, but which had lay dormant on his hard drive for some time, before being revisited and reworked for this release with the new equipment.

'Rhythm Code' began life as an exercise in using only freely distributed software synths, and the majority of those sounds are still there, bar some additional acid sequences and tweaks to the rhythm parts.

On 'ZF Cut' his focus switched to samples, in an effort to squeeze the most he could out of his MPC, which at the time had only recently been upgraded. The unassuming beige box gives colour to anything you feed into it (breakbeats in particular), and a host of basic onboard effects add further quirky character, in this case hollow drones and rumbles which are the core of the track.

One of Kid Who's early purchases was a cheap old Yamaha multitrack cassette recorder, which presents many opportunities for sound manipulation. Different tape speeds, tape types and manual manipulation during playback open up a world of noisy, woozy atmospheres, some of which formed the basis of 'Spool Night'.

Of all four, 'Timescape' required the least revising, and the version presented here is very close to the original, 100% computer-based draft. Although the beat was built with Roland 707 drum machine sounds, a staple of early Chicago house records, he wanted to juxtapose these with a more up-to-date techno aesthetic, with a handful of final touches added in the new studio to finish

After the solo album Paths Of The Errant Gaze in 2016 Reinier van Houdt returns to Hallow Ground with Igitur Carbon Copies - an album based on the unfinished gothic tale Igitur, a collection of texts that eventually was abandoned by its author Stéphane Mallarmé in 1869.

Connecting with Mallarmé's obsessions about chance and destiny, Igitur Carbon Copies is the fragmentation of all the roots that ran under its predecessor Paths Of The Errant Gaze and brings these to a provisional close: guided by David Tibet's voice reading the reworked text we descend through spheres of deserted anthems, disembodied voices, morse signals, crank calls, corroded tapes, radio statics, stones, while doing counting games. Here the acoustical spaces are manifold, blended or shifted in a heartbeat, where far and near, up and down are relative, where Riemann's god is pointless and angels are enjoying their space. Here perception is a vice that constantly hallucinates realities.

Reinier van Houdt started experimenting with taperecorders, radio's and objects at a young age. Later he studied piano at the Liszt Academy in Budapest and the Royal Conservatory in The Hague. He developed a fascination for all matters that defy notation: sound, timing, space, physicality, memory, noise, environment - points beyond composition, interpretation and improvisation. He has built himself an unusual repertoire that consistently resulted from personal quests; from composing with non-musical sources, from collaborations with composers and musicians, from research in archives or from unorthodox studies of classical music. He has collaborated with artists like Francisco López, Maria de Alvear, Robert Ashley, Luc Ferrari, Annea Lockwood, Alvin Curran, John Cage, Christian Marclay, Walter Marchetti, Charlemagne Palestine and joined the legendary outsider-collective Current 93 in 2012.

"Caruso are back after a long time away on Swiss imprint deepArtSounds having previously only released on Manchesters Ten Lovers Music label. Different is the lead track featuring the amazing vocals of Helen McCormack which also is reworked by the equally incredibly talented Trinidadian Deep in his own unique style. Dan Piu also supplies some fine re-edits of Caruso tracks Tobacco and Pure Sound. Caruso's Steve Conry and Cormac Fulton are working on lots of new material. This will be the first of many new releases."

The inaugural release on ninih sees yeyeh001 Spinvis & Vinkenoog reworked and reinterpreted by today's artists of tomorrow. Spinvis & Vinkenoog collaborate one more time to bring you one of life's most important lessons: LEEF MET PLEZIER!
Once you think you've learned your lesson Max Abysmal makes you second-guess yourself on Spiegel. The flip sees Sapphire Slows defying the laws of gravity with a completely new bass heavy Mamamiamarihuana. Lastly Oceanic finishes things off in fashion proving all the naysayers wrong with his remarkable version of Ja!

"In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the bands name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!' (Kawabata Makoto 2018)
 
Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows.
 
In recent years, they've experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...
 
'Reverse Of Rebirth In Universe' sees the band return to their old label Riot Season for the first time since 2012's 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.
 
Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.
 
If you stepped off the AMT ride over the years, possibly overwhelmed by the amount of releases they were once firing out ... it could be time to step back on it and check out where they're currently at. In a world that's more messed up than ever, we could all use a little break away from the norm, and nobody takes you as far away from the norm as possible as Acid Mothers Temple & The Melting Paraiso U.F.O.
 

Los Angeles - September 7, 2018 - Billy Idol's 1980's remix collection, Vital Idol, is getting a modern-day upgrade with Vital Idol: Revitalized, set for release on CD and digital by Capitol/UMe on September 28. A 2LP 180-gram black vinyl in addition to a limited edition, color variant will follow on November 16.
More than 30 years after his groundbreaking Vital Idol compilation cemented the vibrancy of the dance-rock remix genre in the second half of the 1980's, Idol's Revitalized collection features 11 brand-new remixes of his most classic and enduring hits. Lending their hands to the Revitalized proceedings are electronic dance luminaries Moby, The Crystal Method and Paul Oakenfold as well as current innovators including Tropkillaz, Shiba San, Juan Maclean, CRAY and RAC, who's remix of 'Dancing With Myself' debuts today.
Vital Idol, initially released in Britain in 1985 and subsequently issued in the United States in 1987, was the first remix record released by a rock superstar. Besides being certified platinum, Vital Idol was accompanied by a version of 'Mony Mony' that reached No. 1 on the Billboard Hot 100 Singles chart, as well as hitting the Top 10 on the U.K. Singles chart.
Highlights found within the grooves of Revitalized include The Crystal Method's percussive, explosive stab at 'Rebel Yell,' CRAY's bass-and-keyboard-blessed 'White Wedding,' Tropkillaz's trop-house framing of 'Eyes Without A Face,' St. Francis Hotel's shimmering stop/start caress of 'Flesh For Fantasy,' and RAC's retro-harmonic, fist-pumping 'Dancing With Myself.'
Meanwhile, the digital version of Revitalized features four additional exclusive remixes, namely the brand new Billy Idol/Steve Stevens Remix of 'Mony Mony,' Paul Oakenfold's Extended Remix of 'One Breath Away,' Moby's 'Half Time Version' of his take on '(Do Not) Stand In The Shadows' and 'Save Me Now (Lost Dog Remix),' reworked by Billy Idol's son, Willem Wolfe with Brandon Rauch and Ed Bedrosian.

30 Years Ago This Month (nov 1988) Humanoid - Stakker Humanoid Was The Uks No.1 Song In The Dance Charts - It Would Stay No.1 For 5 Weeks Also Charting In The Uk Top 20 At No.17.

Now Regarded As An Acid House Classic Anthem And Hailed As The First Real Uk Acid House Track To Break The Uk Top 20.

Humanoid Music From 1988 Was Also Used In Stakker Eurotechno - Now Housed In The Museum Of Modern Art (new York) And Sighted As A Major Influence On Early Aphex Twin Music / Reflex

To Celebrate Humanoid (brian Dougans Fsol) Has Reworked The Original Into A 2018 Breaks Monster With Two Equally Killer Tracks On The B Side Skatter And Blunt 

Original Futuristic Uk Acid House Music Circa 1988 :) 

With Not A Single Cry Of 'acieeeeed!' One Record, Humanoid's Stakker Humanoid, Has
Blown Apart The Uk House Music Scene. It's The Most Uncompromisingly Acid Track To Be
Produced So Far In This Country.