Cerca:secon

Second EP of the label Lowlife Cartel. An all star, six-track release from sixl key artists in various genres, from cutting edge techno to leftfield house, confirmes the versatility of Lowlife Cartel.
The EP begins with "Butt Dub Pregost", dubby downtempo atmospheric track, by one of most innovative and versatile artist of the last years: Buttechno (Rassvet records, Collapsing Market..)."Out For A Walk" by Fmy (Too Rough 4 Radio) is a leftfield house track, face covered and steps muffled through a deadening blizzard of tape saturation and white noisey envelops that find a balance between deepening the sense of immersion and a retained rhythm. "Unusual Mondai", hypnotic track by Sammy T Thompson, an alias of S.Olbricht (UIQ, Opal Tapes..), fits with an introspective melody and atmosphere.
"Mr Hodge Appreciation Society" is a quintessential Machine Woman (Ninja Tune, Peder Mannerfelt, Where to Now) club track, spanning sexy house and bold techno.
"Celestial Body" by PRESENTE oscillates between jungle and drone like a futuristic comet.
"Y'alll" by the rising producer Voyd, is a abstract house piece. Setting skittish drums and altered vox sample, smothered against a grey-ish canvas of blurry, washed-out pads.
Raw and indisputable quality of production.

Forgot 002 is the second release from London based record label Forgot. The compilation is comprised of four tracks by four different artists: Forgot residents Hoffy and Joe S both return, while newcomers Lavan and Cass Brooker also contribute.

Since its release campaign launched earlier this year, the Forgot 002 compilation has received a wealth of positive feedback from a number of revered and respected DJs such as Dom Servini, Asian Hawk, Jason Pulaski and Dr. Best.

Described by Crack Magazine as a 'hypnotic slow-burner' and noted by Ransom Note as one of the most interesting albums to emerge in 2017, not only did Dollkraut's second album 'Holy Ghost People' herald the launch of Jennifer Cardini and Noura Labbani's adventurous new label with fitting mystic gusto... It also gave us a beguiling LP that keeps on giving, exciting and inspiring over a year later. Proof can be found in these three superlative remixes. Subversive Berlin duo OTTO take the lead with a warm, Arabic twist on the album opener 'Bonnie Says' by lifting the groove with a little organ-squeezing spring while maintain its faraway haze and mystique. Accurately hyped Romanian-also-in-Berlin Borusiade follows with an overwhelming floor-ready update on 'Have I Told You'. Already a familiar face with the label, she weaves a chasm-like new-wave narrative that sucks you deep into the mix and galvanises the pundit attention she's getting right now. Finally Mannequin Records founder Alessandro Adriani joins the party with a tunnelling twist on the somnambulant aesthetic of 'Valium'. Flipping the dreams for a much darker 3am reality, it will leave your dancefloor pining for more. Don't worry, there's plenty more to come. Dischi Autunno are only just warming up...

This Is First Full Length Offering From The Brian Jonestown Massacre For 2018 , A Second, Self Titled, Album Will Be Coming Out In September. This Is The 17th Full Length Release From The Band & The Style Is Less Experimental & More Of A Retracing Back To The Traditional Sound Of The Band .recorded Between 2017 & 2018 , This 9 Track Album Will Please Old & New Fans Alike . The Band Have Announced Tours Of The Usa , Canada , Australasia & Will Be Announcing Tours Through Europe Later This Year.

A true funk-soul masterpiece. Sampled by Madlib, Homeboy Sandman, Ghostface Killah, Black Milk, Roc Marciano, 9th Wonder, and more.

Beautiful, golden-era soul written by Leon Sylvers III, produced by Jerry Butler and Keg Johnson.

The Sylvers were a family from Los Angeles who were very successful during the 70's and into the early 80's, with chart hits - deep into pop-disco territory - including 'Boogie Fever', 'Hot Line' and 'High School Dance'. This is the group's second album, from 1973, and is one of their strongest.

Opening with the awesome mid-tempo 'We Can Make It If We Try' the record moves through funk, boogie and deep soul moods, finishing on a hazy, acapella version of The Beatles 'Yesterday'.

Official reissue in replica of original artwork.

The legendary 1972 album from Celia, arranged by Arthur Verocai.

Célia Regina Cruz recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before she sadly passed away late in 2017. Célia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights
over the course of her extensive career.

This, her second self-titled LP from 1972, features an all-star line up, including Arthur Verocai, Erasmo Carlos, Roberto Carlos, Marcos Valle, Antonio Carlos Jobim, Nonato Buzar and Vinicius de Moraes, among others.

Célia's version of 'Na Boca do Sol' - taken from this album - is arguably her most well-known and well-loved song. An incredible take on Verocai's original, featuring waling fuzz guitars, strings, piano, horns and drums.

Needless to say clean, original versions of this record now change hands for
silly money.

Official reissue in replica of original gatefold artwork.

Deep space techno electro on TRUST celebrating the label's year XX. /DL/MS/ is the viennese duo behind recent Frustrated Funk outing, 'Omakuda', last year's TRUST29, 'Rogue Intent', as well as one of the most-played electro tracks of 2017 - their remix of Second Storey's 'Attack Of The Modlings'. 'Exit Ghosts' takes the /DL/MS/ sound far into haunted new orbits, trading some of its earthy rumble for more ethereal emanations. stark and sombre bass signals return, but find themselves enveloped in delicately threaded string anomalies, copious amounts of melodic ectoplasm, and spirit-like liquid funk dilutions. Vinyl 12" contains three locked grooves and ships in new TRUST XX color sleeves.

Hot Off The Back Of The Second Full Length Far Out Monster Disco Orchestra Lp Black Sun, The Orchestra's Prolific Remix Series, Which Has So Far Included Reworks From The Likes Of Theo Parrish, Dj Spinna, Andres And Dego, Rolls On. John Morales' Massive M&m Main Mix Of 'step Into My Life' Ft. Arthur Verocai, Gets A Reissue On This New 12', Alongside A Brand New Remix Of 'the Two Of Us' From Million Dollar Disco Boss Al Kent, Who Highlights The Hypnotic Backing Vocals Of Brazilian Psych-folk Master Mauricio Maestro, For An Emotionally Charged Balearic Anthem, Complete With Heavy Dub Mix.

æ Productions in association with Sure Shot! are pleased present the new single from Oxygen and Paul Nice.

The main cut 'Body Language' has Oxygen weaving tales of New York City nightlife over a hunk of obscure b-boy Funk from the crates and sampling wizardry of Paul Nice. Perfect record bag flavour for Hip Hop DJ's!

The B-side 'Feel Good Music' has been rescued from the Paul Nice vaults and thankfully given a vinyl release. The microphone mastery of Oxygen has the perfect bedrock of a familiar laid back Funk groove that will have your neck snapping within seconds!

Available on black vinyl 7' in a limited run of 350 retail copies not to be repressed and presented in full colour sleeve designed by Mr Krum with artwork by the incomparable Dan Lish. Also available on download.

"Up next on 20/20 Vision we welcome Nathan Jonson back for his second outing on the label, and this time it's rounded off with a big remix from his brother Mathew Jonson. Business EP finds Nathan back in familiar musical territory. Serving up genre bending tracks which fuse electro, techno, house and old school rave into a melting pot of electronica which is not easy to define. 'Business' & 'Let Your Body' are unconventional, unique and original, with off kilter basslines and rave stabs reminiscent of a Luke Vibert and Carl Finlow hybrid. The release also see's the first appearance on 20/20 Vision from none other than Mathew Jonson, who turns in a killer remix of title track 'Business'. Since 2001 Mathew has constantly evolved, with a back catalogue of scene defining tracks and one of the most electric live shows in the business. It's a honour to finally have him feature on the label.

Written during the homecoming journey from Amsterdam to Detroit, 'The World is Detroit' marks the second full release from Anonym under his DLS moniker, a gloomy yet driving opus of more than 12 minutes. Remixes on the flip from Klakson co-boss and electro icon Dexter and US-to-Berlin associate Kenneth Scott.

With the Split EP, the fourth release of their own label Rapid Eye Movement, Memorial Home and VII Circle head the way with two original cuts both and sign another stunning dark and hypnotic techno odyssey with a strong emotional pattern.

The opening track 'Metaphysical Functions', starting with a slow building atmospheric overture, encompasses much of what the VII Circle's sophisticated sound is about. A combination of compelling and dark pulsing kick drums with deep and melodic synth lines and dramatic ethereal breakdowns.

'Dogma' is stamped by a strait cavernous and rugged beat, powerful and catchy basses as well as propelled by uplifting and immersive melodic motifs that have a fierce cosmic appeal.

Following the path, Memorial Home delivers with 'Second Floor' an intense ambient-driven piece, harnessing haunting and misty cinematic textures with a tension-building repetitive bassline which provides a rising magnetic and powerful effect.

Closing the journey or rather keeping the flame high and firm till the deep end, 'Ampere' evinces a more pin-sharp and frantic percussive techno approach overlaid with highly suggestive atmospheric swirling synth effects.

Four captivating weapons which display an aesthetic quest focused and driven both by dancefloor-orientated climax and underground-rooted emotive escapism.

A seminal album of the 1980s DC Punk sound, the album was the first to feature drummer Dave Grohl, who replaced Stax for the album, and stayed with the band until they disbanded in 1990.  This was the first ever album the now world famous musician ever played on.

Since disbanding, several incarnations of Scream have reunited/resurfaced for tours and recordings since. Members of the band went on to form countless other influential acts, including Nirvana, The Foo Fighters, Wool, Queens of the Stone Age, Goatsnake, The Suspects, and others.

Southern Lord is proud to be chosen to reissue Scream's everlasting 'No More Censorship' album. The band found the original multi-track tapes and Southern Lord had them baked/prepped for a remix at Grohl's 606 Studio. The new mix sounds vital and intense; the entire packaging, layout, and design are completely different from the original, including unreleased photos of the band during that era.

Scream was formed in 1981 by vocalist Peter Stahl, and brother Franz Stahl on guitar, Skeeter Thompson on bass, and Kent Stax on drums. The next few years would see the addition of second guitarist Robert Lee Davidson and keyboard player Bobby Madden, following three LPs through Discord Records — "Still Screaming" (1983), "This Side Up" (1985) and "Banging the Drum" (1986) — Scream's 'No More Censorship' was released via reggae label RAS Records in August 1988.

180g

Hybris Is A State Of Dissoluteness, Of Loss Of Control, Of Greed And Of Lustfulness. Following That Motto, Wice Takes His Listeners On A Journey Through A Hybristic Process On His Second Steinlach Ep, Which Chooses An Enchanting And Euphemistic Entrance Into Hybris With Absent (no Aggression). Gentle Pads Create A Peaceful And Dreamy World That Is Turned Into A Fascinating Landscape Of Sound By Trippy Drums And Dopey Synths And So Pushes Wide Open The Gate To Hybris. The Threateningly Booming Hb11 Then Finally Enters The State Of Hybris: Synths And Drums Pump Adrenaline In Heads And Bodies, Dancing Turns Into Greed, The Complete Lack Of Control Sets In. That Lack Of Control Riots Towards Its Peak With The Eponymous Hybris, Which Tears The Listener In Technoid And Gritty Manner Into The Abyss Of Hybris And Holds Him Captive Down There. Hybris Is Followed By Nemesis, The Divine Punishment Ending In Death: Wice Interprets This Transition Towards Nemesis With Hertz, A Playful And Breaky Good-night Kiss, Which Feels Pretty Damn Good And Resonates Bittersweetly.

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






[E b2 | Places Ft. Mahfoud

Following the U.S. Army's liberation of Munich in May 1945, the world's first Amerikahaus was inaugurated there with a library, a magazine reading room, a children's library, a record and lm department, and lecture and seminar rooms, together with a concert hall and exhibition space. Up to 80,000 people a month utilized the offerings of Amerikahaus during its early years. Beginning in 1953, the United States Information Agency (USIA), an institution founded as an instrument of the Cold War, began to finance Amerikahaus. In addition to representing the U.S., its principal task in West Germany was to democratize and denazify the postwar population. After the beginning of the Cold War, many of these re-educative measures also served as propaganda in a programmatic linking of democratic and economic principles meant to strengthen transatlantic relations against the Communist Bloc. In 1997, the U.S. government concluded its work at Amerikahaus in Munich and shipped almost all its items back to the States. However, 1,630 long-playing vinyl records from the library were left behind in cardboard boxes in the basement. When Michaela Melián looked through this forgotten collection, one of the first things she came across was Don Gillis' 1940 tone poem »Portrait of a Frontier Town«, whose second movement is entitled »Where the West Begins«. Don Gillis, a composer and radio producer, used the musical styles and genres of that decade to create an explicitly American program music. Michaela Melián's »Music from a Frontier Town« is fueled by the diverse sonic material of this extensive record collection once considered as an instrument of cultural education. This record has been produced in addition to Melián's twenty-four hour performative music installation »Music from a Frontier Town« in the garage of what is now the Bavarian Center for Transatlantic Relations at Karolinenplatz, Munich (4-5 May 2018).

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

** Limited Edition 180gm Gold w/ Black haze LP w/DL.
* Kaziwa is the second collaboration between Iranian ambient experimental composer Porya Hatami and superlative sound designer Uwe Zahn's Arovane project.
* The album was originally released on limited compact disc via the Time Released Sound boutique label in July 2016 and now sees rerelease on n5MD. Each of Hatami and Zahn's collaborations has been vastly different from one another focusing on a feeling or technique. With Kaziwa the duo focused their attention toward nostalgic layered piano vignettes. The album's closer 'feer' was the first track they worked on and used it as their jumping off point. What began as a simple loop of piano morphed into something contemplatively fascinating. While that specific track features Hatami supplying most of the piano and Zahn creating the 'another time and place' atmospheres the two effortlessly switched off on piano duties all while transparently deviating from the current affectation of Frahm / Sakamoto style ambient piano clarity.

* This new version of Kaziwa will come on limited vinyl as well as on digital platforms for the first time.

Belgian DJ & producer Mugwump performs an about-face with a new sound and live show and unveils the first extract of his second album 'Drape' and it's first extract,'No Trepidation', a fast-paced postpunk/electronic hybrid and a punch in the face of conformity, formatting and self-censorship.

Borrowing his name from a character from William Burroughs' famed novel Naked Lunch, Mugwump is an elusive presence, a reputation preceded by infamous DJ residencies at Belgian clubs and a longstanding recording relation with Cologne's Kompakt records, ongoing DJ support from Andrew Weatherall as well as a large catalogue of electronic 'disco-techno' records, released on leading labels R&S, Gigolo, Cocoon, Endless Flight, Eskimo, Permanent Vacation or International Feel. Mugwump is also well known for running the Leftorium clubnight in Brussels where like-minded DJ guests such as Ivan Smagghe, Andrew Weatherall, Superpitcher, Matias Aguayo, Optimo, Prins Thomas, Sascha Funke, Gerd Janson, Ata or Roman Flügel share decks leftorium
'Drape' is the follow-up to 2015's debut studio album 'Unspell', which boasted many guest vocalists, garnered media plaudits across the board internationally and was supported with live appearances at Benelux, French, UK and Dutch festivals & venues.Taking it further and morphing into a full live band with new members, Mugwump released the 'Metempsycho EP' in November 2016 on which Geoffroy made his singing debut. Driven by this live band experience, Mugwump's new album 'Drape' will release May 4th 2018

* The second in Joker's trio of special releases to commemorate 10 years of his Kapsize label is to release this coming May.
* Over the past decade, Kapsize has put out some of Joker's most defining work, including the iconic 'Purple City' (produced with Ginz) — a track widely recognised as ground zero for Joker's purple dubstep aesthetic — and 2015 album, 'The Mainframe', as well as early records from Asa & Sorrow and L-Wiz.
* To be released both on special edition vinyl, A-side 'Marching Orders' features legendary grime MC and producer, Footsie, who goes hard over Joker's monstrous instrumental — think relentless, hyper-distorted club hydraulics — even acknowledging him on the hook; 'Oi Joker this beat's sick, crazy'.

* On the flip, B-side 'Polka Dot' is equally as tough, despite the dizzying melodies and gentle tones of the track's opening throws, landing as a crunching melee of textbook Joker sounds.

Caused Corruption & Spilled Blood is a soundtrack to the tragic drama of humanity's fatal flaws. Inspired by an anecdote shared across the Abrahamic faiths, the release is a meditation on humanity's destructive
potential. It forces us to confront the ugly side of our nature and pose the question, were the angels right to fear our creation would cause corruption and spill blood
Same Script, No Solution provides one answer. The sonification of 'Ordo ab Chao,' the opening track guides the listener through the process of public manipulation, providing a backtrack to the obstruction of the truth for personal gain.
Third Degree Arson touches on humanity's second vice: the affinity for intentional destruction. Is there hope against these demons of our own nature
No Divine Savior suggests not. If we cannot rely on divine intervention for our salvation, that leaves only ourselves to overpower our own vices.
Yet with the discord of the final track, Sects, the listener is reminded of the deep cultural fissures that keep us from doing so.
The Caused Corruption & Spilled Blood EP is a powerfully provocative examination of human nature, a compelling first release from the collaborative efforts of Chafik Chennouf & Katsunori Sawa.

"It was the most beautiful summer of my life."

Memories — places, vacancies, allusions — are fundamental characters in Mary Lattimore's evocative craft. Inside her music, wordless narratives, indenite travelogues, and braided events skew into something enchantingly new. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented Collected Pieces, a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station — a redwood barn, nestled in the hills above San Francisco's Golden Gate Bridge — emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It's an expansive new chapter in Lattimore's story, and an expression of mystied gratitude. A study in how ordinary components helix together to create an extraordinary world.

Awarded a residency at the Headlands Center for the Arts, Lattimore spent two summer months living with 15 fellow artists — writers, playwrights, musicians, poets, painters, activists, curators — in a cluster of old Victorian military buildings on the Northern Pacic Coast. Days offered solitude, Lattimore set up in a spacious barn, able to arrange her instruments at will. Nights welcomed new perspectives. "Hanging out with a lot of accomplished artists with poetic ways of looking at the world was really inspiring. My heart was in a bit of a tangle after leaving Philadelphia. I was holding onto things instead of moving forward. My time there was a nostalgia detox, a way to press reset in a healthy way. Also breathing in the freshest air in America, straight off of the ocean, felt good."

Throughout the shifting locales there is one consistent companion Lattimore engages: a 47-string Lyon and Healy harp. The instrument wires directly into her psyche. Pitchfork's Marc Masters posits, "she can practically talk through it at this point, she's created a language." The space and stillness of the Headlands afforded Lattimore freedom to her expand her vocabulary, to stretch out and experiment with layers of keyboard, guitar, theremin, and grand piano. Lattimore's voice sweeps beneath the plucks and washes of opener It Feels Like Floating,' enraptured by the winding current, and reappearing in the second minute of the immense "Never Saw Him Again." The track elevates towards a shimmering apex of static and percussion before organ drone yields to signature halcyon utters. As with much of Lattimore's work, the track titles are telling, "Baltic Birch" is a somber windswept march that sways gracefully out of step, a remembrance of a recent trip to Latvia where she was struck by the abandoned resort towns along the Baltic Sea. Hello From The Edge of The Earth' is an earnest reection of Lattimore's love of the natural world, recognizing the thresholds of varying terrains.

The album's fth track borrows its name from Lattimore's favorite line in Denis Johnson's short story Emergency' from Jesus' Son. A character, lost in a blizzard, reassesses a disjointed universe, a clash between curtains of snow and angels descending out of a brilliant blue summer: it isn't an apocalypse, it is a drive-in movie, with stars hovering above the lot, off the screen, in the throes of the Midwestern storm. This mix-up is disorienting and existentially tragic, Lattimore's darkly strummed piece is a melancholic parallel, mimicking Johnson's elegant suture attaching two remarkably discontinuous spaces.

Micro-revelations, not quite as bright as torn skies but nonetheless enlightening, were everyday occurrences during Lattimore's residency. Living small days with small tasks — feeling little dramas within the arcadian universe of a national park — rendered her the sense that disjointed spaces can be interconnected no matter the enormity that divides them. It's in this elastic scale of perception that something as simultaneously simple and intricate as Hundreds of Days can ourish.

- Second solo album for Ghostly, past releases on Thrill Jockey
- Recently toured w/ Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Julia Holter, Iceage
- Mary Lattimore has been featured on Pitchfork, NPR, The Wire Magazine, and more

'Second Stomp' is the appropriately titled second seven inch single from Daytoner, the unique soul remix seven piece from the far southwest. Their debut single 'Needed You' received airplay on BBC6 Music & BBC Radio 1 from Craig Charles and BBC Introducing. This new single should please fans of the first release, with their rewrite of a stomping 60s northern soul instrumental coupled with Lucy Richards' tale of standing by her man. On the flip is the band's own rework of a classic funk and hip-hop loop, and this version, again with Lucy's new lyrics, was recently included on Craig Charles Funk & Soul Club Vol.5 compilation, but is now available on vinyl for the first time.

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

For the second release, we bring you obscure 1985 North Carolina boogie/gospel/electro banger filled with crazy bass synths, piano chords and rhythm machines. Very proud we managed to put out this unique record.

Also supported and played by Peanut Butter Wolf from Stones Throw!

Few words from the man himself:

"I was 32 years old when I did "Come Together", I recorded it in the studio in Charlotte, North Carolina, USA. It was my first studio project. I wrote it to reflect on how we all are God's creation and we all need each other no matter our skin color or background, we should love each other as God tells us to. I always wanted my music to go mainstream and worldwide to reach everyone. Shurfine gospel record company picked up my record and the rest is history..."

Following his debut Campello LP Deepbass returns with his second album 'Contact With The Machine' Recorded in sessions of live jams with a more melodic approach than his previous works.A journey across uplifting, rhythmic, deep and atmospheric soundscapes but always powerful and always evolving.

It's been three years since Ressort Imprint head Ekserd has released his highly anticipated first output ''the hidden documents''.

As the sun slowly breaks through the cloudy winter's sky he now delivers a second release on his own imprint.

This time the sound completely mirrors what Ekserd likes to juggle around with in the clubs: jackin', groove-laden and high-BPM tools.

Somewhere between electro soul and melodramatic pop. Music focused towards the youth set in some strange dream. Not sugarcoating anything.
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Aset was a collective founded by a group of individuals deeply involved in community improvement initiatives and the struggle for justice and equality. A project that would link motivated adults with talented young people in the Washington, DC metropolitan area.

The compilation takes songs from three released projects of Aset, and one semi-unreleased single. Latonya, a spunky 11 year old kid singing about divorce, love, and dancing. The poster child of Aset. Treo, a trio of high school gals in harmony singing about love and relationships. Whax, the high school boys who were a bit stranger, the silly side of Aset. All backed by The Aset Players.

Release comes housed in a newly designed jacket with inner sleeve containing info on the label/artists and an interview with the label director, Mba Mbulu.

12 months after the debut album of Piotr Bejnar was released, we achieved gathering 4 remixes from this album. Piotr turned to the artists he most admired and who stated for him as great authorities. The record starts with a beautiful remix of the song "Bagieta" made by Ada from Pampa records. Second song on is a dance version of the "Jellyfish" song made by Piotr Bejnar himself. The third artist on the records is Piotr's authority Frivolous. To this one Piotrs' stood up to since childhood as a long- term fan of Frivolous, buying his albums and tracking his path. And now as for the crowning of the record - stands an artist closely related to Otake records - Kalipo.

PLEASURE ZONE is happy to present you the second release by Jakob Seidensticker, Sand & Boronas.
The "Los Hermanos" EP is the follow up to the "Big Day" EP from this furious trio. Worth to check!

22 Digit LTD is the vinyl only off shot of UK based 22 Digit Records, and this new release is upfront House
music in the style of artists like Mr. G. This 22 Digit LTD release is a collaboration between UK stalwart Moodymanc and label boss William Welt
with solo remixes from Appleblim and Alland Byallo. Moodymanc also known to many as Dubble D, is a Manchester based artist who boasts seminal releases on labels including Tsuba, Local Talk and 20/20 Vision among many others of a similar calibre. William Welt is a young artist who now based in Manchester, cut his teeth in Newcastle upon Tyne, and has releases on labels including Traum and CONSTRUCT.
The first of the remixes comes from Appleblim, whose bass heavy sound has been a regular feature of
imprints inclouding R&S Records, Aus Music, Tempa and Skull Disco. Second of the remixes comes from Alland Byallo, who has previously released on labels including Third Ear, Get Physical, Poker Flat, Moodmusic, Dirt Crew and Rawax.

Matt Edwards' newly launched reissue label, R-Time Records, prepares its third release, the second instalment of Sir Lord Comixx 'Retroactive'.

R-Time Records shines a light on classic tracks that didn't always get the recognition they deserve, with the label's first two releases coming from Sir Lord Comixx and FBK. Real name Amoon Andrews, Sir Lord Commix's discography has been in high demand for many years, evident by soaring market prices. The A-side of 'Retroactive (Part Two)' features two tracks from a rare untitled release on 'Hard Up', whilst the B-side is made up of 'Chicago Jazz' from the 'Funk Box EP' on Eukahouse (under his a.Moon' moniker in '98) and 'Motionvibe' from 'Azid Jazz EP' on Cynic in '05.

Cosmic synths join wonky arps in 'UR My Omen' before moving into the more up-tempo 'Fog Horn' with its robust drums, off-beat bleeps and filtered effects. 'Chicago Jazz' takes things into deeper territories with crystalline Rhodes and jazz-influenced samples until 'Motionvibe' concludes the package with its syncopated structure comprised of twisted sounds, murky atmospherics and effervescent nuances.

Finally Copenema drops on vinyl. This special limited edition vinyl EP especially for those summer beach bar vibes.
The EP includes the much loved Te Faz Bem which became a Balearic classic in Ibiza last summer after DJ Harvey regularly played it at his residency 'Mercury Rising' at Pikes . This caught the attention of Pete Tong who played it on his BBC Radio 1 show multiple times.Deixa Música Tocar (Let The Music Play) on the B side is the second single (currently unreleased) and carries on the same classic Balearic vibe from Te Faz Bem.
Super strong remixes from Riccio & Kenneth Bager complete the 12' nicely. The single representing 'the other side of Ibiza' is receiving strong support from Pete Tong, DJ Harvey, Ruf Dug, Peaking Lights, Alfredo, DJ Pippi, Phli Mison, Jon Sa Trinxa and other Balearic inspired DJs and echoes a renewed interest in Latin and Brazilian inspired sounds across the beach bars of the Mediterranean in summer 2017. Copenema (Copenama = Copenhagen Vs Ipanema) is a collaborative project between artists from Denmark and Brazil with the album partly recorded in the living room of Brazilian star Rodrigo Sha in Rio Di Janeiro, and finished at the legendary Volmers studio in Copenhagen.

Copenema is the latest incarnation of Music For Dreams' label boss Kenneth Bager in collaboration with artists and friends Rodrigo Sha, Danish composer Troels Hammer and producer Thomas Schultz from Ambala. The lead single 'Te Faz Bem' was the last track recorded during the sessions and will be the first single released on Music For Dreams this autumn.

Scottish producer & DJ Graeme Clark AKA The Revenge releases his second album 'When The Thrill Comes' on his own Roar Groove imprint on 11th May 2018.

'When The Thrill Comes' is a demonstration of a producer achieving a point of maturity in their work, able to exercise a sense of restraint, to allow for their sound to have space. It is also the opportunity for The Revenge to explore his own electronic music roots with a deeper pared-back sound more in touch with his earliest production experiences in house and techno.

Clark is no novice to the art of production and the sweaty alchemy of animating bodies on dance floors. He has been producing and playing electronic music since 1995, in many forms, though is well known for 'some of finest modern disco dubs and re-edits on the block' (DJ Mag). This passion for dusty disco and deep cuts is reflected in his long-standing collaboration with Craig Smith as 6th Borough Project which has yielded 3 albums and provided the foundation for the influential but now defunct Instruments Of Rapture label.

2015 was a momentous year for Clark with the release of his debut album 'Love That Will Not Die' on his own Roar Groove imprint. The LP picked up 'Best British Album' from DJ Mag, was shortlisted for Scottish Album Of The Year and drew support from leading DJs including Jackmaster, John Talabot, Solomun, Craig Richards, Axel Boman amongst others. Recent production work has both cemented and extended his reputation; with his future-facing remix for Auntie Flo being re-touched by Dixon for the Philomena label and his two EP's for Berlin's Dirt Crew Recordings reinforcing his love for solid club jams

Aus Music follow up a string of exclusive releases from Primitive Trust with Tee Mango (one half of PT) Having released on Clone in 2017 Tee Mango comes back to AUS for his second EP in as many years. EP#2 carries forth much of the the same classiness he's well know for. A side 'Come A Little Closer samples a personal favourite 'Make It Last Forever' by Inner Life which is paired with playful drum rhythms and smooth rhodes chords. Prototypical opts for punchy drums and a swinging bass, a track that would work as well peak time as it would warming up. Wazoo rounds off the perectly balanced EP a deep cruiser with a pinch of acid.

After a steady stream of successful underground dance-floor stables via his Viscera EP series and last year climbing charts with his remixes, Fango returns with his second album titled "GEA". Set for release this forth-coming May 11th via Degustibus Music, GEA is a 10-track trip of eclectic electronica panning across various moods and tempos. Flexings his matured production credits, Fango fuses rock, disco and psychedelic influences, meticulously put together on his machines resulting in a spectrum of sounds to satisfy most palettes. It's a serenade from Gea to Ouranos, the Greek gods of earth and sky.

Second release from Delusion, presenting a various artists dancefloor orientated four tracker including tracks by Michal Jablonski, Philip Firek and Delusion residents Stefan Tews and Smbr.

Uncompromising techno tools filled with pushing sub basses versus playful acid and epic pads.

Flexure is a collaboration between Jamie Behan & Stephen Mahoney. Both have been DJing since the mid-'90s, but Flexure is a relatively new hardware-based project that sounds like a mashup of techno, acid, electro and Chicago house. In Orbit is Flexure's second EP, a collection of unhinged machine bangers.

Orbit is the A side, a smash of a stomper, massive claps and a wild hook with vocals swirling claiming Orbit as a peak time destroyer.
B side contains Computers, a floor filler with a massive acid hook, total dancefloor killer. Next is Opioid a deep growler mof a track that is sure to find its' way into a multitude of sets.

The Works of John B. McLemore, the star of one of last years biggest podcasts, S-Town, which is coming out on Dais. The story behind this release is truly fascinating.. the music itself is ambient remixes of Tor Lundvall's best works, but with John's idiosyncratic slant on them, with some having been woven together using the horde of clocks he use to keep in his basement. This story is really worth a read if you get a chance."In September 2012, I received an e-mail from someone named John B. who said he had assembled a lengthy remix of my music, which also incorporated some of his own material. John asked if I'd mind if he posted this recording on YouTube, to which I agreed. He also mentioned that there was a second part to his mix that was "roughed out", but never completed. I was curious to hear both parts, so shortly afterwards, John mailed me two CDrs which I enjoyed very much. The recordings were hypnotic and haunting, evoking images of vast fields at twilight. I was especially fond of the second disc which had a darker atmosphere and featured more of John's original material, beginning with ghostly clock chimes and ending with a mysterious piece using dried seed pods and other cryptic sounds that slowly built-up into an intense, almost claustrophobic environment.

My correspondence with John lasted about two months. In one of his final e-mails, John said "I have to observe that your paintings seem to have a great deal of loneliness involved in them... even multiple characters seem to be together alone, so to speak... I really appreciate looking at your paintings as well as your music, I think I have connected with the spirit of them both as much as anyone can." He went on to discuss his struggles with depression, caring for his aging mom and his concerns about the future. I tried to encourage his music as a possible outlet, perhaps as a means to help transform his feelings of loneliness into a more content solitude. Always easy to say, but as I well know, not always easy to do.

In his last e-mail in late October 2012, John sent me a beautiful slideshow of his Fall flower beds and his dogs. I was touched and I told him how much watching his video had brightened my day. That was the last time I heard from him.

Last year, I visited John's YouTube channel to see if Part One of his mix was still posted, which it was, and still remains. I was shocked and saddened to read in the comments section that he had passed away. The comments also suggested that John had received some sort of national attention recently. This quickly led me to the S-Town podcast. Although I had mixed reactions after listening, I was thankful that S-Town shed more light on John and his remarkable life... but somehow, I just couldn't place the person in the podcast with the person I had corresponded with. Had I not listened to S-Town, I would have remembered John as a very private, somewhat dark and lonely person. He may have been these things, but there was obviously far more to him than that.

After finishing the final episode, I decided to play the second, unreleased CDr of John's recordings for the first time in years. Listening to his clock chimes ringing in the dark was an eerie and chilling moment. I was reminded of a line from my song "29" which says "I live with dreams and a lonely mind, my clock is set to a different time". I wondered what those lyrics might have meant to him.

John had mentioned that he wasn't satisfied with his final mix, but I felt his work was too special not to be heard. I hope that these recordings offer another glimpse into the creative mind of a unique, complex and gifted individual who tragically left this world all too early."

Tor Lundvall
January 17th, 2018

JOHN B.'s NOTES:

This is what was intended to be the second part of my Tor Lundvall Remix series. Unfortunately I am dissatisfied with it due to a few defects, and it is highly unlikely that I will ever be able to complete it. Still it serves as a testament to my interest in the work of Tor Lundvall that I made it this far. Defects are as follows: The first movement is too 'fussy', and the first section of the fifth movement seems a bit long and may bore the listener, but since it consisted of so many slow moving textures, I don't know how I could redo it and still achieve what I was wanting to accomplish. Additionally, this recording was done just days before my Father died, and there are many feelings of guilt associated with the time spent on it. If you are receiving this recording, either you are one of my better friends, or you are a great admirer of Tor Lundvall, and requested that I send it to you.

1st Part: Basically a track of me fiddling around with old clock bells, and air turbulence mixed with Tor Lundvall and Field Recordings of rain, birds, cicadas, frogs and such.

2nd Part: My interpretation of Lundvall's Dark Spring. This track was inspired by the music of Carl Michael von Hausswolff.

3rd Part: Very ambient Field Recordings inspired by the work of Francisco Lopez.

4th Part: A Very Quiet passage consisting of delicate Field Recordings.

5th Part: Music performed entirely by me inspired by the Darker paintings of Tor Lundvall. Most of the instruments on this piece consisted of dried seed pods from the plant; Showy Rattlebox (Crotolaria Spectabilis), that I had collected and dried the previous Fall. There are other sounds from my own environment as well.

This mix was assembled in the Late Fall of 2003. There are some very Quiet passages in this piece, so it requires a nearly Isolated listening environment... It should be heard After Midnight, in the Late Fall of the year, and, not surprisingly, a Very Long Attention span is a Prerequisite.

John B. McLemore
September 10, 2012