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Major Keys is a brand-new audiophile label focusing on fully licensed reissues of jazz classics, pressed on 12' for a fuller, louder version compared to the original album cut. What better way to kick of the series than housing Herbie Hancock's imitable 'Chameleon' and 'Watermelon Man', loud and proud on either side of a 12' - remastered and cut by the engineer of the original Head Hunters LP from 1973.
They don't get much more iconic than 'Chameleon'. Nestled on the incredible 1973 'Head Hunters' album it's a 16-minute exploration of legendary jazz funk - having all the sensibilities and solos of a jazz record, yet grounding its rhythms in funk, soul and R&B. Even, as its title suggests, morphing from a low slung slow jam into a full-on, fast paced spiritual gem. Lock in for one of the most iconic basslines around courtesy of Paul Jackson, alongside some of the sweetest synth and Rhodes playing you're likely to hear from Herbie, all tied together with Harvey Mason's mythical drumming. Sampled the world over by the biggest and the best this is a truly timeless and hugely influential piece of music.

On the B side, the equally intriguing 'Watermelon Man'. This version, again taken from the Head Hunters LP, differs from the Blue Note bop '62 original, with Hancock developing it into a jazz fusion expedition. Bill Summers top and tails the track with a style of beer bottle blowing imitating a type of whistle playing found in Central African Pygmy music, giving a unique flavour to Hancock's jazz funk stylings that focus on the rhythmic interplay between each instrument. From Dilla to Digable Planets, Madonna to Massive Attack it's a classic that's sampled time and time again for good reason.

For the third release on new LA based Pleasure of Love, Dublin's Mix & Fairbanks deliver tasteful reinterpretations of italo, african house, and rare 80s disco. The Dublin duo have releases on Orange Tree Edits, 045 Recordings, and Hot Digits but have saved some of their best material yet for this 12 Inch.

On the A side, the euphoric Azoto rework is a driving disco romp for 'any time or place,' while 'Purple' patiently builds on a hypnotic bass with rhodes and airy leads before a sweet flight attendant lead take off. The 'Bee Side' kicks off with a carefully crafted reimagination of an 80s african house groove with added analog leads and percussion while 'Forever' fills out the release as a peak time disco banger that's built on the framework of a certain famously unsung disco genius

DJ Support
Skream, Moon Boots, & Krystal Klear

Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

Strut announce the signing of one of the best of the UK's new generation of soulful genre-fluid artists, Nubiyan Twist, with a superb new single, 'Tell It To Me Slowly', released on 16th November. Voiced by the band's saxophonist Nick Richards, the song is an instant soul-jazz winner, with lyrics speaking about inner turmoil and a search for the truth. On the flip, 'Sugar Cane' features the unmistakeable vocals of Nubiya Brandon singing of harsh life lessons over an increasingly chaotic groove. The tracks are taken from the band's forthcoming album, 'Jungle Run' which effortlessly weaves together elements of jazz, soul, hip hop, African styles, Latin, dub, hip hop and electronics in a flow of thought-provoking and life-affirming music. The single and album mark another important chapter for a band that has been consistently developing and evolving their sound since their formation in 2015 at Leeds College Of Music. Nubiyan Twist's 'Tell It To Me Slowly' b/w 'Sugar Cane' is released on 7' single, digital and streaming on 16th November. The band also head out for a series of European dates from next month:

Earlier in the year, Red Light Radio co-founder Hugo van Hejiningen and Identified Patient joined forces to debut their new musical project, Stallion's Stud. Artificial Dance is ready to release the first fruits of the duo's studio collaboration.
The four-track EP digs deep into their shared love of electronics, post-punk era experimentation, DIY music culture and dubbed-out drum machine rhythms. The results are undeniably dark and intoxicating, with former punk singer Hugo fronting proceedings via mind-altering vocals and twisted lyrical flows.

Opener 'Promising Promises' sets the tone for what follows, with Hugo's spoken vocals wrapping themselves around ricocheting industrial dub rhythms and raw, delay-laden electronics. The delay trails to oblivion remain a force to be reckoned with on the creepy, fuzz-fuelled cold-wave doom of 'Instrumental Aria', while the throbbing and clanking 'Unpredictable' and 'Voice of No' ratchet up the intensity by several notches via end-of-days guitars, heavyweight bass and face-melting percussion.

The 13th Voodoo Down release is the sophomore EP by label co-founder Sean Phillips aka 12 x 12. The follow-up to 2014's Kobayashi Maru, this four-track EP is the culmination of honed process and techniques over the past several years to produce a more organic groove-based style of techno. Mostly the work of a sampler and some analog synths, the tracks range from warm broken-beat atmospheres to digital sequences.

Recorded already in 1983/84, these soulful songs still show a relation to 1970s soul pop with lush
arrangements that work with real instruments and have a vibrant atmosphere. An all in all memorable songwriting
and the incredible vocals of Mavis Staples from The Staple Singers make the album stand the test of time, even 35
years after the initial recording sessions and 25 years past its first CD/MC release. Licensed by legendary BRIAN
HOLLAND and for the first time on vinyl now by EVERLAND!

Mavis Staples has come to fame and fortune as member of the family vocal group THE STAPLES
SINGERS from the late 50s onward to the mid 80s and she has released a fair amount of solo albums as well,
many of them in recent years. - Love gone bad' is a solo effort from 1993, originally titled - Mavis Staples' and only
released on CD and cassette back in the days. So EVERLAND have now done the right thing and put out the first
ever vinyl of this gem. And a real gem can be found here. Soul music in a down tempo with a slick production and
lush arrangements that still have this vivid expression making it real music by real musicians. The songs contained
on this album all date back to the early 80s, from a session not released until 1993. The melodies and the way the
compositions flow go back to a mid to late 70s soul pop style that incorporates elements of funk and dance music
but in a moderate pace. You can easily float upon the dancefloor and drift away in silky dreams. Some tunes have
a synthesized beat with a typical 80s sound, but these are compositions that stand the test of time and 25 years
after their initial release and 35 years after these recording sessions they shine on as diamonds of black soul pop
and R'n'B music (not to be confused with Rhythm & Blues). Mavis sings like a grand lady of soul with a timeless
quality that makes her stand out from the crowd of similar crooners. Even in the most gentle moments here the
tunes have an irresistible groove that moves the listener. But you can also sit and listen and explore piece by piece
digging deeper into the arrangements to unearth great bass and guitar lines. You will sing these vocal melodies
over and over again in the days to come until you throw this onto your turntable once again. I wonder why this did
not see a regular release back in the 80s as it would have led Mavis Staples to the top positions of the charts, Pop,
Black Music and Billboard. She was meant to make an impact and although she was already in her mid 40s when
she recorded this collection of soul nuggets, she brought a lightfooted youthful spirit in, which gives so much life to
her songs. A must have for all aficionados of female fronted soul pop.

vailable on 7-inch red vinyl single (includes free digital copy on MP3). Vinyl is limited to 500 copies.

Les Disques du Crepuscule presents All Through the Night, the first of two of newly recorded 7-inch coloured vinyl singles by The Passengers, the late 1970s new wave group from Brussels who subsequently became cult Factory/Crepuscule band The Names.

In 1978, with the Brussels scene still in the grip of raw punk, The Passengers offered a fresh, pop-oriented sensibility, mingled with the darker accents of later post-punk. This was young music in every sense, with none of The Passengers older than 22, shaped more by American than British influences, notably the Velvet Underground, whose radical style was in turn echoed by late Seventies bands like Richard Hell and the Voidoids, Talking Heads and Television. The presence of Isabelle Hanrez on vocals also made comparisons with Blondie inescapable. 

With their first gigs in the five-piece quickly became a local sensation, and in March 1978 won a battle of the bands known as the 'First Belgian Punk Contest' - only to reject the prize (a one-off single deal) as a cynical commercial ploy. Instead, the band chose to tape All Through the Night for Brussels punk imprint Romantik Records, only for the label to fold before this came to pass. 

The Passengers parted company soon after, with Michel Sordinia, Marc Deprez and Christophe Den Tandt becoming The Names on Factory Records, while Hanrez formed own pop-punk outfit, Isabelle et les Nic-Nacs. Four decades on, the original Passengers quintet decided to record and issue the singles denied a release at the time, recorded and played as if it were still 1978!

Cover portrait by Eric de Merkline. Design by Atomluft.

Available on 7-inch clear vinyl single (includes free digital copy on MP3). Limited to 500 copies.

Les Disques du Crepuscule presents All Through the Night, the first of two of newly recorded 7-inch coloured vinyl singles by The Passengers, the late 1970s new wave group from Brussels who subsequently became cult Factory/Crepuscule band The Names.

In 1978, with the Brussels scene still in the grip of raw punk, The Passengers offered a fresh, pop-oriented sensibility, mingled with the darker accents of later post-punk. This was young music in every sense, with none of The Passengers older than 22, shaped more by American than British influences, notably the Velvet Underground, whose radical style was in turn echoed by late Seventies bands like Richard Hell and the Voidoids, Talking Heads and Television. The presence of Isabelle Hanrez on vocals also made comparisons with Blondie inescapable. 

With their first gigs in the five-piece quickly became a local sensation, and in March 1978 won a battle of the bands known as the 'First Belgian Punk Contest' - only to reject the prize (a one-off single deal) as a cynical commercial ploy. Instead, the band chose to tape All Through the Night for Brussels punk imprint Romantik Records, only for the label to fold before this came to pass. 

The Passengers parted company soon after, with Michel Sordinia, Marc Deprez and Christophe Den Tandt becoming The Names on Factory Records, while Hanrez formed own pop-punk outfit, Isabelle et les Nic-Nacs. Four decades on, the original Passengers quintet decided to record and issue the singles denied a release at the time, recorded and played as if it were still 1978!

Cover portrait by Eric de Merkline. Design by Atomluft. e

After a five year release hiatus, in 2018 Yura Khlop is putting out music under his SE62 alias again. "Jazzed EP" is the second release in the SAFT X series and the Kiev based producer has delivered a class record.

The A-side opening track; "Swing Tool" is built around more jazzed out samples than the other tracks. SE62 cleverly plays original notes together with a hazy sample that serves as the core element. "Jazzed EP" will be available through all specialized retailers in the autumn of 2018. On A2 we find "July". Again a very dance floor oriented record with taints of emotion. The very present chord and bassline dominate the tracks structure until at one point; a beautiful sample is introduced. Positive sounds for lovers of classic deep house.

The title track "Jazzed" is a signature piece of thumping deep house, using swinging MPC style drums and an evolving digital piano riff. This together with some submerged sounding sample shots, create a dance floor worthy ambiance. After "Jazzed", we find "Pitch Black", a sample-heavy jam that is based around a set of characteristic drums. A swinging chord and an infectious chord progression do the trick on this true dance floor record.

Xaturate aka Fred Sinister Souls's Hardcore alias back on PRSPCT's XTRM imprint with a stomping hard as nails 6 track EP (4 on vinyl and 2 digi bonuses]!

2 solo tracks, 1 remix and 3 collabs with Dolphin, Detest & eDub make this one bad motherloving piece of work.

Xaturate hitting harder then that abusive spouse of yours on this one. Only difference is that this is a beating you actually DO need in your life. Get some!

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

The new album from Danish electronic trio System is a special kind of collaborative effort with piano magician Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically intriguing as they are touching. Ranging from the mellow bliss of the title track to echoes of 90's and 2000's electronica and ambient sequences frequented by mesmerizing movements and sounds. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.

Thomas Knak met Nils Frahm at one of his concerts in Copenhagen. They stayed in touch, exchanging thoughts and ideas. Two years later, Anders Remmer was also introduced to Nils. From then serious ideas for a collaboration formed. As Nils was a fan of System's self-titled debut album (released in 2002 via Pole's Scape label) their talks centred around Dub and minimalism, elements that constitute most of System's music as well as their side and solo projects. This in mind, System began producing sketches and brought them to Nils´ Durton Studio in Berlin in December 2015, where they recorded ten hours of him playing keys and effects to their drafts. Back in Copenhagen, they decided to change direction. - As Nils had told us about his fascination with our debut album, we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction.'

So they started building new pieces from the Durton recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) always relied on steady beats or rhythmic material, so the productions of 'Plus' with their focus on acoustic and melodic elements, ambient layers and cinematic moods, sees them pushing forward into new areas.

This way, the trio avoided copying what they had already done years ago, when they built a reputation as Denmark's prime originators within electronic music in the 90's and 2000's. 'Plus' is a triumphant example of collaborative experimentation and may be the dawn of a new era for System: - For us it was really satisfying to focus more on actual sound rather than rhythmic aspects. There is a lot of potential in this field, so it would only be natural for us to pursue this, maybe as a series of collaborations with other people who's music we admire.'

A trio of guitar, bass and drums, Elektro Guzzi overcome the boundary between analogue versus digital, performing techno live with the drive of a machine and the sonic detail of an instrument - without any computers or loopers. For their upcoming album Polybrass, Elektro Guzzi have drastically expanded their sonic repertoire: both in the studio and on stage, they are joined by an ensemble of three trombonists, opening up a whole new realm of possibilities. With Hilary Jeffrey, Daniel Riegler and Martin Ptak, the band are joined by three brass heavyweights, each of them well renowned for both their solo ventures as well as projects such as The Kilimanjaro Darkjazz Ensemble, Sand and Zeitkratzer. By treating the three trombones not simply as a set of extra instruments but rather as one coherent body of sound on its own, Elektro Guzzi dissociate the brass instruments from their conventional use and repurpose them into something completely different: a modular synthesizer, with each trombone representing one oscillator. In doing so, Elektro Guzzi add new layers of depth to their music, emphasizing a more cinematic side of their music: like the soundtrack for a movie, Polybrass is bigger, darker, more dramatic, more intimate. Warm and fuzzy textures float weightlessly above fragile soundscapes and complex sonic fragments. At the same time, the band's signature sound runs distinctly through the entire album: solid percussive grooves, stripped down to the absolute minimum it takes to make your body move. Hypnotic repetition, building tension and suspense up to a point where the energy of the music gets so intense you feel like you can physically touch it with your hands, interlaced with organic patterns of sound, constantly changing and evolving, pulsating and oscillating. Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl with download code.

Los Angeles - September 7, 2018 - Billy Idol's 1980's remix collection, Vital Idol, is getting a modern-day upgrade with Vital Idol: Revitalized, set for release on CD and digital by Capitol/UMe on September 28. A 2LP 180-gram black vinyl in addition to a limited edition, color variant will follow on November 16.
More than 30 years after his groundbreaking Vital Idol compilation cemented the vibrancy of the dance-rock remix genre in the second half of the 1980's, Idol's Revitalized collection features 11 brand-new remixes of his most classic and enduring hits. Lending their hands to the Revitalized proceedings are electronic dance luminaries Moby, The Crystal Method and Paul Oakenfold as well as current innovators including Tropkillaz, Shiba San, Juan Maclean, CRAY and RAC, who's remix of 'Dancing With Myself' debuts today.
Vital Idol, initially released in Britain in 1985 and subsequently issued in the United States in 1987, was the first remix record released by a rock superstar. Besides being certified platinum, Vital Idol was accompanied by a version of 'Mony Mony' that reached No. 1 on the Billboard Hot 100 Singles chart, as well as hitting the Top 10 on the U.K. Singles chart.
Highlights found within the grooves of Revitalized include The Crystal Method's percussive, explosive stab at 'Rebel Yell,' CRAY's bass-and-keyboard-blessed 'White Wedding,' Tropkillaz's trop-house framing of 'Eyes Without A Face,' St. Francis Hotel's shimmering stop/start caress of 'Flesh For Fantasy,' and RAC's retro-harmonic, fist-pumping 'Dancing With Myself.'
Meanwhile, the digital version of Revitalized features four additional exclusive remixes, namely the brand new Billy Idol/Steve Stevens Remix of 'Mony Mony,' Paul Oakenfold's Extended Remix of 'One Breath Away,' Moby's 'Half Time Version' of his take on '(Do Not) Stand In The Shadows' and 'Save Me Now (Lost Dog Remix),' reworked by Billy Idol's son, Willem Wolfe with Brandon Rauch and Ed Bedrosian.

ABOUT THE 'LIBRARY TOOL KIT' SERIES

The new sub-label from WNCL Recordings features 12 short 'tools' per release, for use on discotheque sound systems and home stereos alike. Released on 10' vinyl with digital to follow at a later date

ABOUT THIS RECORD

EKOPLEKZ contributes to the Library Tool Kit series with 12 unique transmissions, live and direct from his radiochronic workshop.

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

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

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

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

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

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

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

For its next release, No.19 Music welcomes one of dance music's most celebrated contemporary artists in Ryan Crosson for a new single coming on vinyl and digital.

Crosson is a true techno tastemaker who hails from Detroit. He's released on long established labels like Minus, as well as going on to form Visionquest with Seth Troxler, Shaun Reeves and Lee Curtis, and the label of the same name where he also put out key EPs and LPs with Merveille. From headline sets at festivals round the world via club gigs at the most tasteful venues in the scene, he is a real giant of underground dance music with studio skills to match, as this standout three tracker proves.

Superb opener 'Comet Pills' is a deep and thoughtful track that encourages your mind to wander off into the cosmos. Slick drums and melancholic chords set the tone, while the bass fleshes things out and sci-fi details bring out a cinematic quality.

The brilliantly mysterious 'Roscoe' is expertly stripped back and reduced house music that takes you on a trip. It's quick and smooth, with watery sound design, soft hits and muffled vocals adding intrigue to a track that is both cerebral yet designed to make you move.

Last of all, 'Snake Oil' is another fully realised offering which journeys to the edges of the galaxy, with long lingering ambient pads suspending you in mid-air as squelchy synths and shuffling drums keep one foot on the dance floor.
These are three terrific cuts of seriously atmospheric house and techno.

30 Years Ago This Month (nov 1988) Humanoid - Stakker Humanoid Was The Uks No.1 Song In The Dance Charts - It Would Stay No.1 For 5 Weeks Also Charting In The Uk Top 20 At No.17.

Now Regarded As An Acid House Classic Anthem And Hailed As The First Real Uk Acid House Track To Break The Uk Top 20.

Humanoid Music From 1988 Was Also Used In Stakker Eurotechno - Now Housed In The Museum Of Modern Art (new York) And Sighted As A Major Influence On Early Aphex Twin Music / Reflex

To Celebrate Humanoid (brian Dougans Fsol) Has Reworked The Original Into A 2018 Breaks Monster With Two Equally Killer Tracks On The B Side Skatter And Blunt 

Original Futuristic Uk Acid House Music Circa 1988 :) 

With Not A Single Cry Of 'acieeeeed!' One Record, Humanoid's Stakker Humanoid, Has
Blown Apart The Uk House Music Scene. It's The Most Uncompromisingly Acid Track To Be
Produced So Far In This Country.

Mogwai's first venture into the world of the feature
film soundtracks is for the upcoming 'KIN' (directed
by Jonathan and Josh Baker, the producers that
bought you 'Stranger Things' and 'Arrival', in
cinemas August 2018).

Heavyweight black vinyl includes digital download
code.

Mogwai fans won't be disappointed and it will
appeal to lovers of sci fi film soundtracks.

Includes the single 'Donuts'.

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.

No one had been through those doors in years. Unchanged, seemingly untouched, just a Guard watching over it, one wondered whether the place would ever see the light of day again. Built in the 70s by Scotch, there were only twenty such places in the entire world. Twenty studios, all identical. Most had undergone a digital makeover in the 80s, but not this one; situated in Lomé, this studio had stayed true to its original form. Silent and uninhabited but waiting for one thing, and one thing only: for the sacred fire to be lit once again. That of the Togolese Recording Office, is studio OTODI for those in the know. Through thick layers of dust, the console was vibrating still, impatient to be turned on and spurt out the sound so unique to analog. That sound is what Peter Solo and his band Vaudou Game came to seek out.

The original vibrations of Lomé's sound, resonating within the studio space, an undercurrent pulsing within the walls, the floor, and the entire atmosphere. A presence at once electrical and mystical sourced through the amps that had never really gone cold, despite the deep sleep that they had been forced into. In taking over the studio's 3000 square feet, enough to house a full orchestra, Vaudou Game had the space necessary to conjure the spirits of voodoo, those very spirits who watch over men and nature, and with whom Peter converses every day.

For the most authentic of frequencies to fully imbibe this third album, Peter Solo entrusted the rhythmic section to a Togolese bass and drum duo, putting the groove in the expert hands of those versed in feeling and a type of musicianship that you can't learn in any school. This was also a way to put OTODI on the path of a more heavily hued funk sound, the backbone of which maintains flexibility and agility when moving over to highlife, straightens out when enhanced with frequent guest Roger Damawuzan's James Brown type screams, and softens when making the way for strings. Snaking and undulating when a chorus of Togolese women takes over, guiding it towards a slow, hypnotic trance. Up until now, Vaudou Game had maintained their connection to Togo from their base in France. This time, recording the entire album in Lomé at OTODI with local musicians, Peter Solo drew the voodoo fluid directly from the source, once again using only Togolese scales to make his guitar sing, his strings acting as channels between listeners and deities...

Raw formed during the summer of 1990 in Athens, Greece when keyboardist Giannis Papaioannou and percussionist Makis Faros started composing music for imaginary waiting rooms. They combined the traditional cut-up technique of tape-loops, the industrial timbres of musique concrète with the harmonics of world music, all filtered through digital sampling and computer programming. Their first recordings generated an 8 track demo, which was freely distributed among friends and the local underground press. After 6 months of work and several sessions with guest musicians on acoustic and electric instruments, Raw self-released their first album 'Land' in December 1991 on Elfish Records. In 1992 they recruited the band's sound engineer, Coti K., as a third member, both on stage and studio sessions. 'City' was their second album fully inspired by the mechanisms of their home town. Presenting a different electronic face of Raw, manipulating rhythms with analogue synthesizers and harsh sampling to evoke the atmosphere of Athens. 'City' was released on CD only by Elfish Records in 1994. 'Fragments' is a collection of 4 songs from 'City' presented on vinyl for the first time plus bonus track recorded during the 'City' sessions previously released on a compilation in 1992. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Each copy includes a double sided postcard with photos and notes.

Redsonja Records presents: Reference number 17, 'Mercury', a 3 track EP, on Digital and Vinyl signed by two internationally renowned English artists, highly acclaimed on the global electronic scene. We are talking about none other than Mark Broom and Silicon Scally (Carl Finlow).

Mark Broom delivers the goods with 2 original tracks exclusively for Redsonja Records.
'Mercury' is techno in its purest form, a beautiful groove delineated by an accompanying string meandering synthetically along the track from start to finish, at times broken up by Broom's generous use of delay and reverberating claps, making the track compact and ready for the dance floor. Whereas a darker and more complex techno sound, alive with trademark Broom percussion, identifying with the current techno club scene can be heard spilling out of his second track '77S3'

Carl Finlow also presents us with a little gem of a track, surprising us once again, this time with an electro remix of 'Mercury' in true Silicon Scally style. The resources he puts to use define him as a serious producer, successfully maintaining significance and groove whilst distorting the soundscape by overlaying the sinister rhythm with captivating fettles and shapes of sound, the end result being literally extraordinary.

This EP makes for a must have in any techno sympathiser's collection, as RS17 is an all round excellent and authentic production, made with lots of care and attention.

After a release on I Love Acid and some heavy electro on X0X Records Type-303 delivers a definite acid techno rave anthem that will rip up the dancefloor. You could easily imagine this sort of madness coming from the early 90's acid labels, but in 2018 these kind of tracks are becoming a rare species. On the B-side Finnish HYV is taking the command and remixing the original track into more of a Chicago style jackin' acid (and adding sh**loads of TR-707, but still keeping the track as pumping and mayhem as the original. Limited and numbered edition of 200, after that it's gone, no represses, no digital, so you know what to do!

The nastiest, sweatiest instrumental funk on Colemine is back with a second helping. This time coming through with some fuzzed out funk on the A-side with 'Gripsweats Theme' and some mellow library vibes on the B-side. DJs are going to need doubles of this bad boy as this one has the vibe to get the party started right. For Fans Of... The JBs, The Meters, Vulfpeck.... Breakbeats for all the DJs that are diggin' for breaks. Also Available : Ziggy's Walk / Alpha Dog 7'.

In 1990, raising their voices over the sound of Neuropolitique's 'Mind you don't trip' Sebastian S. and Mike DMA (Direct Memory Access) met, breaking the ice by swapping opinions on LFO and 808 State. They later went on to create the first live configuration of BWP Experiments (Bad Woofer Posse Experiments, for more info see basicmoves), and produced dozens of tracks together which, for the most part, were live takes and remain unreleased. Only
a few made it out into the world, and to this day have stayed well under the (discogs) radar:
Our Techno Theory' was put out on an 8-tracker cassette by Research and Development,
while only two productions 'Escape' and 'Pay your taxes' were pressed on vinyl for the same
imprint. Now Sebastian S. (aka Caustic 14) returns to the label with two previously unreleased tracks
found in his personal archive. 'Excalibur' was produced in tandem with Mike during the last
session the pair ever did in Sebastian's studio (Z'ha'dum) in 1996. It's a vibrant hommage to
their common passion outside of music: Sci-fi. This track refers specifically to the series Babylon
5 , which was a revolution in the genre, and the first tv series to outdo Star Trek (the intergalactic
reference since the early 1960's). The idea of being 'united against darkness' was key to the
series, and the motto remained essential for Sebastian, Mike and Deg's music productions,
collaborations, live shows and dj sets. The influence of what had been a passion since
childhood can be felt in their sound: unconsciously they had dreamt up the soundtrack to their
own space journey. The second track 'Cliffhanger', a solo production by Sebastian S., is a dig from several years
earlier (1994). The Detroit influence is strong here, yet the signature Caustic 14 "space opera"
melodies hold their ground and shine out.
We are very proud to propel this Belgian electronic music heritage out into the world.

In memory of Matt Cogger.

walrus & islas , September 2018.

'Cohesion' is the third full album from Anchorsong - AKA Tokyo-born, London-based electronic artist Masaaki Yoshida. Taking inspiration from Classical Indian Percussion, and '70s and /80s Bollywood film soundtracks

Anchorsong creates a journey of psychedelic, danceable and free-spirited compositions that blur the boundary between rhythm and melody. It was whilst extensively touring his previous album, 'Ceremonial', that Masaaki

became deeply fascinated with percussion, and shifted his attention away from the African drums present on his last record to the music of the Middle East, South East Asia, and then more specifically to the sounds of India. 'The Indian

percussion was the one I was most fascinated with, so I began to dig into that genre deeper, I started with classics like Ravi Shankar, and the more classical Indian musicians. But then I began to explore the world of Bollywood and movie

soundtracks which is another world and the more I listened to composers like Sapan Jagmohan, Rajesh Roshan and Kalyanji Anandji, the more the concept of the new record began to form.

Choosing to work with traditional Indian instruments like the tabla and dholak, Yoshida wanted to use instruments that possessed melodic qualities, and could be tuned to work in the context of electronic music. He found that when Indian

percussions mixed with other instruments they began to sound like a melody that blurred the border between rhythm and melody. The concept of bringing together contrasting elements and cultures is evident from the album's title,

'Cohesion'. Here Anchorsong has brought together musical traditions and sounds from across borders, forging a truly unique body of work. Having reached new heights with 'Ceremonial' through accolades such as BBC 6Music's #5 Album

Of The Year, 'Cohesion' looks to build on such successes through the coupling of a comprehensive European tour kicking off around the release of the album.

Following his previous releases on respected imprints such as Optimo Trax and last year's remix of Romanthony's 'Give U Up' on Glasgow Underground, Jasper introduces his own label with two of his most ID'd weapons over the last few months, 'Crypto' and 'These Are The Beats'.

The lead track 'Crypto' is a hypnotic builder showcasing a new, musical maturity expertly applied to his own productions. Digging deeper into the house and techno sounds he has been playing around the world since his early twenties, his heads down production sound is inspired by deeper moments on the dancefloor, whilst retaining the energy his own DJ sets are internationally renowned for.

On the flip 'These Are The Beats' rolls out more hypnotic lead lines and drum machine rolls to further the themes established by Crypto, plunging the dancer into a deeper state of consciousness without forgetting the dancefloor energy needed to hold your attention in the early hours of the morning.

The sound of Jasper's recent productions are the result of years of musical development; birthed in the basements of Subclub and refined the world over. Mitchell Street Records is a reflection of his own musical tastes, an outlet to showcase the music he loves to play.

Following on from the three highly-acclaimed CoOp Presents 'Selectors Assemble' compilation EPs from the past year, it's now time to focus on some of the individual talents from the ever-evolving movement. As the international foundation grows, we invite aboard the extremely talented Neue Grafik into the fold.

French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a and Wolf Music. His sound is a hybrid of jazz, house, broken beat and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London thrown into the mix.

So to the music - two brand new tracks, 'I Miss Something' and 'Bed Stuy's Mood', complete with remixes from EVM128, Danvers, Xtra Bruk and NameBrandSound (aka label bosses IG Culture & Alex Phountzi) respectively, making this one essential package for the bruk soldiers and beyond.

In Neue Grafik's words...

"I remember the first time I was at a CoOp party and met IG - I just said something like "unbelievable party, well done! Thank you, man". I didn't expect to be a part of this brilliant family a few months after that; it's totally insane to think about it now.

I began to hang properly with the CoOp fam during a DJ session at The Flex in East London. I was so happy to live in this moment; surrounded by these talented performers, artists and producers, excitedly talking about unreleased music on everyone's USB sticks.

This EP is a personal vision of the broken beat scene and my love for that. A meeting with artists who build my own taste, with friends keeping the same vibrancy and desire for this music. 'I Miss Something' and 'Bed Stuy's Mood' are two tracks dedicated to Porte Des Lilas (Paris), and Bedford-Stuyvesant (New York). One was made in my house, the other on holiday. These two tracks, as well as the remixes from the Selectors Assemble crew, represent a real and deep friendship."

More essential music from the CoOp Presents camp, available on limited vinyl and all digital services. Don't sleep.

Mickey Pearce is back in business with 'One Hundred Smiles', a new album of swaggering UK club music experimentations, and a new label Box Of Toys.

His first album, 'Michael' (2016), saw him exploring new territory; crafting a strange and melancholic landscape of beatless textures and leftfield house and techno. Approached with a fresh perspective, 'One Hundred Smiles' slows the tempo and ups the collaboration.

'The last record was a reflection of my situation around that time. This one is like stepping out from under a cloud. It's about the joy of collaboration; meeting and working with new people. It's also about the ambiguity of smiles, and the complicated relationships we form.'

The album features appearances from rising UK talent Poté, Taiwanese vocalist Meuko Meuko and Greek electronic pioneer Lena Platonos.

'Poté is a crazy talent. We've done a bunch of sessions and made a load of tracks, two of which ended up here and one of which is going on his next record.

Meuko Meuko is an artist from Taiwan. We communicate entirely via Instagram. She'd send me translations of the lyrics in Instagram messages, but I'm still not sure if I've chopped them into any sort of sense. The instrumental was called 'Slime', and she misread that intentionally or unintentionally to mean 'smile' and sent me all these crazy lines about 'your lovely smile' and it was just perfect. I love her.

Lena Platonos is a legend, and someone I was honoured to work with. The day she told me she had been playing and enjoying the record around her friends was a good day.'

'One Hundred Smiles' is the first release on his own label Box Of Toys. The label is named the same as his 2017-2018 radio show series, which featured the album's guests as well as Randomer, Machine Woman, Airhead, The Maghreban and Object Blue.

'One Hundred Smiles' is released on LP and digital via Box Of Toys on 2nd November 2018.

Georgia Anne Muldrow returns with a modern soul classic in the
making - 'Overload', via Flying Lotus's Brainfeeder record label.
An incredibly talented vocalist, songwriter and producer,
Georgia Anne Muldrow effortlessly spans jazz, soul and hip hop
and, during her 12 year career, has collaborated with Madlib,
Erykah Badu, Dev Hynes aka Blood Orange, Bilal and Robert
Glasper.
'Overload' was executively produced by Flying Lotus, Aloe Blacc
and Dudley Perkins.
For fans of NxWorries, Erykah Badu, The Internet, Madlib.
Notable collaborations on 'Overload' include Dudley Perkins,
Shana Jenson, Moods, Lustbass and Mike & Keys (50 Cent,
Nipsey Hussle, Snoop Dogg, G-Eazy), who contribute
production to four tracks including the sleek, anthemic title
track alongside Khalil (Dr Dre).
CD digipack. LP pressed on 180g heavyweight black vinyl in an
artworked innersleeve housed in a 3mm spined outer sleeve
with digital download card included.
Artwork by Martin Norwood (Nice Dreams Studio). Layout by
Adam Stover.
'No one sings a heavy love song like Georgia Anne Muldrow' -
Pitchfork Best New Track
'Beautifully poised between classic 90s R&B and something
strange, disorientating and psychedelic.' - The Guardian

Our third Platinum release of the year comes from Finnish breakbeat veteran Fanu who's conjured up a fusion of classic breaks and brutal basslines across 2 vinyl tracks and 2 further digital bonus offerings. An EP full of experimentation that constantly strays from the norm, this is a release that celebrates the combination of Fanu's great efforts and unique methods bringing about impeccable results.

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album 'SortLave' on Venetian Snares' Timesig imprint. Recorded between 2016 and 2017 using Richard's custom built Eurorack modular system and two Nord G2 Modular units, SortLave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as 'Revsic' to 'Astra's dazzling juxtaposition of sounds and onto the radiant ambience of the album's closer 'Takara'.

Talking about the album's genesis Devine explains 'I've been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.' 'I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.' This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. 'I really wanted to break free from timeline-based music creation and do things with my hands on the fly,' he explains. 'So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I'm very excited to share it with the world.'

Making his debut in 1995, Devine's releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world's leading music technology businesses and working with companies such as Google and Nike.

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.

'Breathe The Machine' is the first installment of Dojostudio and presents a musical world rich in harmonics, low frequency and melodic impact, yet with enough space in between to allow that perfect breathing room essential for powerful dance cuts. 'Breathe The Machine' portrays a world that initially feels robotic, yet instills an organic fluidity known only to come from humanoid beings, breathing life into a system littered with code and coldness. Billy Dalessandro presents 3 original cuts, plus a rendition of the title track by Mike Shannon.

Both for 'Breathe The Machine' and 'Tractor Beam' the Waldorf Microwave XT 2 and the Jomox 888 were the primary sound sources. For 'Breathe The Machine' the 888 was processed through a Jomox T-Resonator, which added harmonic distortion, and also spread the stereo spectrum out a bit offering the drums a more washed-out feel. The XT was layered track by track by performing patterns live into an editor until the desired ideas were properly recorded. Mike Shannon was brought on board to offer a contrasting expression of 'Breathe The Machine' and when asked how the process went he stated:

"I took the source sounds, edited them and processed them to work with a groove I had written for this remix. I mainly used the pad, lead synth and synth effects from the original. The rest of the gold I engineered."

On 'Tractor Beam', subtle use shows that ample space in between ideas make things seem larger than life. By allowing a more minimal approach in the production process the sounds can easily co-exist, allowing for that 'big room' sound without overwhelming the overall experience.

The digital exclusive 'Deliverance' was created using NI's Maschine for the drums, and FM8 and Reaktor were the sources of the synths. Drum patterns were created in Maschine and then recorded in realtime back into the DAW as it played, with real-time tweaking of the hi-hat to create the desired impact, especially at the break. The synth and pad patterns were recorded as MIDI into the editor, and then automation of the synths' VCF rounded out the expression needed to complete the emotional process.

All in all, DOJ001 is mostly an all-hardware showdown, with 'Deliverance' being the only 'virtual' attempt. Life is in nature, not in machines, yet the culmination of the two worlds can be beautiful, if only properly tamed and understood. Lest we beware! Stay tuned... and thanks for listening!

After a strong debut these boring middle-aged, middle-class family men continue their adventures in the world of acid this time with a strong two track release on Finnish ProForm Series. A-side 'TÖKS' takes us to the exciting world of serious low ends, electro beats and 303 lines you haven't heard before. If you want to burn down the floor or house, this is your choice! On the flipside 'Tolkun Acid' continues the strong Finnish storytelling culture mixing mysterious Finnish lyrics with some deep grinding acid lines. The ultimate choice if you want to confuse and make everybody dance at the same time. Limited and numbered edition of 200, after that it's gone, no represses, no digital, so you know what to do!

First single taken from the forthcoming Miniman's album "Digital Harmonies". Miniman, a true-to-the-roots French producer and live artist. Fierce proponent of sound system music for more than two decades, the veteran is at it again in full force. Full album to be released on the 16th of November 2018 by Moonshine Recordings. This 7" vinyl contains two exclusive mixes that will not be included on the album. Limited to 300 pcs!

The 4th release on Dark Circles DC Trax imprint focuses on 4 varied reinterpretations by artists who are currently inspiring the London duo. Starting with a blistering acid workout of cans from Tokyo's Shun. Vin Sol completes the A side with a trippy electro journey. Body Hammer's Scott Fraser takes Torpor on a peaktime techno journey. Jackie House concludes the package with a 1992 sub bass breakbeat rehash of Papoose. Released on vinyl at the end of october with no current plans for a digital release.