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'Shays Vacation House' is a work that feels suspended in time - both ancient and modern -- a microcosm that ceases to exist in any particular time or space...exceptional acousmatic sound design animates amorphous creatures and entities, whose movements echo on dripping walls, yet the eerie, mysterious environment remains entirely ambiguous. hovering above the post-apocalyptic landscape of a scorched planet regenerating. Emra Grid's second Opal Tape is a profoundly beautiful work, loaded with emotional weight

Professor Rhythm is the production moniker of South African music man Thami Mdluli. Throughout the 1980's, Mdluli was member of chart-topping groups Taboo and CJB, playing bubblegum pop to stadiums. Mdluli became an in-demand producer for influential artists (like Sox and Sensations, among many others) and in-house producer for important record companies like Eric Frisch and Tusk. During the early '80s, Mdluli projects usually featured an instrumental dance track. These hot instrumentals became rather popular. Fans demanded to hear more of these backing tracks without vocals, he says, so Mdluli began to make solo instrumental albums in 1985 as Professor Rhythm. He got the name before the recordings began, from fans, and positive momentum from audiences and other musicians drove him to invest himself in a full-on solo project. It was the era just before the end of apartheid and house music hadn't taken over yet. There wasn't instrumental electronic music yet in South Afric a. As the '80s came to a close, that was about to change. Professor Rhythm productions mirror the evolution of dance music in South Africa. They grew out of the bubblegum mold - which itself stems from band's channeling influences like Kool & the Gang and the Commodores - into something based on music for the club. His early instrumental recordings First Time Around and Professor 3 mostly distilled R&B, mbaqanga and bubblegum grooves into vocal-less pieces for the dance floor. Musically, these were a success and commercially the albums all went gold. There were countless bubblegum albums flooding the marketplace, with nearly disposable vocalists backed by mostly similar-sounding rhythm tracks. Most of the lyrical content was light and apolitical. But the keyboards used formed the musical basis for what would come next. By the time Professor 4 and this recording Bafana Bafana - the name references South Africa's national soccer team - were released in the mid-1990s, k waito had fully emerged. Access to instruments and freedom of expression helped its rise in influence among youth. According to Mdluli, "Once Mandela was released from prison and people felt more free to express themselves and move around town, kwaito was becoming the thing." Lyrically, kwaito championed the local township lingo while adapting "international music," house music, into the local context. "International Music," as house music and early kwaito were interchangeably known, in many ways reflects the sounds coming from America. But South Africans made it their own. Today, the largest part of the music industry is occupied by house music and its relatives.

Antique Fragments EP is the third release of our Kommuna Tapes imprint. The A side starts with a quirky fast-paced track created by a mysterious producer named Schematix in 1997. Thinktank, an electro/breakbeat act who signed his first and unique EP only a few years later in 2000, takes us on a punchy yet dreamy techno journey. On the flip side, after Schematix undusted his hardware to extract the stems for the occasion, wizard Sergio Moreira mastered the challenge of creating a slower and deeper version of the track, while upcoming Madrid talent Javier Moreno closes the release with a bouncy acid burner.

Track by track, we build a Kommuna of artists who share our insatiable appetite for music discovery, guided by a certain vision of the dancefloor: deep stripped-down grooves, sometimes challenging, always with character.

After releases on the Ninja Tune-backed label R'COUP'D, the mysterious Prequel Tapes surfaces with an EP for Midnight Shift. Composed of 3 tracks and 2 locked grooves, SHIFT LTD 003 fossilises transient moments in between gridlocks of tight grooves. Like a scan of light sweeping surreptitiously across a dungeon of darkness or a blinking throb pulsating from the corner of one's eye, these are the brief but blinding moments of illumination that capture time suspended on the edge of two worlds. Memory capsules slow-releasing an industrial mythos back into the clubbing consciousness. Prequel Tapes is a work of deep synthesis. Teenage recordings orchestrated into densely layered tapestries; a deeply emotional study on a life characterised by a shifting relationship to electronics. The pieces serve as a chronology of desire and reflection, reconciling a nascent passion for industrial music with a history in the club. There is a temptation to draw comparisons to Mark Leckey's excavation of UK rave culture, Lee Gamble's junglist memories or the hauntological approach of the Ghost Box label, however this is clearly a personal trajectory aesthetically distant from an English past. Oscillating between utopian to claustrophobic, the evolving synth work, deep techno atmospheres and traces of the clangorous energy of early European ambient and industrial tell a distinctly German tale, forged between the forest and the autobahn.

Say You Love Me wasn't "Om" Alec Khaoli's first solo recording but the 1985 EP solidified the bass player and songwriter's standing as one of South Africa's most consistently innovative pop auteurs. He built a career on ubiquitous rock, pop and soul hits with groundbreaking bands like the Beaters, Harari and Umoja.

But Khaoli's seemingly endless fountain of music continued outside these ensembles, where he usually played bass and contributed songwriting and vocals. Khaoli released several successful solo works while he made records with Umoja and worked on other productions with friends. This creativity was aided by Khaoli's own recording studio. He was the first South African to have a privately-owned studio.

As black artists were forced to record during lunch breaks and didn't get sufficient access and time in the white-owned studios, having his studio allowed Khaoli to develop in his own way. Hence his productive output during the 80's and early 90's, releasing 5 LPs with Umoja and 5 solo LPs, along with numerous singles and EPs. There's something broad and dynamic about the almost epic pop sound Khaoli creates on Say You Love Me.

Being the first South African to take control his recording process and thereby free himself from one of apartheid's many strictures, he took his vision of music to new realms and made timeless music for the dance floor in the process.

Minimal multi-instrumentalist weirdo zone brilliance on another obscure uncovering from the excellent Growing Bin...big tip!
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"If you've kept a keen ear to the underground, you may have noticed a trance revival creeping into the dance floors and darkrooms of late, a post ironic return to the 64 bar breakdowns and peak time key changes of your serotonin drenched youth.....

So what's this then Has Growing Bin gone from groundbreaker to copycat Dig a little deeper folks, for the Trance is question is Jürgen Petersen, a forgotten cosmic kingpin in tune with true electronic excellence. When Danielle Baldelli wanted to show off his eclectic tastes, which record did he reach for Petersen's 1980 LP, 'Here And Now' of course. And when John Schaefer put together his essential exploration of New Sounds, who did he describe as Germany's answer to Eno Trance, damn right! After blessing the world with a trio of essential electronic LPs between 1979 and 1983, Petersen moved out of the limelight and lived off the grid, collecting his mind expanding music on a series of self-recorded, self-released cassettes, known only to the inner circle of elite European diggers. The sounds found within were unusual, experimental and ecstatic.

Fusing the organic tones of piano, 12 string guitar and sitar with soothing sine waves and hypnotic synthesis, Petersen harnessed the healing frequencies out there in the cosmos and transfixed the
listener with pure otherworldly beauty - ambient music for a new age... Unravelling these rare cassettes for music lovers everywhere, Growing Bin treats us to 'Tapes', a five track vision quest for the
horizontal travellers and fourth world nomads. Sven can keep his cocoon, we're off in search of the butterflies..."

incl. Low Tape Remix

Melodymathics brings there various artists concept to another level with a new line of 12 releases. Artists from all over the world gathered to bring funk and disco inspired house tracks, that will be noticed. With this first ep of the new series, they open the door to a new era in which happy, danceable music with 70's and 80's influences is the sound of the future.

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo's newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. It's not very common to find a female singer performing publicly among the Peulh. But Poulo's mother's co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo's entree into the music world was auspic ious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo's first internationally-distributed record. On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n'goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shapeshifting layers of rhythm and woody overtones match Poulo's commanding voice in a jocular yet deliberate dance. This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. Poulo's conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali's melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.

None other than Blawan on his lonesome ownsome — after collaborations with Pariah as Karenn, and Surgeon as Trade — returning to the blood-drenched scene of his heinous Why They Hide Their Bodies.
New name, new sound; heavier and slower than his Ternesc output. The title track is the banger. Acid techno — deliberate, widescreen and ominous.

Samo lived in Hong Kong for a bit. He rescued a dog and brought him back to Stockholm. He skates but that's not him on the front. He put together one of the best very records on LIES but this four-tracker kills it dead. Ben UFO's been rinsing it. The dog's name is Denzil.

Ellis Island war in der ersten Hälfte des 20. Jahrhunderts das Tor zu Amerika. Mehr als zwölf Millionen Menschen kamen hier vor den Toren New Yorks an und hofften, die USA bald Heimat nennen zu dürfen. Der französische Künstler, Regisseur und Fotograf JR, dessen Identität bis heute unbekannt ist, greift mit seinem 15-minütigen Kurzfilm "Ellis" und der Geschichte eines Migranten diesen Faden auf.

Mit Robert de Niro in der Hauptrolle, führt "Ellis" durch die bröckelnden Hallen des verlassenen Krankenhaus-Komplexes von Ellis Island, der heute JRs Kunstinstallation "Unframed" beherbergt.

Es ist ein Ort, der die Hoffnungen und Ängste jener, die ihn durchschritten, zurückstrahlt - und deren Echos heute lauter denn je zurückhallen. Verschlungen mit dieser Erzählung ist eine Filmmusik, die von dem französischen Songwriter Yoann Lemoine aka Woodkid komponiert und von Nils Frahm aufgeführt und mitverfasst wurde.

Die zarten Klavier-Motive von "Winter Morning I" vollenden sich in einem Crescendo von Streichern, während das schwellende Harmonium von "Winter Morning II" das Fundament für de Niros Geschichte bildet: eine Lobrede auf jene, die das moderne Amerika schufen.

Minimal Wave present an album of long lost tracks by Dutch electronic music pioneer Das Ding, entitled 'Missing Tapes'.

Danny Bosten formed Das Ding as a solo project in the early 1980s and released his music and friends' music via his own cassette label called Tear Apart Tapes. At the time, he was studying graphic design at art school, and in turn he ended up designing the artwork, cassette-sleeves and illustrations for the label himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, he made several addictive and danceable tracks which later become Minimal Wave hits. Danny made all his music in his bedroom which essentially turned into a small recording studio. He went on to release many of his own tapes and also played some live gigs.

Old tapes were uncovered around 2010, and Minimal Wave released a remastered version of 'H.S.T.A.' and select other tracks. A wave of renewed interest followed the record's release and soon people were in touch to propose live shows. Twenty years later, and after some deliberation, Das Ding was reincarnated under its old moniker but now with a revised line-up and a working set-up that reflected inevitable technological change.

Recently, Danny came across further tape archives from those early days. And from the batch, we selected our favorites to present to you in vinyl release form. 'Missing Tapes' is a limited edition LP pressed on 180 gram creamy yellow vinyl, and housed in a heavy weight printed glossy black and white sleeve featuring one of Danny's original illustrations from 1982.

Iceland's Olafur Arnalds (Kiasmos) and German multi-instrumentalist Nils Frahm team up again for some breathtaking excursions in classical/ambient crossover bliss. Frahm's sombre piano passages gently dance over Arnalds' serene soundscapes and eerie field recordings on this bittersweet and emotive journey.

What was meant to be a one hour video recording of the duo in action turned out to be an eight hour long improvisation session and these are some of the segments of the wonderful marathon recording.
We particularly enjoyed the gorgeously haunting electronic soul captured on "23:52" where those analogue synth strings just rise and rise to an epic climax.

Erased Tapes artists and friends Ólafur Arnalds and Nils Frahm have separately carved out a musical career that defies genres both with their unique live shows and a loyal fan base that's always eager to hear what their prolific output will bring.

Their latest collaborative 2-track release 'Life Story Love and Glory' is a live improv affair on two pianos, recorded in 2012 at Nils's Durton Studio in Berlin. Fans may wonder why they have waited until 2015 to release these tracks, but having revealed a new website you may think this may not be the end to their musical story this year.

We would meet in Reykjavik or Berlin with the intention to share some days off work, hiking, swimming or eating pizza. That is great for a couple days, but after a while we would always end up back in the studio, fiddling with synths or pianos.' - Nils Frahm.

You can hear in the beginning of 'Life Story' how I have already started playing the piano whilst Nils is still moving microphones around and preparing everything. It was all kept in! - Ólafur Arnalds
'Life Story Love and Glory' will be released as a 7' on Erased Tapes - exclusively through record stores only on August 21, 2015 ahead of its digital release later on - as an ode to this classic and beloved format.

A collection of nine reworks crafted by fans and selected by Nils himself form the 'Screws Reworked' re-issue, also featuring his original 'Screws'. The 2012 album 'Screws' by Nils Frahm, was the result of inspiration from his fans and friends while he recovered from an unfortunate accident, which saw him fall from his bunk bed located directly above his studio, which resulted in a broken thumb.

These nine intimate recordings were offered to fans to download for free and in return fans thanked Nils by sending him their audio and visual reinterpretations. Fascinated by the results, Nils then publicly asked his fans to submit their reworks or any form of art that was inspired by the release and all these submissions have been collected since on a dedicated website: It gave birth to the 'Screws Reworked' project from which Nils selected nine reworks to feature on a special edition re-issue which also includes his original 'Screws'.

'Whenever you have to decide between two things, you end up favouring one over the other. In the case of this record, I had to choose nine out of hundreds of songs - but I didn't want to follow this logic, I didn't want the songs to compete against each other. I never liked music competitions, neither when I was a kid playing classical music contests nor today when the best album of 2015 is awarded.

Having been in the situation to pick my own tracks for my own records, I knew that the only way to manage this tough job is to concentrate on the cohesiveness of listening to the songs all together. Screws Reworked should sound like a record, not like a random collection of tracks.

The motivation to make such a record came with the release of Screws in 2012 as a gift to my listeners. I thought about it as a starting point for people to make their own interpretations of the songs. The feedback was overwhelming. A couple of months later, we counted over 300 contributions. Without going through a selection process, they were all available only online until now.

It seemed essential to make it a real record as I imagined how happy it must make those who would find their names - in most cases for the first time - on a real record.

Now is the time to thank you all for your numerous and beautiful contributions. In case you don't find your track here, please don't think it stands behind the others. This record means, in fact, that some of the most beautiful songs couldn't be included as they simply weren't 'good neighbours' and because there is only one rework for each of my original compositions.

However all of you opened your hearts and minds and shared your uniqueness with us and I feel incredibly blessed by each and every single rework of Screws. Thank you!' - Nils Frahm.

Warm Tapes Adjustment returns with the Second Volume once again performed by SCM a Gari Romalis.
On the A Side two raw and dusty live sample sessions from SCM.
On the B side two lo-fi disco styled house tracks from one of Detroit's finest underground producers
Four house tracks fused in a combination that makes this record unique! Vinyl Only release

Originally released as a strictly limited 10-inch vinyl record exclusive on Record Store Day 2012, this long sold-out must-have for fans of these two artists will finally be re-issued - this time in 12-inch format!
Erased Tapes label mates Ólafur Arnalds and Nils Frahm recorded and mixed their first collaborative record between Reyjkjavík and Berlin as a surprise release for label founder Robert Raths.
The ambient/electronic work 'Stare' is a true family effort with long-time collaborator Anne Müller joining in on cello and all graphics created by close label-friend and designer Torsten Posselt of FELD Studios.

Words by Nils Frahm: 'I heard 'Eulogy For Evolution' for the first time six years ago and I was totally captivated. Impossible to know back then that I was supposed to meet Ólafur many years later as my label mate. Later when he took me along a tour of his we also noted that we kind of like hanging out together, doing important things like cover versions of long forgotten songs or eating veggie pizza. Also he would join my live set for a jam and I would return the favour by playing along with his set.

All in all, I fell for Óli and after one memorable jam session we had in Berlin at Roter Salon in 2011, he finally proposed the idea to visit me in my studio in Berlin to work on 'some music'. I was happy and delighted about that idea, so we got together in April 2011 and after having a big pizza, I plugged in some old analogue synths and we played for four days until late in the night. Also queen Anne Müller stopped by after a show with Agnes Obel to record some cello at 5 am in the morning for 'b1'. Making music together with people is lovely!

The time I spent with Óli in Berlin made me very happy and the music wasn't like anything I have heard before. It was all very reduced and minimal and I felt like I couldn't have done this alone. So we decided to do another 4-day jam at Óli´s E7 studio in Reykjavik. So I flew there in the end of October 2011 to repeat the trick and record some out of this world ambient music. It didn't take us too long to write 'a1' and 'a2'. I can't wait for the follow up!'

Nils Frahm reveals new 'Solo' album and the 'Klavins 450' piano project on the world's first Piano Day! Berlin-based composer ...

2nd in the lost tapes series from a true boss in German Electronics....TIP!
* Written & Produced by David Moufang
at KM20, Heidelberg

The acclaimed and highly sought-after LP by Hailu Mergia and the Walias, Tche Belew, an album of instrumentals released in 1977, is perhaps the most seminal recording released in the aftermath of the 1974 revolution. The story of the Walias band is a critical chapter in Ethiopian popular music, taking place during a period of music industry flux and political complexity in the country. Hailu Mergia, a keyboardist and arranger diligently working the nightclub scene in Addis Ababa, formed the Walias in the early 1970's with a core group of musicians assembled from prior working bands. They played Mergia's funk- and soul-informed tunes, while cutting 45rpm singles with various vocalists. While the Walias performed at top hotels and played the presidential palace twice, their relationship with the Derg regime was complex, evidenced by the removal of one song from the record by government censors. Decades later, Hailu Mergia was surprised to see the album fetching more than $4,000 at online auctions (it helped that the most popular of all Ethiopian tunes "Musicawi Silt" appeared on the record). Now everyone has the chance to listen again - or for the first time - to this timeless pillar of Ethiopian popular music. // 01. Tche Belew 05:01! 02. Yemiasleks Fikir 04:04! 03. Yikirta Lemminalehu 03:35! 04. Musicawi Silt 03:49! 05. Lomi Tera-tera 04:07! 06. Woghenei 03:58! 07. Ibakish Tarekigne 04:00! 08. Birtukane 05:30! 09. Eti Gual Blenai 04:59! 10. Yenuro Tesfa Alegne 01:46!

"Rave Tapes" ist Mogwais achtes Studioalbum und ihr zweites auf dem eigenen Label Rock Action, auf dem sie vor fast 18 Jahren ihre Debüt-Single "Tuner/Lower" veröffentlichten. Seit dem letzten, von Fans und Kritikern gleichermaßen gefeierten Album "Hardcore Will Never Die, But You Will" sind knapp drei Jahre vergangen, in denen das schottische Quintett überaus umtriebig war. Neben der "Earth Division" EP und einem Remixalbum erschien Anfang 2013 auch der Soundtrack zur TV-Serie "Les Revenants" (The Returned). Gleichzeitig tourten Mogwai unaufhaltsam durch die Weltgeschichte. "Rave Tapes" entstand im bandeigenen Castle Of Doom Studio in Glasgow. Und wieder einmal entwickeln sie ihren Soundkosmos entscheidend weiter. Die Mogwai-typischen Gitarrenwände bleiben erhalten, treten aber öfter bewusst in den Hintergrund und schaffen so Klangräume für vielschichtige, oft elektronische Sounds, die sich in den zehn atemberaubenden Songs auf "Rave Tapes" wiederfinden.

Anthony Naples, the in-demand producer whose name is on the tip of everyone's tongue, has returned with a new EP for Will Bankhead's Trilogy Tapes. After the release of the magnanimous House-styled Mad Disrespect EP on Mister Saturday Night Records last year, El Portal EP sees Naples using fragments of previous releases but evolving these into new realms of sound.

The first release from Heat Rock, and it´s all about The Emotion´s classic Soul track "Blind Alley." Featuring remixes based on the original master stems. Altered Tapes (Chicago) adds a boombap flair, brings the horns to the front, with enough bump for the dancefloor. Phoreyz + Brisk (Las VegaS) focus on one of the most influential Hip-Hop tracks to sample "Blind Alley" with their remix of BDK´s "Ain´t No Half Steppin."

- 180 GRAM AUDIOPHILE VINYL
- FIRST TIME ON VINYL
- 4 PAGE BOOKLET

The successful Canadian singer-songwriter Alanis Morissette released her seventh studio album Flavors Of Entanglement in 2008. She wrote and recorded the album with the British composer Guy Sigsworth (Björk, Madonna etc.). The album was written during a very challenging time in her personal life (break-up with actor Ryan Reynolds). It is the reason that she combines a lot of different musical genres in the sound of the album, including hip-hop, electronic and alternative rock. The album is hailed by critic as a longstanding masterpiece, fully understandable when you listen to the depth and structured layers of the songs. She shows her personal feelings in the tracks of heartbreak, regret and anger.

The first track on the album, Citizen Of The Planet' focuses on her new sound, while the first single Underneath' is about difficulties in communication.

The Queen of alt-rock angst sold over 75 million records worldwide. She is known for her emotive mezzo-soprano voice and here thoughtful lyrics.

The vinyl edition includes a 4 page booklet with information about the songs and the album is released on vinyl for the first time.

HINOSCH are a duo of Koshiro Hino from Osaka and Stefan Schneider from Düsseldorf, they first (met and) began their collaborative work of musical interaction and exploring contrasting possibilities in 2017. After a number of concerts in the EU and in Japan a debut EP (HINOSCH EP/TAL05) was released in late 2017. Fully instrumental, their first full-length album HANDS offers a more steeply focussed approach than its largely improvised predecessor.

Encouraged by the momentum generated during a number of on-the-spot recordings in Osaka, where Schneider had held a residency in April 2017, the overall sound of the album has been honed down through meticulous studio engineering. One of the outstanding qualities of HANDS certainly is an unprejudiced approach of sound and song structures. The instrumentation is condently reduced to a small range of analogue and digital machines. Snatches of tape-loops deliver lower-pitched vocal and drum machine samples. This characteristic technical set up soon proved ideal in order to dene a tactile vocabulary of fully unsynchronized rhythm patterns. The word tactile perfectly conjures that quality which is the very essence of HANDS. It is the result of the manner in which interdependent threads of rhythm units are deliberately disconnected to form a cohesive, soulful and exible whole. Most tracks on HANDS are devoid of a central motif and examine an unpredictable dialogue. A fantasy of constant change and a search for musical suggestions is the most vital ingredient in this abstract environment.

The album title HANDS refers to physical aspects of electronic music production. Every live concert of Hinosch usually starts out with a hand shake between Hino and Schneider. The general process of collective music making, programming, button pushing, playing, recording, decision making, all demand utmost concentration. The image on the front of the abum sleeve (designed by Takashi Makabe) reects the general approach of HANDS: layers of tuckled fabrics confronting one another to articulate a form for themselves to no other end than their own orchestration.

After having emerged from the ever thrilling Osaka music scene onto the international playgrounds of electronic music just a few years ago Koshiro Hino's solo activities as YPY and his involvement with the band GOAT have already garnered him a very favourable international reception. Stefan Schneider has over the years produced and collaborated with a.o. Joachim Roedelius (Cluster), Arto Lindsay, Klaus Dinger (NEU!), Dieter Moebius (Cluster), Alexander Balanescu, John McEntire (tortoise), Katharina Grosse, Bill Wells and St.Etienne.

Glyn Bigga Bush has been producing electronic and sample-based music since the early 90s when he formed Rockers Hi Fi, going on to release numerous albums. Since the turn of the century he has produced and DJ'd as BiggaBush as well as various side projects such as Lightning Head (Sonar Kollektiv), the Dandelion Set (Buried Treasure) and the Magic Drum Orchestral (Tru Thoughts).

Bigga's latest project 'Sunken Foal Stories' represents a departure from much of his other work in that it is not primarily based on beats. Instead, his working method was to go with fascinating samples, accidental juxtapositions and irregular loops - inspired by pioneers of sound such as Faust and the audio experiments of Julian House as well as early stereo test records, soundtracks and library music.

The 21 concise tracks of Sunken Foal Stories link into two 15 minute segments on the LP. Bush explores the random elements created by overlaying disparate samples, where chimes of baroque psychedelia clash with ascending classical strings, or a haunting Eastern European folk song is looped into an eternal cadence of longing. Various voices float over the speakers, lost poets, disturbing therapists, dreaming vampires, chuckling cabaret singers. Sourced almost entirely from charity shops and carboot sales, the source material speaks of a forgotten yet relatively recent period, when stereo was something new and exciting, when home entertainment first came into its own and suburban homes thrilled to the exotic sounds of home organs, primitive beatboxes, LPs bought in unusual holiday destinations and 'glamorous' soundtracks.

Beat X Changers comes back to you with our new release, introducing young and gifted Canadian producer Ferness.
Matthew joined the Beat X crew following what has become a classical path to the producers of the labels.
After joining the forum in 2015, he shared a collab with Frakktale on 'Speed Luanda' which got our attention with its deep, broken and melodic structure. Today we can proudly introduce you to his first release - Internet/Dreams/Deception - which will take you in a soft and beautiful daydream tinted with a 80's grain.
You'll be guided all along of this trip by a strong and powerful rhythmic, full of House, Broken Beats & Bass influence. Beat X Changers at its best!

Londoner Endgame is a new addition to the Hyperdub roster after releases on Lisbon's Golden Mist Records, and NYC-based Purple Tapes Pedigree. Endgame hosts an excellent monthly show 'Precious Metals' on NTS and produces and DJs as part of the Bala Club crew (also featuring Uli K, Kamixlo and Rules) who are regulars at Lexxi's occasional club night 'Endless'. He already has mixes and features with the likes of the Fader, Fact, Dazed and Confused and ID under his belt in the short time he's been releasing music. In his ice-cold productions, Drill, Grime and most notably South American dance riddims are threaded and mutated into tracks that he describes as an ever-evolving vision of the dystopian underbelly of London. 'Felony Riddim' is an icy introduction to the EP, an explosive club jam with a menacing and stabbing chime melody leading up to a pounding kick drum. It's all out war, but you can definitely roll your hips to it. 'Sittin' Here Redux' recasts Dizzie Rascal's 'Boy In Da Corner' opener into a tense anthem, with police sirens wailing in the background, dogs barking, and rolling 808 snares that bring a vibe somewhere between reggaeton and drill. Next up is 'Fallen' featuring the MC Organ Tapes - a slow burner that works both as a moody headphone track or a club slow jam. Organ Tapes' slurred autotuned vocals flow perfectly with Endgame's blend of grime drums and chiming rap production. The EP finishes as it began, going out with the explosive and high-energy 'Toxic Riddim'. It's a mix of reggaeton and futurist dancehall, with a menacing melody and relentless electric shock-like hi hats across a deep sub. Endgame takes you all around the world - but the ice-cold tone unmistakably brings you right back to winding in a dark club in London's culture clash

SECOND REISSUE ON THIS HEAT’s OWN NEW IMPRINT FOLLOWING ‘THIS HEAT’ (TH01LP) WHICH WAS UNCUT ‘REISSUE OF THE MONTH’ RECENTLY WITH 9/10 REVIEW + 4-PAGE FEATURE WITH Q+A.

*24 bit/96 kHz re-master from original analog tapes.
*Heavyweight 180gm vinyl and heavyweight sleeve with pantone printing to match original 1979 release.
Simon Reynolds on Health and Efficiency:

“For some fans, Health and Efficiency is This Heat’s peak achievement – their most concentrated blast of visceral intensity and wayward experimentalism….Lead track “Health & Efficiency” combines fierce angular rock that fully lives up to Cunningham’s belief that This Heat could become a postpunk King Crimson, with a multi-part babble of vocals, clattering percussive timbres, and found sounds.’’

Flipside “Graphic/Varispeed” is more subdued and hypnotic: a wavering tonescape whose duration depends on whether you play it at 45 rpm or 33 rpm. This reissue reproduces the original release’s striking cover image of a human figure painted in blue by Pete Cobb, along with the cryptic flipside of text in many different languages.

Although widely considered to be Post-Punk’s finest, This Heat actually began performing and recording their music in 1976, the early days of London’s punk era. Within their two albums and an EP they perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica. Numerous critics have recognised the band's influence on the music of Sonic Youth, Glenn Branca, Steven Wilson, Public Image Ltd., Radiohead, Swans, Shellac, Young Knives, Black Dice, Lightning Bolt and numerous other experimental and post-rock bands.

Disbanding in 1982 they have left an undeniable legacy that has only continued to grow in stature and relevance.Having recently passed the 50 year anniversary of their first gig, and the recording of material that appears on their debut album, the group’s surviving members Charles Bullen and Charles Hayward, true to their DIY roots, have set up an imprint to release their recordings for their growing fan base that is increasingly recognising their influential place in music history. 


‘They went beyond punk before punk had properly started…the entire album is a controlled explosion of ideas. Nearly fifty years on, This Heat’s debut is something the world has still not completely caught up with.’ - Simon Reynolds

‘Over the years, there have been bands to play as aggressively, or even as strangely, but very few have been able to rise from their collective influences and histories to create music so singularly distinctive and inspiring.’ – Pitchfork 9/10

‘This Heat sounded like the future then ... and still do now.’ - Dan Snaith (Caribou)

‘This Heat had a certain kind of force the post-punk bands were unable to adequately control without falling foul of rawk excess, and which the punk bands—albeit blitzing and rowdy—were too basic in form to build.’ – John Calvert , The Quietus


Influential UK Jazz/Funk/Disco outfit THE COOL-NOTES' biggest hit 'Spend The Night', originally released in 1985, is back on Dafia Records with a set of brand new, never before released remixes by French Disco icon DIMITRI FROM PARIS.

The original, which reached #11 in the UK Top 40 in the Spring of 1985, is regarded as a mid-tempo UK classic by many since its first appearance. Known for his luxurious, groove-driven productions and remixes, Dimitri From Paris has reworked tracks for artists including Björk, Quincy Jones, Chic and New Order, while helping define the sound of modern disco and house music in a way only he can.

When he got the chance by Dafia label head Mannix to get his hands on the original multitrack tapes, he didn't hesitate to deliver two classic DFP revisions in the making. His Main version leaves all the essential elements of the timeless Original, highlights the parts that have deserved more exposure whilst adding crisp beats and nice effects to the game. The result is a greatly updated version that surely will have many fans within the Soul/Funk/Disco scene.

On his Dub Dimitri Form Paris delivers a spaced out stripped back version with great use of vocal snippets to great effect on any dancefloor.

The Unwound album that ended all Unwound albums. Recorded in a moldering farmhouse basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector’s wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the world’s only choral grunge LP. This 25th anniversary edition has been remastered from the original analog tapes and is housed in a glorious silver foil jacket with added emboss, deboss, spot varnish, and a replica 12x24” poster . Reinvented for you.

The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).

For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.

‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.

The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.

To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.