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We’ve been waiting a while for this one… Dark Sky return after a brief hiatus with this incredible EP featuring band of the moment Afriquoi. Many of you will already know one particular tune here: ‘Cold Harbour’ used by Bonobo on his Fabric mix compilation back in January. This gem is now backed with three more blissful, vital fusions. All created with different members of the deeply-rooted London-based live band.


‘Valmer’ sets the tone with its chimes, bells and chants, featuring the drumming of percussionist Andre Marmot aka Minioca. It's measured, restrained and impossible not to get goosebumps to, a near-spiritual experience the deeper you get into the groove. Elsewhere ‘Love Walk’ takes a much more subdued sojourn into the cosmic dusk. Mid tempo and much more focused on the rich layers of atmospherics than the beats, this will disarm a crowd at 50 paces. Next our minds are altered by eight-minute synth-striking mystique marathon ‘Cambia’ featuring the Kora playing of Jally Kebba Susso. Finally, ‘Cold Harbour’, one of the highlights from Bonobo’s evergreen mix from the London club institution, the combination of those rattled strings, pregnant bass staccatos, rolling percussion and deep undulating bass make it one of the most versatile and touching tracks Dark Sky have given us so far. And that’s saying something.


Breaking the Dark Sky silence that’s been almost two years, the ‘Clod Harbour’ EP opens up a whole new page in the London act’s legacy. And there’s plenty more to come. Watch this space...

Repress

Both Tracks By Sascha Dive On Minimood016 Are Destined To Transfix Those Who Like Richly Immersive Dub Techno. Mind Melting Opener Vibrating Sphere Has Wooden Hits And Drum Loops That Rock Back On Themselves To Keep On Pulling You In. Spoken Word Rastafarian Vocals Add Dubauthenticity And Gentle Sprinkles Of Toms Add Drive To The Chords. Deliciously Deep Throughout, Yet Grooving Irresistibly, This Cut Achieves A Lot From A Little. On The Flip-side, The Perfectly Crafted Gravity Is A
Smooth Rolling Track With Classic Dubchords That Echo To Infinity. Well-treated Vocals Melt Into The Mix And The Whole Thing Quickly Casts Its Spell On You And Keeps You There For The Hugely Absorbing And Atmospheric Duration.

"Kiska" is the lead single off Kedr's sophomore release, Your Need. The album is a celebration of life and rebirth. It's about a fighter's spirit, and if you will, a little audacity and courage. DJ'ing and early forms of dance music inspired a furious burst of creative energy after months of melancholy, sadness and reflection to record the album in only a matter of weeks. After her breakout album, Ariadna, which put her on the forefront of Russia's burgeoning electronic scene, Kedr felt lost with her identity and was searching for the direction of her next chapter. For a while she felt trapped by her own image and needed quite some time to resolve this internal dissonance - to grow, to evolve. DJ'ing was the main catalyst to pull her out of this rut. The art form shifted her inspiration to mainly old school styles of dance music: ghetto, house, breakbeat and UK garage. For the prior year and a half she was listening to ambient, kraut-rock and more experimental genres - one can hear the brighter, more energetic influence of early electronic music in the songs on Your Need. One day she was talking with her friend Flaty (Zhenya), a very talented artist from St. Petersburg who's signed to the GOST ZVUK label, and they decided to do a single together. He came to visit her in Moscow, but they ended up spending 10 whole days writing music together, from dawn to dusk. They vibed off each other's musical ideas perfectly and understood each other even without speaking. Zhenyais a beatmaster and pays attention to even the smallest details of a track. He brought incredible richness to the composition and Kedr considers him her teacher in this area. Kedr was in charge of the melodies and vibe of the tracks, and the vocal elements. Your Need is like a chapter of life. It's a story that illustrates different scenarios and moods that our mythical hero experiences, living in an urban jungle. From lost love to a bad trip on the dance floor, from euphoria to deep introspection. Our hero sometimes feels bold, lost or devastated, but also tender and full, like all of us at some point in life. The ending is joyful and bright. The last song gives hope and faith that a new day will come and wash away the old. You can feel like new every day. Your Need reflects an array of genres and a mix of cultures - a harmonious combination of differences. Everything Kedr loves about ghetto music, in the traditions of house, dub, breakbeat, 90s electronic music and modern sounds - she's embraced and expressed it all throughout. Your Need is Kedr's ode to music from different eras and changing periods.

japanese legendary jazz guitarist “ryo kawasaki”,some of his famous works are like mellow jazz fusion masterpiece “tarika blue”,dance jazz classic “trinkets&things”,cosmic new wave jazz “lucky lady”….

this album with his band “the golden dragon” is probably the best album for fans of wired jazz,brazilian,barealic music. japanese best digger “chee” picked up this album as his favorite album from japan on RA.

“little tree” is a first album that ryo kawasaki used self made guitar synthesizer.

this album is rich in variety, japanese brazilian jazz fusion classic “looking around you”,experimental guitar ambient “capricho arabe”,cosmic fusion “quasar infection”,barealic jazz masterpiece”you are the sun-light”,club jazz classic “little tree”,folky jazz vocal “jamiko”,a lot of great song on this album.

‘Green & Gold’ is the second collaborative release from Mr Key & Greenwood Sharps, the long awaited follow up to their
critically acclaimed 2015 album ‘Yesterday’s Futures’. The record was written and recorded between Greenwood Sharps’
cottage in the verdant English countryside and the off grid Finca in the foothills of the Andalusian Sierra Nevada, Spain where
Key is based.
The title has multiple meanings none of which are anything to do with weed or money. First and foremost, green and gold are
the colours which synesthete (a person who sees sound) Greenwood Sharps, composed the record in. It also alludes to the
dialogue between the green of the UK and the dusty gold of Andalucia which created the project. Finally green and gold speaks
of the dynamic between the sun and photosynthesising organisms, the driving force of life on earth.
‘Yesterday’s Futures’ took the listener on a meandering journey through a vast landscape of moods, sounds and ideas,
leading ultimately to redemption and the possibility of resolution. Thematically, ‘Green & Gold’ picks up where ‘Yesterday’s
Futures’ left off, but structurally it takes the opposite tack; an extended exploration of a single ubiquitous idea: universal love for
all things and all people and the challenge of maintaining these shiny ideals in day to day life, as our cynical side reasserts itself.
Key’s first output after an extended hiatus from releasing music makes it obvious that during this time he continued honing his
craft. The unique perspectives and disarming honesty which set him apart from his peers remain, but his technical prowess and
capacity to convey sentiment are notably enhanced. The same applies to Greenwood Sharps, who’s masterful production has
risen to new heights yet still maintains the rich and subtle sonic palette he has become known for.
Dropping alongside the EP is a short film featuring the works of long time collaborator Jamie Johnson, the man behind the
artwork for both ‘Green & Gold’ & ‘Yesterday’s Futures’. The short film is the visual counterpart to the EP and serves as the
perfect introduction to the world of ‘Green & Gold’ as it visually explores all the themes present in the music & provides a snap
shot of the incredible tracks on offer.
In a troubled and busy world, marred with anxieties and uncertainties, ‘Green & Gold’ comes as a breath of fresh air and offers some valuable food for thought for those searching for real heart felt substance rather than the sanitised, individualised &
commodified norm we have all become accustomed to.

Adapted Vinyl was a UK based techno label active in the late 90’s that picked up regular DJ support from taste makers of the time ranging from Jeff Mills to Mr C.

This, the label’s 7th record disappeared before a public release when the Integrale Muzique distribution company went out of business in 2008, but now gets its first official release date after years of very limited availability

Label founder Suade is the artist behind this release and these days he is best known as a highly-sought-after mastering engineer working for artists like Dense & Pika, Paranoid London, Jamie Jones and Vitalic.

Focusing his energies into family life and the fine tuning of other peoples music it’s rare to see Suade’s own music on a new release, but this hasn’t stopped him from collaborating on original tracks with the likes of Magda and Radioactive Man in recent years.

The EP has four contrasting tracks all with different moods and tempos all blended with Techno’s classic motoric drive.

With it’s absence from the usual music marketplaces creating something of a mystery this record ended up receiving a new, unofficial name on Discogs - The Citadel EP which is a title taken from the broken-beat second track on the B side of the record.

The Citadel is just one of the highlights on this eclectic EP, as it’s a Latronic Notron sequencer workout that patiently deploys layered synths in ever-shifting cross-rhythms for a languid 5 minutes before its deep, underpinning bass arrives evoking desert travel and arrival.

Baikal, named after the huge freshwater lake in Russia, is another stretched out meditation on tone and harmony acting as a foil to the delicate and vibrant Latin American percussion that filters in and out through a massive stereo Moog Modular system creating an energetic yet static, ritualistic atmosphere.

Trajan - the most driving track on the EP, gives a nod to the Probe era Richie Hawtin sound with a touch of Drexciyan melodics with shuffled percussion and bleeps over a snaking TB303 shaped bassline where the classic Acid box is given the role of control sequencer only commanding the thick, dirty oscillators of the big Moog.

A1 track Felix is a contrast yet again. A big room melodic Techno piece with another massive bassline and an almost orchestral level of layering, building to nine counter-melodies in total before letting rip with a classic TB303 acid line that builds from the heart of the track.

All My Thoughts returns with DJ Heure who offers up a quality trio of electronic cuts for the dance floor.

'Spring Jam’ is up first in its ‘Elation Mix' form - a track built on warming pads, groove ridden percussive patterns and one hell of a bass line. Developing throughout, the energy simply rises as the hats become more prominent alongside the flurries of top line splashes.

The title track ‘Gradients’ features more intricate bass lines which take center stage, stepping aside only in the breaks where lush synth work swells around you before classic house rhythms return. ‘Make Sure’ makes a final appearance as an ‘easy mix’, featuring rich tribal grooves that partner perfectly around the hypnotic top line and bass patterns forming one fine journey.

Editions Mego is proud to present the latest addition to the compelling discography of Thomas Brinkmann. Throughout his career Brinkmann has focussed on the human operating amongst industry alongside rhythms that manifest as a result of technological advancement. With this new release Brinkmann makes a u-turn, looking back to the early industrial age. Comprised of recordings of various looms, Raupenbahn investigates the sonic properties and consequences of the first automatic loom as constructed by Jacques de Vaucanson in 1745. Thomas Brinkmann once again adheres to his tendency for clarity and simplicity whilst further investigating not only the sound and rhythms of the machines (looms) but also what role they serve in society and what consequences they have on the environment. Raupenbahn presents 21 tracks in total, 11 feature on the vinyl, the remaining 10 as digital bonus tracks. The majority of recordings were undertaken by Brinkmann in 2017 with a Neumann KM 184 stereo set. Additional recordings were sourced with permission from Monika W. recs. from 2014 Central Museum of Textiles Łódź, Poland. Each piece presents a diversity of material which borders on the breathtaking and beautiful in richness and complexity. The various looms unravel rhythms and patterns unexpected from machines of the early industrial age.

The loom holds a significant role in shaping our world being the catalyst for Charles Babbage's Analytical Engine which, alongside the subsequent work of Byron's daughter Ada Lovelace, paved the way for modern computing. There is a linage of the loom that fits succinctly in Brinkmann's overall argument. Here we encounter a parallel between machine driven economies and the music that rose from such places, consider the Sheffield steel industries, the Manchester weaving industry or the Rhineland / Düsseldorf loom and machine industry. Is it a coincidence that the practice of such machines in the environment gave rise to today's predilection for electronic dance music, in pop, soundtracks, etc.

Raupenbahn features no treatment or processing and explicitly displays varying tempo and timbres which ascertain a wide range of acoustic structures. The artwork features Ingrid Wiener, Rosemarie Trockel and Alexandra Bircken, three different generations who would with ideas of fabric weaving, loming and the like. This exceptional release works on a number of levels alongside it's striking sonic palette.


i 9 Günne (Irmscher) BO Möhnesee / D

Funky soul-jazz organist Caesar Frazier crafted superior Hammond funk. 75, his second LP, is a rare gem. It’s comfortably his greatest artistic statement.

The follow-up to Hail Ceasar!, it’s a taut, grooving set that expands his sound and, put simply, it’s got better songs. The key elements of his debut album are all there – production from maestro Bob Porter, accompaniment from hip players (Bernard “Pretty” Purdie, Cornell Dupree, John Tropea) and arrangement from Horace Ott - but the overall sound is elevated. The tightly jamming, expressive jazz-funk makes for a richer, fuller, more satisfying experience.

75 is a mixture of hard-driving originals, deeply beautiful slower numbers to vary the tempo and a couple of classy covers. The crazy bombastic “Mighty Mouse” - a riot of horns, organ and in the pocket drums - became an acid jazz classic at Dingwalls and it’s easy to see (hear?) how. A blissed out, lushly instrumental take on Seals and Crofts’s “Summer Breeze” follows, perfect for those sunshine sets.

Side A closes with the heavenly “Sweet Children”. A loping, funky jazz masterpiece famously sampled by Kanye West for Common’s “Real People” from Be. It opens beautifully, with soaring sax and a funky horn section combining with weightless keyboard tones atop snapping drums. Unsurprisingly, the excellence endures right through to the end.

The B side opens with perhaps the album’s most famous track. "Funk It Down” contains the familiar “I can feel the funk” vocal refrain throughout. But it’s the gorgeous, insouciant bridge that you should all know and love, having been used as the hook for Gang Starr’s “Ex-Girl To Next Girl”. A great cover of Stevie Wonder's “Living for the City” comes next, with an unforgettable bass-line which anchors the entire heavy rhythm section workout. Dizzying organ, triumphant horns and sun-dappled guitar grooves combine to create “Walking On The Side”, rounding out a pretty smoking set.

This is one of those rare 70s funk-soul-jazz LPs on which a bad track cannot be found. It’s all essential. So of course finding original copies on vinyl at affordable prices has been tough for years.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with painstakingly reproduced artwork by the Be With team, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

Kenrick’s signature sound is haunting and richly melodic, phased and distorted, lending an ancient-to-the-future vibe to everything he touches, whether rootical collaborations or left-field version excursions.

Alter Echo & E3 and Headland had been wanting to collaborate for some time, and Kenrick’s high-plains-meets-far-east vibes seemed the perfect opportunity to build something truly unique.

A Winged Victory For The Sullen veröffentlichen auf Ninja Tune ihr neues Album, das musikalisch zwischen Neo-Klassik, Ambient und Electronic angesiedelt ist!

A Winged Victory For The Sullen, Spezialisten auf ihrem Gebiet der zeitgenössischen und elektronisch inspirierten Ambient-Musik, kehren auf dem neuen Album, „The Undivided Five“, mit einem mutigen Schritt zurück. Das Duo, bestehend aus Dustin O'Halloran und Adam Wiltzie, hat ikonische Filmmusik und zukunftsweisende Ambient-Projekte geschaffen und eine Reihe von Platten für Erased Tapes und Kranky veröffentlicht. Auf „The Undivided Five“ beleben sie ihre einzigartige Partnerschaft für nur ihr zweites Stück Originalmusik außerhalb von Film-, Fernseh- und Bühnen-aufträgen und kreieren ein Album, das Ritual, höhere Kräfte und ungekannte kreative Energien kanalisiert. Mit ihrer fünften Veröffentlichung (nach ihrem Debütalbum, zwei Film-Scores und einer EP) visieren sie konkret die Rolle der Nummer fünf an, inspiriert von der Künstlerin Hilma af Klint und der steten Wiederholung des perfekten fünften Akkords.

Auf diesem Album kreieren sie mutige neue Arbeiten, die auf ihren Fundamenten in Ambient und neoklassischer Musik aufbauen. Seit ihrem selbstbetitelten Debüt im Jahr 2011 ist das Duo Teil einer viel gelobten Szene mit Kollegen wie Max Richter, Nils Frahm, Hildur Guðnadóttir, Tim Hecker und Fennesz.

LTD Edition!

A Winged Victory For The Sullen veröffentlichen auf Ninja Tune ihr neues Album, das musikalisch zwischen Neo-Klassik, Ambient und Electronic angesiedelt ist!

A Winged Victory For The Sullen, Spezialisten auf ihrem Gebiet der zeitgenössischen und elektronisch inspirierten Ambient-Musik, kehren auf dem neuen Album, „The Undivided Five“, mit einem mutigen Schritt zurück. Das Duo, bestehend aus Dustin O'Halloran und Adam Wiltzie, hat ikonische Filmmusik und zukunftsweisende Ambient-Projekte geschaffen und eine Reihe von Platten für Erased Tapes und Kranky veröffentlicht. Auf „The Undivided Five“ beleben sie ihre einzigartige Partnerschaft für nur ihr zweites Stück Originalmusik außerhalb von Film-, Fernseh- und Bühnen-aufträgen und kreieren ein Album, das Ritual, höhere Kräfte und ungekannte kreative Energien kanalisiert. Mit ihrer fünften Veröffentlichung (nach ihrem Debütalbum, zwei Film-Scores und einer EP) visieren sie konkret die Rolle der Nummer fünf an, inspiriert von der Künstlerin Hilma af Klint und der steten Wiederholung des perfekten fünften Akkords.

Auf diesem Album kreieren sie mutige neue Arbeiten, die auf ihren Fundamenten in Ambient und neoklassischer Musik aufbauen. Seit ihrem selbstbetitelten Debüt im Jahr 2011 ist das Duo Teil einer viel gelobten Szene mit Kollegen wie Max Richter, Nils Frahm, Hildur Guðnadóttir, Tim Hecker und Fennesz.

Detroit imprint My Baby returns with its third musical offering, a split release from two Motor City heavyweights, in the form of Rex Sepulveda and Acid Pimp.
This fledgling vinyl only label has got off to a superb start showcasing music from Detroit locals on its first two stellar Eps. With a focus on the underground sound of the city it resonates with global fans of quality house and techno and continues to do so here with four outstanding new tracks.
First up is Acid Pimp, a DJ & producer who has been an integral part of Detroit’s music scene since the early 90s. His distinct sound saw him release a string of classic twelves on the Cheshire imprint, whilst his DJing took him from the warehouse parties of the city to international clubs like Tresor. He founded the ‘Friction Detroit’ night in his home town, hosting the likes of Ben Sims, Regis and Chris Liebing, and he co-founded the M-Nus sub label D- Records with Richie Hawtin and two other friends. The first of his two offerings is the superb ‘Re-Ak-O-Pan’, seven minutes of intense, industrial tinged techno with taut drums working alongside panning synths and static machine noise to superb effect. This is complemented by the looped excellence of ‘Lupe 09’, a rolling groove that is sure to lock in any dancefloor.
The flipside sees another of Michigan’s sons in the shape of Rex Sepulveda. Rex has a musical history dating back to 90s, he was one of the aforementioned friends that launched D-Records with Acid Pimp and Richie Hawtin and has released original and remix material on a number of imprints. His first cut here is ‘Rex presents Dvda’ a deep, brooding affair populated by rubbery, acidic synths and razor-sharp percussion. This is a pure early-hours number that is sure to twist up the floor wherever it’s dropped. Closing the package we have ‘Rexie’s Orgasm’ a spacious, and understated track that perfectly captures the echoing sounds of a cavernous warehouse space.
This is a sterling package of quality underground sounds from the city that sparked the fire.

A testament to the growth of Adam Beyer’s scene-leading label, Drumcode annual A-Sides Vol.8 is the brand’s biggest yet.

The 25-track strong compilation, split across 7 EPs, features standout cuts Beyer has received over the last 12 months, but been unable to find room for in Drumcode’s regular release schedule, such is the volume and high standard of music that’s submitted.

Part 3 includes Will Clarke’s bass-drenched re-work of Adam Beyer & Bart Skils ‘Your Mind’, whilst Ramon Tapia unleashes the heavy hitting ‘Sonic Therapy’ and Nicole Moudaber drops her first DC release in 5 years with the mesmerizing ‘This Is Us’.

The highlight-rich compilation also includes Jamie Jones & Darius Syrossian’s buzzy Drumcode debut ‘The Grid’ and Joey Beltram’s first Drumcode release in 11 years with the retro-tinged ‘Can You Feel It’. The beloved Alan Fitzpatrick returns to the fold with the searing ‘Heiße Rakete’, while the exciting Hyperloop project links up with Upercent for the slinky loop-driven ‘Rouge’, alongside label mainstays Layton Giordani, who drops the stirring chord-driven ‘Chrome’ and Wehbba with ‘Mantra’, combining techno classicism with future-focused groove.

There’s a troupe of debutants donning the Drumcode jersey for the first time, including BEC, Shelley Johansson, Avision, Zimmz, Woo York, SAMA (in a terrific collaboration with Secret Cinema) and Ilija Djokovic, who delivers a shimmering highlight with ‘Aura’, a particular favourite of Beyer’s over the last year. Raxon also debuts on the label after a couple of quality additions to the Truesoul back catalogue.

Exciting young guns Weska and Juliet Fox bring heat to the compilation, while Veerus and Timmo follow up strong DC releases with a repeat dose. Elsewhere faithful contributors Jay Lumen, Luca Agnelli, Marco Bailey and Mark Reeve craft powerful dancefloor weapons.

A mind-bending blend of modular synth performance, Anthony Baldino’s dynamic Twelve Twenty Two LP is a treat for all ears. Baldino’s transcendent album is available both digitally and on vinyl on Thursday, October 24 via MethLab Recordings.

“The record focuses heavily on the modular synth as a composition tool and instrument. I originally approached this as a collection of tracks that were recorded straight out of the machine with little to no editing. The work flow of generating a complex patch and then figuring out the overall arch and performance of the piece was really exciting. The Tip Top Audio Circadian Rhythms was a key compositional tool in this process and was used to organize the overall structure of these pieces. It wasn’t until I stumbled upon a patch, the opening synths in ‘Fading Quickly Now,’ that I went back to how I used to write and shifted to harvesting sounds and rhythms from the modular and arranging and editing them in the box. That patch was originally created for a different track on the album, which I’ll let you find, but IH ad accidentally changed the clock rate before tearing the patch down. Hearing it in that new way triggered a whole new thought process and emotional reaction for me.” - Anthony Baldino

Originally approached as a collection of tracks recorded straight out of Baldino’s machine with little editing, Twelve Twenty Two is a complex piece of thoughtful modular work. A truly stunning display of masterful sound design, Baldino’s sound resonates with listeners from first note to last. Existing in a unique space where ambient sounds meet vivacious bass, Baldino seemingly exists in an impressive league of his own, with Twelve Twenty Two standing apart powerfully from the masses. With an already powerful arsenal of artists and releases, MethLab Recordings adds a brilliant 10-track addition to their already wild playbook.

“From the beginning, it was important for me to keep this record musical and emotional and not just an exercise in technicality, so using both the modular and the computer to arrange felt really good both emotionally and sonically and created a different balance to the record that I really liked. Switching the process up a bit halfway through kept things interesting and I think the body of work really benefits from it. This record is split in half with performance based/straight out of the machine tracks and the other half organized in the box. But when listening back, the two approaches overlap so much that it’s hard to tell where one approach ends and the other begins.” - Anthony Baldino


About Anthony Baldino:
Born and raised in New York, Anthony Baldino is an LA-based composer and sound designer whose work spans an enormous range of production avenues. The likelihood that you haven’t heard his world is nearly impossible, with music and sound design in too many trailer campaigns to list, including Prometheus, Interstellar, Ex-Machina, Star Wars: Rogue One, and Avengers: Infinity War and End Game just to name a few. From there, his work ventures to the opposite pole of production with custom sound design based compositions for Dolby Labs mixed in Atmos, beautifully glitched out remixes, and continues on to mind-bending modular synthesizer performances.

With his debut artist release, he delivers a devastatingly beautiful album grounded in IDM that focuses on modular synthesizers/ While a vast amount of modular synth music is currently being released, this album goes far beyond the typical beeps and boops that one may expect when they hear “modular IDM record.” This record is as technical as it is emotive. Tasteful and incredibly detailed, Twelve Twenty Two bridges the gap between sound-design laden beats and cinematic motifs and ambiences. This record does not disappoint and is sure to become a favorite of electronic music fans.

The album opens up with a slowly unfolding melody that seems to be within grasp, but never actually repeats itself. Incredibly tasteful glitchy sound design leads us into a build that one would only expect to be in a movie, and then drops into a full-on sonic assault of impeccable drums and rich synths. From there, the record traverses a wide array of texture, time and technique. Closing with a track that makes you feel like you could actually reach out and touch the sound and float in its space, the sonic landscape created in Twelve Twenty Two is a true treat for ears.

ehind Dosage there is Sayoko, a Japanese woman living in Paris, who works with a rich, organic, yet destabilized musical style, but with a pulsating life that makes her pieces fascinating.

His songs - since they are songs here - on the edge of pop music, are made for re-listening; each passage revealing new secrets hidden in the complex mechanics of his compositions. Evidence is never at the rendezvous, and yet the pleasure of listening, the joy of being carried away by texts that border the surreal without ever complacent, grooves that always seem on the verge of "collapse without ever poking the nose, this pleasure and this joy, unique, do not leave us from one end to the other of this theory of the pink, UFO album, for those who seek this, and to surprise the others too.

Sayoko: voice, piano, bass, electronics;
Buz: battery; Franca Mai: poems;
Dirty_Pink: guitar;
Gaspar Claus: cello;
Vincent Epplay: electronics;
Nicolas Laffererie: guitar;
BN Würtz: electronics, bass, composition;
Simon Takahashi: electronics, composition

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.

clear vinyl / vinyl only / incl. dl code

The Dynamic Reflection Limited-series returns with the release of "The Empty House on the Left", by Linear Search. A full album sprung from the exciting collaboration between techno veterans Linear Straight & Jeroen Search. Drawing from their immense collective experience, it's absolutely no surprise that this Belgian-Dutch power-duo have delivered an absolute monument for the minimalistic yet rich techno sound both producers are so well know known for.

In late 1997, unsigned Melbourne producer Castel won a competition at a local club. The prize was certainly sought-after: a CD single release on leading local label DanceNet. That EP, “Estrel”, subsequently appeared in stores in 1998, but within two years Castel had packed away his Atari-ST, sold off his hardware and quit music for good.

Thanks to Echovolt Records, Castel’s story now has a happier ending. 22 years after it was recorded, the unfeasibly gorgeous “Estrel” is finally appearing on vinyl alongside original bonus cut “Me & You” and a trio of similarly impressive unreleased productions from the period.

“Estrel” is positivity personified – a melodious, morning-fresh blast of deep electro bliss rich in bustling drums, tuneful IDM style lead lines and darting, psychedelic electronics. It’s joined on side A by “Me & You”, a pitched-down chunk of hazy ‘90s electronica that wouldn’t have sounded out of place on one of Warp Records’ legendary Artificial Intelligence compilations.

On side B, Castel opens up his archive of unreleased recordings for the very first time. The rush-inducing, bass-heavy swirl of “Safer Somewhere” – one of the last tracks he ever recorded and reminiscent of some B12 recordings from the period – is followed by the intergalactic ambient brilliance of “Latch” and the lilting, sun-bright bliss of breakbeat-driven shuffler “16/11/1998”, whose combination of weighty bottom-end and layered electronics neatly sums up the unheralded qualities of Castel’s previously forgotten work.

French wielder of exotic machine music Epsilove debuts a full EP of sensuous, melodic electro on Dekmantel. Formerly one-half of Syracuse, Isabelle Maitre depicts a vision of daring, yet euphoric vocal-led, dreamy electro that oscillates with sturdier, warehouse sounds full of heaving 808s, and experimental qualities.

‘Time is the longest distance’ preaches the qualities that brought Antinote’s Epsilove to the distinguished status she has today. It is the sound of chic dancers, shuffling-together leisurely under neon lights, pressing against each other along to nostalgic acid basslines, interstellar synths, and dreamy, cinematic vocals. Rich with harmony, emotion, and cold-wave sensuality. ’Sea Snakes’ pulses faster under a Drexciyan dream-state, painting kaleidoscopic motifs, as the 808 rattles out multi-paced tempos, driving levels of uncompromising Detroit velocities, through to Lynchian-mirror-world listlessness. It’s an acid-acid test of colourful, pulsing electro.

On the remixes are fellow Parisian’s Ali Bobo (Bruits De La Passion) and Shelter (Bigwax Records), who rework ‘Time is the longest distance’ into something more sinister, reflecting the dystopic IDM aesthetics of early Rephlex Records with playful, darkened electronics. The more elusive pairing of French producer HAJJ (Dawn Records) and Lastrack (BFDM) meanwhile, team up to turn ‘Sea Snakes’ into something that harkens towards the world of Warp-like experimental and progressive contemporary post-trap, and breakbeats.

"À dix mètres sous moi, l'eau invisible. Entre l'eau et la brume, pas de frontière, la brume aussi lourde que l'eau, l'eau aussi irréelle que la brume. Passage dans un autre monde, transition par une osmose où toute forme ancienne est désagrégée et dissoute.” Raymond Abellio, Heureux les Pacifiques (1946)

Razor-N-Tape welcome hometown hero Danny Krivit into their stable of editors with a 2-track EP that sources a pair of vibes from the catalog of the ubiquitous "Q."Stuff" begins with a mysteriously looped and reverbed-out saxophone sample, building perfectly toward an eventual explosion of soulful horn stabs and vocals over a percolating rhythm section, in classic Q style. "The Story" tells a mellower yet mesmerizing tale, with its lush string arrangement and artful groove, perfect for those early warmups or late-night comedowns. A true living legend of NYC's rich DJ history, Danny dug deep into his personal cache of edit weapons for this very special record. Absolutely essential!

For VENT’s 19th release, Tolga Baklacioglu has collaborated with Ezgi Irem Mutlu and received remix support from both Julia Govor and Anastasia Kristensen, which has resulted in a rich and diverse EP that is full of currents and counter currents - drawing on each contributor’s vision and interpretation of the themes created by Tolga and Ezgi. The two have previously collaborated, and it is perhaps this that has allowed both artists to stretch the limits of their own personal expressions whilst remaining in touch and correspondence with the other. Tolga’s vortexes and knots of rhythms and textures are as disorienting and entrancing, as Ezgi’s diverse and intuitive range of vocalistic expression is mysterious yet straightforward. Julia Govor’s remix masterfully opens up the original mix of “Repentless” into a dramatic vista propelled forward by pulses of momentum coming from the bassline, while Anastasia Kristensen’s “Bir Vars” remix focuses on the suggestive elements of Ezgi’s vocals and reconfigures the dreamy and paradoxical original track into a dark and intense new experience. As a digital bonus track, Tolga and Ezgi offer a third collaboration, “A Very Slow Goodbye”, which together with “Repentless” and “Bir Vars” forms a triad of quizzical and dreamy tracks. It sits nicely between the two tracks and functions as a key to understanding the other two as the respective explorations of the outermost ends of the creators’ joint spectrum of collaboration.

Orange Vinyl

With "Steamy!" Jukka Eskola Soul Trio reaches its second album on Timmion and delivers another sure-shot for the soul jazz thirsty masses. As with his first self titled debut, this troupe of premium Finnish jazzers turns all the relevant corner stones of soulful and progressive jazz, never running too far up the deep end, but always harnessed with expressive sensitivity and professional cool. It's like the 1960's and 1970's global jazz movement got condensed into a radiant ball of hipness, heady and completely unpretentious.

In addition to the two single releases "Tiny B" and "Stick Of A Branch" Soul Trio dip their groove jazz chops into numbers such as "Five On Three", the shuffling "Jongo Street" and the fatback funky "Steamy". There's also a strong strain of Brazil on several tracks from bossa nova to richly percussive rhythms. On the over 7 minute long "Smash" they mellow out into a beautiful mood that sounds like John Patton swinging with a bunch of European cats. There's even a few studio tricks that we'll leave for the listener to discover.

Calling the Soul Trio a group of virtuosic players is an understatement as all of them have been working at it on a professional level since the 1990's. Trumpetist Eskola and drummer Teppo Mäkynen were both a part of the Helsinki nu jazz movement of the time, which later evolved into the now iconic Five Corners Quintet, while organist Mikko Helevä has hammered his Hammond in underground Finnish jazz funk groups for as long as his two band mates. Together they cook up a stew, which is like a bowl of perfect bouillabaisse, rich with flavour and with nice bits to chew on.

In a world awash with negativity and fear, you are invited to climb aboard the Mocambo mothership where all colours and creeds are celebrated. The Mighty Mocambos have returned - stronger, tighter and hungrier than ever.
Carrying blistering funk lines in their fingers and worldly influences in their hearts, the unique and distinctive Mocambo sound is not one to be confused with retro bands trying to recapture an era. Eschewing traditional recording methods, this DIY crew are
committed to driving forwards, and 2066 sees them at the height of their powers, broadcasting a call for unity.
After reaching new audiences worldwide and earning critical praise for their two long players on Brooklyn's Big Crown Records in their tropical guise as Bacao Rhythm & Steel Band, the band have reassembled and refocused in their original form, the workhorses behind dozens of 45s on the Mocambo label and beyond. Crossing generations, this album introduces some of the world's youngest funk talent to step up and rub shoulders with soul and rap legends, soul sisters, an elder statesman composer/arranger and a brand new emerging artist out of New York.
___ As with all Mocambo releases, the two sides of the record have been meticulously sequenced by the
band. Side A welcomes us aboard with joyous instrumental stomper Preaching To The Choir, and a call to build bridges from Mocambo chanteuse and percussionist Nichola Richards, duetting with emerging raptalent,NewYorkMCJSwiss.B-girlsandb-boysarecalledtothedancefloorasS uperstradaand Concrete Stardust commence, all buzzing synth lines and relentless drums. New Jersey legend and Big Crown associate Mr Lee Fields is guest of honour for Where Do We Go From Here before a horn workout brings us to a close with Macumba. It's time for a breather.
The B side kicks off with the grand return of the Golden Girl of Funk, Gizelle Smith, a sister who's been busy taking on the world. Composer and presenter Peter Thomas narrates a Return To Space to mark the centenary of the debut of his score to sci-fi show Space Patrol, which first broadcast in 1966. We're back down to Earth and the mean streets for the furious drums and car chase workout of Golden Shadow. Today slows down the pace for a reflective ballad with Nichola front and centre - and here's the next generation: the Mocambo Kidz sing along to their parents' instrumentation for Here We Go, a new kids' block party anthem... with no sleep 'til bedtime. The album closer makes it clear that the Mocambos are nowhere near powering down as Ice T and Charlie F unk bring their A-game for an old school attack which, since you're up bouncing anyway, gives you no excuse not to flip the LP and drop the needle right back on to Side A. Onwards!
___ A summation of their journey so far and a celebration in anticipation of what's to come, the album is set
to take its place in a legacy of open minded, organically recorded music, showering listeners with the crew's maze of tantalising sounds pulled from funk, Afro, hip hop with cinematic composition and storytelling.
Agent J












l 12 Bounce That Ass (RMX) feat. Ice-T & Charlie Funk

DJ Richard's first release of 2019 sees him drop four invigorating electro tracks on Flexxseal titled "Eraser".

Emerging from the Providence noise scene, DJ Richard forges a path of disciplined selectiveness as a producer and DJ with his idiosyncratic style allowing him to make impressive, self-assured connections between 80s EBM, new beat and Italo disco, electro, techno and "post-minimalist" house. DJ Richard's feral approach evolved from the roots of his White Material imprint which quickly achieved cult status after early releases from himself and co-founders Galcher Lustwerk and Young Male.

As a solo artist, DJ Richard continues to push the boundaries of his talent and influences reflected in his two utterly distinctive and bewitching albums released in alliance with influential German electronic label, Dial. "Eraser" sees him join up with fellow American Christopher Joseph and his Flexxseal imprint as DJ Richard masterfully maintains his skill in propagating ephemeral and raw sounds with his aptitude for electronic body control.

"Critical Damage" kicks things off with resilient oscillations fused beautifully with angelic leads and thudding percussion reflecting a post-punk aesthetic while "Eraser" delivers tough, acidic swirls undulating beneath sharp, broken grooves and growling undertones.

On the flip, a slow, chugging drum sequence balanced with haunting modulations and machine-like vibrations that echo throughout take the focus in "His Threshing Floor" before "Casca's Theme" concludes the EP with meandering, robotic synth flutters and distorted bass resonations driven by hypnotic rhythms and world-ending atmospheres in this powerful electro cut.

Temple is proud to present its 6th record to date, this time from Richard Wenger (R Weng) as Richard Lamb.
Drawing loosely on industrial, dub, and early Moog music, Automatic Tango is the result of a three-year experiment in minimal synth maximalism.
Often sentimental, mildly uncomfortable, and bordering on absurd, Automatic Tango will you have asking, who is Richard Lamb, and why is he so greasy?

With their 2013 debut single "Vintage Voudou," Conjunto Papa Upa cemented themselves as the torchbearers of a rare breed of Afro-Caribbean psychedelic soul, a clear delineation from the wonderful world of Venezuelan poly rhythms. That original song, named after the short lived but heavily influential Amsterdam brick and mortar record shop that band leader Alex Figueira founded, was a perfect clue into the deep exploration that Papa Upa would begin to take on their musical journey. Like the store itself, known for its solid connection to the musical footprints put down in relatively undiscovered places like Suriname, Curacao, Cabo Verde, Portugal and of course Figueira's native Venezuela, Papa Upa has captured a sound that is entirely unique, a new concoction of influences that at once sound strange, yet totally familiar. Perhaps because Venezuela shared such a rich & diverse mix of sounds from the Atlantic, Caribbean & US, a kindred spirit to their neighboring country, Colombia, an equal in terms of their industry output from the 60's & 70's, yet not nearly as publicized and compiled in recent years. Like many places in the greater Afro-Caribbean nexus, they were musically ahead of their time.


This futuristic mélange of sounds is reflective of Papa Upa itself, made up of musicians from Venezuela, Uruguay, Cuba & The Netherlands, all living, practicing & recording at Figueira's Amsterdam studio, Barracão Sound. With such a wide range of tropical influences, in a cosmopolitan and diverse city like Amsterdam, it's no wonder that Papa Upa's first extended project would find kinship in a collaboration with New York's Names You Can Trust.


Their lead single for the label, a preview of an upcoming full-length project in 2020, features "El Secreto Del Metalero" & the 45-only bonus B-side, "Chicharrón Pelúo." Metalero, or "The Metalhead's Secret" is a fitting anecdote for Papa Upa, with Figueira's synthesized vocals leading the way. It's an allegorical exorcism of a debauched headbanger on a discreet dance floor of a tropical rave. The shedding of a gruff & gothic exterior for the buckle-to-buckle bliss of the changa. Similarly in the music itself, under the cloak of vintage synths and a woofer exploding bassline, lies a frenetic fusion of afro-latin percussion that is highlighted by the intense rhythms of Angola's giantguacharaca (or scraper), thedikanza. At its heart is a sugary sweetness that is capable of converting the roughest of rockers into a tropicalista on the dance floor.

Hand stamped white label, album sampler for forthcoming Richard Fearless album of the same title.

Atlas of Insanity’ is reactionary, big room techno from Richard Fearless; a pounding kick, death whip snares, and synth lines that drill into your core. This is raw, impulsive electronic body music made to loose your mind.

With ‘New Perspective’ Fearless delivers pure techno soul. With sonic leanings towards the North’s Bleep scene and minimalist techno pioneer Mika Vainio’s Philius and Ø alias.

Pregnant Void returns with another of their deeply involving and thought-provoking albums, this time from Berlin based sound designer and live-performer Francesco Devincenti.

Devincenti has been making music all of his life and quickly established himself back home in Northern Italy. To further his talents he headed to Berlin to study at the S.A.E. Institute and soon went on to a job at Analogcut mastering studio. As such he is a sound design wizard with an exceptional ear for detail and someone who can get real meaning and soul of out the machines he often solders together himself. He is part of a couple of live hardware duos - MORK and TDV - and always fuses ambient, techno, distorted grooves, jungle beats and dub moods into his immersive recordings.

This new album draws on ten years of life experiences and uses music as a way of telling his own autobiographical story. "With the album I try to explain what I have inside in a way I cannot using only simple verbal communication: those moments of Brutal Reality where you lose something very important and cannot fully express yourself." Though always obsessed with finding his own musical voice, Devincenti is also inspired by studio masters like King Tubby, Adrian Sherwood and Mark Ernestus. His experimental music follows no existing path and is made on modular systems that result in unpredictable and unconventional ambience and rhythms. A number of collaborations add more flavours to this most rich and rewarding album, including friend Hi.Mo, label boss Simone Gatto and vocalist Alice Lobo.

Brutal Reality is filled with truly freeform electronic music - sounds without borders, but with very real narrative and an absorbing sense of emotion that makes it a moving listen in more ways than one.

PBR Streetgang return to their newly launched KURTZ imprint this October to deliver ‘Acid Tools’, accompanied by Wilde Renate residents Longhair on remix duties.

Founded in Leeds but now found touring the international scene week in, week out, Bonar Bradberry and Tom Thorpe, aka PBR Streetgang, have cemented their position as leading names within the current house and disco landscape via a slew of stand-out releases on imprints such as Skint, Crosstown Rebels and Futureboogie, plus appearances in 2019 alone at Glastonbury, Love International, Printworks and a summer residency at Pikes Ibiza to name just a few. Launched earlier this year, their new KURTZ imprint quickly found favour amongst a who’s who of the industry’s leading names, from Andrew Weatherall to Bicep, Hot Chip to Soul Clap, and here we see the duo step out again on home turf to deliver the second instalment as they reveal their Acid Tools’ EP, featuring three versions of the up-front ‘Ron’ - each of which have been doing damage in their sets across the summer months - backed by a remix from Wilde Renate residents Longhair.

Up first and delivering the ‘Full Fat’, version one sees Bradberry and Thorpe introduce punchy analogue percussion arrangements in tandem with a chunky, menacing acid line at the production’s core, whilst infectious vocal samples and hooks ebb in and out of the mix to guide the production as it chugs along, whilst the ‘Half Fat’ mix strips back the vocals to reveal a driving and warping journey across six-and-a-half minutes. Next up, Berlin duo Longhair’s remix welcomes a low-slung interpretation armed with delayed effects and sci-fi atmospherics to provide a combination of rich depth and space, before rounding out proceedings via the ‘Fully-Skimmed’ mix – a high-energy 909 fueled workout set to feature as a favourite for many across the months ahead.

Delsin founder Marsel Van Der Wielen revives his Peel Seamus alias for a debut album proper. The leading Dutch techno label began in 1996 with a cassette-only Peel Seamus release, Publik Draft, which Van Der Wielen primarily distributed through early online channels of communication. There was a small flurry of 12" releases from the project around the turn of the century, but for a long time Peel Seamus has been quiet. Now Van Der Wielen has gathered together tracks from his archives, mostly written and recorded circa 2000, to present the Peel Seamus debut album proper, Susurro. Rooted in the classic Detroit and European techno that Delsin's identity is forged on, it's a deep, rich listen laden with heart and soul to match the mechanics of Van Der Wielen's chosen tools - a masterclass in expressive electronics and a fascinating insight into the musical DNA behind one of the world's finest techno labels.

Sonido Gallo Negro has been a mainstay of the current revival of tropical and psychedelic music throughout Central and South America since the first of their three albums was released in 2011. Hailing from Mexico City, a hub of cumbia, chicha, surf and garage music for over five decades, it's no wonder that SGN has such a wonderful and integrated blend of traditional styles that have travelled from the Caribbean, up the Andes, through the Amazon, around the shores of coastal Peru and back through Central America. SGN is part of a long line of artists in Mexico to make these cosmic connections found in the music's terrestrial path, yet are completely unique in their own mystical approach, both visually and sonically. As a hefty 9-piece orchestra, the band is quite capable of summoning a rich tapestry of sounds from an array of instruments of the psychedelic persuasion: farfisa, electric guitar, flute, theremin and, in the case of B-side Niño Perdido, accordion from master Colombian artist and NYCT alumnus, Carmelo Torres. It's the making of a swirling kaleidoscope of sounds and squiggles, all of which ride effortlessly over the fluid percussion and pace of those beloved Afro-Latin rhythms. In anticipation of their next full length release,Unknown Future, Names You Can Trust presents the first 7-inch 45 single to ever be released from SGN, a double-sided dose ofsonido psicodélico, spectacularly swirled into a perfect concoction of old meets new.

For the latest release in their ongoing ‘International’ series, Into The Light Records takes us to Sydney and the dreamy, softly spun musical world of talented multi-instrumentalist Max Santilli.

“Surface” is Santilli’s debut album following years spent working alongside Jacob Fugar in Ken Oath Records-signed downtempo duo Angophora. It draws on a personal archive of home recordings made between 2016 and 2018 using a range of guitars, synthesizers and acoustic percussion instruments.

As you’d perhaps expect, it’s an intimate and hugely personal set that wraps drowsy, slowly shifting musical flourishes around gentle, sun-kissed rhythms and suitably spacey chords. Santilli offers subtle nods towards his various inspirations – think the mesmerizing ambient-jazz fusion of Michael Bierylo, Steve Hillage’s timeless early ambient works and the intricate acoustic guitar playing of Steve Tibbetts and Miguel Herrero – while forging his own distinctly lo-fi and otherworldly path. As a result, “Surface” is an album of impressive depth and diversity, held together by Santilli’s reflective, emotion-rich vision.

After inaugurating the label with a tape in 2015, our local friend Richard Brown (AKA Brown Irvin) returns to Motion Ward with an oblique two-track 12" entitled "Run Me That Soul". "Locution" flexes a wobbly equilibrium of dubbed dancefloor energy and amorphous acid while "Overcast" coats the B Side in a smeared gradient of ambient wash and shape-shifting stasis. A persuasive pair of parallel worlds for winding up and winding down.

Totally bonkers German synth punk!
"JPGRR (JOHN, PAUL, GEORGE, RINGO & RICHARD) is nobody but East-Germany’s neo-punk squeaker RICALETTO of PISSE with his second solo-record EASY LISTENING carved into this vinyl’s side A. On the flip-side you'll find central-Israel’s VICTOR, a guy named GUY and his second little big musical statement after releasing an infamous cassette w/ Lumpy Records."

Mais Alors !!?... c’est à l’envers is the first release of new French Label ICI BIENTÔT (Here Soon ...), launched by Paris Fleamarket’s Record Shop, Geminicricket. On the Menu... Suspended Time,
Unsung Heroes, Hidden Records and Next Door Marvels.
In 1983, NEF released their first and only album, Mais Alors !!?... c’est à l’envers. At that point, the band already had a long history, interwoven with that of various musical trends and alternative
movements from the late sixties to the early eighties. That’s certainly what makes this record so special and able to conciliate such different worlds as Electronic Prog, Film Score, New Wave …
The band’s destiny was most certainly tied to their native region, the South of France, an idyllic environment that attracted a number of musicians during the 1970s, allowing the group to attend many
concerts or share the bill with several groups that have gone on to become well known: Can, Ash Ra Tempel, Magma, Catherine Ribeiro, Zao, Chêne Noir, Art Zoyd …
Founded in 1975 by Richard Lorenzi, NEF started as a kind of Free Rock band with multiple influences, going from Prog to Musique Concrete, in which any method of making sound, any way of
bringing out sounds was good … 2 musicians and a photographer, full member of the band who was projecting slides over the music and influenced their dreamlike universe. In 1978, Vincent Tronc came on board with his keyboards and synths. While the group had been influenced by electroacoustic techniques until then, Vincent broadened NEF’s horizons, bringing in a host of new influences: Ash Ra Tempel, Kraftwerk, Klaus Schulze … the beginnings of electronic music. When the album is recorded in 1983, new directions were taken and changed NEF’s usual sound.
First, the idea of playing the accordion, clearly not a common thing and a new Drum Machine, the Roland CJ-5000. Pressed the day a figure of French Chanson died, NEF’s pressing is botched up, a
good part of the records were unusable since the records came out totally warped. Then, at the end of the eighties the small stock of remaining records is lost in the sadly famous flood of Nîmes. 2000
records had been pressed, but very few survived! All the more reason to reissue Mais Alors !!?... c’est à l’envers, an unsung record, free and multifaceted, a quirky and daring musical ovni, transcending eras and genres, between synthetic
Krautrock and Film Score, reminiscent of NEU! (with a red nose), François de Roubaix and Pascal Comelade.

Vinyl Only

Jack On Black consists of Jib Rafill and Joe Le Groove, the pair met 6 years ago when Joe was djing in Malta. Their love electronic music, machines and old school sampling techniques sparked a desire to collaborate and organically work towards writing various genres of music, including Dub, House, Techno, Downtempo and even Film Scores.

Their music is made from passion, a love of technology and Roland outboard gear. Both have been on the scene for many years and separately have their own unique journeys and projects. Joe Le Groove started producing in the mid-nineties and was taught the basics by Darren White aka D-Bridge. He currently has projects on labels such as Desolat, Defected, Moon Habour,Snatch, Defected, Heidi's Jackathon

The pair also have released music on Cesare vs Disorders Serialism and written scores for forthcoming independant films.Their sets are performed live using outboard gear, mics, turntables and EFX. Expect the unexpected from this unlikely duo...

Plutonian Funk is an EP that has been crafted for lovers of House & Techno. It has been destroying dance floors across the world by a handful of the scenes elite, such as Seth Troxler, Quenum Richy Ahmed, tINI, Cesare vs Disorder, Carlo Lio, Victor Calderone, Marco Carola, Audiofly, Dubfire and more.

The EP is split across vinyl and digital, all the tracks on vinyl will never be released on digital format.

The boys have been working hard over the past few years to develop their sound and forthcoming live performances with visuals

Enter Jack On Black…

Sarah Benabdallah and Alexis Lebon are a very 21st century musical coupling, absorbing their metropolitan surroundings while tapping into a rich cultural heritage, not unlike fellow countrymen PNL or the Dutch band Altin Gün. A Paris-based duo set for greatness they might be, but it’s fair to say Mauvais Oeil are operating under a misnomer: while their name means “evil eye” in French, you’ll only experience enlightenment when you lay eyes (and ears) upon them. Mauvais Oeil are set to release their debut EP Nuits de velours, a magical melting pot of musical shibboleths and contemporary grooves. On opener “Mes nuits de velours”, we’re transported in the land of 1001 Arabian Nights, with the music every bit as smooth and alluring as the subject matter. “Afrita” is a trance-inflected musical acclamation evoking all
the madness and gayety of a midsummer souk. Sung entirely in Arabic with delightful blasts of strings, it’s a North African-influenced banger with a delicate wistfulness. “Asha” meanwhile is in a reference to Asha Vahishta, the middle-eastern concept of truth
according to the ancient religion of Zoroastrianism. Sung again in Arabic, it features catchy Phrygian guitar manoeuvres played over ambient analogue keyboard strokes. The E.P. is completed by “Constantine”, a song of longing, dedicated to the home of Sarah’s forebears. Having met in the arty northern faubourgs of Paris, Sarah and Alexis soon developed a musical telepathy and a shared sonic agenda, mining their own histories for the profound
cultural roots that underscore Mauvais Oeil, while absorbing the ubiquitous sounds of the suburbs, where Turkish, Armenian and Ethiopian music ring out. The band’s moving and melancholic chansons are delivered with a delightful French pop sensibility, making Mauvais Oeil one of the most exciting and musically diverse prospects in 2019.

It seems KPM have long been fans of Smith and Mudd and, after being introduced to each other by mutual friend Andy Allday, the peerless Balearic maestros were invited to contribute to the library label’s digital-only “Album Shorts” project. The results are predictably wonderful.

With past projects under our belt working with everyone involved so far it made perfect sense for Be With to take on the vinyl release of this instant library classic. But why is it called “Tea With Holger”?

“Holger” is of course Holger Czukay and the whole LP is dedicated to Smith and Mudd’s time spent with him and Ursa Major at Can’s famous Inner Space Studio in Weilerswist, near Cologne.

When not recording it seems they spent a great deal of time sat around being entertained by Holger’s stories and drinking many cups of different sorts of tea from all over the world. These moments provide some their fondest memories of their visits:

“Looking back, it was pretty incredible that we spent part of our lives with Holger in one of the most magical places we’ve ever known, Inner Space Studio. We have our memories and, of course, the Bison album we made with him. But to honour the time we spent with him, we wanted to dedicate an album to him called ‘Tea With Holger’. The names of the tracks are about that time.”

The album was recorded over several years in London, Margate and Gorthleck, a small hamlet in the Scottish Highlands. Mike Piggott, who played with Bert Jansch, handled the strings and played violin whilst Sam Creer lent his virtuoso cello work to the proceedings. The sessions employed a key recording technique from their time with Holger: hit record and play. They wanted to capture magical improvisational moments live and not do the work later on in editing.

In their own words (and in classic library record sleeve style) these tracks are collectively described as “Balearic themes including breezy soul, sun-dappled melodies, warm pianos and sweeping strings”. You want to hear this, right?

The album is vintage Smith and Mudd. The gentle piano ushering in opening track “The Gardener” is soon joined by low, bubbling drums. When the time is just right, lush guitars glisten above a Welsh language vocal that floats like silk. Easy as a sea breeze. “Innerspace” is of course a nod to Can’s aforementioned studio. Dark, heavy piano meets rolling drums before warm chords and luscious strings take over, gliding over moody grooves to drive you home. Closing out side A, “Weilerswist” delivers more beautifully rolling piano and guitars over thumping cellos and building drums.

Side B opens with the full, string-enhanced version of “Away From Me”. This is Smith and Mudd’s prefered version and it’s only available here on this vinyl issue. For us it’s the standout on this all-highlight album. Tribal tones, piano and cello set a melodic staccato for violin to soar over while rolling piano lines and gospel organ chords descend into a drum drop that leads to a glorious vocal lead finale.

Distant synths introduce sun-drenched guitars and uplifting strings in “Kölner Street”, before a spacey Moog solo leads to a spellbinding, sci-fi drop. The sunshine returns before the track ends. The album closes with “Tea With Holger”. Airy vocal swells are punctuated by plucked cellos and picked guitars, all wonderfully warmed by a soulful piano.

Cut by Pete Norman and pressed in the Netherlands by Record Industry, “Tea With Holger” comes in a classic KPM green sleeve complete with track descriptions from Smith and Mudd themselves. The finishing visual touches come courtesy of Richard Robinson. We’ve given this record the same care and attention as we give to each our KPM re-issues, and it’s just as essential.

Twenty years ago the duo HIL ST SOUL released a groundbreaking debut album SOUL ORGANIC.
Zambian-born vocalist Hilary Mwelwa and producer/musician/songwriter Victor
Redwood-Sawyerr (VRS) had been working away in a North London studio creating a unique blend of neo soul, jazz and R&B that had critics on both sides of the Atlantic in raptures.

Billboard magazine enthused: “Brimming with R&B/hip-hop/jazz-flavoured rhythms and image-rich
lyrics….Even Aretha’s Until You Come Back To Me glows again under Hil’s touch”.
And talking about the lead single Strictly A Vibe Thang, US magazine Radio & Records were
smitten: “You can’t sit still on this one. While listening to this infectious tune you got to move something – even if it’s just your big toe!” In the UK Echoes magazine called it “one of the best UK soul albums ever”.

Strictly A Vibe Thang charted on the Billboard R&B Singles chart, following in the footsteps of Loose Ends, Soul II Soul and Brand New Heavies, while Hil’s acoustic take on the Stevie Wonder-composed Until You Come Back To Me came out of nowhere to be a sensation at America’s Smooth Jazz radio format It ended 2000 as the most-played vocal track of the year across US Smooth Jazz radio stations, and in the ensuing two decades it has been the most-downloaded - and one of the most-streamed - tracks on the Dome label. Also heavily played: the joyful mid-tempo groove of For Your Love

This 20th Anniversary Edition of the album – now in a gatefold sleeve – includes three bonus tracks not included on the original vinyl release: the acoustic version of Until You Come Back
To Me, the VRS Remix of Just A Matter Of Time, with its insidious groove, and Down To Business.

Hil is still very active, playing several UK shows this autumn, including one at London’s Jazz Café, where she first performed 20 years ago.