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After selling out with the Rick Wade's huge release , RYMD London's
label comes up now with their third limited edition output, 'Along
The Way'.

A Coloured Vinyl Compilation Release made up by a team of talented
artists exploring different shades of Deep House and Dance music :
Club, Funky , Cosmic , Jazzy , Balearic , Disco-ish and Garage.

Chicago-based Matt Warren has been a DJ for forty years and has been a producer since 1984, when he released his debut single Rock The Nation. This inspired Matt to cofound Sunset Records in 1985, which released several house classics. However, in 1987, Matt resigned from Sunset Records and founded AKA Dance Music.

The first single that AKA Dance Music released was Bang The Box, which sold over 50,000 copies in America and nowadays, is regarded as the first hard house track. Bang The Box was the first of seven singles that AKA Dance Music released between 1987 and 1988. By then, Matt's second label was part the history of house music.

After the demise of AKA Dance Music, Matt Warren continued to travel the world DJ in some of the top clubs. Meanwhile, Matt continued to produce new music, remix tracks by some of the biggest names in music.

By the nineties, Matt was also writing, arranging, mixing, and producing a wide variety of artists and bands. He sometimes was asked to play on a number of albums. However, he still loved house music, and worked on several releases.

As the new millennia dawned, Matt continued to work in a variety of roles in the ever-changing music industry, and occasionally released some new music. Over the next few years, Matt has been working as a producer, engineer and remixer, which meant he had to put his own career on hold, until he began working with a familiar face.

In 2016, Matt was reunited with house diva Pepper Gomez, who was now running her own label Wake Up! Music. By then, Pepper Gomez had dawned the MyMy Lady G moniker and embarked upon a career as producer. She had travelled to Chicago, to record Elena Andujar's genre-meting album Flamenco In Time at Matt's Sound Studio Recording. Matt took charge of engineering, programming, mixing and production on Flamenco In Time while MyMy Lady G added backing vocals and assumed the role of executive producer on this groundbreaking project. After the completion of Flamenco In Time, MyMy Lady G asked Matt Warren if he would like to record an album

It didn't take long for Matt to answer in the affirmative, and in early 2018, he hit the comeback trail. He was accompanied by a group of talented musicians and vocalists including gospel singer and soulful diva Jan McGhee, Elena Andujar and legendary house diva Pepper Gomez who plays a starring role on the album. That album was recorded over the course of several months, and eventually became Music Is My Life which marks the comeback of Mark Warren.

Matt Warren has been away to long, now one of the pioneers of Chicago House makes a welcome return with a groundbreaking new album. This is Music Is My Life, the first ever Nu House album, which is guaranteed to transform Matt Warren's career and become part of dance music history.

Parisian label Chuwanaga is really proud to present In The Red Vol. 2 (A Britfunk Selection by Saint-James), almost a year and a half after the first compilation being released. This second volume still focus on the Britfunk genre - or British Jazz Funk - mainly produced in London between the end of the seventies and the
eighties. It defines a unique mix of Jazz-Funk & Disco including Reggae & Dub techniques from Afro-Caribbean communities who were at the heart of the movement. Parisian DJ, activist and producer Saint-James has again selected the most
exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap
bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing. Back in the days, these young musicians gave their music a unique British flavor and
raw energy pushing the needle "In The Red". Almost four decades later on these powerful tracks are again ready to burn up dancefloors. The compilation features an
insert with pictures and a few more words about the selection. The compilation is also available as digital download and CD along with Volume 1.

A prodigious guitarist at an early age, Willie George Hale earned the nickname "Little Beaver" from friends in family in Arkansas, remarking on his prominent teeth. Over the years Hale would make a name for himself as a reliable session guitarist, appearing on recordings by Betty Wright, Al Kooper, and Blowfly, and gradually developing his own distinct, rhythmic style of blues guitar playing. As the mid-70s approached Hale would embark on his own solo career, cutting albums and singles with Florida's TK Records, working alongside famed musicians like Jaco Pastorius, Benny Latimore, and Timmy Thomas. His career effectively ended in the 1980s with TK's collapse, but he would find new life in 2003 after performing on several Joss Stone albums, and his works would be sampled in hip-hop tunes by the likes of Jay-Z, Slum Village, and People Under The Stairs. Not long after his solo debut in 1972, Hale released the sophomore album Black Rhapsody, which did away with the vocals so Hale could put his own blues guitar chops at the front. Black Rhapsody featured a slew of original deep funk jams from Hale, as well as his own soulful spins on songs by Al Green, The Temptations, The Jackson 5, and even George Gershwin. A rare gem of 70s funk, famously featuring the track "A Tribute To Wes", which beatsmith J Dilla would sample to great effect on the Slum Village track "Conant Gardens."

Classic Brazilian album from master drummer, Ronald Mesquita, originally released in 1972. Featuring songs by Jorge Ben, Antonio Carlos-Jobim, Gilberto Gil, Edu Lobo and others.
Mesquita is probably most well-known for playing with Luis Carlos Vinhas and his 'Bossa Tres' outfit, along with his own group, 'Ronie E A Central Do Brasil', that he formed after his return from the US in the early 1970s. He also played on several songs on Tenorio Jr.'s 'Embalo' album that Mr Bongo recently reissued.
The killer track 'Balanca Pema' was very big in the Jazz Dance scene in the 90s and also featured on the Mojo compilation 'Dancefloor Jazz Volume Four'.
Madlib sampled 'Balanca Pema' on his Medicine Show Number 2 'Flight to Brazil'.

Official Mr Bongo reissue. Licensed courtesy of Universal Music Group Limited.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Ambient/Traditional Flute Music from Japanese Shakuhachi Master Teruhisa Fukuda

The shakuhachi is an end-blown bamboo flute with one dorsal and four frontal holes and a bevelled notch as mouthpiece. There are two elements in the name of the instrument: shaku refers to an ancient measurement which is the equivalent of 30,3 cm; hachi means eight. Originally shakuhachi thus refers to a flute that measures 1,8 shaku, that is, 54,5 cm.

For this CD, 2LP Master Fukuda chose a series of seven pieces from a repertoire dating back to the seventeenth century. These were originally performed by monks belonging to the Fuke sect of zenBuddhism, who viewed their instrument as means for meditation. The seven pieces are destined to be played solo, in the spirit of zen.

Teruhisa Fukuda
Born in 1949, Teruhisa Fukuda is an eminent artist who has explored a vast range of musical techniques from, both, traditional and contemporary music.

53 Degrees North marks SK_eleven s seventh release, as Setaoc Mass continues to add to his flourishing imprint; this time with a two-part EP release. 53 Degrees North Part One focuses its efforts on four-to-the-floor club-centric music the label head is renowned for. All four tracks are emblazoned with his signature, disparate pairing of light and dark sound palettes glued beneath rich, atmospheric textures and hypnotism - all the while keeping its muscular club chassis gleaming beneath. Part Two of the double release sees Coates revealing more of his experimental side. The second cut pays homage to past influences of the producer as he floats between ambient, IDM and electro cuts with ease, all rife with emotion and passion.

The Conspiracy Hailed From Mount Pleasant, A College Town In The Center Of Michigan. Originally Formed As The Allusions, They Became Nino & The Nomads Before Changing Their Name To The Conspiracy In 1966. For The Next Few Years The Group Stayed Busy On The Live Circuit. "we Were Booked All Over The State," Remembers Singer Aquilino Soriano. "every Weekend We'd Be Somewhere. We Were About Two And A Half Hours From Detroit, So We'd Go Down South, We'd Go Up North, We'd Go Everywhere. There Was This Network Of Teen Clubs Where Kids Didn't Have To Be 21 And Everybody Could Go. It Was Fantastic." In 1967 The Group Had What Aquilino Describes As "probably Our Apex Moment". Kustom Amplifiers Sponsored A Statewide Battle Of The Bands Tournament, And The Conspiracy Battled Through Several Rounds Of Competition To Make It All The Way To The Finals In Saginaw. "it Was A Statewide Thing That Culminated There," Remembers Aquilino. "question Mark & The Mysterians And A Couple Of Others That Were Notables Were Also In It - And We Won It! We Got Our Award From Bob Seger." The Prize Was Thousands Of Dollars Worth Of Gigs And A Tuck And Roll Kustom Pa System, Which The Band Put To Use As They Moved Forward Into 1968, Brimming With Confidence. A Roving Capitol A&r Man Caught Their Show In Cadillac, Michigan, And Encouraged Them To Write Some Original Songs And Go Into The Studio. So In 1968 That's What They Did. `dream World' And `with You' Were Recorded At A Studio In Grand Rapids And The Session Turned Out Exceptionally Well. "it Just Floored Me That We Didn't Sit Down And Write Some More Songs," Says Aquilino, "because I Thought We Did A Pretty Good Job." `dream World' Is Particularly Great With A Soulful Lead Vocal, An Insistent Fuzz Guitar Line, Waves Of Hammond Organ, A Catchy, Harmonized Chorus And An Insistent Dance Groove. Shades Of The Doors, The Young Rascals, The Blues Magoos And Src. A Mixdown Of The Tape Was Forwarded To Their Contact At Capitol Records, But Ultimately No Deal Was Signed. "we Were Just Starting To Separate From High School," Remembers Aquilino. "it Was The Start Of That Transition. I Was Class Of '67, They Were Class Of `68. There Was The War In Vietnam. You Could Go To College To Avoid The Draft. It Was A Lot Of Decisions And I Guess What Happened Is Nothing Really Happened From Us Recording. I Mean They Liked It, They Made Us An Offer, But I Think That The Parents Weren't Really Happy With That. I Think That There Was Some Dissent In The Band Too." The Conspiracy Broke Up In Early 1969 And The Tape Of The Only Original Songs They Ever Played Remained Unreleased And Unheard Until 2018, When Soriano Brought The Original 1" 8-track Session Tape Into Earthling Studios In El Cajon, California, Where It Was Mixed And Mastered By Mike Kamoo For This Release. "getting This Out On Vinyl - It's What We Dreamed Of!" Aquilino Grins. "even If It Took Fifty Years To Happen!" Mike Stax

Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

Just four years after their debut album Carbeth, Trembling Bells are amassing a formidable body of work at a startling velocity. Just twelve months after the release of their critically acclaimed third album The Constant Pageant, the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells' drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts' No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie 'Prince' Billy band. The drummer's eagerness to experience new epiphanies yielded unforgettable memories. In Big Sur, he recalls, 'we took mushrooms at midnight, then visited a natural hot spring built into the dramatic cliffs overlooking the Pacific Ocean. The stars were as vivid as frozen fireworks.' All of which is worth dwelling on, because without that background of mutual openness and empathy, it's hard to imagine The Marble Downs existing.

Neilson recalls a conversation about a 'collaboration' in the summer of 2010, though stresses that it 'was nothing too formal at first'. By the end of that year, a limited-edition seven-inch New Year's Eve Is The Loneliest Night of the Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren't terribly helpful this time around. Yes, Trembling Bells' love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, My Husband's Got No Courage In Him. Then there is Blackwall's musical setting of Dorothy Parker's poem Excursion Into Assonance — and the thorough-going new-found classicism of Neilson's increasingly assured songwriting. Albeit delivered with Trembling Bells' rain-lashed sense of abandon, Love Is A Velvet Noose sounds like a standard of sorts — a warped consequence of Neilson's increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. 'I'm not saying I stand any chance of emulating them,' he adds, 'but the appreciation is definitely there.'

The knowledge that Oldham and Blackwall would be sharing centre-stage on The Marble Downs gave Neilson extra impetus to flex his songwriting muscles. I Can Tell You're Leaving finds both vocalists on irresistible form, dissecting their dying relationship with no heed to the other's feelings. 'You treat me like a child,' sings Oldham. 'I need a man,' she responds, barely catching breath. 'Now like Merle Haggard, you'll see the fighting side of me,' he later promises. 'I guess that's one of the lighter moments on the album,' ponders Neilson, 'I was trying to get a Planet Waves-era Bob Dylan feel there, with the piano and walking bassline.'

Here and elsewhere, the band — Blackwall, Neilson, bassist Simon Shaw and guitarist Mike Hastings — has never sounded more psychically attuned to one-other. On the slow-reveal sonic establishing shot of I Made A Date (With An Open Vein), two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. The electrifying free-folk portent of Riding — a revival of the Palace Brothers classic — is no less compelling, calling to mind the words of broadcaster Stuart Maconie when he praised Trembling Bells for their ability to invoke simultaneously 'the charm of folk music and the power of rock.' Ditto Ain't Nothing Wrong With A Little Longing, in which Neilson slams down a four-to-the-floor beat over a synergy of demonic krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue.

With nine songs gone and one remaining, the album's sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb's 1970 solo masterpiece Robin's Reign, Lord Bless All sees Trembling Bells tease out the hymnal qualities of Gibb's original with a slow volcanic upswell which — on four minutes — explodes into heavy psychedelic technicolour. What pleases Alex Neilson when he listens back is 'a sense of a common vocabulary and identity being forged.' If, by that, he means that there isn't another band on the planet that quite sounds like Trembling Bells, it would be hard to disagree. The evidence is right here.

'I didn't know anything about Trembling Bells. I just heard them and was knocked out. I instantly became a fan.' Paul Weller

'Trembling Bells are my kind of band.' Joe Boyd

"Jesus fucking shit! These jamz claw so hard at the tatties below methinks the Lord misnamed them, having intended to say Trembling BALLS." Will Oldham

'A poetic incantation of British identity far brighter than Michael Gove's GCSE syllabus.' Stewart Lee

'This time, I'm attempting to reclaim the art of songwriting from the charity shop bargain bin.' Alex Neilson

* Five years have passed since the first release of Nowadays Records.Launched with Fakear's signature (seen on Ninja Tune), the label founded by oOgo and Chomsky from La Fine Equipe has seen the growth of many projects such as Clément Bazin, Everydayz, Phazz (who produced for Travis Porter, did remixes for Soulection, Interscope and Mad Decent), Leska, Jumo and many others, all of them carried by the irreplaceable quartet of La Fine Equipe.

Five years during which Nowadays Records released 75 EPs and LPs, toured in and outside of France, and generated several hundred millions stream plays.With its heart in the right place, its eyes on the emerging scene and its ears open on the world, Nowadays built itself a singular and racy identity through the time. Fed by inspirations like Stone Throw, Ninja Tune or Warp, the label places itself as an ambassador of a fast growing scene, defending it through its shows, releases, and events like the two Boiler Room shows in Paris and London.Without sticking itself to a musical gender, Nowadays keeps on widening its horizons by working with foreign artists and mixing the inspirations through its releases, driven by its sound and visual trademarks and aesthetics.

In order to celebrate those five years spent defending as many projects as musical crushes they had, and to thank its community made of more than 150 000 followers around the world, Nowadays unveils the 'Nowadays V', double album with a digital and physical release on November 30th.Through this compilation, Nowadays gathers on one side the tracks that marked its history and, on the other side, unreleased tracks that sometimes lead to collaborations such as the one between Clément Bazin and Leska, or the one between Fakear and La Fine Equipe.

Third LP of Cabaret Contemporain, French band (featuring Fabrizio Rat on keys) who use acoustic instruments (piano, guitar, bass, drums, contrabass) to produce a « hand-crafted » club music infused with techno. Inspired by Jeff Mills, Robert Hood or Drexciya, the five members already had a career on classical scene; their idea is not to replay classical techno tunes but to create a new path for the electronic music. 2 tracks featuring with the label boss, Arnaud Rebotini.

« Ballaro », which opens Cabaret Contemporain's third album, begins with light percussions, which seem to turn on themselves, while being conveyed by reverberations close to dub. After a few minutes of convolutions, the piece gets out of hand, transporting the listener into a rich form of pulsating trance, irrigated by a soaring melody and punctuated by persistent piano tones. « La selva »; more subdued, has the same energy, the track ending in an even more powerful way, a kind of paroxysm.

Finally, the strangest and most minimal « Cactus », features a singular groove, which evokes the most brutal house from Chicago, or the sometimes obsessive techno from Detroit. Just like other tracks such as « Transistor » or « TGV », fuelled by sweat and trance, Séquence Collective bears all the intensity of a techno cut for clubs' dancefloors. The only difference being that their music is not played with synths, drum machines or software, but with acoustic instruments. Dual curriculum The band is composed of five musicians and a sound engineer: Fabrizio Rat on piano, Giani Caserotto on guitar, Julien Loutelier on drums, Ronan Courty and Simon Drappier on double bass and of course Pierre Favrez on console. They are all in their thirties and met at the prestigious Paris Conservatoire in the late 2000s. However, all the musicians in the band have a double curriculum and navigate freely between the institutional realm and the underground or pop music scenes. Through classical or contemporary music, jazz and improvisation, rock and experimentation, they share a common passion for the original and futuristic techno of the 1990s, that of Jeff Mills, Robert Hood or Drexciya, which they have decided to reinvent and further in their own way. Not as a simple stylistic exercise practiced by virtuoso musicians, but rather as a new path for modern music, and for their generation. « The original idea » they say, « was to make club music by hand, like craftsmen. Like in the early days of jazz, our band managed to transform itself into a kind of dancing machine. Our music is therefore functional because it is danceable, but also mental and abstract, while offering several layers of listening. You can dance and play, have a purely physical and sensory connection to the music. But you can also immerse yourself in its listening, perceive refined harmonies or more complex rhythmic superpositions »

If the tones of Cabaret Contemporain are truly unique it is because each member of the band has developed a very personal approach through the use ''prepared'' instruments. The strings of their piano, guitar or double bass may recall strange machines with literally incredible sounds, obtained using objects such as chopsticks, clothes pegs, foil, hangers, a tiny pie mould or many other utensils from a DIY store. A collective energy

Cabaret Contemporain is first and foremost a live band that has been performing in venues and festivals since its inception in 2012 (Nuits Sonores, Siestes Electroniques, L'Aéronef, Le Trabendo, Philharmonie de Paris, Gaîté Lyrique, Rewire, Dancity, Barcelona Accio Musical...), both at traditional jazz and contemporary music venues, and more often at electro music hubs. When facing the audience, the band, which plays each of its sets in one go, without a break, shows an intense physical presence, which competes with the musical power of DJs who share the stage with them. Their performance, full of tension and repetition, which requires maximum concentration and a state close to trance from the musicians, is sometimes, according to them, « a mental journey and a mystic experience ». A dimension that brings to mind the historical techno culture and its dancers who, communicating on the dancefloor, were carried until the early hours of the morning by the power of the beat. An album inspired by the stage Since their beginnings, their compositions on record have drawn their energy directly from the practice of their concerts, whether referring to Terry Riley (2014) or Moondog (2015), an EP and an album dedicated to the repertoire of the two American artists, the original compositions of Cabaret Contemporain (2016) and Satellite EP (2017), as well as this new album. Séquence collective can be listened to as a condensed transcription of their inventions and their live experiments. The tracks, more than half of which were improvised during sessions held in the former Vogue studios near Paris, were recorded in live conditions, « like an old school rock band » they say. As usual, they invited a new musician to join them in the studio. After collaborating with Étienne Jaumet or Château-Flight, Arnaud Rebotini, César winner for best film music, added a welcome synth touch on two tracks (Pro- One, Prophet 600), which boosted the group's formidable collective energy. The album ends with « October Glide », again performed with Rebotini, a lyrical and lively track, built on a powerful and slow progression of timbres and percussions, which would ideally find its place at the core of a techno party « peak time »

Introducing a new label, Koko Music, founded in West London by a long time friend of ours. Their first release:

'Allegedly Coltrane's favourite singer, Andy Bey recorded as vocalist for Max Roach ('Members, Don't Git Weary'), Horace Silver ('Won't You Open Up Your Senses'), Gary Bartz ('Celestial Blues') and Stanley Clarke in the late sixties / early seventies. He released one solo album and then disappeared from view for 20 years, resurfacing in the nineties.

This 1998 album showcases his four-octave range, the intimacy of love songs and raw power of the blues on a mixture of standards ('Pretty Girl', 'Some Other Time'), Latin ('O Cantador', 'Drume Negrita'), modern (Nick Drake's 'River Man'), and a couple of original tunes. Available for the first time on vinyl, cut at 45rpm, it features Andy on vocals and on piano, with appearances from Gary Bartz and Geri Allen.'

First Word Records are thrilled to announce a brand new addition to the label - LA beatmaker and producer 14KT.

Known for his deft, soulful hip hop production, KT has broadened his palate for his FW debut to create 'For My Sanity', the first offering from his jazz-influenced project IAMABEENIE.

The album will be released in early 2019, but we couldn't wait that long to share this taster of what 14KT created as a form of escaping from his "normal" ways of making music. Case in point: the first single taken from the project - 'The Power of Same' feat. Muhsinah.

Strongly rooted in KT's spiritual practice, 'The Power of Same' is a bass and synth-heavy ode to consistency and unconditional love, laced nicely together by his signature drum lines, harmonious guitar riffs (played on the track by Stro Elliot) and the unmistakable sound of James Poyser (The Roots). Vocal powerhouse Muhsinah adds layers of emotion via her endearing delivery of the core message, and, deep in the background you can hear KT sharing a very personal routine with us all - giving thanks to God.

How much of a personal project this is, in 14KT's words "This was inspired by a bible study plan I was reading called The Power of Same. It spoke about the power of being consistent in our lives. I thought about how consistently God's love and my family's love have gotten me through my journey of life. Once I made a "skeleton" of the song, I reached out to the brother James Poyser who I was extremely blessed to work with. My brother Stro Elliot was living right down the street from me at the time. One night he walked over to my house, I played the record for him, he picked up my electric guitar and played the first thing that came to mind - which was perfect. I played the record for my brother Tall Black Guy, who suggested I reach out to Muhsinah to add vocals. I sent the record to her and two days later she sent me exactly what you hear. Amazing. That was definitely the spirit of God working. Huge shout out to my Playlist family. Love y'all."

To date, 14KT has released seven solo albums, as well as his collaborative hip hop album, 'Takin' Ls' with emcee Ozay Moore, R&B/soul album, 'Saturn Return' with singer/songwriter AB, and 'The Big Knock', together with Mayer Hawthorne as Jaded Incorporated.

Last year saw another duo collaboration album with Michigan rapper Ro Spit, entitled 'RSXGLD', a project held in high regard by the global hip hop community.14KT is also part of Jazzy Jeff's Playlist Retreat, alongside our very own Eric Lau, Tall Black Guy and Kaidi Tatham, who also turns out an unmistakably dope remix on this 7" single.

A very warm welcome to the family, KT!

'The Power Of Same' is available on 7" and all digital platforms on March 1st 2019.

Chemistry between individuals is an amorphous and elusive notion. It is usually seen as something that occurs between two people who are sharing a physical space, with access to each other's body language and energy. However, modern technology has provided many other opportunities for chemistry to blossom and be explored and this record is just one example of that: Vent is proud to present Kina, a double LP of musical collaborations between MAYa and Tolga Baklacioglu.

Tolga Baklacioglu is an associate professor in aeronautical engineering. He is also a musician. For several years, he has been steadily building a body of work that explores the outer boundaries where techno and abstract textures merge and blur. In 2014, Tolga created a label, VENT, as a platform for his explorations and those of likeminded travelers within this sonic realm.

MAYa Hardinge works in film. She is also a musician. She has collaborated with numerous artists. Beginning in 2008, She released 4 EPs under her solo guise MAYa. Considering her background in film, it comes as no surprise that her work has a strong visual element. Pre- dating Beyonce´'s Lemonade by many years, her last two EPs were visual albums made in

collaboration with various directors.

It makes total sense that MAYa and Tolga should have made an album together. Their interests and backgrounds overlap and diverge meaningfully in a way that has all the hallmarks of good musical chemistry. There is however one unusual element to their collaboration: they have never met. Tolga lives in Eskisehir (Turkey) and MAYa lives in New York City.



Always on the look out for inspiration and new collaborators, Tolga stumbled across MAYa's videos online. What he saw and heard inspired him to reach out and contact her. After some correspondence they decided to experiment with the prospect of making music together. Perhaps deprived of the traditional notions of chemistry defined by proximity, they found inspiration across time and space in the name of exploration and discovery. Tolga began by sending MAYa files of beats and ambiance. Upon finding the ones that spoke to her, MAYa went to work disassembling, adding, subtracting and rearranging. MAYa's work would then go back to Tolga, a world away, for further input and then back again. In this way each track was painstakingly constructed and a true chemistry was born. One built on sensitivity, support and honest artistic communication. In a word: LISTENING.

The songs cover a broad spectrum of topics, from the deeply personal feelings and experiences, to world events, and the fundamental aspects of life and death. Kina is a document of two artists from different backgrounds and their shared visions of the interplay

between one's private microcosm and the global macrocosm of our time; a testament to the fact that, for all its vastness and diversity, this world offers inspiration and potential collaboration around every corner. The music contained within has traveled around the world many times before reaching your ears. As MAYa and Tolga have done before, it is now your turn to LISTEN.

Over the past few months, Bajram Bili has been a revelation at Lumière Noire. On the labels compilation From Above, the French producer drew praise from listeners, DJs and critics alike with the eight housey, cerebral minutes of his contribution, Restart.
Bajram Bili is far from being a newcomer: Adrien Gachet has been making music under the exotic moniker for several years, combining krautrock and IDM influences into a rather convoluted genre. On his previous album, 2017s Remembered Waves, he had opted for a metamorphosis, bringing a new sense of freedom to club music, and this debut Lumière Noire EP is bound to elicit further interest in the artist.
Stretching over nine minutes, the playful No Fugue is complemented by a vocal track that seems to encourage the listener to visit the euphoric spaces in between. The Dantean, techno-accented Fluttering maintains this unsettling pace and amplifies, building up anticipation by bouncing from hot to cold and culminating in an epic journey. The beatless Mother presents a complete change of scenery, with Gachet offering up a contemplative composition haunted by tinges of Vangelis and Carpenter. With its acid accents, red-hot closing track Divided Flash completes the EPs musical register, closing the ambitious four-track arc and leaving the listener hoping for more and soon..

- Daniel O'Donnell's recording career has now spanned almost 35 years and he continues to delight fans around the world by his
recording and touring activities.
- Daniel is the UK chart's most prolific and one of the most successful recording Artists. In 2018, he broke his own world record, by
becoming the first recording artist to chart at least one new album every year in the Artist Albums Chart for 31 consecutive years.
- During his career, in the United Kingdom Daniel has amassed thirty-seven Top 40 albums, including sixteen Top 10 albums, with
fourteen of them this Century, a feat not achieved by any other recording Artist.
- 'The Gold Collection' is a heavyweight 180g Gold-colour vinyl LP, featuring duets with his long-term singing partner Mary Duff his best
known hits, including twelve Top 40 hits, in this 16-track set.

We were always living in nonlinear times, but a significant cycle is coming to an end so we are noticing a growing number of severe changes and happenings caused by the nonlinear nature of things. For human beings it's difficult to imagine exponential growth despite it surrounding us in almost every aspects of life.

In music one can find such nonlinear increases or logarithmical declines in the core of sound creation itself, namely in envelopes controlling levels, texture and frequencies. But also in real life in the rise and fall of popularity, in viral news or in the development of music technology.
Utilising his sound pallet comprised of modular synthesis and electronic instrumentation, Florian Meindl highlights these resonances of thought and exploration with a sonic statement of his current vision around electronic music in the form of his 4th artist album.

No Concession on this one... the uncomon rare oldschool sound pushed at its extreme pleasure : that particular sound we heard a lot here in France with XMF (formerly now The Hacker), Bunker (NL) and to be more precise with Agro (UK) and Power Plant (Germany) but of course... Drop Bass Network (USA) ! Respect to the original Acid Hardcore caves ! BIG UP The Untitled !

SNTS Is An Underground Techno Label, Commitment To The Vinyl Format As The Main Pillar And Overall Bring The Electronic In The Anonymity.

Played & Supported by: Oscar Mulero, Sigha,Tommy Four Seven, Jonas Kopp , Giorgio Gigli, Sleeparchive , Nihad Tule , Kr!z (Token), Inigo Kennedy, Jeroen Search , Juho Kusti , Arnaud Le Texier , Angel Molina , Dj Deep , NX1 , Cio D'or , Tadeo , Edit Select , Bas Mooy , Electric Indigo , Ness, Deepbass , Par Grindvik , Go Hiyama , Adriana Lopez , J. Tijn , Ryuji Takeuchi , Max_M , Thomas Hessler and many more.

The second album from SpaceArk. More brilliant self-released, private-press jazz/soul from 1976 Los Angeles.

'SpaceArk Is' came out on Color World records in 1976, on a limited run of about 5,000 copies. It followed their self-titled debut (also available now on Mr Bongo) on the same original label, the year before.

For a handful of years in the Seventies, SpaceArk was one of the most promising and electrifying bands in Southern California. Although their music was far greater than the sum of its parts, those parts made for a very original style. R&b, soul, rock, pop, jazz, classical ... it all came together in blissful stream of intricate compositions that swept up crowds from US military bases to Northern Soul clubs around the UK.

SpaceArk wrote and performed more than 100 songs during their time together. Most of them were not recorded and are now either lost or forgotten.

Official Mr Bongo reissue with liner notes by Amar Patel. Licensed direct from Peter Silberg.

It's that time again. The skies are calling and its time to board our trusty jet for the 5th outing of Africa Seven's premiere class compilation Africa Airways. For volume 5 its time to brace yourselves for 10 slices of Afro boogie goodness.

We up the boogie time groove with The Black Bells Group (the first band of lead singer Sidney 'Patrick Duteil' who went on to become the godfather of French hip-hop and a well know TV presenter. Here the groove is swinging... the perfect opener. Next up is German-based Cameroonian musician and cousin of Manu Dibango, Charly Kingson with this bass-synth boogie stomper. Big brass and jazzy trumpets add layers of sparkle too.

Next its time for some highlife inspired boogie from Ghanian Gyedu Blay Amboley. Highlife fused with reggae, disco, boogie and jazz just as the lyrics say.

Next we pair up with Africa Seven friend Eko once more under his Dikalo guise. The Cameroonian master musician is on fine form with his heavy brass and deep percussion with a driving afro boogie groove. To round off Side A its off to Cameroon again to groove with Jean 'Mekongo President'. Think Bernard 'Chic' Edwards on the bass with some African style and you can see it's the bottom end groove and afrobeat drums that power this gem along.

We open the second side slowly and purposefully with the highly sought after 'French Girl' from Fotso. Drippy bass synth grooves and a wondrous percussion and drum shuffle pair with piano riffs to make this a unique sounding track. Our friend Tala AM is next with the foot-stomping 'Sugar Lump'. JK Mandengue is next with most definitely the catchiest chorus you will hear today. Nigerian Jide Obe gets synth and clavinet rich with his doe to sensible dating advice 'Too Young'. We close off the album with a track from label good friend Jo Bisso under his Mulamba guise. Sounding like a long lost TV theme from a late night TV show circa 1977. Let's get down and boogie with the brand new dance in town folks... the Dashiki.

Until Volume Six takes flight it is time to unbuckle those seat belts folks.

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

Psychedelic-Country-Garage-Soul oddities from the Sixties and Seventees. The tunes on this album are as good as those by famous artists like Little Richard, Jerry Lee Lewis, Tom Jones, or Jack Hammer.

Limited Edition heavyweight 180g Vinyl EP - PURSUIT by KWALIA, available now! Following the success of his 'Wallflower' and 'Cloak' LP's, breakthrough artist Jordan Rakei has teamed up with classical composer Richard Melkonian for something entirely new, releasing their debut EP 'PURSUIT' under the name 'KWALIA'. Joining the dots between their respective musical sensibilities, a hybrid sound incorporating free moving jazz rhythms, Rakei's soulful vocals and Melkonian's Armenian harmonies came to fruition. A deep, melodic and emotive journey, the EP features string quartet, woodwind live band and heavy synths throughout. 'PURSUIT' is an authentic blend of two entirely different musical worlds that complement one another in an entirely new way. Rakei's expressionist lyrics unashamedly explore questions about faith, God, identity and power structures. Several of these themes came about through discussions between Rakei and Melkonian and the musical structures of each track follow this free-form enquiry; ideas are allowed to flow, unexpected tangents form and no predetermined song-form is ever adhered to. Running at 22 minutes in length, the EP is comprised of three long compositions.

"On Pursuit, they continue the fruitful partnership with three-long compositions that meld meandering jazz rhythms with Rakei's achingly beautiful vocal work". - XLR8R

"'The Waves' is a superb fusion of their disparate influences, the mellifluous arrangement in a perpetual state of flux, grinding dissonance leading to soothing ambience.

Jordan Rakei's vocal continually strains against the rules, displaying the same daring that flooded through Tim Buckley's late 60s work." - CLASH

Written and produced by Jordan Rakei and Richard Melkonian

Recorded, mixed and mastered by Rick David at Pink Bird Recording Co.

Tarawangsawelas are a musical duo from Bandung, mainly performing a contemporary version of Tarawangsa, the sacred music from Sundanese West Java. Here they are joined by their teacher and maestro, Pak Pupung Supena, together with, Pak Jaja, on Sekalipon. Wanci is a minimalist, cosmic album composed with a careful modern interpretation of one of the most mystical and spiritual genres in Indonesia. A gorgeous and infectious six track album. TIP!
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Producer Rabih Beaini says "Last year, Europalia Festival commissioned me to work on a musical project with local musicians from Indonesia and develop a performance to tour during Europalia 2017. I chose to work with Tarawangsa, the sacred music from Sundanese West Java. Tarawangsa is played on two string instruments: a rababa-like two-stringed bowed instrument itself called Tarawangsa, and the Jentreng, a seven-stringed kecapi-like instrument. Typically from Rancakalong village in Sumedang, West Java, Tarawangsa is played as part of a ritual consisting of almost eight hours of music and dance, complete with offerings and prayers. During a performance, a selection from the forty two known Tarawangsa pieces slowly build up from a cosmic slow groove to more repetitive and hypnotic rhythms, inevitably bringing the listener and dancer to a trance state. During the residency I had the great honor to be able to develop new structures and pieces together with Tarawangsawelas, recording them in Bandung, and ultimately having them joined by their teacher and Tarawangsa maestro Pak Pupung Supena together with Pak Jaja on jentreng. This album is a modern description for one of the local Indonesian music scene, but mainly it is an offering for the Tarawangsa ritual, like the food and incense and the prayers, and the messages of the ancestors to the people of Rancakalong."

Composed and performed by Teguh Permana, Wisnu Ridwana and Rabih Beaini, except Sekalipun (traditional) performed by Pupung Supena, Jaja Rohmat, Teguh Permana & Wisnu Ridwana.
Recorded in Bandung, march 2017
Produced, mixed and arranged by Rabih Beaini.
Mastered by Neel at Enisslab.
Cover design by George Sowden, curated by M-L-XL,

Second elease on newly minted Souk Records (Discrepant), coming swiftly after the mind blowing Palestinian beat LP Muqata'a Inkanakuntu (SOUK01).

For the second release we chose someone who is already part of our Discrepant family - the Colombian tropical masters Romperayo aka Pedro Ojeda.

Back in 2015 we released their self titled debut and now it's time for the follow up, 'Que Jue', ten up-tempo bangers filled with the unique sounds of psychedelic 1970s Cumbia.

Whilst the first Romperayo LP united several musicians around Pedro Ojeda's frantic drum style, Que Jue sees him take the reigns solo armed with instruments, samplers and his trusted drum skills!

'Que Jue' is a fever rhythm joy, an intense voyage to the diverse landscape of Colombian folklore and psychedelic scene. It's also a combination of old and new, an exploration of sample techniques that throwback to classic cumbia but with an electronic minimal vibe that seeks the intense repetition of some dance music produced recently.
All for the sake of pleasure, Romperayo's music is magnetic, impulsive and addictive. The repetitive patterns are mixed astutely and sweaty percussion changes the rhythm whenever it's needed: you don't know that, but they do, and they deliver it frequently with awe. Tropical fusion, new cumbia or salsa on acids You decide.

Rich NxT's 'The Brigade' EP was a 2018 cross over highlight. Thematically linked to its predecessor, 'Hard To Be' stands as the unofficial follow up.

Rich's last outing for the influential imprint was large by any standards, spreading far beyond the FUSE dancefloors finding support from many places. Led by EP track 'Serious', which was heralded as one of the tunes of 2018 by Mixmag in their mid-year review, it got love from Seth Troxler and the Martinez Brothers at Circoloco, alongside heavy rinsing of 'Brigade' and 'Eight' by all the FUSE residents.

The 'Hard To Be' EP comes as another on-point three-track work from Rich that channels the same versatile spirit. 'Wah' is an uplifting slice of original house, mirroring the accessibility and fun of 'Serious' with a catchy riff that runs throughout. The track created an enormous buzz on the IOM group with hundreds of comments and I.D requests pouring in throughout the year, and soundtracked parties everywhere from Fuse's raves at Studio 338 terrace in London, Sonus festival and The Martinez Brother's Cuttin' Headz at ADE. 'Interrobang' is head-nodding brilliance as twisted bass and sampled attitude characterise the seven-minute peak time banger. 'On The Rocks' rounds out the EP as punchy kicks and buttery smooth bass mark this work of grooving minimalism, echoing the spirit of Fuse029's 'Eight'.

And so closes this chapter of Rich's impressive body of work. In the process it's proved what we already knew all along; his knack for providing fail-safe dancefloor ammunition for the Fuse faithful and beyond, remains as strong as ever.

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like 'acid folk' and 'soft rock', it's difficult to imagine a time when the legendary Susan Christie album didn't exist. When Finders Keepers Records first shared the unheard 60's songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan's new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an 'instant classic'. Which is why it's hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP.

The oft over used term mythical applies to this album on many levels. Perhaps it's the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960's copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where's My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase 'unbelievable' as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market... No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan's won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday... could easily allude to the haunting melodies that sat in the can on John Hill's studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it's future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender - at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60's America simply wasn't ready for. It is just over 12 years since champion record rustler Keith D'Arcy (who you'll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it's almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades.

Whether this album has been on your wish-list for what seems like a lifetime, or you are taking a plunge into this deep puddle for the first time, when the needle drops on the first track you'll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.

It took a while before it was this. It was a place to find clothes made by people lost in a minefield of ideas who liked to party. It was a place for temporary visions that turned out to happen and were then forgotten. It was always a place to find a new circle of friends. A place for expression where the throttle had been loosened and we all careered into the next day and the day after that. We all need to meet in the flesh away from the pixels and connect our first thoughts. Somewhere to ruffle our own feathers and take off on a phantom flight. It has been all this and it still is. Only now there is a record label to try and actually document a little of all of that. Welcome to Sameheads.

This record is a morsel from the community. Novo Line, Twoonky, Kruton, Kris Baha and Antoni Maovvi and Balance Crew aka Dane Close & L. Zylberberg. Six acts whose sweat is in the carpet and who all owe more than seven euros to the place for one reason or another. Six songs that electrify a new way to no wave. Don't forget, this a mince based dish. Enjoy.

J R Seaton aka Call Super

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

7num6 thinlace sound is precise and minimalistic, defenitly groovy and calming down, hiding a deaf force, like a Volcano ready to go, with an acid sexual energy, more and more leading to some oldschool Transcore reminiscence. Superb EP, as expected on Violent Cases ! BIG !

Kyle Geiger isn t your average DJ/producer. From his marathon sets at legendary clubs like Berghain to his powerfully pounding but yet sensationally melodic productions, there are plenty of notable musical accomplishments on his resume. When you scratch the surface though, what you find is a genuinely humble human with a true passion for techno and a love for DJing the kind of grateful joy you find in those who come from small Midwestern towns in the U.S., and find themselves relocated to an area where techno is so widely consumed: decades of experience collecting and programming music for some of the toughest crowds to be finally rewarded with chances to play in venues that have carried the music to where it is today. We are beyond happy to have this true legend and gentle giant on MATERIA with his awe-inspiring 4-tracker Thirty Seven EP

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

The Daktaris is a well-disciplined army of two hundred African Bull Elephants marching relentlessly up your business to the beat from Funky Drummer. Or so began the liner notes on the original pressing of this album.

Truth is often stranger than fiction. In 1998 Desco Records—a precursor to Daptone and Soul Fire records—released The Daktaris' Soul Explosion, ostensibly as a reissue of an unearthed Nigerian LP from the seventies. Though it's now common knowledge that the story was a bit of a hoax, the record's significance as a seminal part of the Afrobeat and afro-funk renaissance of the last two decades cannot be denied. The roots of the Budos Band, Antibalas, and uncountable others can be traced back to this enigmatic afro-funk release.

Now, two decades later, Daptone has remastered the album from the original tapes, including a bonus track that had previously only been available on a 45, and featuring extensive all new liner notes by Bosco Mann telling the bizarre true story behind the Daktaris sessions.

KEY MARKETING POINTS:
- FULLY REMASTERED, including new bonus track, 'In the Middle.'
- Extensive new liner notes by BOSCO MANN explaining the real story behind The Daktaris.
- Features members of The DAP-KINGS and ANTIBALAS.
- Features JOJO KUO (drummer for FELA KUTI) on vox and percussion.
- Originally released on DESCO RECORDS in the 1998, has been out of print for years.
- The spirit of the late, great Fela Kuti runs through The Daktaris' Soul Explosion. - Jazz Times