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A comprehensive overview of the Violent Femmes 30+ year career, features
17 of the band's biggest hits including 'Blister In The Sun', 'Add It Up',
'Nightmares' and 'American Music'.
The double LP is being pressed on Coke-botle clear vinyl and limited to 3,000
copies. Cumulatve worldwide sales of the Violent Femmes are in excess of 10
million copies.

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

A doctor by day and a musician by night, Leon x Leon has been producing songs in his
Parisian home studio since 2013, where house, italo-disco and boogie are mixing. When he
was younger, he was immersed in music by taking jazz drum lessons at the conservatory,
and especially by seeing his father, a sound engineer, who had been building his own
synthesizers since the 1970s. As a tribute, he used one of these unique synthesizers on a
title of the disc.
After a remarkable remix of Cerrone's "Funk Makossa" and several tracks on various from
'Red Laser Disco', he released his project My Solar Brass on the same English label in
2017. Organizer of many Parisian parties, he also participated in the founding of the
publishing label 'Good Plus". With the release of Rokanbo on Cracki Records, Leon x
Leon signs a mature EP with the influence of different styles.
The first eponymous title is a manifesto mixing Acid, House and Zouk. As soon as we
launch the track, the pop & acid 80's sounds takes us to another world... A UFO from the
Islands! The other parts of the EP don't leave us in the lurch! 'Formant Sweep' delivers a
soft and groovy bass that responds to an endless, spatial synthetic takeoff. On 'Red
Footpath', the harder kick cleverly blends with an atmospheric blanket and a bright, lively
flute solo straight from an abandoned piece of bamboo on a deserted beach. After that,
'Jungle Juice' lets a crazy keyboard solo resonate in the middle of tropical fauna and flora,
and finally on 'Horizon', the EP ends in beauty with an airy atmosphere. This last piece
sounds like a beautiful sunset at the end of a long summer day.
Through all these tracks, Rokanbo EP offers us a clever contrast between synthetic notes
and the warmth of tropical groove, and places our gaze towards the horizon, seeking the
groove to disturb its line on the infinite sea.

"Torino" is SONAR's sophomore album. Once again music was produced by Lukasz Stachurko, pianist Artur Boguslawski and drummer Rafal Dutkiewicz with beautiful vocal from Lena Osinska. With this4
album SONAR would like to make you dance.

It's been just a year and a half since the release of SONAR's debut 'Petle'. The band returns with an album of 11 premiere songs! Among which you can hear Lena singing in English for the first time. SONAR's collaboration with US-based singer Miles Bonny and rapper from Chicago - Squair Blaq presents that distance is not an obstacle to
create good music.

Several people are responsible for the lyrics -Mateusz Holak, Wanda Berger, Arek Sitarz (Ras) and Lena.
Michal "Eprom" Baj was responsible for mix and mastering. Karolina Zajaczkowska designed the cover and made all the photos. Album also features incredible hand-painted artwork from Zbiok Czajkowski.

CD and digital verison was released on March 2018 and received great response:

SONAR "Hidden Garden" (official video http://youtu.be/KCg8bkQ0bHE more than 590k views)

SONAR "Face The Sun" (official video http://youtu.be/ji9x1rxlhi4 more than 660k views)

The vinyl version was released on 180g black vinyl with printed inner sleeve. 300 copies only.

RIYL HIDDEN CAMERAS/ARTHUR RUSSELL

Since his recording debut as Choir Boy in 2016, Adam Klopp mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti.

The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.

Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

Now available for the first time in wide release, Passive With Desire is a proper introduction to Klopp's unique storytelling, orated by his full, rangeful vocals. The expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette. The repackaged LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. The first pressing comes in limited editions of 100 on Clear/Black/Red Splatter, 400 on Metallic Red, and standard black vinyl.

Key Selling Points:
- Expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette.- LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. - LP comes with download- Reissue of debut album

With his third single release, Y-Bayani (pronounced like Why-Bayani) shows clearly that he is the most intriguing roots-reggae sensation coming out of Ghana. He is backed again by the lushly grooving Band of Enlightenment, Reason and Love.

Asembi Ara Amba, sung in Fanti language, is an old Fanti story about having bad luck if you see a vulture up in the sky. As Y-Bayani sees one suddenly and for no reason he gets in trouble with the police. Being hold back in the police station he finally takes his chance to escape into freedom while the police men taking a nap.

On We Are The Band of Enlightenment, Reason And Love the group presents their personal anthem. The song is a cinematic journey starting with a mighty horn theme, followed up by a mantric chant and enters finally into a wall of sound in double time. It's a small symphony for sure.

Invoking imagery of condensed, interstellar warfare - Dayzero takes command of the controls for Sentry Records' eighth release. Based in Japan, the acclaimed producer follows up on his substantial outings for Wheel & Deal and Hatched Music among others - having continuously refined his highly effective compound of Dubstep with vocal support from the scene's vital tastemakers. Now joining the Sentry roster with two monumental armaments, the newest signee shows us how it's done. Enrichening the sound system music scene with a no-nonsense production style as well as his innovative, experimental approach - all killer, no filler.

Taking off to another dimension in 'Sunday on Spaceship', listeners are met with feigned lo-fi soundscapes, carved out of analogue noise and detuned echoes. A state of overt tension dissolves into Dayzero firing up the heavy weaponry with stripped down sub bass tremors and meticulously crafted off-kilter groove. Amongst granular, apocalyptic percussion reverberating voices of days past flicker. Diverse drum instrumentation and supple distortion keep it lively, a no-questions-asked onslaught and guaranteed way to light up any dance.

Flipping over to the B-Side, we're placed on the receiving end of another ton of musical napalm. Finding ourselves being churned through bare concrete, laced with psychedelics. 'Down By Law' oozes of sonic variance, as industrial plucks shine through the cracks - furthering the aberration alongside narcotic staccato arpeggios. Subtle use of eerie harmonies and surging feedback wails is firmly kept in check by brute-force kicks and snares - ceremonious pressure underneath. Venting high-pressure 808's amidst supremely crafted breaks, leaving us yearning for more. A pair of mean-spirited sound-bwoy murder tracks on a twelve-inch platter - enough said!

The Moments' On Top is a perfect example of symphonic soul. Amongst true heads, this is considered the most valuable of all their albums; an original copy of this LP, if you can find one, starts at around $75. Alongside contemporaneous acts from the early 70s - The Chi-lites, The Stylistics, The Delfonics, The Futures, Blue Magic and The Main Ingredient - The Moments exuded all that was compelling about deep, harmony-drenched, string-laden soul. The standout here is undoubtedly 'To You with Love", a floating, tender ballad sung by Harry Ray that features the group's patented handclap-tambourine combo, sweetly repetitive strings, serene guitar and gentle piano. It was famously sampled by J Dilla for 'Last Donut Of The Night' - the gut-wrenching finale to his seminal Donuts. Concentrating solely on its sampled history would do The Moments a huge disservice, but its crucial appearance at the climax of Donuts directed fresh generations of pre-disposed soul fans to the absolute canon. Judged entirely on its merit, it's one of the most heart-breaking songs of any decade and worth the price of admission alone. It's the sweetest, most goose-bump inducing 3 minutes of aural bliss you're ever likely to be exposed to. If that wasn't enough, On Top spawned two minor R&B hits: 'All I Have' and 'Lucky Me", each featuring Billy Brown's ice-melting falsetto. Opener 'All I Have' is a sumptuous introduction to the album. With melancholic, understated guitar licks, twinkling keys and heartbeat drums, it's a gem.

Russian born and very gifted musician Aleceo is a new addition to the ongoing rooster of Copenhagen's prolific Music For Dreams label - Aleceo came to attention of label boss Kenneth Bager with the brilliant first Ep 'Clouds' - (all tracks included here.).
Aleceo has his own musical voice, he produces and composes music that is rich in harmonies and melodies - he sits somewhere between Balearic and Deep House - combining the past and moving forward and this double vinyl 'Teletrip' is an excellent taster of his many talents and a real body of work.

'Liebe Tanzen' is a sunny mood full of vintage Roland vocoders, imagine yourself in a Zeppelin watching the earth from the skies and hearing handclaps, acidic noodling and beautiful rhodes combined with a high-pitched soulful voice repeating 'Take My Love' and you have the mood of a modern soul track supported by the balearic brigade. 'Dipping Into You' is a deep house mood featuring the beautiful voice of Jelila- sounding like a late 80 ties Boy's Own track played in a barn just when the Sunrise appears.
One of the outstanding killer tunes and a real grower on the debut album by Aleceo is the single 'Whisper To the Wind' a track recorded with Canadian singer Wulf SoulFire - ten minutes of powerful Roland 909 drums, talking verses and a sublime chorus.
'Nevesomost' - a cinematic, melancholic acidic journey that was inspired by the old USSR Sci Fi movie 'Moscow - Cassiopeya' where a group of children was sent to Mars. 'Monotone' recorded in Bali and sung by guest singer Masha Verymaryland - a french song about a girl who loves to dance and sing with arpeggios, Xylophones that sets the mood for a dreamy French Riviera. 'Clouds' is first class ambience feat the Siberian multi-instrumentalist Sergi

Kampanella playing the Mandolla. The title track 'Teletrip' is tv samples mixed with 80 ties new wave drum machines. 'Priceless' is a downtempo documentary live recording Aleceo did with his American native friend Kita. 'Dome' full of accordions, balalaika, handclaps and melancholic keys tells the story of Dome of God - the place of peace and happiness and makes you wanna sit by the seaside.

'Know Him' is inspired by gospel from the Mississippi church. 'Mzi' wouldn't sound out of place in a Leo Mas warm up tape from Amnesia in Ibiza - middle 80ties with its obscure breakdown full of 30/40ties voices.

Bonus is the inclusion of Kenneth Bager's reprise of 'Dome'.

The album 'Teletrip' by Aleceo feels like a forgotten balearic album with a modern twist suddenly washed upon the shores on the White Isle.

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

The infamously velvet tones of Jon Lucien get a much welcomed official remastered, reissue - with the original 'Rashida' 7' e.p., that contained four of Lucien's tracks, now split into two 7's for a louder, more refined pressing of each song.

First up, 'Lady Love', with it's bossa nova inspired style, drawing every last drop of emotion from Lucien's infamously voluptuous voice. Once dubbed by Herbie Hancock as 'the man with the golden throat', it's easy to see why - Lucien's rich baritone evoking dreams of summer sunsets, glistening blue seas whilst wrapping you up in a blanket of warmth and tenderness that few can rival.

On the B side - 'Love Everlasting', another of Jon Lucien's bossa nova leaning tracks, swells with jazz flutes, plucked acoustic guitars and a soul drenched string section to compliment Lucien's beautifully calming tones.

With the original Rashida 7' exchanging hands for over £150 on Discogs, here's a chance to get Jon Lucien's golden-throated voice in the collection without raiding the savings.

To sign off 2018, Malka Tuti are releasing a mega 4- tracker ep by Khida, in collaboration with their old time friend from back home Mihai Balabas. The 4 different tracks were written over the past few years, slowly plotted produced and perfected, each in its own 'twisted' direction. There are no dancefloor killers here, but instead 4 very unique voyages, experimental sonic excursions in time and space. It was the track Chloe that caught our attention, back in 2015. It's not a typical Khidja track, but the musicality and the composition in it reminded us of lost balearic moments. It made us reminisce on summery Sunday mornings back when life was still a bit more innocent, and naive. Out of our infatuation with that track came the idea of 'sitting on it' until the right tracks will be ready, and here we are, more than 3 years later.

Four Floor Fillers (try say that one after a few shandies) by Irish producer, Conny. Making his Cold Tonic debut Tipping the hat to good solid chunky house from Jersey towards the opposite side of the two rivers with rave synth-piano breakbeat madness thrown inspired for a brooklyn rave.
Each side gets full club-decor by the one and only club beat maestro, Running back's SHAN who offers a punchy sunrise mix perfect for the winter blues and a hard hitting peak time club mix.

Available as either a 3CD/1 Blu-ray set or a 6LP/1 Blu-ray set, both packages include:

· The original album, now newly remastered by Bernie Grundman from the original analog tapes. For the LP set, Grundman prepared an all analog direct to disc vinyl transfer of the album, preserving the authenticity.

· Electric Ladyland: The Early Takes, which presents 20 never before heard demos and studio outtakes. Included are incredibly intimate demos for song ideas Hendrix recorded himself on a reel-to-reel tape at the Drake Hotel, as well as early recording session studio takes featuring guest appearances from Buddy Miles, Stephen Stills and Al Kooper. Full tracklist included below.

· Jimi Hendrix Experience: Live At the Hollywood Bowl 9/14/68: Part of Experience Hendrix's Dagger Records official bootleg series, this live album documents their triumphant Los Angeles concert held a few weeks before Electric Ladyland was released. The recently discovered two-track soundboard recording captures the energy that had the audience in such a frenzy that many concert goers jumped into the reflecting pool that separated the bandstand from the seats. Full tracklist below. Experience Hendrix's Dagger Records releases are physical only so this will ONLY be available as part of the physical release with no digital.

· Blu-Ray: includes the acclaimed full-length documentary At Last... The Beginning: The Making of Electric Ladyland, the first ever 5.1 surround sound mix of the original album overseen by Hendrix's original engineer Eddie Kramer plus the original stereo mixes in uncompressed 24 bit/96 kz high resolution audio. NOTE: unfortunately due to unforeseen circumstances the documentary will not have translated subtitles.

· Electric Ladyland 50th Anniversary Deluxe Edition includes a full color, 48-page book containing Jimi's handwritten lyrics, poem and instructions to his record label, as well as never before published photos from the recording sessions that were shot by Eddie Kramer himself. Also included are essays by celebrated journalist David Fricke and Hendrix authority John McDermott

· All contained in a numbered luxe casemade book for CD+Blu-Ray release and casemade lifttop box for the LP+Blu-Ray release with new cover art which is true to Hendrix's original vision of the album's cover: a Linda (McCartney) Eastman photograph of the band and children at the statue of Alice In Wonderland in New York's Central Park.

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

This 2 track single provides just a hint of what delights the full Raregroove Spectrum album contains - Lance explains that much of the inspiration for the re-works comes from his experience as a DJ; "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

First up is a reinterpretation of a super obscure deep funk acetate 45 released by Keb Darge, Egg Roll - the follow on track is Lance's take on The Soul Vibrations The Dump.
The forthcoming album reaches further - and includes James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Utopia Cloak arrives on FILM with six track EP, Marina Gardens. Utilising both electronic & acoustic components, the British producer crafts hazy, dynamic electronica with a decidedly emotive bent. The music explores a curious production aesthetic - at once half sunk and at the same time gloriously crisp and direct. Caustic drum machine hits underpin the majority of the work, compete with polyrhythmic rolls & glitches, while softly warping synth lines occupy the majority of the remaining sonic space. Rather than working explicitly with nostalgia, Utopia Cloak makes more subtle references to the classic sounds of yore - riffing on Downtempo & IDM with gentle and considered nuance, eking out arcane hooks & rich melodies with a pleasing focus on compositional structure & songcraft. Contrast is the key here, though - and Utopia Cloak works hard to find the balance between metallic per-cussion strikes and wide-angle instrumental elements, avoiding chaos in favour of a lush, rewarding lis-tening experience. FUTURE.IS.LISTENING.MUSIC

Fantastic 80s pop music with a soul and funk touch and an outstanding singer. A must have for fans
of Billy Ocean, Barry White and similar artists. Perfect playing, perfect production, perfect songwriting.

On the edge of the lightfooted disco movement there was sophisticated funk music and one of the often
overlooked protagonists oft he scene was Mr. Sterling Harrison, born in 1941, passed in 2005. His legacy contains
two solo albums from the early 80s and this, dear friends of funk music, is his second from 1981. Copies in good
shape fetch prices up to 800 Dollars so we should give this current reissue on EVERLAND warm welcomes. Is it all
worth the enthusiasm Oh, you can bet it is. Sterling Harrison had left behind the 70s and was ready for the 80s.
The sound is up to date, clear, clean and powerful. The music still shows the fire of the earlier funk records but the
synthesizer passages, the whole production proves that we are now entering a new age. 80s Synthie Pop is part of
the mix, despite the main ingredients are soul, funk and a bit of disco here and there. The vocals are overwhelming,
sung with great emotions and a feeling for the freaky edge of soul. The tunes here come as diverse as they can be,
each one with his very own face, but they all have the same spirit courtesy of Sterling Harrison. Each one should
have had a spot on the top ten pop charts in 1981 but in this case this album would probably be legendary in
another way. This music will drive every 80s black pop enthusiast wild. When after all these powerfully driving pop
and dance tunes, with a more relaxed reggae groover in between, your feet ask for a break, just go for a sweet soul
ballad in the best Barry White style. Smooth and slick, yet still performed with depth and spirit, such a song might
calm you down until the next dancefloor sweeper will hit your ears. The overall atmosphere of this record is truly
happy and enlightened. Good vibrations pour from every note, played here by a team of highest order musicians. A
perfect record for 80s black pop aficionados who admire Billy Ocean's 80s albums for example. This record is a
typical example of the contemporary pop music of its era, but this is what makes it even more charming. And the
songs will definitely stick to your mind after just a few spins without losing their fascination. A true gem for true
music lovers.

Originally released in April 1996 on Epic Records, this was the band's second studio album. The title refers to president Regan's description of the former Soviet Union. Includes 3 Grammy Award nominated songs and the album was certified 3 x platinum in May 2000. An 11 track album pressed on standard black vinyl with download code insert. Marketing activity.

Yuri Méndez's 7th album is called W. W is a collection of finely crafted songs. The instruments are many and their intonations, variegated. W comes in the usual formats, only better, and full to the brim with sensitive lyrics for the man and woman of today.

On the other hand, presumably the left, Yuri's ageing well and intent all the while on writing more numbers in order to keep a steady flow of fresh material ready at any time.

These are good times in W land or, as the poet said, 'it hurts a bit, but the colours are admirable'.

Yuri Méndez is Pajaro Sunrise. Initially a duo, he's been working on his own ever since the release of the second album, 2008's Done/Undone. His previous albums received praise from such fine publications as Q, Uncut and Monocle, and his music can be heard in several international motion pictures and TV series such as The Missing Lynx, Castle, The Big C, Catalan hit series Cites and Benvinguts a la família, and ad campaigns by the likes of McDonalds and Vodafone.

Nick Klein is an artist making electronic music born in southern Florida and based in Brooklyn, New York since 2012. Upon moving to New York the concentration of his works output has been to mine and investigate the troped qualities in various forms of electronic music, and then to realize singular directions in how to communicate these ideas himself. Alongside Miguel Alvarin~o he runs the music imprint Primitive Languages.

His latest offering since the January 2018 EP "Lowered Flaming Coffin" (Alter) is a continuation of his burnt dance music explorations with "The Bathroom Wall" on Bank Records. As a totem to reflect onto with text, to rest ones eyes in blur, or to physically hold ones self up in the throes of intoxication, the bathroom wall takes and gives numerous gestures of use. Klein uses the symbology of the bathroom wall to construct five disparate wall scrawlings and hazed meditations into the compositional grounds for four meaner mid-tempo, rhythmic purges. Tracks "The Worst Band In The World" and "American Gut" take on the pulsing build of an intoxicated night out. The record divides in on and itself in tone with "Rather Be Your Enemy", an homage in title to the legendary Lee Hazelwood song, wherein the synthesizer convulses slowly conjuring the bleaker qualities of tinnitus taking the lead over your senses. Side B of the record throbs quickly with the blown bass drums and hissing rhythms of "Pushing Your Luck" and comes to a drawn conclusion with the ten minute come-down at sun rise burner of "Poor Me Another".

The record was recorded using a modular synthesizer to tape by Nick Klein and mastered by Josh Bonati. Design work taken on by visual provocateur Chris Norris (Steak Mountain).

Since 2010, Buyepongo has led a steadily growing Los Angeles underground movement that combines the vast influence of traditional tropical sounds with the streetwise edges of the Latin American diaspora. Much like their name implies (translation: to cause a ruckus), their hybrid style is focused on the celebration, an infectious, energetic vibe that is universally and rhythmically connected. It'll get your feet moving, and much like many of the records from the golden age of cumbia, these two offerings demonstrate an updated and adapted reverence for the roots that is truly distinct to their own unique place and time.

For the group's latest single, that place, the sprawling Latinx scene east of Los Angeles, met head on with the east coast hot pot of Brooklyn. Recorded and produced in collaboration with Names You Can Trust during the band's serendipitous 2017 trip to NYC, this new release takes two of Buyepongo's most fan-favored and party-tested original songs, two that had yet to be recorded, and combines them with the NYCT forty-five ethos: a stripped-down, warm analog recording that perfectly captures Buye's live, bring-the-ruckus style in the room as it happened. "Por La Vida" romps over the A-side, a modern-day classic in the making whose lyrics (how beautiful is life, always full of surprises...) compliment a sunny, easy-going house party vibe, while "Miri" on the flip evolves from a loping, almost reggae groove into a transcendent journey through Caribbean feel-good sounds.

In a time when Jazz music is entering a contemporary renaissance and exciting the ears and minds of new audiences, Zombie Zombie's Étienne Jaumet offers us his unique, idiosyncratic take on the sound with the sprawling '8 Regards Obliques', his 3rd solo album with the Versatile label.

Jazz requires a certain freedom of technique, interpretation and improvisation that already matches Jaumet's own production style and sonic aesthetic as well as his playful approach towards music. The eight pieces that make up the new LP were very quickly recorded; Jaumet let himself be carried away by the atmosphere without focusing too much on fine details or the laborious aspects of the composition process. The finished article is a spontaneous collection that stands out, a true mirror image of the creative process adopted by the artist. Not surprisingly, spontaneity is one of the characteristics already present in his music, in both his recorded output and his live happenings, where he leaves much room for freedom and improvisation.

'8 Regards Obliques' was recorded at the Versatile studio in less than 3 weeks with quite a basic set up: TR 808, selected synthesizers, vocals and of course the saxophone, which is a constant presence also in his previous albums. For the mix Etienne has again appealed to the maestro I:Cube, a central figure of the Versatile story and a prdigious engineer and artist in his own right. He immediately understood that it was necessary to keep the spontaneous side alive and to not over-produce the pieces or over-edit them, being constantly mindful to retain the power in the sound and in the frequencies. From Sun Ra with 'Nuclear war', Miles Davis in 'Shhh / Peaceful' or 'Theme from a symphony' by Ornette Coleman to 'Caravan' (already quoted by many jazzmen), Etienne enjoyed revisiting classic masterpieces and paying tribute to his inspirations. He allowed himself only one personal and original composition, 'Ma révélation mystique'.

David Holmes was drawn to DIE HEXEN by their 'magical sensibility that has both shades of dark and light, which is something that always appeals to me in music'. After featuring in his edition of the famed Late Night Tales compilation with a take on the original suicide song 'Gloomy Sunday', DIE HEXEN returns to expand upon their dark ambient journey towards transcendence with an eagerly awaited debut album.

DIE HEXEN's genre eschewing synth driven compositions draw inspiration from the disturbing beauty of Hieronymus Bosch's artwork and several brushes with death, evoking a spirit who traverses realms of the underworld to bring forth knowledge of an Ancient past and in doing so, to reveal the not so distant future.

The Garden of Unearthly Delights transports the listener through strange visions of darkness, beauty, creation, destruction, death & rebirth. An exorcism of body, gender, tribe towards a place of ultimate transcendence.

Somewhat of a polymath, DIE HEXEN has already shown their prowess with live performances part music/part performance art spectacle, as an avant-garde filmmaker and as an award-winning multi-instrumentalist, sound designer and film scorer.

DIE HEXEN's divergent interests from Japanese Butoh theatre to Wiccanism, Shamanism, celestial mysticism and time travel informs their method, as they explain themself; 'The compositions I write are not written, at least not by me. They appear to me as audio/visual hallucinations. I can hear, visualise, and feel the whole composition before me. My hands know instinctively what notes to play and like a stream of consciousness, voices emerge. Having suffered severe head trauma that resulted in a heightening of the senses, the theme of death is an increasingly present theme in my work. With this, my perception of death and what is beyond changes as I contort between this world and the next physically and mentally, musically and visually. Working with music or film, my vision is one. The calling to express these auditory hallucinations is inevitable'.

RCA Records release this beautiful 13 track album from East London singer/songwriter NAO. A blend of nu soul/funk and R&B. Follow up to the critically acclaimed debut album "For All We Know" (2016), which was a Brit Award nomination. Includes the current single "Make It Out Alive" which has received plays across R1, R2, ILR, Capital and regional specialists. Collaborators include SiR, Kwabs and Mura Masa. Video plays across MTV and Vevo. Online/social media activity. Ads, features, interviews and reviews across all press. UK tour dates in early 2019. Poster campaign and database mailout.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

Odd Beholder, Das Projekt Der In Zürich Lebenden Musikerin Daniela Weinmann, Veröffentlicht Das Debüt-album "all Reality Is Virtual".

"all Reality Is Virtual" Ist Ein Intelligentes, Fließendes Und Sonderbares Pop-album, Bunt Und Bestimmt. Es Setzt Sich Mit Den Seltsamen Versuchungen Unserer Zeit Auseinander: Von Ki Bis Tinder, Von Der Offline-einsamkeit Bis Zum Obsessiven Selbstmarketing. "mir Ist Aufgefallen, Dass Die Versuchung Eines Digitalisierten Lebens Vor Allem Darin Besteht, Dass Alles Gemessen, Aufgezeichnet Werden Kann Und Damit Bekannt Ist", Sagt Weinmann. "aber Ich Sehne Mich Nach Überraschung, Nach Verwunderung Und Zufall. Mir Gefällt Das Unbekannte, Das Unkontrollierbare."
Odd Beholder Haben Mit "lighting" Und "atlas" Bereits Zwei Tolle Eps Veröffentlicht. Darüber Hinaus Erschien Im Frühjahr 2018 Mit "remixes" Eine Fein Säuberlich Zusammengestellte Ep Mit Ausgewählten Bearbeitungen Von Freund_innen, Die Odd Beholder Unterwegs Gefunden Haben Oder Von Denen Sie Fans Geworden Sind: The/das, Fejká, Hundreds, Alessandro Giannelli, Kalipo, Thomas Atzmann. Nach Touren In China, Italien, Deutschland Und Der Schweiz, Hat Daniela Weinmann In Zusammenarbeit Mit Dem Schweizer Musiker Und Produzenten Martin Schenker Das Debütalbum Aufgenommen. "all Reality Is Virtual" Von Odd Beholder Erscheint Am Im Oktober 2018 Als Lp, Cd Und Digital Auf Sinnbus Und Mouthwatering Records.

The spiritual and uplifting music of Clifford White is highlighted with two of his most sought after songs, taken from his 1989 album The Lifespring, and presented here in a special extended 12" for the first time. Starting in music production at just 15, White could be described as a protegee, however his take is that they were part of a music journey that continues today. With a centre found in electronic music and spirituality, his progress, from simple home use 4-track stereo to working in professional 16-tracks studios was swift, but matched by a deeper appreciation, greater confidence and wider palette of music styles. Utilising his love of early samplers, his first use of the Akai S612 to accompany and expand his keyboard recordings saw continued development from his debut album at just 17 with Ascension (1985), to the follow up Spring Fantasy (1987) and on to The Lifespring (1989). A small review in the local paper literally led to a knock at the door and offer of a deal from the Start (State Of The Art ) label to record his next album. With a subsequent advance, professional studio equipment was hired and out of these sessions his sound expanded to include ambient, orchestral, synth pop and even ballads. From this both Lifestream and Rain Trek emerged. With a love of Jean Michel Jarre's Oxygene in mind, Lifestream's smooth beginning soon gives way to the pulse of an arpeggio driven groove. Aiming for "relaxation with an edge", the track has become a secret play for the more Balearic minded DJ in the decades since and now sees the LP trade for dizzying sums. However, the original is achingly brief, gracefully fading as part of the album's journey. Here though, with DJs and collectors in mind, White returns to the song to craft a specially extended version that completes the song and will be appreciated at sunsets across the globe. Seeking to take the music and listener to another place, Rain Trek took White's interest in Sci-Fi and the mystic powers of water to a rightful conclusion. The healing nature of his music is apparent, the mystery, yearning and travelling, all emotions evident, but with a kick that will grace the more enlightened dance.

House, disco and hip hop smashed together from
cut&paste producer Jun Kamoda, who also raps in
Japanese on a couple of the songs.
Previous releases on Mister Saturday Night and
Mallgrab's Steel City Dance Discs, as well as two
EPs on Black Acre.
For fans of Daphni, Avalanches and Beastie Boys.
Full colour vinyl sleeve by the painter Hisano (Jun's
wife) and cartoon booklet insert by Jun (who is
also a cartoonist).

Bill Brown and Al Hall jr met around 1971, they were both in south central L.A and shared the same apartment building, also in the same building was Doug Carn and brownstone singer billy Wilson.
These studio sessions were don't at Paramount studios Hollywood where Al Hall jr was working for producer Art Smith a&c music.
The main distributor for A&C was Accent records. So the Soul Injections very first single "Stay off the moon" was released via Accent, as was Bill Browns "Bip Bam" The group wasn't that pleased with how Accent handle the releases so Bill took it upon himself to set up his own label called Brownstone records. Many musicians were called in for studio sessions these included
Doug Carn, organ; Kirk Lightsey, keyboards; Mel Bolton,
guitars; Mel Lee, drums; Al Hall jr (trombones), Willaim 'Bill'Henderson strings.
The label was met with some confrontation from other Hollywood labels and many of the Brownstone releases were told not to hit the shops by Mafia run labels. Later around 1975 Brownstone released a track by Everyday people feat Alexis "world full of people"....A now cult soul 45 ....But wait, we at Super disco edits have unearthed the original tapes with the very first incarnation of that song and music, different lyric content and sung by Bill Brown. Not just this you get the instrumental on the b side!!

Pyramids. Jagged Teeth Pushing Through Immaculate Skies. The Ever-changing Light. The Expansive Sense Of Freedom. The Wide Open Spaces. The Textured Landscape Seen From Above. Mountains. Watchful And Immobile For Thousands Of Years, Weathering Seasons, Transcending Change.
It's December 2016. I've Left The London Madness To Hit The Reset Button And Compose New Music In A Tiny Village In The Swiss Alps. I'm Over 10,000 Feet High, It's Minus 15 Degrees And The Snow Is Scintillating Under A Rich Blue Sky. I Turn Around And Suddenly This Gigantic Pyramid-shaped Peak Is Towering Over Me, Staring Me In The Face. Mind Blown. Senses Overwhelmed. Perspective. Lightbulb Moment. I Have My Album Concept.
I Wanted To Put Into Sound My Cathartic Experiences Of The Mountains. Every Track Title Was Chosen Before Composing. The Title Would Be A Catalyst For Visual Memories, Narrative And Overall Vibes. I Continued Developing The Tracks On Occasional Trips To Switzerland, But Mainly Back In The Gritty Habitat Of London's Hackney Wick. The Urban-nature Contrast Had An Impact On The Music Too.
I Use A Lot Of Found Sound, Stuff I Have Collected Over The Years, And A Lot Of Resampled Guitar Sounds And Textures. I Love Imperfections In Sound. Detuned Synths. Distortions And Glitches. Rhythmic Flutters And Percussive Frenzy. 'manual' Cut-ups. I Love Moving To House And Disco And Getting Lost In The More Melodic Side Of Techno. I Love Polyrhythms And Melodic Counterpoints. I Love The Energy And Rawness Of A Live Rock Band. I Channel All This To Create My Own Sonic Palette.

Artwork By Jimmy Turrell, Graphic Artist And Video Director Who Combines A Love Of Handmade Collage, Drawing, Screen Printing And Painting Alongside Digital Techniques. He Has Worked For Universal Music, Nike, Lexus, Levis, Mtv, The New Yorker, Intro, Capitol Records, The New York Times, Green Peace, Beck, The Prodigy/xl Recordings, Channel 4, The Guardian, Gq, The Times, La Times, Newsweek, Getty Images, Adidas, Sony Music, New York Magazine, Wired, Glastonbury Festival, And Vanity Fair Amongst Others.

The Debut Album 'pyramids' Comes Out Worldwide On Limited Double, Green Vinyl (including Download Code).

"Uplifting boogie grooves to set your spirit free." (Paul Kane / Jordan Valley Records)

When The Unbelievable Two appeared on the scene in 2014, their pure underground, analogue boogie and disco sound mirrored what was going on in the vinyl infected bars and small cellar clubs in their hometown of Hamburg/Germany. "The Unbelievable Two" was inspired by the golden age of the genres, played live with skills and insight. Four years later, boogie and disco are all around us. So it is about time that these pioneers release their second album. Honest and authentic, "Power Plant" recalls late 1970s New York Disco and mid 1908s UK Boogie.

The Unbelievable Two still is Mzuzu and Mucka, who lead us through nine new songs of speedy disco, down low boogie and even some smokin' reggae. Recorded in late 2017 and through the spring of 2018, "Power Plant" tells stories beyond the surface level. "Even though our music is purely instrumental, it doesn't mean we haven't got anything to say," explains Mzuzu, a respected and well-travelled vinyl DJ on the Germany funk/disco scene. "Boogie and disco are a universal language. With the influence of Afro, Latin, Reggae, even European electronic music you do not need a lot of words to tell a story which gets everybody connected. These songs are about our friends, our everyday life, how we life and what we feel."

"Power Plant" is available as a limited edition vinyl LP (300 copies).

Jessica Einaudi is a Berlin-based Italian singer and songwriter. Jessica has had an extensive musical career as half of dream pop duo La Blanche Alchimie. Together with songwriter and producer Federico Albanese she released two albums to much critical acclaim in her home country and toured extensively throughout the whole of Europe and the USA.

Divine gospel modern soul boogie LP written, composed and produced by Jeffrey Roberson, first released in 1982 on Black Diamond Records.

Every once in a while, an exceptional talent impacts the gospel industry and leaves an incredible impression. The anointed and Grammy nominated Jeff Roberson is one of the those rapidly expanding gospel artist who have done just that.

Jeff Roberson was born and raised in Long Island, New York, the son of Pentecostal parents who had a compelling love for music. Actually, he is endowed by God with a melodic intrinsic distinctive rooted and grounded in the splendid tradition of the church. His keen interest and focus in music was so intense that his
parents encouraged him by purchasing a piano. During his teenage years, he was significantly blessed to be tutored by the late Rev. Timothy Wright, and the late Professor Benny Cummings and the Kings Temple Choir. It was during this season of his life that he continuously developed his skills as a keyboardist and songwriter.

Not only is he a skillful world-class vocalist, his talents transcend various creative art forms such as a skillful musician, innovative producer, accomplished pianist and organist. He simultaneously projects his uncompromising vocal talents and musical gifts to an unprecedented level of artistic achievement. Simply stated
he excels in the excellent - (Excerpt taken from Jeff Roberson's biography).

'Ever since I can remember, music has been to me, as a mother is to her child. Just as the sun enhances daylight, music is my life throb. Music puts life and joy in that sacred dimension. It fills the void of darkness and brings with it New Life.'

Jeffrey

You may know of 'Rude Movements', an early dance music classic produced by SunPalace (Mike Collins and Keith O'Connell) back in 1983 that brought together protohouse, balearic beats and funky vibes. In 1984, the tune quickly became an anthem that could regularly be heard at David Mancuso's 'The Loft' or at Larry Levan's 'Paradise Garage' for example.
Thanks to Mike Collins, the studio veteran still in the business after more than 35 years and currently busy perpetuating the legacy of SunPalace, more material from the archives
has been 'surfacing' over the past few years on UK-based record labels. After a very productive meeting earlier this year, Parisian label Chuwanaga is really proud to present four unreleased songs produced between 1982 and 1984! Co-written by Mike Collins from SunPalace and Breeze McKrieth, a founder member of Britfunk bands Light Of The World and Beggar & Co, these Lost Songs are the almost forgotten result of this seminal collaboration, an exclusive musical rendez-vous between experienced studio music makers and funksters at the top of their game, including some of the finest Britfunk musicians. Bringing together eighties influences and futuristic sounds, the result covers a wide range of genres, from jazz-funk to new wave: it captured a unique
moment in British musical history, a smooth transition to a more electronic sound. Definitely not one to be missed!

"The Room", Fenster's fourth album and their first release on Altin Village & Mine marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, "The Room" serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation - within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop.

Fenster is Elias Hock (Germany), Jonathan Jarzyna (Germany), Lucas Ufo (France) and JJ Weihl (USA). Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts.

The songs were tracked live in a house where the band ate, slept, and played together. Often the songs were recorded without implementing a click track. They were intent on finding and locking into a human groove—one open to imperfection—while still maintaining a tightness between them. They wanted to make the songs feel alive—as if the listener were present in the room with them in the moment of creation.

The album's title track "The Room" opens the record like a rollercoaster ride. There is a tension in the first bars that ties us to earth, a minimal riff that guides us to the first chorus where we feel we are slowly lifting into the air—and by the time we reach the second chorus it has exploded into a space far away from the planet's gravitational pull.

The band's use of juxtaposition is not just a way of channeling a vast library of musical genres and concepts, it is a means of expression. Combining tender pop melodies with kraut-beats, disco grooves and psychedelia frees the band from any one sound and creates a genre all its own.

This playfulness is especially vibrant in songs like "Rhythm A" and "HAHA lol" which deconstruct and fuse together disparate moments of explosive rock, tender harmonies, percussion made of splashing water, voices from a radio, and electric piano. Even "Feel Better", a sparkly pop ballad is cracked wide open by a long trippy interlude that appears unexpectedly within an otherwise classic structure.

The cover art, created by the band's own Lucas Ufo, invites us into a room in the shape of a human skull. If one looks "out" the window in the picture, one finds oneself looking in to an infinite portal of rooms within rooms. The record plays a lot with this idea of perception. In "HBW", the relationship between the bass and the drums creates the feeling of an infinity loop. The lyrics lend an enigmatic tint to the landscape of so called objective reality v. perceived reality: "I was a phase — you were going through — said I was the one but there is no one — there's only the sun — that gives shape to the moon"

The record starts with "The Room" and ends with "Two Doors". Maybe one door is an exit, and one leads to another room... who knows The song has something mysterious and expansive, like a digital ocean flooding the room, carrying everything away. The whole process of making a record is about capturing a moment in time. This is the record they made - in this point in time, all together, in a room. The last words of the record roll out with the waves: "What you leave behind for someone else to find — Two doors inside — neither one is right"

Tracklisting

GIULIO ALDINUCCI is an Italian sound artist working in the fields of experimental electroacoustic music, field recording and ambient soundscape. Born 1981 in Siena, his catalogue comprises four solo albums on labels like DRONARIVM (CHIHEI HATAKEYAMA, AIDAN BAKER),TIME RELEASED SOUND or HOME NORMAL plus EPs and collaborative albums (a.o. with PLEQ). Furthermore , he wrote music for theatre, video art, documentaries and short movies and was awarded with an honourable mention at the 18th International Electroacoustic Composition Competition Música Viva 2017 for his composition "Mute Sirens". Together with ATTILIO NOVELLINO, ALDINUCCI launched the project "Postcards From Italy" which consists of an album published by OAK EDITIONS, live events (the first one took place at Cafe OTO, London) and an installation by AIPS collective & GIANMARCO DEL RE.
"Borders And Ruins", his first album for KARLRECORDS, is a reflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turns into a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory. It is also a sonic diary: a constantly mutating soundscape where electronic sounds and field recordings (taken during several travels around the continent) blend into an ambient masterpiece of sublime beauty and sacral majesty.

Mastered by Alexandr Vatagin
Vinyl cut by Rashad Becker at D&M, Berlin
Artwork by Joe Gilmore

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

Les Disques du Crepuscule presents The Wood, a brand new studio album by Scottish singer and songwriter Paul Haig, previously frontman with cult Postcard post punk legends Josef K.

Paul's fourth solo album for Crepuscule since 1983 was written and recorded over a three year period between 2015 and 2018, and explores glitchy, twisty sonic territories in the vein of Four Tet, Floating Points and Love Over Entropy.

'We can think of the wood or forest as a metaphor for the mystery of the human psyche,' says Paul. 'Like the human soul, it can be a place of hidden meanings and unrevealed secrets. I wanted to try and evoke this through the music and worked hard on finding the right balance of electronic and organic sound samples across a broad range of musical genres.'

Cover art by Kendris MacLeod. Design by Emma Quinn Design. Available on CD and vinyl LP (vinyl format includes a free digital copy on MP3).