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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.

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).

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.

Billy Milligan Trio, 3rd release of the label Lowlife Cartel, collects new ambient music that reflects our present moment. The musical aesthetic is described as a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques. Predominant melancholic atmosphere, work on textures and hybridation with acoustic inherited by experimental jazz. Its title "Billy Milligan Trio", is a reference to sci-fi book from Daniel Keyes "The Minds of Billy Milligan".
The EP begins with "The Sky Was Pearl Grey" , by Shcaa (Archipel, Sharingtones), track, without beat, a guitar note accompagnied by a drone lament releases a trippy and introspective atmosphere. A light vocal, by Shcaa himself, comes subty at the middle of this gloomy exploration.
"Useless Man" by Mårble (Hair Del Records) is a leftfield saturated complaint, mixing jazzy and electronic elements. A distorted voice accompagnied by a piano as the key melody. "Para La Olimpiada" by Mårble is defined by fourth world music genre. The release ends with "Toll Fraud", by L:E:R (Archipel), cut from a full electronic live session, oscillating between a minimal beat and slightly evolving ambiance. In its entirety Billy Milligan Trio is a spirograph of uniquely experimental artists merging together to create something even more beguiling. A truly arresting listen.

FANTASTIC TWINS, the solo artist formerly known as The Twins, has always carried an air of transmutability - not only in a name creating its own hall of mirrors, but also in a constantly fluctuating sound, from the first spoken word interludes recorded as The Truly Fantastic Dessagne Twins From Saint-Etienne (for the Pachanga Boys' infamous 'We Are Really Sorry' album) to myth-building solo releases on Hippie Dance and Optimo Music, as well as style-bending remixes for La Mverte Vs Capablanca, Moscoman and - most recently - fellow Hippie Dancer Rebolledo.

Following the echo-drenched 'Holiday' on 'A Very Nice Combinado Volume Dos', the project from Julienne Dessagne has embarked on yet another transforming journey, leading to the latest outing with the well-suited title THE NEW YOU. Its four tracks prove Dessagne's ongoing commitment to an open sound aesthetic that works the techno blueprint from the inside out, mutating from foreboding, post-industrial landscape to dazed interzone opera in a heartbeat.

Uncanny rave polaroids from last night's ill-memorized peak floor flash up on opener SHAKE IT's mental screen, while follow-up HEY tries to herd its nervously rushing percussion to no - albeit banging - avail. The title track slowly implodes in reverse, pitting Dessagne's obsessing, molting vocals against a stubbornly no-wave-ish synth bassline and octave-hopping freeform keyboards blown to gaseous smithereens. Post-punk closer TIME SCIENCE kicks into motion with a confused diary entry turned subconscious commentary - while the psych guitar gently weeps all over the neatly arranged furniture. Welcome back, newcomers!

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

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.

The neon lights that decorate a dive bar's window cast a vivid reflection in rainwater on the pavement outside, as steam rises from deep beneath the ground. A slow pan across the scene, past alleys cast in shadow, twilit corners & glass doorways streaked with the mist of humid bodies fuming inside: the camera catches the denizens of an unnamed city, studying faces heavy with secrets too sad to bear. Cut to the motorway. Sleek cars barrel through the night. Sirens moan. Engines rev. You're behind the wheel, over the edge as the credits roll.

This film does not exist — but the soundtrack does. Symmetry is Johnny Jewel & Nat Walker, & Themes For an Imaginary Film is their two-hour cinematic opus pokus, a sprawling score for a movie that screens only in your mind. A 'conceptual tangent between Glass Candy, Chromatics, Mirage, & Desire's more abstract sides,' as Jewel himself describes the project, Symmetry is a vigorous, electric, restless exploration of ideas on the bleeding edge of instrumental sound. Analog synthesizers roll and crest, drums collide, keys cascade clear & crystalline. These themes evoke the phantasmic images that inspired them: urgent and ethereal, sinister & romantic. It's a neo-noir epic of pink fog & femme fatales hidden behind rain drenched windshields after dark.

Produced By Johnny Jewel & Nat Walker

Return of the UK producer Allen Saei aka Aubrey on the mighty Barba label is another bold statement in the discography of this well-versed artist. Building on the relationship with the Burek/Barba/Pomalo family established through remixes of Information Ghetto's "Inspiration" track (Burek 2013), DJ Stingray's "Communication System" (Barba 2015) and his solo "Clock Funk EP" (Barba 2017), for this record Aubrey presents us with a continuation of his previous Barba release, simplistically titled "Clock Funk 2" EP. As is to be expected from a guy who's been spending time in the studio for better part of the last three decades, this 12" is pure techno, in the best sense of the word. As mature and consistent as the previous record of the series, we have Aubrey building on that ground and expanding the range into more abrasive and rough on one side, and even more subtle and humane on the other. A1, titled "Clock Funk 2" is among the subtle ones. Beautiful cascading keys, glitchy synth bleeps and lead lines intertwine into a gorgeous composition grounded by a driving bassline and counterpinted with distorted ride cymbals. Uniquely sounding track which draws influences from many corners of the planet. A2, titled "Sel Moulo" sets a point for the other side of the spectrum. The heaviest and roughest, it locks the frame in which this EP works. Direct, abstract and firmly aimed towards the dancefloor, this cut is for the peak moment of the night when its combination of jacking beats and trippy leads will just push the craziness off the edge. B1, the most humane and gentle track on the EP, "Triads" is a perfect match for the A1 cut, although slower and calmer. Again, the similar approach is used, where the perfectly tuned combination of small synth and keys elements form a complex image which will stay ingrained into anyone's mind once you play it in the right moment. Again, it's hard not to reach for the word "beautiful" when describing this one. B2, Ghost Mist, is on the other hand a match for the heavy A2, but also not as intense. A repetitive affair, with abstract synth lines and disharmonic pads serving as an emotion injection just when they're needed. Common thread moving through all four cuts is an infectious groove intertwined with synth lines that would not be misplaced amongst the best examples of space-influenced techno music firmly grounded on the floor. All that, pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by local artist EmaEmaEma.

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.

Please meet the young production duo of Davin Coady and Geoff Foley known as 'Between Ourselves' from Water-ford/Ireland, one of the Irish key cities for the more deeper flavours of underground House-music. They have previously released on labels such as Republik and Galaktika. Their offering is comprised of 2 tracks. The first track 'Red Mist' is a melodic driven tune with an epic monster-break that hur-tles the listener to an uplifting climax. The 2nd Track 'Guidance' hits the spot with a catchy bassline in the break, the 'hook' of the tune. None other than Berlin based Ruede Hagelstein created a remix for 'Red Mist'. Indeed he is a man for those special tunes that will always stay on your mind. He stripped down the original to its bare essence keeping the epic feel - a dirty dark masterpiece. Andre Lodemanns edit of 'Red Mist' pushes the floor potential to the max with his customized drum sounds.

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

Emotional Rescue returns to the music of Elaine Kibaro with a special 7" single to accompany the Pour L'Amour album collection (ERC066). Here then are two bonus versions of songs from the LP with a unique Arabic recording of her "hit" Aurore and also, the previously unreleased on vinyl instrumental version of her balearic / boogie jam, Ne Doute Pas.

Having moved from Tunisia to France at the age of 13, Kibaro's duel sensibility has long been apparent in her music and performance. The early success of her debut 7" De L'autre Cote Du Miroir in 1977, was soon followed by her most 'successful' song in Aurore, first released as a 7" in 1978, before appearing again as 9 minute extended version on the 1979 Miroirs LP.

In the same year she recorded a special 7" single on the little known World Music label. Singing the lyrics in Arabic - renamed here to its true translation - much else remained the same. The music of the original, the spoken intro soon gives way to what is essentially a leftfield disco groove, with building strings, funky bass and some late archetypal 70s Euro drumming. Atop this the vocals are delivered in Kibaro's ubiquitous chanson delivery, her heartfelt singing, the congos breakdown and then chorus, as the songs builds, all lead to head-nodding smiles all round.

With this is Ne Doute Pas. A stand out from Pour L'Amour, the vocal version appeared in 1989 as a single and on the now sought after, Kiroel album. This instrumental simply let's the music shine. A Linn rise and fall bassline, soft, layered keys and mode horns are run and rerun in a catchy, incessant flow like a PWL demo. The 10 years between the 2 tracks is apparent in the instrumentation but the link between the two - Kibaro herself - is clear and worth enjoying for that.

In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.

Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.

'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'

Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.

Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.

Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Amaro Freitas - Piano

Hugo Medeiros - Drums & Percussion

Jean Elton - Double Bass

Henrique Albino - Baritone Sax, Flutes & Clarinet

All compositions by Amaro Freitas

Produced by Amaro Freitas

Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil

Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil

Executive producer and management: Laercio Costa

Keni Burke's signature hit 'Risin' To The Top' gets an official remastered, reissue alongside the 12 inch mix of his '81 killer jam 'You're The Best'.

'Risin' To The Top' quickly became a clear favourite of the soul crowd back in the '80s, with Keni's sensuous vocals, a timeless bassline of epic proportions and those dreamy, sunshine chords proving a winning combination. Since then countless producers, from the likes of Doug E Fresh and Slum Village, to LL Cool J and Mary J Blige, have utilised 'Risin' To The Top' as a choice sample for their own productions. A quick glance at this seemingly endless list, just goes to show how much of an impact this record ended up having.

On the flip, 'You're The Best', takes a more boogie paved path, filled with an undeniably groove laden bass synth, cosmic keys and Keni's infectiously soulful vocals. It's early eighties synth boogie at it's best, placing the electronic elements at the forefront whilst holding onto that unquestionable funk at its core.

Two Keni Burke classics for soul heads, sample spotters and anyone with a keen ear for a gem.

Landing on Alchemy Dubs is our seventh release on 7' format, a special collaboration between Ojah and Nikolaj Torp Larsen 'Nik Torp', keyboard player from The Specials.

The A side contains the track 'Mindset', a Hammond and melodica version of Ojah's 'Mind' riddim, both played by Nik Torp and masterfully recorded through an MCI desk that used to belong to Island Records (hundreds of seminal records where recorded through it, including for example Bob Marley's Exodus). Next up on the label will be a 12' featuring versions of this riddim with vocals by Fikir Amlak ('On my mind') and flute by Don Fe ('Remind').
On the B side we find a dub version as usual, mixed in analog live by Ojah in classic style & fashion.

Limited edition of 500 copies, hand-stamped and hand-numbered, served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London
Hammond & melodica by Nikolaj Torp Larsen 'Nik Torp', recorded by George Murphy at Eastcote Studio 1, London
Mixed & mastered by Oscar Pablos 'Ojah" at Alchemy Dubs Studio, London
Graphic design by Victor Castro

Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks have recreated the energy of those spellbinding seventies' sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players.

From the disco-carnival title track to sunny jazz-funk head-nodder Orange Clouds, through to the deep-space samba Corumbá, Azymuth have drawn upon five decades of consummate craftsmanship - which coupled with their endless desire for experimentation and improvisation - has resulted in a 10-track journey encapsulating the full spectrum of Azymuth's brilliantly coloured expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!

Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis the official release date is set for December 2016, on super-heavyweight vinyl.

The Concept Of Visions Recordings Is To Propose Different Styles And Visions Of What We Love And What We Play.
On This Release We See A Fresh Collaboration Between Alex At
Tias And Mali Star Sidi Touré.

This A Frican Vibe Track Is Bumping On A Soulful Afro Funk Rhythm With Some Simple Bassline And Keys To Give A Very Fresh Shuffle For The Summer! On The Flipside
There Is No Need To Introduce The Incredible Talent Of New York's Finest Joaquin 'joe' Clausell Who D Elivers Here An Amazing Remix Version; A Journey Into Dance, Love And Passion.we Are Very Happy And Proud To Be Releasing This Beautiful Music

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Four-and-a-half decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.




It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."




It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).

Making his first appearance on the label, Argy lays down a three-part heavyweight production for Crosstown Rebels this October. The Greek producer effortlessly showcases his unique style and ability to create music that is sure to create heat on the dance floor.

Title track Worthless opens up the EP with a bouncy groove and sensual, breathy male vocal. Next, La Vida introduces a more percussive-led beat, creating an industrial soundscape. Get Ready closes the EP with its darkly hypnotic beat, lending itself to a more tribal aesthetic.

The word 'diverse' is most definitely one that can be used to describe Argy. Having been in the game for more than a decade, he's released music on Poker Flat, Cocoon, Objektivity, Desolat and Cuttin' Headz. He's worked alongside a range of key figures in the industry including Kerri Chandler and Manuel Göttsching. Argy has proved his prowess as a DJ holding down residencies at Amnesia, Space, Destino and Pacha as well as regular appearances at Berlin's Panorama Bar.

Moss Co., sister label to Archie Hamilton's Moscow imprint, returns with its 10th release, a four tracker from Hanfry Martinez & Alexis Cabrera that is both club ready and forward thinking in equal measure. A cross-continent collaboration, the 'Minutas' EP plays perfectly to the strengths of Tenerife's Hanfry and Argentina's Alexis, emanating the precise sound that Moss Co. loves to champion.

'Facas' leads the way with an unabashed breakbeat and zephyr-like hook, leaving space for playful midbass tones and experimental keys, behaving in a purposefully erratic manner. 'Buli´n' follows with driving, dissonant synths that maintain momentum as a weighty and funk-laden bassline enters the fray.
On the flip is title track 'Minutas', rich in sparkling frequencies, snappy percussive programming and the kind of lazy bass motif that is primed for the beaches of Mamaia. 'Copeti´n' closes the EP with a hazy bassline and gentle, rolling subs complimented via crystalline drum patterns and tripped out FX processing.

Danish producer Asmus Odsat debuts on Iceland's FALK DISKS with four leftfield dancefloor cuts entitled 'Ecstatic Half Truth' this September.

Before moving to Iceland, Asmus Odsat was a key figure within Copenhagen's electronic music scene for nearly a decade. A former resident at Culture Box, Odsat was also co-founder of Ritual Malmö as well as the BULK club night, which has hosted artists like Surgeon, Dasha Rush, Lucy and Sleeparchive. Odsat now joins FALK DISKS, the club focused sub-label of FALK Records (Fuck Art Lets Kill) with his 'Ecstatic Half Truth' EP, receiving early support from names like Courtesy who included it in her guest mix on B.Traits' BBC Radio 1 show.

'Deal With It' sets the tone of the package with frenzied synths, warped atmospherics and a crunchy kicks before title track 'Ecstatic Half Truth' delivers a cacophony of percussion alongside twisted melodies and off-kilter breaks.

Up next, fast paced arpeggios meander alongside metallic top lines and a filtered 303 that unfolds throughout, making way for 'Soften The Clocks' which rounds off the package utilising disjointed rhythms, intense acid sequences and thundering low-end throbs.

Supreme Breakbeat House, Floor-focused Leftfield Grooves, And A Rhythmic Ambient Chiller. Cromie's Latest Four Tracker For Material Image, His First For The Label, Fires On All Fronts With Some Help From A Couple Friends From Across The Pond (iron Curtis And Royer). Cromie Has A 'habit' Of Coaxing Hooks Out Of Unassuming Sources, And Fitting Them Into A Cohesive Groove. That's The Secret Sauce Here: Pure Groove And Infectious Melodies From Who-knows-where. Listen For A Perfectly Placed, Driving Guitar Riff In A1, Pitched Percussion And Pan Flutes In A2, And Euphoric Keys With Chunky Bass On B1 (with Help From Iron Curtis). Our Man Royer, A Repeat Offender On The Material Image Roster, Serves Up An Extended Ambient Remix Of A2 'told' To Close Out The Record.

The elusive producer 'Nortasun' hasn't released a record since his debut 'One' through SAFT back in 2016. After two years, it's time for a follow up which is fittingly named 'Two'. The track titles also resume in a fashionable manner with the opening track being titled: 'Untitled 3'. On this track, Nortasun introduces a firm rhythm that is supported by the impossibly beautiful strings that serve as the tracks key element and appear throughout. Next up is the 'AntonZap' remix. AntonZap doesn't do the stereotypical remix take on the original. His version is dub laden, otherworldly, and only implements miniscule pieces from the original take. With just under 7 minutes, the remix version is a true sonic voyage.

On the B-Side, Nortasun takes a more dubbed out approach to modern day house music. 'Untitled 4' is a work of precision. The carefully crafted hats and dub elements sizzle throughout the entire track and help the track morph into a stunning piece of dance floor music around the four minute mark. Nortasun cleverly introduces a thumpientire ng bass that changes up the mood for the work.

Two all-time George Duke greats, 'I Want You for Myself' & 'Brazilian Love Affair', get the official remastered, reissue treatment.

First up, 'I Want You For Myself' Duke's 1979 jazz funk, R&B tinged gem has got all the ingredients of classic from his illustrious catalogue. A funked up guitar and exuberant percussion, compliment Lynn Davis' fabulously soulful vocals perfectly to make this a love song that's sweeter than most. A Duke classic wouldn't be complete without a killer, keys solo and 'I Want You For Myself' shows off his talents in abundance. The infamous Tom Moulton takes on edit duties splicing it into a 10-minute exploration of this fusion powerhouse, extending and enhancing elements in the mix, alongside adding an epic breakdown in a way that only he knows how.

On the B side, the stone-cold killer 'Brazilian Love Affair' is a Latin American, jazz funk classic. Recorded in Rio de Janeiro, Duke drafted in a host of greats to guest on the track, each bringing something unique to the table. From Airto Moreira's expert latin drumming, to Byron Miller's heavyweight bass and Roland Bautista's overdriven guitar. Duke supplements this to a tee with his blissful vocals and an otherworldly Rhodes solo. Much sampled, much loved, this is a masterpiece that needs a place in the collection.

The New York Downtown Producer/Composer Returns With His First New Album In 3 Years

EIGHTEEN: the year of release, 2018. EIGHTEEN: the age at which I first used a synthesizer.

In creating EIGHTEEN I worked independently in the studio, initially building up tracks with synthesizers and found sounds recorded in my daily comings and goings. After working with the tracks over a period of months,I shared them with a few musicians, who added their own instrumental layers. Though working independently, we all shared a similar working process: working in our personal recording spaces, as opposed to larger recording studios.

The musicians are: Gabe Gurnsey (drums) of Factory Floor, with whom I collaborated on the Beachcombing EP and performed live at London's ICA. I appear on Gabe's newly released album Physical;

Larry Saltzman (guitar) has played in my Love Of Life Orchestra since the 1970's. Well-known for his work with Arthur Russell ('Kiss Me Again', Flying Hearts), he is in high demand in NYC by acts such as Simon and Garfunkel;

Paul Nowinski, (bass) has played with LOLO since the 1980's. Paul has an impressive list of credits, including Les Paul, Keith Richards, Bernard Purdie and the Boston Pops; Matt Mottel, (electric piano), is the newest addition to the Love Of Life Orchestra. He is half the duo Talibam!, a leading act in the noise jazz scene; Lewin Barringer, (guitar), is a talented guitarist and producer in Philadelphia.

After mixing the final tracks, I brought the mixes to Berlin. There I worked with the brilliant mastering engineer Mike Grinser who helped to give the album a unified sound.

I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds recorded on my phone, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Sometimes there are sustained clusters, generated by my leaning against the keyboard. Deliberateness paired with randomness: this is what guided the artistic process.

This album is atypical for me as I am not playing saxophone. (I do play one reed instrument - a harmonica.) I grew up with the sax as my primary instrument. Yet my father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence in the family home. From an early age,

I experimented with the tape machine: recording, overdubbing and splicing tape. I learned about Varese from Frank Zappa liner notes; I read John Cage's 'Silence.' Electronic music was on my radar.

My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a firstgeneration Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California - San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70's and early 80's. In the same way, recording studio technology became accessible in the 90's. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized.
Handmade music by way of digital technology: this is the music of EIGHTEEN

In 1975, the prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues recorded an album based on the protagonist of one of their most celebrated TV series. Sporting a dodgy moustache and an equally troubling haircut, Carioca conman Paulo Maurício Azambuja (played by Anysio) would flog his own mother's leg if he could, and his ever-ridiculous scams are inevitably always destined to fail. This soundtrack/musical re-imagining of the series combines jazz-funk with samba soul and MPB, with the help of cult Brazilian trio Azymuth. Keyboard maestro Jose Roberto Bertrami, who arranged the album alongside renowned conductor and composer Jose Menezes, elevates the groovy odd-ball sound to another dimension, with his set up including Fender Rhodes, Arp Strings, Arp Omni, Clavinet and Hammond organ. Remaining Azymuth members Ivan Conti (drums) and Alex Malheiros (bass) provide the signature Azymuth foundation, and saxophone prodigy Victor Assis Brasil and legendary multi-instrumentalist producer Durval Ferreira also feature.As well as its distinctly comedic character, what makes the music so special is the coming together of traditional samba roots, and Azymuth's ahead-of-its-time psychedelic funk influence. Each side ends with a comedy monologue, complete with live audience laughter, but before that you get seven tracks of weird and wonderfully emotive Brazilian groove music.

At 83 Years Of Age, Lee Scratch Perry Is Proud To Present To The World His Next Full Length Solo Album (with Dub Versions) , Continuing His Inimitable Roots Reggae Legacy.

Lee's Brief For The Album, Was To Blend The Vintage And The Obscure, During The Sessions Lee Referred To The Sound And 'black' And Wanted Space, Light And Darkness In The Songs And Their Respective Dub Versions.

The Result Sees Lee Having Mixed Up An Analogue Concoction Of Ultra-rare Effects, Sonic Wizardry And Deep Heavy Roots Rhythms.

Over 2017 and 2018, Lee Scratch Perry re united with Producer and Mixer Daniel Boyle, to start work on their second Solo album project for Lee.

Picking up where their last efforts ''Back on the Controls'' left off. Lee wanted to continue the raw analogue sound they had cultivated together over multiple past releases, and take it to the next level with new effects devices to create another sonic signature.

They entered the studio in 2017, to begin to put together ideas for the tracks, which were then taken to RAK studios in London with their ever changing Rolling Lion All Stars session band; to lay down the rhythm versions.

Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK's early model vintage API desk to record, the 'sound' for the album was sculpted in these sessions. Vintage, but punchy, which was then blended with Lee's choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, Plate and spring reverbs, and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was aiming for.

With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted Lo Fi vocal sound.

Lee and Daniel then returned to Daniels Rolling Lion Studio, to mix and Dub the album, live, on the mixing console.

'Rolling Lion All Stars' Musicians: Vocals: Lee 'Scratch' Perry Drums: Ed West Bass & Guitar: Hughie Izachaar Keys: Robbie Lynn Additional Keys: Calvin Bennion Percussion: Daniel Boyle Kete Drum: Mathias Liengme Hurdy Gurdy: Brian McCoy Horn Section: Rory Sadler, Robert Landen Melodica: Puraman Backing Vocals :

Hosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.

Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.

This is a very limited 7" picture disc of the brand new Clutch tracks "How To Shake Hands" (Blue Side) and "Gimme The Keys" (Green Side). It comes in a PVC sleeve with flap and has a product sticker on the front. The Pennsylvania Dutch hex motif of the two sides of this 7" goes with the general Americana feel of this overall release campaign. A Clutch collector's item if there ever was one.

Phonogramme, the house subdivision of parent label and integral Parisian record shop Syncrophone dedicates itself directly to the French music scene, with previous releases from the likes of Professor Inc, John Jastszebski, Aleqs Notal and a handful of other local heads. Phonogramme continues to keep things close-to-home through the labels next edition presented by Gibs, who's most notably known for works on his own imprint, 'An.Art Records' - a family run label with music shared by himself and his two brothers.

'Find an Oasis' kicks off the release with rolling organic percussion before progressing elegantly into layered emotive lead synths and mellow bass stabs. 'Jarkarta' is a subdued deeper house cut, filled with an uplifting, undulating melody and raw lo-fi elements collectively creating a luscious calming effect. Last up, 'Der Germain' offers up a fluid, groove filled number balanced with charming, jazzy flutters and tender keys providing a warm, breezy atmosphere to the end the release.

Experiential composer Tim Hecker's ninth official full-length, Konoyo ('the world over here') was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo.
Inspired by conversations with a recently deceased friend about negative space and a sense of music's increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016's Love Streams, the heights of Hecker's talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on sho¯, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale.

tim jones, also known as Preacherman and recorded under midi man, ironing Board Band and t.j. hustler. he made one very rare lp, and two even rarer cD's. these tracks are from the cD's. he was a salesman for iBm in Las Vegas, where he sold selectric t ypewriters and then word processors during the day and at night he would perform in the Las Vegas lounges. he was somewhat of an engineer and adapted a hammond B3 organ to play a moog synth with some of the organ keys, (some still played the organ),
and he adapted the organ's foot controlled bass levers to play two moog synth bass pedals (a failed item moog made for a few years.) thinking he wasn't much of a live performer he had a wooden puppet made that he named t.j hustler, and together with the puppet, he would engage in long philosophical soliloquies, (some of which are featured on this album).if you meet tim, he is not someone who stops talking. in fact he even created a little book called universal Philosophy. he has a lot to say about everything. currently he lives with his 103 year old mother in
Oakland. there he infrequently plays shows on his casio where he fashions himself a live Karaoke performer, who comes complete with 5 wireless mics and P.a. and a list of about a 100 songs he can play. his invented organ contraption and puppet are in storage in Las Vegas, and he seems intensely
uninterested in getting them out, as 'the kids these days want to hear the sounds the casio makes.'

is it the best jazz record from japan, as the french-born english disc jockey, record label owner and music collector gilles peterson once assumed or is it maybe the best jazz record of all jazz records
well, everybody needs to decide by himself and has to listen to 'watabase', the second solo piano album of the japanese jazz pianist fumio itabashi, that was originally released in 1982.
tokyo based mule music unearth it, remastered the original recordings and brings it back to the global stores in order to seduce all music lovers that embrace notes who come straight from the heart and soul.
while diving deep into the seven compositions on 'watarese', any sensible listener finds out, that the instrumental piano pieces are somehow soulfully connected to what keith jarret plays on his legendary 'the köln concert' live album for the munich based ecm record company.
like jarret, itabashi does not play his notes academic. he let them fly, gives them some kind a life of their own, hits the piano keys deeply emotional and injects his compositions and interpretations some kind of nervous human soul.
in terms of style some call his 'watarase' recordings post-bop, others contemporary jazz. none of such definitions fit really, as all is just that kind of agitating jazz that melts spirituality with humanity. three tunes, the epic 'someday my prince will come' as well as 'msunduza' and 'i can't get started', are interpretations of compositions by the us-american movie score pioneer frank churchill, south african pianist dollar brand and russian-american composer and songwriter vernon duke.
all other four compositions been written and recorded by the 1949 born itabashi who started to play the piano when he was eight years old. while studying at the tokyo based kunitachi college of music, he fell in love with jazz.
his love was so deep, that he starts to work in the 1970's with such legendary japanese jazz musicians like trumpet player terumasa hino, drummer takeo moriyama and saxophonist sadao watanabe.
till today fumio itabashi is a vital part of the japanese jazz culture as a live performer and film score composer. those who want to see how he makes love with his piano should check the world wide web for the french documentary 'jazzed out', that captured his unique way of playing in one episode.
but as music is always firstly for the ears, and not for the eyes, this little letter in-front of you would rather like to recommend to play the 'watarase' recordings loud to get hooked by the highly infectious piano gems that have been recorded at nippon columbia 1st studio in tokyo on 12th and 13th of octo-ber 1981.
they will haunt you. they will come for good. and they will force you to be a good friend with the repeat button - whatever medium you chose to surrender to the piano jazz music of fumio itabashi.

Wir Freuen Uns Mit "uhuru" Das Debütalbum Der Summers Sons & C.tappin Zu Veröffentlichen. Das Trio Besteht Aus Turt (rap), Slim (beats) Und C.tappin (gesang + Keys) Und Lebt In London Und Bristol. Turt Und Slim Heißen Mit Nachnamen Summers Und Sind Brüder. Mit Tappin Sind Sie Seit Frühen Jugendtagen Befreundet. Die Musik Der Summers Sons Lässt Sich Als Rap Mit Viel Jazz Beschreiben. Wir Nennen Es Cool Bap. Fans Von Loyle Carner, Mos Def Und Alfa Mist Kommen Hier Genauso Auf Ihre Kosten Wie Beatheads, Die Gerne Flofilz Oder Twit One Hören (mit Letzteren Haben Die Sons Bereits Zusammengearbeitet). "uhuru" Heißt Auf Swahili "freiheit". "uhuru Peak" Ist Gleichzeitig Der Name Des Höchsten Gipfels Des Kilimandscharo-massivs, Den Die Band Während Eines Längeren Aufenthalts In Tansania Vor Drei Jahren Gemeinsam Bestiegen Hat. Der Trip Legte Den Grundstein Für Die Arbeit Am Gleichnamigen Album. Dass Die Sons & Tappin Ihre Ersten Musikalischen Gehversuche Mit Grime (turt), Uk Garage (slim) Und Indie Rock (tappin) Gemacht Haben, Hört Man "uhuru" Nicht An. So Entspannt Und Ausgejazzt Und Mit Viel Soul In Den Hooks Kommt Das Album Daher. Dazu Raps, Die Neben Cleveren Rhyme-patterns Durch Kluge, Persönliche Und Philosophische Texten Überzeugen. So Gesehen Sind Die Frühzwanziger Das, Was Man Auf Englisch "old Souls" Nennt. Dabei Fangen Sie Gerade Erst An ...

Hot on the heels of Rapid Eye Movement's journey of discovery and growth comes the EP 'Split: Remixes' featuring reworks of the quartet of cuts originally signed by label founders Memorial Home and VII Circle.

Invited to apply their own reflections onto the material are rising producers Nur Jaber and Wrong Assessment as well as renowned artists on the underground experimental scene Edit Select and Reggy Van Oers.

First up is Nur Jaber's take on VII Circle's 'Metaphysical Functions' showing how the young Berlin-based Lebanese artist is as much inspired on remix duties than in crafting her already much acclaimed productions. The perfect mixture of dark and intense driving techno beat with haunting ambient-driven melodic motifs and dramatic breakdowns encompasses much of what her sophisticated sense of sonic exploration is about.

Up next on a heavier kicking note is 'Dogma' refashioned by Milanese fellow Wrong Assessment who transmits his vision of both minimal and hard pounding techno by merging a strait rugged beat with undulating synth lines and bouncy cymbals that will drive the audience to an insane rave-spirited dance floor venture.

Following the path, Tony Scott a.k.a Edit Select's interpretation of Memorial Home's 'Second Floor' is a clear example of the unique and forward-thinking sound that the Scottish techno scene 'veteran' has developed throughout the years. Deftly combining a tension-building drum and bassline work with layers of hypnotic synth textures that makes the track both suggestive and trippy-hitting in equal measure.

Concluding the journey is Reggy Van Oers (RVO)'s rework of Memorial Home's 'Ampere' which evinces this quest for organic and mental techno soundscapes inspired by classical and cinematic music, characterising the both complex and powerful crafting signature of Dutch Telemorph label's owner.

Between dark shadows and brightness, REM confirms with this new release that quality and free-minded artistry are the key pillars of the platform's curation philosophy.

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

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

Legendary Ghanain album - with one of the music iconic covers ever! - that fuses Highlife, afrobeat, folk and funk. Ambolleys debut solo album originally released in 1975, written and produced with Ebo Taylor.


Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot.

'Simigwa' was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.