quête:tea time

Perhaps one of the most unique and unlikely exponents of the highly collectible genres of ambient electronics, experimental tape-music and PINA (Private Issue New Age), this English-born Jamaican- raised sound designer, artist and existentialist furrowed his own unblinkered path through lesser chartered electronic fields for many moons before eventually teaming up with Bill Laswell (with Material) and Daevid Allen in New York to bring self-taught synthesis to Gong during their most oblique periods.

Creating two impossibly rare self-pressed vinyl LPs of conceptual inner-visionary outer-galactic angular tonal-dronal alien-art soundscapes in the process, the man known under figure shifting guises such as Dennis Wise/Denis Weise/Dr. Wise etc, combined a culture of sound system circuitry and radiophonic trickery adding Tea-pot poetry and sci-fidelity future- folk to his magnetic mesh.

Presented here as the first ever dedicated Wize Music collection this record combines compositions spanning 1979-1984 in both a solo capacity as well as small- group projects featuring members of the Emerald Web band.

Imagine a comic book where a Funkenstein monster called 'Laraaji-Scratch Perry' invaded your record shelf while Komendarek and Holger Czukay kept lookout... Dr. Dennis might be the only one Wise enough to outsmart all of them with his powerful amorphous anaesthetic.

Its Rap and Roll, 2nd Generation.(1st generation was Run DMC, Beastie Boys,LL Cool J).A mash up of styles all under one album.. 

Trying to explain the immoral wrongs of the world within the world we come from... Re educating our selfs and saying what we believe in our songs.. Hence 'Teach Peace'. Education, housing, healthcare, food banks, racism, corporate greed, tax evasion, climate change, child abuse and religion all need to be addressed properly.

Not swept under the carpet to be covered up by the next scandal.. We need moral leaders who are strong and willing to die for they're beliefs.. Not selling their people down the river to the highest bidder!!... We all need to be speaking our minds about whats going on... Peace is the only way for everyone... Peace can be just as prosperous as war.. Even for the corporations..there's nothing wrong with making money. It's what you do with it that counts..

It just takes a little bit of time and thought. But greed leads to the inequality of more than 80% of our world.. We need to help people become aware of this.. It's not where we're from, it's where we're at!

Don't Bite Records are happy to announce the release of producer/rapper Tom Dice's solo LP. The witty title has been more than prophetic. These are not just rhythms of Dice but rhythms of life. Reflection, auto biography and idiosyncricity are abundant, as shown on the final track, 'Irrepressible'. 'Put on a uniform, conform, consume, dance to another man's tune that's off key. That never was and never will be the essence of a man like T.o.m D".
From 'The Death of Me''s dark refrain 'How ironic I died from a shock electronic.....clutching at the MPC, finally..... music got the better of me, the energy', we know that Dice is fearless in pushing the envelope and the boundaries of what can be lyrically possible. However Dice acknowledges his influences and the importance of their recognition on 'Authentic'.
On 'Tears Run Dry' Tom touches on feelings of alienation: 'I'm not a loser cos I can't win, I'm just an outsider still looking in' whereas on 'Feelings' he examines the connection between emotion and physical feeling. 'Feelings- computers don't have it, they try to emulate that basic human magic'
On the LP Rhythms of Dice and particularly the track 'Rhythms of Dice' he is rhyming from a producers point of view. 'All you guys who do like 6 tracks a day...how good are they You need to focus your mind or really just stay...wondering....You heard my beat in a studio and just wandered in'
Tom is ably assisted by long time collaborators/ label mates The Phantom and Jumpsteady. While he explores the exploitation of the thug genre on 'Thug killer', he also comes with a new style on 'Interchange' where he and Jumpsteady rap the first 4 bars of each others rhymes causing 1, seamless, verse. We hope you enjoy this tenth release from Don't Bite Records which continues to strive for individual style and originality and embrace our motto that "Only pirates take that which is not yet theirs!"

Thandi Zulu known as T.Z. Junior was a young girl from Soweto. She started her musical career with Peter Moticoe who produced "Love Games" with The Young Five on Heads label in 1984. Then, Peter Moticoe brought her to Phil Hollis at Dephon Entertainment who then teamed them up with Attie Van Wyk who was the producer for Yvonne Chaka Chaka at that time.

Phil Hollis started Dephon Promotion (Dephon Entertainment) in the late 70's and developed into the largest independent record company in South Africa. He describes himself as the only person who has been involved in recording of major hit songs in nearly all genres of music in all the languages in South Africa. Phil Hollis was involved in all aspects of the Entertainment industry from production of recordings, recording company, distribution, marketing and promotion, events management, staging major events and filming.

"Sugar My Love" and "Are You Ready for Love" were produced and arranged by Attie Van Wyk. 'Back in the 80's I was a songwriter for a band called Ballyhoo when I got an offer from the Dephon Record Company to join them as a music producer. So I quit the band and joined them, producing records mainly for music targeted at the black market in those days,' he says. Between 1982 and 1992, Attie Van Wyk produced over 120 albums, including many for Yvonne Chaka Chaka.

Following his incredible debut album 'Talisman', Whiney has stepped back into the lab to cook all manner of big, beefy dancefloor beasts. The 'Waystone' LP boasts his most widespread set of influences yet with drum & bass fusions of trip-hop, grime, UK hip hop and ambient across 14 outstanding tracks.

Album highlights include the tumbling jungle rumbler 'The Capital' that scatters down with snappy amens in a perfect storm. Plus the unmissable 'Triple Duppy Demon'; a menacing tribal stalker rearing its head in a display of raw beats and bars from Manchester's own Levelz crew member Truthos Mufasa, alongside a production pairing with Hugh Hardie.

'Waystone' also sees the triumphant return of the dream-team-supreme! Hospital's wordsmith Inja joins forces with Whiney on 'Mission'. This certified heater is a grisly tirade of dancefloor chaos, a worthy successor to fan favourites 'Flashlight' and 'She Just Wanna Dance'.

Of course Whiney's second long-player is also packed with showstopping solo productions such as 'Dismissed', 'Slingshot' and half-time triphop switch up 'Darkest Night'

Drama were the Canadian duo of Eric Simpson (Vocals, Bass Guitar, Guitar) and Don Stagg (Keyboards). Formed in in Mississauga, Ontario in 1978, the pair had previously played together in progressive psych bands Majik and VIIth Temple. Almost every Saturday, Eric and Don would record one song on a TEAC 4 track tape recorder after a couple of takes with very little over dubbing. The pair were influenced by what was playing on the radio during the recording sessions. Everyone else at that time was in a rock or pop band yet Drama were making electronic music. The pair released their debut LP 'Loneliness' on Psycho Records in 1979. There were 500 albums made and about 200 ended up in the garbage as band members shuffled from apartment to apartment. This was followed by a 4-track 7' later that year featuring live drums and additional guitar.
Seance Centre says it best, 'On Loneliness, the pair traded in their velvet and chord charts for thin ties and a cheap drum-machine. The LP still carries a whiff of patchouli, but the sound stings of solder and electricity, and inhabits a nascent zone somewhere between krautrock and new-wave. The vocal cuts are all clustered on the A-side, starting with an ode to the inefficiency of the Toronto Transit Commission - some things never change! The dystopian sci-fi themes are par for the League, and highlights are the love ballad 'Anna King' and the charming 'Feable'. The instrumentals on the B-side feel decidedly more Teutonic, and have a certain CBC charm that sounds like JP Decerf recording for Parry Music. It even opens with a slinky stoned Pink Panther.' For this first time vinyl reissue we've expanded to a double LP with a bonus album of the 4 songs from Old Hollywood 7' and 9 previously unreleased tracks and demo versions. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original photo by Don Stagg taken from his apartment rooftop overlooking Toronto of a young teenager sniffing glue and includes an insert with photos and liner notes by Drama.

One thing The Vryll Society aren't short of is admirers, Lauded at just about every turn by press and public alike, the release of their debut LP for Deltasonic Records is hotly anticipated thanks to the promise this band have shown through their live sets and recent single releases.

Discovered and nurtured by the late and much missed Deltasonic founder Alan Wills, they fitted the type for him perfectly. He instantly saw in them similar attributes he'd previously found in the early days of The Coral and The Zutons. The confident swagger, the solid union formed by their band-of-brothers gang mentality, their willingness to stand outside the conventional and often stifling jangly Liverpool scene, and the work ethic. Always the work ethic.

Wills instilled in The Vryll Society something which has become over the ensuing years a key element of what they are, what they've become, and of the music they produce. He gave them belief. A belief that hard work and determination will bring them to the place they wanted to reach.

'Alan taught us that all you need to conquer the world is a rehearsal room, your instruments, a good work ethic and a positive attitude and you'll get there. He kind of taught us the rules and the attributes that you need to have to be successful so we've just continued on that path' says frontman Mike Ellis.

Ellis has stated that it was that attitude and that work ethic which got them through the subsequent tragic loss of their friend and manager in 2014, driving them forward through those times, propelling them to harder work, and bonding them even closer together as a unit.

That unit have spent the intervening time creating and honing their own brand new-psych sound, and building up a fanbase with their superlative live shows. Drawing from an eclectic palette of influence from deep funk to Krautrock, electronica and prog, they've created a heady, intoxicating, pin sharp, and tightly wound mellifluous groove, washed over with cyclical motifs, acres of effects laden guitar hooks, and shimmering, textural technicolour soundscapes. It is at once blissful, dizzying and madly infectious. It's that eclecticism, that kaleidoscopic swirl of influences which brings together hip hop flavours, with the prog stylings of names such as Aphrodite's Child and The Verve - pre Urban Hymns - when the drugs were still working. The dynamic leaps and folds through all these influences is where you find The Vryll Society's own brand perfect pop. Its all there in the loops, in the hooks, the drive and the vibe of this unique band. But this isn't frippery, these aren't throwaway cheap thrills for our disposable times. No, this is heavier. This is music too feed your head.

Live too, The Vryll Society are a formidable force. That gang mentality binds them together over the ideas formed by spending long hours together in the rehearsal every day. Hotwiring these ideas into the heads of the crowd through extended psych jams and deep solid grooves gives a different show every time, and with each and every set, the offer gets better. Recent travels have seen them take SXSW 2017 by storm as guests of BBC Introducing as well as major festivals such as Glastonbury and Leeds/Reading.

The songs that fill the delicious grooves of Course Of The Satellite weren't so much written as devised or developed, brought together organically over months in the band's underground lair, or over weeks in Liverpool's Parr Street Studios. Working closely with producers, Wills' right hand man and Deltasonic brother-in-arms Joe Fearon and Tom Longworth, the album took shape organically, biding its time and finding its way. The result is a work of impressive confidence and stature. It's a record that believes in itself, and for all the right reasons. This is an effortlessly cool album, the sort of record that makes friends easily. The world is ready, willing and more than able to take The Vryll Society even deeper to their heart. The path Alan Wills showed them awaits. It's a path that leads to greatness.

a1 | Course Of The Satellite
a2 | A Perfect Rhythm
a3 | Andrei Rublev
a4 | Glows And Spheres
a5 | Tears We Cry
a6 | When The Air Is Hot
b1 | The Light At The Edge Of The World
b2 | Shadow Of A Wave
b3 | Soft Glue
b4 | Inner Life
b5 | Give In To Me

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Friend and supporter of the Bass Cadet team, Jenifa Mayanja steps up for the new chapter of the Orbits series. She offers three very personal tracks, carefully crafted, evolving in their own space-time, showcasing a crossbound vision of deepness and soulfulness. Partner in life, DJ Jus-Ed is also here on the remix duty. This release definitely wraps up a family affair about good vibes !

Friendship. Gratitude. Music Passion. Turbo Recordings is proud to present the feel-good story of the year with the debut release from Tiga & The Martinez Brothers.

"This is a true labour of love,' says Tiga. 'Two of the most refreshingly positive figures in dance music teaming with me, the heartless cynic with a heart of gold. Positivity and actual quality: the best of both worlds."

Tiga was originally meant to produce tracks for the DJ duo, but the sessions soon evolved into a full-fledged collaboration. The three men manned the studio in psychic unison, laying real-time drum programming and minimal storytelling over a techno foundation to create a truly dynamic dynamic. The result is some of the best work of their careers.

'Chris and Steve brought a deep knowledge of house music and DJ energy-flow, while I left my deep hatred of live studio jam sessions at the door," adds Tiga. 'These tracks are tougher, funkier and weirder than 99.3% of contemporary dance music, and it's all because we were brave enough to get sincere and real."

The material was written and recorded over the course of two sessions at Montreal's Lost Star Studios, a haven for vintage gear and laid-back vibes right out of your most casual dreams. It was easily the most fun anyone's had in a studio since 2014.

"You can keep your VIP laminates and hot flavors of the moment,' concludes Tiga. 'I'm here to tell you that there's nothing cooler than the magic of friendship.'

Part II of the collaboration is set for release on The Martinez Brothers' Cuttin' Headz label under the name The Martinez Brothers & Tiga, an inspiring nod to the importance of fairness in project credits

Skin Town's unexpected return with their new album 'Country' finds the duo upping the already high bar set on their striking dark pop gem debut 'The Room' with a dauntless artistic statement that trades clever posturing for vulnerability. Yielding their prowess with more restraint, Skin Town's 'Country' hits harder and cuts deeper - doubling down on their narcotic cocktail of strong R&B hooks, spacious bewitching productions, and marked sense of melody that puts vocalist Grace Hall and multi-instrumentalist Nick Turco in a class of their own.

Many saw that potential on their debut with support from Dazed, Interview, The FADER, KCRW, as well as artists like Tinashe shouting out Skin Town. Lamenting on the duo's unmistakable chemistry, Pitchfork says, "Turco's synthscapes are huge and scene-stealing, while Hall's husky voice strikes a glorious medium between Abel Tesfaye and Sade." Their latest is even more potent, a particular strain of sad dance music that feels timeless and raw.

'Country' refines Skin Town's minimal framework of tethering hip-hop/R&B rhythms to Hall's smoky, precise phrasing exploring richer atmospheres and darker concerns. Written and recorded over 3 years, the album touches upon depression, loss, hedonism, poverty, rebellion, sex work, empowerment, and love's contradictions. The album's completion was sidetracked many times with Hall suffering a string of life-threatening mysterious immune system ailments, as a result there is a lot of pain and joy in this record, made with literal blood and tears.

The opener "Bad" signals at this departure from their upbeat predecessor stripping away the beats, relying on the interplay between Turco's ringing chords, the enveloping synthwork and Hall's melancholic, rhythmic intonations. "Mute" brings back the drums, couched in a slinking hip-hop beat and a creeping synth lead. Throughout the record, Turco's productions glean from an eclectic, disparate mix: melodic Amiga tracker music, Metro Boomin', New Age, The-Dream while Hall seems ever more comfortable exploring syncopation and half-rap/half-sung excursions. This is inventive, uncanny pop music where Enya, Offset, Zola Jesus, and Future inhabit the same space.

Skin Town's unerwartete Rückkehr mit ihrem neuen Album "Country' hebt die sowieso schon recht hohe Messlatte ihres markanten Dark-Pop-Juwelen-Debüts "The Room' noch ein wenig höher. Skin Town's - Country" schlägt härter zu und schneidet tiefer - und verdoppelt ihren narkotischen Cocktail aus starken R&B-Hooks, einer großzügigen, betörenden Produktion und einem ausgeprägten Sinn für Melodie. Das ist erfinderische, unheimliche Popmusik, bei der Enya, Offset, Zola Jesus und Future im selben Raum leben.

Viele sahen dieses Potenzial bei ihrem Debüt und so gab es reichlich support von Dazed, Interview, The FADER, KCRW sowie Künstlern wie Tinashe. Pitchfork hob die unverwechselbare Chemie des Duos vor und sagte: "Turcos Synth-Landschaften sind riesig und szenenraubend, während Halls heisere Stimme eine Klasse für sich ist, angesiedelt zwischen Abel Tesfaye und Sade.'

Country' verfeinert den minimalen Rahmen von Skin Town, Hip-Hop/R&B-Rhythmen mit Hall's rauchigen, präzisen Vocals, die weitere Atmosphären und dunklere Anliegen erforschen. Das Album behandelt verschiedenste Felder von Depressionen, Verlust, Hedonismus, Armut, Rebellion, Sexarbeit, Empowerment bis zu den Widersprüchen der Liebe. Die Fertigstellung des Albums wurde mehrmals aufgeschoben, wobei Hall eine Reihe von lebensbedrohlichen, mysteriösen Immunsystem-Krankheiten erlitt, was dazu führte, dass viel Schmerz und Freude auf dieser Platte zu finden sind, die sprichwörtlich mit Blut und Tränen gemacht wurde.

NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers.

From the West End vaults we are pleased to present Ednah Holt's 'Serious, Sirius Space Party', a thundering, slo-mo, bass-heavy slab of NYC electronic funk that will sound familiar to those who paid close attention to what the maestro Larry Levan was doing in his sacred booth at the Garage in 1981, or to those who tuned in to peep what the master Afrika Islam was doing on his now semi-religious, hip-hop blueprint 'Zulu Beat Show' on WHBI. That's right, you can guarantee if those 2 guys were playing your record in the city at the same time then you had an underground 'hit' on your hands. The fact that it crossed over from the discotheques to the streets and back again speaks of the appeal of this super heavyweight jam, the legendary team up of Kenton 'Kenix' Nix, Larry himself on the mix, and former Ritchie Family vocalist Ednah Holt makes for some heady listening. One for the after hours dancers, B-Boys and B-Girls and lovers of the downtempo workout. A true and essential NYC classic.

All tracks featured re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG.

House Music With Love return with another one of their fresh EPs, this time from the dream team of Kaldera and Lazarusman with remixes from Urmet K, SURAJ and Simina Grigoriu & Moe Danger.

Kaldera a producer from Northern Europe and Lazarusman a poet from Southern Africa and their rhythmic, spiritual journey always makes for real musical adventures. That is the case here with Oceans of My Mind, a deep, swelling house tune with great chords and a dark bassline. The thought provoking vocals drift up top as the turbulent grooves roll on and bring real class to the floor.

The Urmet K remix is more blissful and laid back, with breezy chords and gentle beats rolling you into a trance. SURAJ then layers in plenty of cosmic melody, gives centre stage to the poetic spoken world vocal which brings a romantic feel to the tune. Then last of all Simina Grigoriu & Moe Danger close things out with a more direct, techno leading version that has brilliantly frazzled chords and deriving drums taking you deep into an eerie night.

This is a versatile and vital EP that covers plenty of ground in real style.

We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).

DFA release Crooked Man's new album, 'Crooked House'.
Speaking about the album's lead track, 'Take It All Away',
Crooked Man says: 'It's about not being suffocated under the
mountains of useless crap that Mammon shits into every
crevice of modern life... quite possibly the world's only anti
consumerist disco song.'
The elusive Crooked Man returns to DFA with 'Crooked House'
LP, a maximalist take on electronic and house music that picks
up where 2016's self-titled album left off. Teaming up again
with Michael Somerset Ward (Clock DVA) and David Lewin
(Bleep & Booster) in the studio, Richard Barratt crafts a
comprehensive journey of hi-fi house belters with more sinister
electro-pop mixed in for good measure.
The album is influenced by two historic epicentres of electronic
music: Sheffield UK, where Richard has had an illustrious
career in a mix of legendary groups like Funky Worm, Sweet
Exorcist and The All Seeing I; and the NYC Loft-era disco
sound, where extended grooves were layered with peaktime
choruses.
Richard's diverse collaborations and intensely prolific
discography have now led him to records as lush and
sophisticated as 'Crooked House'. Considering the rarity of a
live Crooked Man performance or DJ set, it's a testament to his
hyper-creativity that these tracks are able to reach new heights
in a club setting. With support from disco historian Bill Brewster
and NTS resident Ross Allen, it's clear that 'Crooked House'
brings a timeless vitality to the current landscape of dance
music and continues an exciting new chapter in Crooked Man's
career.
LP format includes digital download code.

Deep late 80's percussion LP created to accompany contemporary jazz-dance classes. African instrumentation meets Western Jazz arrangements and computer technology. TIP!
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Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80's. It's here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70's.

The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to 'dance slowly, rapidly and change speeds without changing the tempo!'. This work of rhythmic research was based on the 'Balance of The Walk'; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.

Jean-Pierre's use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.

Symphonical Records has the peasure to announce it's 5th release & first time working with a contemporary group to promote the new 'Modern Soul' movement. E Da Boss (Myron & E/Pendletons) & Ishtar team up as 'Lucid Paradise' for their second release, produced by non other than Russia's finest, 'The Soul Surfers'. 'Tonight' us the accunzkatuib of two Bay Area sizk aficianados coming together to create a smooth & crisp, timeless yet modern cut. Written alongside UK's pioneering soul singer Gizelle Smith, 'tonight' epitomises the talent of contemporary soul acts worldwide. Following on from their fist release in 2015, a 4-track boogie EP with London producer 'The Whole Truth', 'Lucid Paradise' return to formly set their standing as a duo to watch out for.

Odd Beholder, the project of Zurich-based musician Daniela Weinmann, releases the full-length debut album "All Reality Is Virtual" this fall.

"All Reality Is Virtual" is an intelligent, tenderly flowing and weird pop album, colourful, assertive. It deals with the strange temptations of our time: from tinder to AI, from offline loneliness to obsessive self-marketing. "I noticed that the main temptation of a digitalized life is the idea that everything can be measured, recorded and therefore known." says Weinmann. "But I yearn for surprise, for wonder. The unknown, the uncontrollable is appealing to me."

Odd Beholder have released two highly acclaimed EPs already, "Lighting" and "Atlas". Followed by the "Remixes" EP. Those remixes have been contributed by friends made along the way and artists Odd Beholder became fans of: The/Das, Fejká, Hundreds, Alessandro Giannelli, Kalipo, Thomas Atzmann. After having played tours in China, Germany, Switzerland and Italy, Daniela Weinmann teamed up with swiss musician and producer Martin Schenker to finish producing Odd Beholder's debut album. "All Reality Is Virtual" will be out Oct. 19th, 2018 on Sinnbus and Mouthwatering Records.

* Paul Bradley returns with another wicked EP, this time pushing further back to a more 1992 sound, along with his customary 1993-1995 tear ups. Each tune has been lovingly crafted to appear at first quite simple, and yet closer listens reveal hidden depths to every track, and a sly sense of humor that both elevates and enhances each piece. The 'Kin Cosmic EP gets the full colour sleeve treatment and deserves every bit of it....

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

"It's Maths classes. A red-haired boy sits in the back, rhythmically tapping his fingers on a table like a madman. Although other students' eyesight is focused on the formula being written on the black-board, the boy could not care less. Out of a corner of his eye he notices as the sequence of numbers slowly begins to melt off the blackboard, glittering with colours, and finally spills all over the floor like a fractal leakage from some other dimension. Students from the first rows, scared, put their legs up - and then you start to hear the rhythm. The sounds, once set free, feedback from the walls and find their way to all chinks and cracks, circle all around to finally reach the teacher's ear. The lady cannot stop the upcoming fury, grabs Krzysztof Ostrowski (number 28) by his ear and circumventing the leakage she leads him out of the classroom. It's not the first nor the second time such thing happens. Years later, the boy finally sits by the machine; subtle light comes through the window slightly ajar, the curtain dances with the wind. Krzysztof, bent, is programming the rhythm."
It's warm and bright Autumn of 2018 and Krzysztof emerges again, this time on vinyl released by Jacek Sienkiewicz's label Recognition. The experimental style of "Primary Fluctuation" might come as a surprise to many of Jacek's followers, but there are surely some common features for the two art-ists - from attention to detail to a kind of serious melancholy present in their music. Ostrowski's rec-ord is a journey through futuristic polyrhythm, with enough space for menacing basses or unorthodox samples, reminding the aesthetics of fusion of broken techno and bass music championed recently by the labels like Timedance or Livity Sound. Four tracks (five in digital version) make up a cohesive, intriguing and surprising record, announcing series of special releases prepared by Recognition for the forthcoming months. ,

In July 2014, Jungle released their self-titled debut album. Featuring the singles 'Platoon', 'Busy Earnin'', 'Time', 'The Heat' and 'Julia', neo-soul classics all, it was the aspirational sound of young London, a soundtrack of escapism, an unmistakable Jungle sound and a unique, vivid, visual Jungle world. The whole thing was dreamed up by Josh 'J' Lloyd-Watson and Tom 'T' McFarland, a production and multi-instrumentalist duo who never expected to leave their bedroom studios, far less become the core of a talent-filled seven-strong collective that morphed into a killer live outfit. Cue online word-of-mouth and IRL buzz, rave reviews, a Mercury Music Prize nomination, songs of the summer (two summers, even), viral videos, Noel Gallagher declaring the album 'fucking amazing', half a million sales, burgeoning DJ careers, a global tour that lasted two solid years. It all just happened.

Today, Jungle announce news of the follow-up to that defining debut record. The album is titled For Ever and will be released on 14th September via XL Recordings. If Jungle's first album was their imaginary soundtrack to the places they had never been, For Ever is inspired by real life experiences of the places they'd dreamed of for so long. Swapping Shepherds Bush for the Hollywood Hills, J and T set up camp in Los Angeles to write and record the album. Over time however, their romanticization of The Californian Dream clashed with the reality of actually living it, the feeling of being adrift on the West Coast compounded by the collapse of long-term relationships. Returning home to London, they teamed up with highly regarded young producer Inflo where they sought to create a "post-apocalyptic radio station playing break up songs', whittling down loads of ideas this concept spawned into the core 13 tracks you have before you. That station and those songs and that journey are the sound of Jungle's second album For Ever. They had to go away to come home. And what J and T lost in love, they gained in music. For Ever is for real, deeper and higher, more intimate and more expansive, feelgood and, just occasionally, feelbad. It is, then, a proper second album.

Here we see San Proper and The Mole make a welcome return to the imprint following solo EP's, this time they join forces with Hreno for a three track EP from the powerhouse trio.
Leading on the package is 'Friendly Tears' which features yet another leading figure in the house scene, Dekmantel regular Tom Trago, as you'd expect from such an impressive array of artists we're treated so soul drenched house driven by swinging organic drums, infectious funk licks and hooky synth lines before the 'Chunkless Mix' strips things back a little, laying focus solely on the 80's tinged synth work, delayed vocal murmurs and
minimalistic percussion.'On The Floor' then rounds out the package, retaining a similar aesthetic with choppy guitar melodies, penetrating bass stabs, crunchy rhythms and resonant arpeggio synths ebbing and flowing dynamically throughout.

When Aretha Franklin joined Atlantic Records in 1967, it was the beginning of an unprecedented run that would ultimately cement her place as a music legend, a global household name, and one of the most influential singers of all time.

The Atlantic Singles Collection 1967-1970 features 34 singles which Franklin released during her first three years with Atlantic Records. Arranged chronologically, the songs on the new collection originally appeared on six studio albums: I Never Loved A Man The Way I Love You (1967), Aretha Arrives (1967), Lady Soul (1968), Aretha Now (1968), Soul '69 (1969), This Girl's In Love With You (1970), and Spirits In The Dark (1970). The only exception is Franklin's cover of Elton John's 'Border Song', which was released as a single in 1970 and later appeared on her 1972 album Young, Gifted and Black. The vinyl version is a double LP with 25 tracks.

The album is stacked with many of Franklin's best-known songs, including 'I Never Loved A Man (The Way I Love You)', 'Respect', 'Baby I Love You', 'Chain Of Fools' and '(Sweet Sweet Baby) Since You've Been Gone.' Several of the songs on this collection are cover versions that underscore Franklin's exceptional skill at reinterpreting music and making songs her own. Among the highlights are her versions of Sam Cooke's 'You Send Me', The Band's 'The Weight', The Beatles' 'Eleanor Rigby', and Dionne Warwick's 'I Say A Little Prayer', which became a Billboard Top 10 hit for Franklin in 1968.

To be released on World Mental Health Day, part of the album's proceeds will be donated to a UK-based mental health charity. 'I often wonder how sadness moves through people,' Emika says, 'through time, through stories and history, and if it's something that becomes us rather than coming from us.'
% of album sales will be donated to charity Help Musicians UK
emikarecords. com Invites fans to anonymously share their experiences of depression and create a waterfall of comments inspired by the song Wash It All Away
Studio video promoting the album via Soundcloud, Autumn
Live / DJ video, promoting the album with Beatport, Autumn
Live streaming of the album from Emika's studio via FB, Insta, YT, September.
Bookings by Christopher at Melt Bookings. Team chose to give fans time to listen to the album first, shows starting early 2019, special album show with live band and dome visuals planned in the Berlin Planetarium Feb 2019. A few promo shows summer / fall 2018.
Boiler Room live show as part of Open Dance Floor series tbc
* Given its years of manifestation behind the scenes of other projects, Falling In Love With Sadness reflects a renewed understanding of Emika's own genealogy, kindred lineage and its connection to modernity. Marking a drastic departure from the menacing, stripped-down qualities of albums past, Dva and Drei, Emika has surfaced with a new upwelling of sound gracing the bittersweet, melancholic and sanguine.

* With the interplay of myriad genres both rhythmically and melodically intertwining between spacey, dub tinged Promises, lush synth pop hooks on Escape and the title track's soulful electro, a full spectrum of musicology remains primary to the ever-evolving chroma of Emika's umbrous sound.

* Further characterised by the breathy sibilance and sultry tones of Emika's noirish, vocal aesthetic, the album navigates through the morose and trappings of misanthropy by illuminating a narrative of emotional resilience and recovery.

* Co-produced with Robert Witschakowski of The Exaltics, and continuing her collaboration with guitarist Chris Lockington (as heard on Drei and Dva), Falling In Love With Sadness provides a fifth solo album for Emika, but moreover, defines itself as an overture for her future works.

Moritz Simon Geist, media artist and robotic musician, publishes his first record. It is the world's first techno record played entirely by self-made futuristic robots. This is the 4-track EP to the following full-length album out 16. Nov. 2018. All of the sounds on his records are played by robots: small motors that beat on metal, futuristic 3D-printed robo-kalimbas, salvaged parts from old hard drives that click and cut. It took Geist several years to build, tweak, test and play all his DIY robotic instruments. His 'Sonic Robots' try to push the boundaries of the imaginable. He did so already in 2012 with his well-known oversized 808 robot - an iconic drum machine gotten real, 4 by 2 meter, filled with robotic parts which play the instruments live and in front of the audience. Now, Moritz Simon Geist goes even further to discover the unknown and futuristic world of techno robotics. For this quest he teamed up with the berlinian sound wizards from Mouse On Mars and dug deep in the history of mechanical music and experiments of early electronic music.

On the 4-track EP 'The Material Turn' Moritz Simon Geist turns materials into sounds. The opener 'Entropy' is a bassy club-track, played by futuristic bass-kalimbas, a psychedelic pattern of tonal glasses and pneumatic hi-hat patterns. It is core piece to this EP and is also featured in the main video. Even without a visual part, listening to his music, a sound world opens up which is unheard before: in definition, reference and organic nature. Geist: 'When you listen to robots playing, you realize, that they sound precise, but in contrast to digital sounds they transport an immense organic feeling. No beat is like the other, everything is played with actual acoustic physicality and thus actual error. On the same time, the repetitive nature of the robots make it perfect for playing electronic music. Its industrial and organic at the same time.' The second track 'Under Deconstruction' is a metal-on-metal slammer with a heavy beat played on a big sheets of metal. 'I often try to compose a track around one instrument', explains Geist, 'letting the sounds take a lot of room so they can stand out.' The B-side starts with 'Supercharged' - a heavy drone, reminding of the darked sides of music concrete. Here, tuned air fans, and a metallic percussion robot create the texture. 'Detok' closed the EP with an up-tempo club track, featuring complex rhythmic textures and well defined robotic percussion elements. What Moritz Simon Geist came up with is a stunning record of what is possible today - to explore the sound of mechanics that keep on filling our world. Geist creates a smashing soundtrack for both the precise automation and physical fragility that shapes today's society.

This is Amsterdam based Musique Exotique's launch realised in the form of a seducitive solid white, blue & purple 12' record that includes a free digital download (printed on the label) as well as wonderful cover art by the infamous Japanese twins, Hamadaraka.

Dutch artists Machinegewehr and Ayden Vice team up to bring that timeless retro Italo vibe with Moroder inspired bass arpeggiation, mysterious vocals and epic pads.

On the B side, San Francisco based Dutch artist, Yobkiss, offers up a masterful remix taking the track into darker electro territory. His offering includes beautifully haunting Japanese vocals by the producer's long time collaborator Yuko Araki for exceptional exotiqueness.

Finally a new sampler on Siena.! This time on 3.0 a broad range of sounds from Funk to Techno. The A-side starts with a smooth summer jam by Griffy Hildalgo. Perfect to start a roadtrip! Tetelepta & Gerressen teamed up to fill out the A2 with their raw sampling house joint.

For the techno heads among us, yes, the B sides delivered it. B1 start with Bas Amro with his emotional melodies and deep grooves. The closing track for this EP is by Ben Buitendijk, who delivered a true masterpiece 'Detroit Techno Lovers' don't miss it!

The pure blues of Bror Gunnar Jansson is back in town !!! Better take your time and listen carefully !!!

Black Truffle is honoured to present the first reissue of a true underground masterpiece, Massimo Toniutti's Il Museo Selvatico (The Wild Museum), originally self-released on LP in 1991. Like his better-known brother Giancarlo (whose classic 1985 Broken Flag LP La Mutazione was reissued by Black Truffle in 2015), Massimo Toniutti was active in the vibrant underground industrial/noise scene of the 1980s, contributing to releases on legendary labels such as Broken Flag and RRR and self-releasing a series of cassettes between 1984 and 1988. Existing in a private world apart from the noise and dark industrial tropes of many of his contemporaries, Toniutti's Il Museo Selvatico is an entirely singular work of domestic electro-acoustic exploration. Made up primarily of what Toniutti calls 'small and rare noises' or sonic 'knick-knacks' recorded between 1987 and 1990, the five pieces that make up the original LP usher us into a crepuscular space populated by mysterious traces of everyday life. Toniutti weaves a loose net of distant clanks, dull thuds, metallic resonance and skittering percussive sounds, allowing the sounds to breathe against a backdrop of near-silent atmosphere. Although the haunted ambience recalls the work of contemporaries like Organum, Toniutti generally steers clear of long tones and drones, preferring to arrange brief, sometimes staccato sonic objects into patters of repeating figures and isolated events whose overall compositional shape remains somehow ungraspable. Although glimpses of recognisable location recordings and instrumental sounds can occasionally be made out, for most of the record the sources of the sounds we hear remain teasingly mysterious, an abstracted memory of everyday actions and atmospheres. l Museo Selvatico is accompanied here by an additional LP of material recorded at the same time, composed especially for this reissue into two side-long suites that inhabit the same haunted space as the original LP while occasionally making use of more maximal compositional strategies. Black Truffle is pleased to return this overlooked masterwork to the world. Essential listening for fans of Organum, Nurse With Wound, Christoph Heemann, and the tradition of outsider musique concrète. Lovingly presented as a double LP in a lavish gatefold with printed inner sleeves featuring archival images and notes. Remastered and cut at D&M, Berlin

American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early '70s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic.

Canti E Vedute Del Giardino Magnetico, Curran's solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome's The Kitchen).

Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer's alluring voice - converging in an immersive realm of Curran's inner / outer experiences.

This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina.

Versus Volume Four welcomes three new pairs of talented producers to the Lossless camp. Finnish duo Trisector & Infader bring some tough and dirty stepping vibes with 'Who Are You'. Austrian pairing Faible & Konfusion deliver the ultra funky roller 'Innocent'. Brothers Slider and Expose drop a half time monster in the form of 'Soundsistem' and Soul Intent teams up with Nottingham best vocalist e with the cinematic 'Snow'.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

Here at Death & Leisure we are on a continuing mission to surprise and experiment, and so with our new release we present something very special, Blackmoon1348 and The Tibetan Monks of The Tashi Lhunpo Monastary. This project sounds like nothing else, it fuses heavy drone guitar sounds with traditional tibetan throat singing and live instrumentation.

BlackMoon1348 in collaboration with the Tibetan Monks of the Tashi Lhunpo Monastery (Tibet/ India). 2017 BlackMoon1348 embarked on a cultural experimentation of cultural diversity in the arts, forming a collaboration of ancient Tibetan ceremonial practises and instrumentation with sub-harmonic drones and industrial soundscapes. The music amalgamates sacred mantras that date back to the early teachings of Tibetan Buddhism practised in the Tashi Lhunpo Monastery, with heavy detuned western instruments, synths, and electronic music for the first time in recorded history. The Tashi Lhunpo monastery was once home to the Panchen Lama who subsequently 'disappeared' under the oppressive Chinese rule of Tibet. A handful of the Tashi Lhunpo monks were fortunate to escape into exile and have since re-built the monastery in Mysore, South India - now flourishing with over 400 monks practising within the monastery. Tibetan Buddhism is an outlawed ancient tradition within Tibet - monks, nuns, and Tibetans cannot openly practise their heritage and traditions, forcing Tibetans to inhabitable plateaus, with such areas are now under 'Chinese Re-development', the land being stripped of natural resources for China's ever growing economy and totalitarian rule. Tibetans face persecution for as little as owning a Tibetan flag, or picture of the Dali Lama, with such actions landing you in jail, tortured, poised, and/or being released just before the point of death. It is important for us to remember and celebrate the traditions of the Himalayas and its sacred, peaceful practises.

The music was recorded live in one take at Flesh and Bone studio in Hackney for NTS Radio's Black Impulse show. Engineered, mixed, and mastered by Oliver and Owen at Flesh and Bone, capturing the raw, ethereal essence of the collaboration and ceremonial sounds buried deep within the Himalayas. This was the first time in history for such collaboration of tradition, ideology from Adeline Rozario and orchestrated by David Kerry of BlackMoon1348 who created this music to diversify and bring together ceremonial instruments, diversifying the metaphysics of transcendence through ceremonial Tibetan practises.

It is important to understand that BlackMoon1348 are not attempting to change the fundamental meaning or belief of the Tashi Lhunpo Monks, or assume to have a deep-rooted understanding of the ancient traditions of Tibetan Buddhism, This is our understanding of Tibetan culture and practices as truly and honestly as we see and feel it, and our attempt to spread this beautiful, sacred, culture, and keep it alive within today's society.

Liberation through hearing.

* Drum and Bass pioneers Flex Record release their first Vinyl since the chart topping Ricky Force "Real Love/ Nice & Easy. The 2x 12" offered up here is an amalgamation of 2 years work, showcasing the worldwide talent involved in this unique package. Black Hole is uncompromisingly dark, with new and old flavours seamlessly interlinking, daring the listener to listen deeper and look into what the Black Hole contains.

* Kilim ' Dj Hype full support and play on Kiss. Welcome back flex - found this in my inbox from Mr LDouble'

* Emulations - Amen!. Younghead.

* New and Old tearing tracks love it the general vibe from mailing list responces. (62 direct responses in total)

"INTERSCOPE RELEASES ORIGINAL SOUNDTRACK TO NETFLIX SERIES 13 REASONS WHY (SEASON 2) OUT MAY 18THSOUNDTRACK FEATURES NEW MUSIC FROM SELENA GOMEZ BACK TO YOU' AVAILABLE TODAYSOUNDTRACK ALSO INCLUDES NEW SONGS FROM ONEREPUBLIC FEATURING LOGIC, BILLIE EILISH FEATURING KHALID, YUNGBLUD FEATURING CHARLOTTE LAWRENCE, AND LORD HURON FEATURING PHOEBE BRIDGERS. In addition to new music from Gomez, the 13 Reasons Why soundtrack includes new songs from OneRepublic featuring Logic ( Start Again'), Billie Eilish featuring Khalid ( lovely'), YUNGBLUD featuring Charlotte Lawrence ( Falling Skies'), Lord Huron featuring Phoebe Bridgers (a new version of The NightWe Met'), and Colouring ( Time'). Like its predecessor, the soundtrack also features a mix of '80s New Wave favorites, including classics from New Order, Echo & The Bunnymen, Orchestral Manoeuvres In The Dark, Tears For Fears, and Siouxsie and the Banshees."

Tompkins Square present the debut full-length by Welsh multi-instrumentalist, Gwenifer Raymond. Hailing from Cardiff and now residing in Brighton in the South of England, Raymond began playing guitar at the age of eight. Tompkins Square released her debut 7" on Record Store Day.

In Gwenifer's own words :

When I was about eight years old a pretty formative thing happened to me ... my mum bought me a cassette tape of Nirvana's Nevermind. Being so young I'd had no real interest in music prior to that, but I did have a 'My First Sony' cassette player that I used to listen to audiobooks. Anyway, I put the tape in, pressed play, and what I heard blew my little 8 year old mind. I don't know what it was about that wall of sound that so captured me, but I spent many hours hyperactively running around the house with headphones on, volume at full blast, and Nevermind on repeat. It was either for Christmas or my birthday that year, that I asked for a guitar.

I spent all my teenage years playing either guitar or drums in various punk and rock outfits around the Welsh valleys, but around that time I was also getting seriously into older stuff, Dylan, The Velvet Underground and the like. Through those cheap compilation CDs you could get then, I found that a common influence amongst these guys was pre-war delta and country blues, as well as Appalachian music. Eventually I stumbled upon Mississippi John Hurt, Skip James and Roscoe Holcomb, and they became the holy trinity of musicians I so wanted to able to play like. Eventually, I tracked down a blues man in Cardiff who could teach me and it was in studying these guys that I was introduced to John Fahey and the whole American Primitive thing.

I've always loved being in bands and the sonic chemistry it produces, but at the same time it's always a bit of a compromise that those sounds in my head have to pass through and be translated by someone else's. Sometimes it can be for the better, but sometimes not so much. American Primitive was the first time it had occurred to me that you didn't really need anything more than one solo instrument to fully express yourself, especially when those feelings and moods refuse to be articulated in words, sometimes it's a mystery to yourself what it is you're expressing. I still play in hard rock and punk bands and love to wail and hit my guitar with a complete lack of any subtlety or nuance, but in the end I think that all these things are really part of a circle, feeding back into itself. It's all just a lineup of strange mutations.

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

Dark Entries reissue the 2nd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1986 Carolyn moved into her family's building in downtown San Francisco providing a space to develop her own art and music for the next two decades. She was the only tenant of the five story building. The top floor had 36 abandoned rooms with building materials and holes between floors, staircases that created natural reverb. It was during this isolated time that Carolyn would start working on her second release, 'Parts of The Insomnic Wheel,' 60-minutes of ten untitled pieces that ran into each other. This was also the first release on cassette due time constraints of the LP. She spent many nights at the 24-hour diner across the street chatting metaphysics, parallel universes, the 5th dimension and astro-projections. Carolyn would sleep next to paper/pencil and report dream states, experimenting with mental techniques, investigating how far her mind could go. It was a journey to unravel the 'dark night of the soul'. Utilizing her industrial surroundings, Carolyn would bang on sheet metal and record percussion on found materials. Originally released by Ladd-Frith in 1986, this reissue adds 4 unreleased bonus tracks recorded during the same period. Each copy includes a 16-page zine with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

The keeping of pets marks humans' attempt at taking possession of a part of reality that is not at his disposal. Dressing a piece of the real that lives according to entirely non-human rules and which only in the saddest case does not resist the discipline of the human symbolic order vehemently and in a sustained matter, is a violent act of protection. Because in the non-place of the real, all that which we are helpless in the face of looms: the non-logical and the nameless, the violence and the noise, yet also the unrestrained and unfiltered desire.The innocuous figure of the pet marks a gateway to an investigation of these eerie milieus, while electronic dance music lends itself to this investigation in an outstanding way. This constellation marks the subject of Column's 'Pets II.'

Column is the name of Cologne based renaissance man Jan Philipp Janzen, who, as chief emissary of Cologne's pop internationalism, has been playing the field in various functions for Von Spar, Cologne Tapes, Urlaub in Polen, Owen Pallett, Scout Niblett or The Field, and who has also, in one way or another, been involved in most relevant records coming out of Cologne for the past number of years. After his excellent solo debut 'Pets I' (Areal, 2016), Janzen presents another extraordinary record in 'Pets II,' perfectly complemented by another ghostly oil work of Burkhard Mönnich on the cover.Sonically, 'Pets II' marks a clear development for Column. In its exploration of the thresholds of the real, it sets two points of focus, corresponding with the split in sides A and B.

Side A, on which Janzen teams up with long-time friend myr. (PNN), explores the uncanny as a fissure of the symbolic order, and the subsequent breaking in of the real. It opens with two peaktime rockets that have their wooden, nether-regional groove narrated by grim, down-pitched vocals. The ethereal remix by Leibniz (hundert) seems to be observing the situation from a hiding place, and is the side's clandestine and no less dark closer.

Side B, for which Janzen invited studiomate Marvin Horsch (Dorfjungs/Beats in Space) along, delivers two swaying synthesizer workouts, the second of which, 'Molly and Swerve,' is directed firmly at the dancefloor again. What is at stake here is the transition between a free, undirected jouissance of the real and a more ordered becoming-lust. Here, as in Map.ache's (Kann/Giegling/Altin Village) remix which closes out 'Pets II,' it becomes clear what connections dance music can foster between a free, impersonal desire and the sphere of interpersonal wanting, but also the losses that are negotiated in it. Above all, however, it becomes evident what a courageous daring project 'Pets II' is in all of its conceptual and aesthetic determination; with Von Spar's standout 'Garzweiler' 12' (Altin Village & Mine, 2017), it documents a New Cologne Realism.