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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 :

Terence Fixmer's path through the changing techno landscape of the past 20 years has been anything but direct. Indeed, the French born producer, musician and Planete Rouge label founder has long been influenced by the periphery of continental European dance music subgenres from electronic body music, new beat and acid, before combining them into his own pioneering hybrid of futuristic, EBM-inflected techno with classic releases such as 2001's Muscle Machine or the collaborative Between The Devil LP with Nitzer Ebb's Douglas McCarthy as Fixmer/McCarthy. While the sound in recent years has been rediscovered and recast in diverse contexts by a new generation of producers, Through The Cortex sees Fixmer gravitating toward a different kind of industrial-tinged electronics, led as much (or more) by analogue sequencers, melodies and ultra-saturated sounds of synthesizers than drums and percussion. Across eight tracks at a compact but varied 40 minutes, the LP touches on an aesthetic hinted at in recent Ostgut Ton releases (2016's Beneath The Skin EP and 2017's Force EP), revealing a sonic narrative through noisy, screaming synth/vocal riffs with a jagged, guitar- like post-punk sensibility. Through The Cortex is techno with a voice - or rather multiple voices - guiding listeners through hypnotic, space- and social-themed terrain as a kind of dark soundtrack to darker days. The result ranges from the slow John Carpenter-inspired Escape From Precinct 13 funk of 'Expedition' and the patient yet muscular stomp of 'Fury' to the mesmerizing Suicide-like pop of single 'Accelerate', where Fixmer, using his voice as an instrument, chants the track's ambiguous title in an invocation of systemic change/collapse. Elsewhere, the story is told with more abstract and wailing vocals like on 'Shout in A Black Hole', or in the warm, entrancing chords floating across the stereo image in ostensibly changing time-signatures on 'A Halo Somewhere' - the LP's uncharacteristically kosmische musik come-down. The track, and Through The Cortex as a whole, reflect what can be described as Fixmer's idiosyncratic take on both techno subgenres as well as the larger pool of electronic music in general. This broad approach translates into a sound that is not only difficult to pin down, but also one that lends itself to multiple listens.

After years of working as a graphic artist, designer, and creative director, Pilar Zeta will release her debut album Moments of Reality on Ultramajic Records on October 5th, 2018.

Inspired by Japanese post-modern art from the 1980s and produced using synthesizers from the 1990s, the new age album of nine electronic pieces is ambient and cinematic with an off-world feeling.

Her sound draws on the style of bands like Art of Noise and Steve Roach that she was exposed to early in her life and evokes the work of Yasuaki Shimizu, Yello, and Laurie Anderson. Each of the nine tracks will feature a cover with different objects in absurdist settings. Much the same way Zetas visuals seem to be artifacts from a parallel universe, Zetas ethereal and melodic compositions sound like a coded language transmitting from a neighboring galaxy.

I feel privileged to be able to translate my visual world into sound, the unknown was the most fun and fascinating aspect of it

Fueled by a lifelong love of the paranormal, Zetas metaphysical iconography and music exist in futuristic, surreal, and elegant spaces. Her visual and sonic works function as a form of practical magic in a machine-centric world, connecting different mediums through a singular, transcendent vision.

Focusing on low-slung IDM, Acid and atmospheric Electro with nods to Krautrock & Ambient sounds, Steve Hyland's ATTRAKTTA project gets an extended outing on the FILM label. Across eight beautifully produced tracks, Hyland - one of the founding members of AI Records and subsequently Concrete Plastic, explores vibrant synthesis and intricate drum programming, with the music arriving at a sweet spot between home listening material & club-ready workouts for more intelligent dance floors.

Eschewing straightforward synth sequences in favour of blissed out - almost disharmonious sonics, Hyland transmits a curious psychedelia on his debut LP. Sounds pitch and warp organically, buoyed up by saturated low end and punchy drum machine percussion. There remains a decidedly accomplished precision to the work, though - with the music bearing all the hallmarks of an artist of some considerable experience - testament to the British producer & label head's 19 years working in the industry.

A colourful, exquisitely composed LP that riffs on a timeless production aesthetic with considerable style, Echo Principle is a fantastic entry into the FILM Records discography.

The inaugural release on enigmatic conceptual artist and Freerotation regular Aboutface's new label Coordinates- a limited physical release series exclusively showcasing his music and original art, depicting conceptual themes and exploring the aural terrain of two sets of location coordinates around the world. Coordinates #1 explores ultra-sonic bat recordings from Lincolnshire, England, and ancient mayan culture from the Chiapas region, Mexico.

On her debut EP, Brussels-based multi-instrumentalist Esinam gives us an entrancing insight into her eclectic world of jazztronica.

Released 21st September via Sdban Ultra, her self-titled EP carries influences from different worlds geographically, culturally and musically. Blending traditional and modern instruments with her soulful voice, the acoustic sounds of the instruments are allowed to evolve and take on new dimensions, opening up a kaleidoscopic spectrum of sound and colour.

Esinam Dogbatse is part of a new generation of musicians bringing forth a cultural blend of music. Having opened for the likes of Nakhane and Témé Tan at Les Nuits earlier this year, Belgian rapper Baloji invited her to guest on his latest critically acclaimed album '137 Avenue Kaniama'. She has also supported Alsarah & The Nubatones, Selah Sue and Melanie De Biasio on her sold-out shows at Ancienne Belgique.

For the recording of the EP, Esinam joined forces with Jules Fradet from Studio Planet (Damso, Afrikan Prötökol). Producing and playing most of the instruments herself, the EP was mastered by LA-based producer Kelly Hibbert aka Almachrome (J Dilla, Madlib, Little Dragon, Flying Lotus, Ebo Taylor, Mark de Clive-Lowe and Arca).

Lead track 'Birds Fly Under a Heavy Sky' is a mesmerising opener that smoulders effortlessly against a backdrop of subtle beats and sensual rhythms, with Esinam's soft vocals and hypnotic flute providing the groove.

On 'Do Not Go Into That Black Night', she is dark and direct. It's a magnetic take on jazz noire that doesn't distract from the sultry inflections of her voice, while 'Gavoé' recalls the spirit of her Ghanaian roots in a ballet of instruments that display a level of personal freedom and sensitivity. Through merging different genres of music, we are warmly welcomed into Esinam's musical universe.

Esinam teamed up with Senegalese DJ and producer Ibaaku on the highly charged 'Electric Lady', who provided some distinctive musical hues. A track drenched in afro-futurist colours, sonic samples and collages freely mix with electric and raw sounds, supporting the energetic playing of the flute. The structure of the song remains true to Esinam's signature sounds: surprising ruptures, poetic atmospheres and constant affirmation of groove.

When Esinam performs live, she juggles traditional instruments such as the tama, kalimba and pandeiro, which she loops and blends with the sound of her flute and voice. It sometimes triggers dance, sometimes contemplation

- Printed Inner Sleeve and Heavy Weight Outer

The now legendary ' Abbey Road' version of 'the Isness' was the originally conceived version before last minute wholesale changes resulted in new tracks , different mixes and/or edits appearing in a wholly different order for the commercial release of 'the Isness '  in 2002 . The 'Abbey Rd 'version had been initially promo'd to ecstatic reviews, receiving an unprecedented 6/5 stars from Mixmag 'it's like a beam of white light from heaven'. 
This is the first time the Abbey Road version has been officially and commercially available .The band themselves ' the Amorphous Androgynous ' ( a psychedelic supergroup conceptualized and produced by the Future Sound Of London ) are said to have always regretted the last minute changes to the album ,the creation of which took five years from 1996-2001 post production of the FSOL album ' DEAD CITIES' and marks an important chapter in the production duos history and 5 year disappearance where rumours of madness and disbandment were rife among fans of the band only for them to finally appear with this radical new vision and what is now considered something of a psychedelic masterpiece which along with subsequent albums ' Alice In Ultraland ' ( on Harvest Records ) and their 'A Monstrous Psychedelic Bubble  ( Exploding In Your Mind )' Dj series ( which chronicle and redefine the history of psychedelia from the 60s to the present ) did much to activate a third wave of global psychedelic sonic revolution .
The Isness is a vast samplerdelic sonic galaxy where a huge range of instruments ( from sitars and numerous eastern instruments to flutes, banjos and conventional rock n roll instrumentation)  and countless musicians are employed ,collaged and twisted using the studio as instrument ( much in the tradition and lineage of the Beatles and other 60s exponents) to form a startling new vision of cosmic space music and to redefine the possibilities of what ' the song ' could be in the new millennia with its by turn : cosmic , wildly surreal , absurdist lyrics on epic songs such as ' the Galaxial Pharmaceutical ' ' the Mello Hippo Disco Show ' ' Divinity ' and many others ! 

* From the pumping heart of The Magnetic System comes the 'dirtiest' Da-Da-dancefloor anti-jams with this lost 1979 blueprint of Italian conceptual cosmic disco played by the cream of the Goblin studio band. Ultra-rare and unscrubbed,Finders Keepers finally snip the trip from the cash machine to the trash machine.
* Carving its own grubby niche as an early prototype of cosmic disco cum Italo space funk whilst simultaneously harbouring Dada hat stand satire with a junkshop glam aesthetic, this ecological illogical poplitical crab cabaret clearly broke the mould before way before the jelly had set.
* Fans of 'other' obtuse outernational agit-camp might find a fantasy fusion between France's JP Massiera and Sweden's enviroMENTAL marvel Kaptain Zoom while trying to unravel the Madfilth tangle - but rest assured there were method men behind this madness and a portal to Italian funk royalty still festers
at the bottom of the psych rap scrapheap.
* Originally drip-fed out of Cesare Andrea Bixio's Cinevox stable as one of a tight grip of non-soundtrack LPs, made to test the label's commercial potential, Madfilth would follow the band Goblin (and their non-cinematic Roller) as well as the hens' teeth eponymous long player by the group The Motowns in what was perhaps the last-ditch attempt at custom built popsploitation - combining the skills of overqualified composers with undercooked conceptual mind belches. Naturally, after almost 40 years in the barrel, this micro-brewed oddity finally quenches the acquired taste of a new breed of shambolic psychotropic guzzlers proving that 1979 was obviously good year for fool's gold. The Madfilth medicine has finally come to cure your psychic ills so open wide and don't bite the spoon.
* It is beneath the flamboyant rhythm rants and vari-speed osric slop of alt-comedic sarcy-satirist Alberto Macaro (a genetic beneficiary of a vaudevillian comic bloodline) that we find The Magnetic System maestros Franco Bixio and Vince Tempera as the sonic driving force behind this unmarked treasure trove of
B-musical diamanté discoids. It will also come as little surprise that
Cinevox/Dario Argento favourites Goblin were not too distant from the whiff of this curate's egg with the men who many consider to be the group's greatest assets - bass player Fabio Pignatelli alongside sports rock drummer Agostino Marangolo. It was this unison that remained consistent throughout Goblin's career, weathering the temporary departure of Claudio Simonetti and
maintaining the stylistic heartbeat of the group. Madfilth's inclusion of Goblin synth Maverick Maurizio Guarini and the band's mid-period guitarist Carlo Penessi (founder of the band Etna) pinpoints the jobbing Goblin session group during the time they recorded the soundtracks for the films 'Buio Amiga' and 'Squadra Antigagsters'. This lesser-celebrated late 70s era also witnessed the mutating Goblin rhythm section providing discoid backbeats for records such as Giorgio Farina's 'Discocross' album, Simonetti's own Capricorn alter-ego and the homoerotic nightclub spin-off Easy Going - all of which, alongside Madfilth,
provide a strong mutual stylistic support system for their claim to cosmic disco's deep red bloodline.

'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.

Looky Looky is the new project from Jeffrey Sfire and Ian Clark, both residing in Detroit, Michigan. The pair met in the late 90s when Ian was performing as one half of Le Car with Adam Miller of ADULT. Ian also recorded under the moniker Perspects, and released on Clone, Ersatz Audio and Interdimensional Transmissions. Jeffrey has released a series of singles and remix EPs with Samuel Long as Sfire on CockTail d'Amore Music and Ultramajic.
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The duo released their 8-track debut album 'Part Flamingo' in 2016. All 8 tracks represent one body of work but are presented as 2 distinct concept EP's: 'Part Flamingo' and 'Nurse Coven'. They're loose, fun pastiches of 80's movie soundtracks with accompanying imagery. For the 'Flamingo Boots' EP we chose 4 songs from the album which the pair extended for maxi 12' throbbing dance mixes. Looky Looky describe the project as equal parts light and dark, a contemporary recasting of Italo, Hi-NRG and electro. The songs infuse bright '80s sonic textures with a seedy, sweaty thump. The Motor City duo is about a year into the project, but is already known for their hardware-heavy live set after playing the Honcho Summer Campout last year and the 2017 edition of Gays Hate Techno in northern California.

Another Picture has the honour to welcome DJ Honesty to the label's crew! The Berlin mainstay keeps on delivering for two decades and counting. Now residing in sunny and meanwhile ultra-lively spot Lissabon/Portugal he shows up with two pieces of pure electronic groove with a dubby technoid flavour. Studio knowledge at work! Usually known for positive vibes with a still abstract feel now DJ Honesty reveals a darker shade of experience. Get involved with a tougher edge and face some deeper emotion and sonic consequence - see you on today's dancefloors.. DJ Honesty's releases come as various projects and collaborations: Honesty, Honeydrop, Slope (with Daniel Paul) and Suparaw (with Woody) on such labels as Cabinet, Sonar Kollektiv and Quality Vibe to name a few. He is part of the touring Cab Drivers live crew. Don't miss!

Sister Label to Vanguard Sound Anunnaki Cartel plays host to the fourth installment of the Vanguard Sound Series featuring 4 tracks from crew members Dakini9 (Lola), Chris Mitchell, DJ. Spider, and founder Amir Alexander. During the time since Vanguard Sound Vol. 3 launched the Vanguard Sound label, the series has reached a kind of cult classic status among the most dedicated U.S. underground vinyl collectors. As more and more people discover Alexander and his Crew of ultra talented DJ/Producers, their releases on discogs disappear and then reappear for three to five times their original price. Buy on sight status is quickly being achieved by all six members of this shadowy Crew.

The four tracks contained in this release all touch base with the vibes already established by the Crew, while continuing to expand the sonic palette as well.
Amir Alexander's Cypher is classic dirty analog at it's finest. With a slightly overdriven synth baseline leading the way, followed by restless percussion. Midway through, deep and mysterious pads create a dreamy texture as a spoken word passage muses about loyalty to those you came up with.

Chris Mitchell's 213NL raises the temperature with Chris's signature "Phrenetic" drum programming under an SH101type acid baseline oscillating wildly as melodic strings soar.
DJ Spider keeps things gutter with some Vanguard/ Plan B style street knowledge in the form of New World Resistance. An industrial/ futurist tech beat frenzy full of vocals dropping science about the New Word Order's plans for global domination.
Dakini9 closes the release by taking us to the depths and beyond with her deeply emotive work in the form of Rollercoaster to Nowhere. Sci fi atmospherics weave in and out of lushly serene pads while her always deadly serious percussion marks the time effortlessly. Time travel is evoked as the dulcet tones erode all sense of the here and now. Fall into infinity! For the collector's, this one is not to be missed as it is a rare Vanguard Volume on it's sister label Anunnaki Cartel with both logos on one record. Don't sleep..