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Rhythm Is Life And Life Is Rhythm. Not Only Is It Our Mantra Here At Neighbour Recordings, It's Also Inspired The Title Of Our Debut Release From Brand-new Production Partnership And Label Owners Base Pilot (aka Quantec And Birke Tm). Featuring Four Original Tracks, The Life Is Rhythm Ep Is A Full Thirty Minutes Of Dope, Low-slung House That Perfectly Unites The Duo's Many Years Of Shared Passion For Deep Electronic Music. Identify Is The Ideal Introduction, Swirling Synths And Deceptively Hypnotic, It's A Proper Crafty Cut, Whilst Ghosts Leans Towards A More Emotive And Subtle Groove. Title Track Life Is Rhythm Is A Warm And Inviting Ten-minute Epic Of Chunky Beats, Quirky Distortion And Vocoded Vocal Snatches, Whereas Closing Number On The Early Is Seriously Heads-down And Deep. Repeat After Us, Rhythm Is Life And Life Is Rhythm.

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

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

Dark Entries reissue the 3rd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1987, towards the end of art school, Carolyn won another award from the New York Society of Illustrators. During the trip to New York to accept the award, she met electronic/dulcimer musician, Dan Joseph. After writing some letters they decided to make a split cassette titled 'Hypno-Seizure'. CYRNAI contributed 30 minutes of music to Side A of the cassette, 10 untitled pieces that ran into each other. She had just bought a round-the-world ticket going from China to Europe via Eurails, to Egypt, where she liked to wander. She picked up instruments from several countries and recorded the sounds of her new surroundings. Technology was changing into early sampling and she used a Commodore 64 with large floppy disks to record loops. Originally self-released in 1988, this reissue adds 3 unreleased bonus tracks recorded during the same period. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Universalist is the first album by ACT! Baroque, kaleidoscope electronics; material sound for a disembodied world. The energy is optimistic and posi - even naive - a statement of unity in the age of psychic dislocation.

10 Tracks of phosphorus midi and brittle digi textures feel indebted in spirit to the masters of psychic jazz as much as the physical euphoria of the club. Above all, this album belongs to the catalogue of Halocline Trance, yet subtle references connect it to a larger lineage of free sound. The empty, divine heaviness of songs like Ecstatica / On Patrol invokes Yusef Lateef's Little Symphony, while the computerized spontaneity of Lava Valley feels somehow connected to Yasuaki Shimizu's Music for Commercials. Non-musical sounds and evocative melodies sit side-by-side - new psychedelia for love and life in the digital jetstream.

ACT! is a project from Toronto-based musician David Psutka. Building on a diverse body of releases as Egyptrixx, Ceramic TL, Anamai and various other collaborations, ACT! denotes a new chapter of creative output from Psutka and the Halocline Trance label. Universalist follows a prolific string of releases in 2017 with Anamai - What Mountain; Ceramic TL + Ipek Gorgun - Perfect Lung; and Egyptrixx - Pure, Beyond Reproach, and synthesizes recurring themes of materiality and the unifying potential of sound.

Originally from West Yorkshire, but now resident in Manchester, composer, bassist and producer Phil France is probably best known as a key collaborator alongside Jason Swinscoe in the Cinematic Orchestra, where he co-wrote, arranged and produced on classic albums including Everyday, Man With The Movie Camera, Ma Fleur and also the triple award winning soundtrack for The Crimson Wing nature documentary. In 2013 France released his debut solo album, The Swimmer (GOND016), an emotive, epic record influenced by the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass

Five years later, France presents the follow up, the enigmatically titled, Circle, which again represents a very personal journey for the artist. For France the album is an extension of work he began on The Swimmer. A process he has described as: " blocks of sound containing intricate minimal arpeggiated patterns and electronic textures that develop and shift in subtle, original and melodic ways. The trancelike quality, mood and electronic character of title track Circle led France to think of the circular patterns which eventually became a potent concept for the album. "Ideas and fashions repeat themselves in cycles. Events are said to travel 'full circle' and this is important to me because it represents my own recent personal and musical journey after 15 years touring as bassist and composer with The Cinematic Orchestra. I consider circles to be a strong symbol of unity, strength and inclusiveness and ultimately I've aspired to make something beautiful with those values at its heart".

The album opens with the title track, Circle, built on a minimal looped pattern with melodic embellishment and shifting additional harmonic textures. Bells was developed from the arpeggiator and offers a nod to the melodicism and atmosphere of French electronic music. The Jackal features an idea originally developed for The Crimson Wing score but which finally bears fruit here. Cathedrals features an improvised intro, Philip Glass inspired organ and vocal textures inspired by the work of Colin Stetson. Finally, the album ends with a reprise of Circle this time featuring layered pianos. But it isn't the conclusion of the journey, for France: "The Circle is infinite - During the process of making this record, I have been constantly reminded that nothing ever stays the same and that all is in constant flux. The challenge for me is always to respond positively, be aware of and seize the opportunity for progression constant change provides" And it is that sense of movement and flow, but also calm and beauty that permeates Circle and make it such a worthy successor to The Swimmer.

The tune 'Strength' was written for my partner Bozanne Evans. This EP is dedicated to her.

Side note: The tracks 'I' and 'Strength' were originally going to be released as UNITY006 on the label 'Unity Through Sound' before they folded after their fifth release.

I didn't want the release to go to waste so decided to put them out on my label taking advantage of the 12' format by including a personal favorite of mine 'Life' and Ill_Ks monstrous remix of 'I'.

This is my most personal release to date and I hope you enjoy it.

Chad Dubz

Muse have announced that their eighth studio album, 'Simulation Theory'. The eleven-track record was produced by the band, along with several award-winning producers, including Rich Costey, Mike Elizondo, Shellback and Timbaland. Each of the album's songs will be accompanied by a video.

Recent singles, 'Something Human', 'Thought Contagion' and 'Dig Down', as well as brand new track 'The Dark Side', are all available immediately as a download when you pre-order the album. 'The Dark Side' is instantly recognisable as a classic Muse track, featuring Matt Bellamy's unmistakable soaring vocals and blistering guitars and the driving rhythm section of Chris Wolstenholme and Dominic Howard that have become a hallmark of Muse's stadium-filling sound.

'Simulation Theory' follows 'Drones', released in 2015. Since then the internationally acclaimed three piece have toured extensively, taking the ground breaking 'Drones World Tour' to fans across the globe. This concert was filmed and released in cinemas worldwide for 'One Night Only' in July 2018.

Muse is Matt Bellamy, Dominic Howard and Chris Wolstenholme. Their last studio album, Drones, was released in June 2015 and debuted at No. 1 in 21 countries around the world including their first No. 1 album in the United States.  The album went on to win the Grammy Award, their second, for Best Rock Album in February 2016.  Since forming in 1994, Muse have released seven studio albums selling in advance of 20 million albums worldwide.  

Widely recognised as one of the best live bands in the world, Muse have won numerous music awards including two Grammy Awards, an American Music Award, five MTV Europe Music Awards, two Brit Awards, ten NME Awards and seven Q Awards, amongst others.

Planet Mu Are Very Happy To Be Releasing 'vicious Circles', The Debut Ep By Sinjin Hawke And Zora Jones, Who Aside From Producing Music Also Run The Audio-visual Production Unit 'fractal Fantasy'. Zora Released Several Collaborations On Last Year's 'visceral Minds 2' Including 'dark Matter' With Planet Mu's Jlin, While Sinjin Has Collaborated With Dj Rashad, Just Blaze And Mikeq, And Also Produced Music For Monoliths Like Kanye West And Frank Ocean. Remarkably, Given The Breadth Of Their Work, 'vicious Circles' Is Their First Collaborative Ep, And The First Time Either Have Released A Vinyl Record Too. The Ep Is A Great Showcase For The Duo's Emotional, Maximalist Chimeras Of Abstract Pounding Beats. From The Punchy, Circular, Grandiose Build-ups Of Opener 'vicious Circles', To The Unyielding Melancholy Of 'god' With Its Sinister Bulgarian Choir Sample Against A Peak Timbaland-era Rhythm, The Record's Potent Synths And Manipulated Vocals Are Both Simultaneously Fierce And Friendly. 'source Of Conflict' Is A Poised Dance Between Pulsing Ambient Textures And Drilling Beats, While 'lurk 101' Pits A Volley Of Abstracted Juke Toms Up Against A Hammering Drumline. 'babyboysosa' Feels Like Drum-less Drill, Manipulating Vocals Into Strange Alien Shapes Over A Bassline Before Spiraling Toms And Hi-hats Start To Form A Forceful March. The Ep Concludes On The Love Anthem 'and You Were One' With A Chipmunked Vocal Running Through Its Wonky Chorus Of Bent Notes And Chords.

It is said that every generation casts its mind back to a previous era in times of crisis; the resources that will allow us to decode the questions of our moment may lie in the myths of another era.

Le Renard Bleu, the new musical and cinematic collaboration between Lafawndah and composer Midori Takada, and filmmakers Partel Oliva, takes a cross- generational echo as ground zero for recovering a crucial myth for uncertain times: the blue fox.

As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype; belonging both to the heavens and to the earth, the fox is the agent of chaotic good, shaking the world up when its energy has become stagnant. Above all else, the fox is famous for its cunning nature.

Renard Bleu marks the first new music released by Takada in nearly twenty years; it would be difficult to overstate the importance of her return to the public eye. Her first solo record, 1983's Through the Looking Glass, has been rediscovered and heralded as a lost classic; the influence of her percussion trio, the Mkwaju Ensemble, continues to permeate and inspire a new generation entranced by its lucid beauty, playfulness, and sensual patience. Takada has performed in numerous film score orchestras, including the ensemble for Akira Kurasawa's Dreams, coincidentally a key influence on Renard Bleu.

In the ensuing years, Takada has worked closely with theater group the Suzuki Company of Toga on productions of Electra and King Lear, an experience, she says, that allowed her to pursue 'a unity of music, body and space.' Recent live solo performances have evinced the depths of her exploration of all three.

Equally, it is Lafawndah's freedom of tone, decentralized maps of ancient and modern music cultures, and alloying of devotional intensity with modern songcraft casts her as a distinct relative of Midori Takada's.

Over the course of two EPs, self- directed music videos, and countless live performances, Lafawndah has drawn out an uncompromising exploration of how theater, situational intervention, and choreography can amplify the affective palate of forward pop music. One can trace the influence of artists such as Meredith Monk, Carlos Sara, and Andy Kaufman as much as musical antecedents AR Rahmann, Missy Elliott, or Geinoh Yamashirogumi.

It is in a mutual commitment to this unity that Lafawndah, Takada and Partel Oliva find fertile aesthetic common ground.

The music of Renard Bleu originated in Takada's preoccupation with the legend of the fox; after constructing a vivid instrumental composition dramatizing the spirit animal's journeys through waterphone, bells, marimba and various forms of drums, Lafawndah responded - in her inimitable mix of fairytale and undertow-- with melodies and lyrics capturing a dialogue between her and the fox himself. Eventually, the duo met in Tokyo for a week of communing with the material at Avaco Creative Studios, where new elements were composed on site.

Created in partnership with KENZO and premiered today via their channels, it was Partel Oliva who imagined a contemporary cinematic frame for the myth of the fox to re- appear, creating a hybrid of choreography and narrative around Takada and Lafawndah's performance of their joint composition (also titled Le Renard Bleu.) Returning to film in Japan for the third time, Partel Oliva's moving image work (Club Ark Eternal, The Pike and the Shield) has set the standard for and revolutionized the fashion art film. Their deployment of original music, dance, and a highly stylized mis en scene coalesces here in the casting of Los Angeles krump artist Qwenga as the eponymous fox, stalking the halls of the ancient Noh theater in which Takada and Lafawnda's performance takes place.

Why call up the myth of the fox now In Le Renard Bleu, Lafawndah and Takada's collapsing of distance between generations, styles, and milieus intimates that the relationship to time must be shaken. The future lies in fragments in the past; to remember is to recover it; the fox rises to thicken the plot.

The second album release on Cordial Recordings is a re-release of Afrodisia's highly collectible album 'Elephant Sunrise' from 1980 on Comma. the album is limited i pressing to 500 units. Afrodisia were combination of US soldiers with local musicians from Worms, Germany that were formed in 1978 and recorded two albums during their years together with 'Elephant Sunrise' being the only one that was actually released. Cordial Recordings will be issuing the previously unreleased album in 2019. 'Elephant Sunrise' has become a revered album by collectors because of the high quality of songs featured on the album which cross from soul to funk to disco and jazz with great ease. The band's leader Darnell Summers is originally from Detroit and is the brother of Headhunter Bill Summers who also features on the album as a player and songwriter. 'Sugar Free' is highly regarded by aficionados on the soul scene for it's glowing summer sounds and is one of the two songs that Bill Summers co-wrote on the album. This is one album not to be missed.

Hypnotizing rhythms and stormy bass cuts make up Various Visions 2, as D-Operation Drop, Zygos, Hebbe and mrshl unite on the Copenhagen based label's 9th vinyl release.

Various Visions is a new series of vinyl releases by Circle Vision, launched to present an umbrella of artists from around the globe, who share the label's vision of sound design and affection for immersive bass music.

Glasgow's Wheelman provides the tenth iteration of DBA's Dubs series, following a series of high profile releases on Huntleys & Palmers, Studio Barnhus, and his own Stereotone label. Signal is Wheelman's most ambitious effort to date, its searing amen stabs and deep sub bass guaranteed to wreck any club, while floating pads and crystalline strings add a bittersweet moment of rave nostalgia to the breakdown.

On the flip, in line with the DBA Dubs concept of pairing a house track from an up and coming UK producer with a remix by an established techno name from across the pond, Detroit In Effect provide a cold, bleep-drenched take which raises the tempo of Wheelman's original to an almost breakneck speed. D.I.E, also known as Cybonix, were prolific throughout the late 90s and early 00s on their own M.A.P. label and more recently on Rotterdam's Clone.

To coincide with the release of the tenth edition in the DBA Dubs series the label are also making all ten original tracks available as a digital package, while all ten of the remixes from the series get their own bundle, with Wheelman and Basic Soul Unit providing a megamix of each edition respectively.

Bergsonist is the moniker of Moroccon born and NYC based Selwa Abd. 'Solyaris' follows the self-released '' and a prolific slew of releases for labels such as Styles upon Styles, Borft, and Angoisse amongst others. For Selwa her uncompromising & otherworldly, hypno technoid creations aim to capture a given moment in time, contextualising her often direct, hugely affective, & unpolished approach to production.

Selwa describes 'Solyaris' as 'an ode to the present broken education system that allowed me to sustain my dreams in NewYork', explaining, 'As an immigrant from Morrocco, I felt always fearful of the future, pressured to succeed at school. The only way I was able to channel all that anxiety was through music'.

There's a undeniable physicality to Bergsonist's work, and the idea of expunging anxiousness into her music is felt from the oft as 'Solyaris' strides into vision with it's quickening roaring pulse and scrambled explorative electronic probes. This sense of anxiety eases as layers of rhythm build - heads begin to turn down and lush minimalist swathes eventually envelope bodies in calm unity, Anxiety diverted.

'Conflict in Yeman' opens with a gambit of off-kilter percussive experiments & electronics, conveying a sense of determined urgency. Things grow more & more intricate & immediate as we progress - layers of disruption weave around a reoccurring 140BPM shuffle, anchoring Selwa's constant explorative concrete diversions.

'Former Alien who has been naturalized by a U.S Citizen' brings things down a notch - skittering drums linger below a truly haunting whispered melody, occasionally broken down by collapsed rewinds and thunderously raw in the red beat grit - to dizzying effect. Whereas previously 'Solyaris' had taken its cues from Drexciyan Detroit Electro 'Former Alien...' stands closer to a Fantastic Damage era EL-P instrumental rather than anything aimed at the floor.

The EP rolls out with 'Fidel Gastro', a structured & focused piece of Machine Funk & end of days drop cues, conjuring an effective mix of both euphoria & imminent dread.

Bergsonist cuts a unique figure for electronic music in 2018 as someone explicitly exploring the relationship between head & body music. Although undeniably more than oft aimed at the dancefloor, Selwa's work also holds an equal respect and understanding of the head & heart. From her politically loaded Track titles, to her ideologically aligned guise of 'Bergsonist', to most significantly - her music's ability to elicit a spectrum of finely tuned emotional responses within the confines of each track

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

As we celebrate the 25th year of V Recordings, it couldn't be a better time for another release from DJ Patife & Vangeliez. One of the OG's of Brazilian D&B Patife teams up with fellow countryman Vangeliez (formerly one half of Human Factor) once again. Fresh from their last single, as well as features on last year's very well received 'Viva Brazil' compilation released in conjunction with SUNANDBASS, this duo has definitely found their own lane!

* On 'Living Together' they link up with two of the most recognizable voices in the D&B, MC Fats and Stamina MC to create an uplifting summer anthem, that spreads the positivity of music across the globe. These two vocalists need little introduction, but in case you don't know, they are behind some of the most seminal moments in our genre's history, classics like Calibre's 'Drop It Down' , DJ Hype's 'Peace, Love & Unity, DJ Marky & XRS's 'LK', D Kay's 'Barcelona' and so the list could go on... Basically with the coming together of these four names you're in safe hands! 'On The Floor' continues to push a euphoric feeling, but adapts a sub low bass that could tear through any system!

* Teaming up with Manchester's finest for vocals on 'Ain't That Bad', the tracks follow in the vein of their previous collaboration on Soul-R, and DRS delivers a stellar vocal performance that brings the track to life, and is again full of good vibes, definitely something you can never have enough of! 'Unexpected' is dripping with original liquid vibes - think Carlito & Addiction, Calibre, D Bridge Big Bud, Solid State - with a 21st-century twist - one for the those who like it deep.

* Drum & Bass as a genre now has so many different sounds and styles, but one sound that has ridden the waves of fashions and emerged as timeless is on display here as the duo deliver 100% organic, funk-filled Drum & Bass music for the soul.

* LABEL MARKETING: Features on V Recordings Podcast, Dedicated newsletter to 85,000 V Recordings subscribers. 80,000+ Facebook reach through label controlled Facebook and Twitter. Press on websites across the globe.

The Caribbean House Is A New Billy Bogus Project. It's The Perfect Meld Of Creepy Atmospheres, Sunset Grooves, Analog Sensibilities And Incessant Rhythms. Bogus Leads This Collective Formed By Federico Bologna (ohmega Tribe, Technogod) And Cristiano Santini (disciplinatha, Dish-is-nein,). This Triumvirate Of 90's Underground Italian Masterminds Come From The World Of Electronica, Noise Rock And Psychedelia. Here They All Combine To Rise Again Rise And Unite To Create Something Entirely New.

And So To The Music. Their Debut Lp Opens Up With The Dark And Haunting "night Drive". Recent Single "gong Bong" Is Next. It Is One Part Slo-mo Disco, One Part Psychedelic Moondance And One Part Sci-fi Horror Movie. If The First Two Thirds Of The Track Is A Caterpillar Then The Last Third Is A Butterfly As Uplifting Riffs And Swirls Of Layered Keys Bring Things To A Crescendo. "lonely Man" Is A Quirky Detuned Monster Tour-de-force Which Leads Nicely Into "love By Proxy". Layered Keys And Intertwined Arpeggios Mingle To Create The Closest Thing To A Love Song Possible From This Trio.

Flip The Vinyl Over For A Hippy Drive With "jesus Freaks" And Its Groovy Guitar Licks And White Noise Synth Blasts. "nature Nature" Is All About The Pulsing Bass Guitar And Sample Like Guitar Stabs Before Heading Completely Off-piste For A Synth-bass Ending. "africa Addio" Presents Us With Meandering Synth Lines Before Layering On A Waft Of Sound Effects And Spooky Keys. Movie Territory. We Close Off The Lp With The "streets Like Noodles". New Wave Nyc Chic Meets Underground Italy Psych.

Third Roots United EP called 'Kisko Kisko' comes from one of the finest electro producers from Finland, Mesak (Tatu Metsatahti), who is also known from his legendary projects like Mr. Velcro Fastener and Harmonia skweee label.

This 4-tracker features another Finnish underground hero Mono Junk (vocals on B2 track) and includes a real ghetto-remix by grand master DJ Overdose straight outta The Hague.

All of these tracks were produced in 2018 especially for Roots United in a true hardware style.

This four-track EP named 'Curiosity' from techno duo, Abstract Man marks the beginning of the new On the 5th Day imprint, the latest branch to extend from the heart of the London-based underground techno project. The final outputs of a year-long creative journey in the studio with a focus on analogue machines, 'Curiosity' (including Mike Parker remix) represents a chapter of exploration into sound design and manipulation, and the unity and evolution of two separate musical identities through the collaborative process.

The debut release from Abstract Man begins with 'Curiosity' itself, portraying the first stages of the pair's collaboration and inspired by a shared appreciation for driving, hypnotic techno. Mesmerizingly linear and highly textured, the components forming Curiosity's foundations each command their own space, separately evolving with clear purpose whilst interacting in a compelling, ritualistic dance to lock in the listener. Its overall progression, including an emerging chant-like drone, signifies the manifestation of a new artistic voice, all together making this a symbolic achievement for Abstract Man, as well as a compelling and highly effective tool for the dance floor. The subsequent Mike Parker remix of the same track is another striking portrayal of his distinguishable sound and style, whilst developing to present something surprising and perhaps unexpected from the techno veteran, making this a must for collectors of his work.

Then follows 'Proposition', exploring the powerful possibilities through simplicity and symbolising the 'less is more' approach which fuelled much of the first chapter of Abstract Man's time in the studio. The joining of its elements creates a dark, seductive and unwavering tension, making it the ultimate tester for any venue's sound system!

Finally, 'Exploration' steps in a with an uplifting vigour and propulsive, rhythmic magnetism, rounding off the EP nicely with its feeling of freedom and completeness, leaving a sense of intrigue in readiness for their next instalment.

Repress

The wait is over. The Outside Agency and Ophidian unite on the 20th Genosha release to collectively blow minds, expand vocabularies and sow the seeds of confusion. We could describe the tracks to you, but that would spoil all the fun and/or disappointment. If you have ever asked yourself what would happen if these three got together and made a whole EP, then the answer to your question is available for you to purchase right here. Boom.

Den Hague's Dazion (who previously released a 12" on MFM's Second Circle imprint), with a 2 tracker for Safe Trip.
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Label say:

''URGENT: THE SAFE TRIP ORGANISATION HAS TAKEN TO THE WATER IN A BID TO SPREAD THEIR CODED MUSICAL MESSAGES FAR AND WIDE. THEY HAVE RECRUITED A YOING OPERATIVE KNOWN AS DAZION, A KEEN WINDSURFER, TO DEVELOP A METHOD OF BROADCASTING THEIR ADDICTIVE AND MIND-ALTERING MUSICAL MISSIVES WHEREVER THERE IS A SUITABLE BODY OF WATER.

OUR OPERATIVES TRACKED DAZION TO A REMOTE SPOT ON THE DUTCH COAST, WHERE HE WAS SPOTTED TRIALLING THIS NEW TECHNOLOGY WITH HIS FAVOURED F2 DRAGON BOARD. AS HE RODE THE CHOPPY WAVES, WE WERE ABLE RECORD THE RHYTHMICAL ELECTRONIC MUSIC BROADCASTING FROM WITHIN THE BROAD. THIS MUSIC FEATURED THE KIND OF TRIBALISTIC, DELAY-LADEN DRUMS, SWELLING ELECTRONICS AND EXOTIC MELODIC REFRAINS THAT ARE KNOWN TO INSPIRE FRENZIED DANCING IN MEMBERS OF THE PUBLIC. WE HAVE CHRISTENED THE RECORDING DRAGON WAVE'.

WE LATER TRACKED DAZION TO A LIGHT INDUSTRIAL UNIT ON THE OUTSKIRTS OF AMSTERDAM. THERE HE CONTINUED TO TINKER WITH THE TECHNOLOGY, TESTING IT OUT BY BROADCASTING ANOTHER MUSICAL COMPOSITION. THIS WAS MORE POIGNANT AND MELANCHOLIC IN TONE, UTILISING SPAACEY ELECTRONIC MELODIES, GENTLY BOBBING CHORDS, HEART-ACHING GUITAR FLOURISHES AND A TOUGH BUT BROKEN RHYTHM TRACK. THE RECORDING - CODE NAME VX LTD' - HAD A HUGE IMPACT ON US EMOTIONALLY AND EVEN REDUCED ONE OPERATIVE TO TEARS.''

Tiago's wonderful INTERZONA13 deliver another duo of mesmerising, psychedelic club jams from STELLAR OM SOURCE
A message from Tiago...I met C ages ago when both of us were traveling Europe with our separate experimental music units.
Fast forward to today and we got together again to put out this amazing rocket showcasing her latest work.
Recorded at club Lux in Lisbon in a Interzona13 effort on putting together the city's finest to wrap it with much talent in music engineering, design and poetry in one single object.

As naturally as X-Altera came to be, the music itself is a unique refraction of styles and bold, contradictory approaches. But it all blends together uncannily well—maybe because of the decades of production experience that went into it, or the holistic mindset Mullinix took from the beginning. The name itself reflects as much. "X-Altera references two things. It comes from Latin—ex altera—which means 'from or of the other side.' Which could be a metaphysical thing, or you could say it's jungle ethics brought into the techno world. And I spelled it this way as a reference to X-101 and X-102, the Underground Resistance project of Je- Mills, Mike Banks, and Robert Hood." Detroit meets London, deep techno meets drum & bass, old meets new—X-Altera unites these threads in order to take them in unknown directions.A fresh debut from one of the most vital electronic producers of the last 20 years, Tadd Mullinix (Dabrye, JTC, Charles Manier), who looks to the past of techno and jungle to find a new ways forward.

LOYOTO are the East-Berlin born Eva Be and Cle from the western part of the formerly dived city. Both started their DJ and producer career almost at the same time in the heart of the then developing scene, the very center of Berlin, just after the wall came down. Originally rooted in very different styles of music, they encountered for the first time DJing together in 2011, finding common ground in more than just music - a gig, that should lead to more: They decided to combine their talents and knowledge and build a studio together. Here, and during legendary back2back DJ sets, they finally united their different musical backgrounds - dub/reggae and underground house music - and defined their very own sound.

"it Sounded All Right Through Two Walls, So What's The Problem" The Final Words Of 'two Walls', The Fast And Very Catchy Leading Track Of Dj Marcelle's New Record, Sum Up An Aesthetic Almost Lost In Today's Musical Climate, Where Often A Pleasing Attitude And Overproduced Music Sadly Rule, Even In So-called 'alternative' Circles.The Quote Comes From The Late Mark E. Smith (1957 - 2018), Legendary Frontman Of The Fall, And Is Taken From Some Of The Conversations Marcelle Had With Smith Over The Years. Smith Is Referring To A Recording Process But For Marcelle His Words Stand For Something Bigger.Although The Fall Have Been With Marcelle During Her Whole Musical Life (which More Or Less Started In 1977 During The Punk Wars) And She Has A Deep Love For Their Music, It Was Especially Smith's Attitude That Inspired Marcelle.Smith Was An Iconoclast, A Surrealist Dadaist Breaker Of Conventions In Music And Art More Generally. A Magically Creative Individual, A Brain-twisting Wordsmith. An Attacker Of The Pretentious And Dishonest Elements In Society And Music Scenes. An Autodidact Whose Singular Vision, Fired By Both Humour And Sharp Observation, Found A Voice In A Body Of Work Unlike Anything Else.The Day After Marcelle Heard Of Smith's Passing She Created A New Track, Lauding Smith, Whose Name Was An Institution In Itself: Mark E. Smith! Therefore, The Repetitious Use Of A John Peel Sample Pronouncing Smith's Name Celebrates The Life Of This Totally Unique Artist.This Track Opens With Another Smith Quote: "you're Probably Right, Marcelle". And Indeed, The Dutch Producer / Dj Shares Many Of Smith's Attitudes In That She Tries To Stay True To Herself, Doesn't Think Too Much About Audience Expectations And Always Tries To Stay Ahead Of The Public. 'punky' Energy Combined With The Avant-garde And Always Going Forward With Fresh Productions And Dj Sets. To Make And Play Music Which Reflects The Present And Doesn't Rest In The Comfort Zone Of One Dimensional Party Music.There Are Five More Versions Of 'two Walls' On This Ep, But They Differ So Much From The Original That You Can Count Them As Different Tracks. 'dubai Muezzin Dub' Was Partly Recorded In The United Emirates When Marcelle Played There Earlier In 2018. 'problematic Dub' Is Pure Industrial Techno Torn Apart By The Wildest Dub Effects, Its Coming And Going Of Sounds Equals A Ride In A Calypso. 'studio Door Dub' Celebrates The Repetition Of The Fall And The 'emerson, Lake & Palmer Symphony Dub' Is Both Pure Avant-garde And Hilarious Fun. And Belp, Who Owns The Jahmoni Label, Comes With A Wicked Abstract Noise Remix. The 'for' Ep Is The Fourth (get It) Vinyl Release Of Marcelle On The Munich Label Jahmoni Since 2016. As Always, Sleeve And Label Are Very Colourful. Both Labels Show Special Photos: On One Side We See An Old Picture Of Smith Embracing Marcelle, The Other Side Depicts The Label Of A 1985 The Fall Test Pressing That Once Belonged To John Peel But Which Was Stolen Out Of His Car In Amsterdam. Later Marcelle Found The Record On A Flea Market, Recognising Peel's Handwriting. "when I'm Dead And Gone" Smith Sang In The 1979 Song 'psychik Dancehall', "my Vibrations Will Live On, In Vibes On Vinyl Through The Years. People Will Dance To My Waves."Now We Can Listen And Dance To A Vinyl 'for' The Incomparable Mes, Made With Total Commitment And Which - Like The Fall - Defies Comparison.

Dilated Pupils is a collective group of likeminded friends home-based in the Netherlands. When forces are joined in one of their many studios each individual brings his own influences and styles to the table. Together they share a distinct flavor in productions and raw one-take jam sessions created with the use of analogue machines and often recorded on tape. Each of them have their own solo productions as well as other collaborations, but when united as Dilated Pupils they prefer to be known jointly as one entity with their own unique and distinguished sound. Since 2014 the group has developed an interesting and widespread discography with releases on labels such as Fear of Flying, Sol Asylum, Mode of Expression, Tabla, Music is Art, Dorcas, Make Sense and Mayak.

the producer, multi-instrumentalist, DJ and record collector Gabriel Cyr AKA Teleseen releases 5th album 'The Emotional Life of Savages' via French imprint Goldmin Music.

African rhythms, Latin heat and otherworldly electronics collide like neurons, processed through a New York state of mind. The pancontinental sounds are mirrored in his own life, which has oscillated back and forth between various countries.

A jazz background combined with a love for house and techno are ingrained in the grooves. Also key is the samba, baile funk and MPB that inspired him while living in Rio de Janeiro, plus the sounds he reabsorbed on returning to NYC's club scene.

This wide range of influences spanning the global underground coalesces into a rich, vital and coherent whole. Warm and soulful, but also evoking an intoxicating, heady atmosphere, the hypnotic and ultra-rhythmic tracks subtly shift and build to fever pitch, due primarily to deft polyrhythmic drums and percussion - both played and sequenced.

"Working on this record I finally found myself able to manifest a certain sound I'd been hearing in my head for years, combining the rhythmic intensity of afro-house and afro-Brazilian music with the more cosmic sounds of Detroit and deep house", explains Cyr on his musical vision.

The gentle sundowner glow of 'Myrtle Avenue' with its textured synth waves and wandering Parrish-esque keys acts as a precursor to the potent nocturnal adventure to follow: 'Espelhos' captures a similar essence to Black Science Orchestra's classic 'Save Us (The Jam)', before the heat goes up and heads go down for the eastern-tinged, autotune-laden fire of 'Khalil'.

The album then intensifies further still on the percussion-heavy, big bottomed cosmic throb of 'Jaguar', whilst Brazilian flavour meets tech house rush on 'Fundos', before the party reaches its feverish close on the wiggling batucada- meets-tribal-house of 'Temporada De Seca'.

Born in the north eastern United States, as an adult Cyr has always been nomadic. He has sought to live and immerse himself in other cultures and absorb their sounds, but eventually always succumbs to the Big Apple's magnetic pull. Back home, a key inspirational catalyst for the album was the Brooklyn-based party Africainoir, where he's a resident DJ.

Alongside cutting his teeth producing illbient/hip hop and working as an engineer, he ran his own studio for period, before starting his own label Percepts, on which to release his dub techno style debut. He has since released on 100% Silk, Boomarm Nation and Feel Up Records, and now 'The Emotional Life Of Savages' marks Teleseen's first album for Goldmin.

Mehmet Aslan returns to his own Fleeting Wax imprint, in order to deliver the first in a series of releases as part of a new project, ghost station, including a collaboration with fellow Turkish singer, songwriter and vocal producer, Idil Mese.


Efsun, translating to enchantment in Farsi, is the sound of Idil Mese transforming an understated, somewhat folksy instrumental of Aslan's into a bewitching and subtle musical spell. Initially tense,
Idil Mese's vocal spell wraps beautifully around a brittle guitar motif, inches above a sea of atmospheric ambience. In it's second half, synthesis and sitar unite, taking efsun into more revelatory territory, employing a playful melody and warm, cosmic textures.

Meanwhile, on 'ghost station', from which the project takes its name, layers of meaning and recording slowly unravel, revealing a compelling soundscape. Recorded in one take, and completed across one night, 'ghost station' began with Aslan and his sampler surfing the busy radio waves of Berlin, eventually settling on a beautiful score broadcast on one of the city's classical stations. Just as soon as Aslan had the frequency on lockdown, the signal disappeared unable to be retrieved quickly enough, if ever. Loosely inspired by the work of Swiss visual artist and musician Pipilotti Rist, the track instead unfolds woozily like a dream, undulating through offbeat bleeps, ghostly voices and improvised swells of noise, while still maintaining it's own quietly propulsive groove.

Sounding more like himself than ever on his own Fleeting Wax outlet and incorporating an impressive range of musical techniques over just two tracks, 'ghost station' further establishes Mehmet Aslan as a restlessly inventive musical talent. -Text by John Thorp

Who Do You Go To For Your Very First Session When You Have Just Been Gifted Your Very Own Top-flight 'stradivarius Of Synth Based Studios' Enter 'the Grid' ...mr David Ball: One Man Band Of Pioneering Electro-pop Distorters Soft Cell, Part Time Psychic Tv Personality, Film Soundtrack Composer And All Round Synth Afficionado & Richard Norris: Eclectic Beat-meister & Ambient Dj, Record Producer, Commited Psychedelicist From 'beyond The Wizard's Sleeve'. The 1990's Saw Worldwide Commercial Success As The Grid Scored 10 Uk Chart Hits, Many A Euro Hit Including 1994's International Mega-hit 'swamp Thing' Featuring A Twisted Use Of Sampled Banjos Lifted From The 1970's Okie Shocker Movie 'providence. In 1996 The Grid Went On A Holiday And They Didn't Return Till 2005. In The Initial Week Of The Moog Sound-lab In Early 2015 As The Studio Was Literally Put Together Around Them, Our Abiding Memory Was Their Absolutely Delighted Grins As Each Moog Unit Was Added To The Lab. Dave & Richard Created This Benchmark Album Of Deluxe 'tronic Trax That Showcased Their Prarie Wide Knowledge Of Electronica & Their Ocean Deep Skills As Both Technicians & Original Soundscapers - Kraftwerk-ian Werk-outs, Space Noise Jams, And Slinky Grooves With Subtle Pop-tones.

Paul Dickow Aka Strategy Is A Musical Polymath With A Signature Sound Derived From His Immersion In Hardware-based Electronic Music. He Has Spent Close To Two Decades Traveling Freely Through House, Techno, Rave, Noise, Ambient, And Sounds More Difficult To Categorize. Strategy's Sound Is Inimitable Because It Is Literally Built By Hand - His Hands. Through All Of This Sonic Journeying, Including Multiple Full Length Releases, A Constant Has Been His Love Of Reggae And Dub, Yet Somehow A Proper Dub Album Has Never Emerged - Until Now.

After Two Much-loved 7' Singles On Zamzam - To Say Nothing Of Dubwise Excursions On Idle Hands, Shockout, Peak Oil, 100% Silk And More - dub Mind Paradigm' Is The Fulfillment Of A Clear, Simple Goal. "i Set Out To Make A Full Set Of Dub Tracks Good Enough To Make An Album -- Something That Had Always Eluded Me-- And It Worked, Finally. A Simple Exercise In Seeing If We Could Launch The Capsule To Orbit Planet Reggae And Make It Home Again.'

Reaching Planet Reggae, The Album Explores Analog Caverns Of Dubwise At All Tempos, From The 80s To 140, Full Of The Ghosts Of Ancient And Future Technologies, Glimmering Shards Of Hope Among Heaps Of Folly, Ruin And Rubble. Music Fans With Crates Deeper Than The Contemporary Will Find Shades Of Wackies, Firehouse, Unity Sound, Burial Mix And More, But Only Winks And Nods... No One Sounds Like Strategy, And Strategy Sounds Like No One.

Mastered By Sam Precise.

Art & Design By Polygon Press.

Distributed By Unearthed Sounds Ltd.

Limited To 700 Vinyl Lps - No Repress, No Digital.

Crosstown Rebels celebrate their fifteenth year with their monumental 200th release. American DJ and producer Arthur Baker reunites with Rockers Revenge for the first time in thirty years. To complete the package, dance music heavyweights Francois K and Michael Mayer take on remix duties.

On A Mission is exactly that, 'a mission of love, a mission of peace'. The positive vocals hark back to those of early 90s house tracks, which created unity through music and clubbing. The rhythmic beat of the drum is determined, as percussive layers build and the vocals bleed into the synths. Francois K provides two variations of the track. His remix features more prominent drumbeats driven by a growling bassline. On his rockers dub version, Francois goes all out and dubs us into the stratosphere. Up next is the Michael Mayer remix, with a more electronic take on the original with driving synths and a whirring, throbbing bass-line.

Created in 1982, Rockers Revenge was the brainchild of Arthur Baker and Donnie Calvin. Donnie provided lead vocals with Baker's wife, Tina B, Dwight Hawkes and Adrienne Dupree Johnson on backing vocals. Their most prominent track, Walking On Sunshine, was a post-disco hit reaching #1 in the US dance charts and #4 in the UK charts.

Three years ago Baker and Hawkes reconnected through social media with Baker sending through his original Mission idea. Baker is known for his work with hip hop artists like Afrika Bambaataa, Planet Patrol, and New Order whilst also remixing the Pet Shop Boys' 1986 hit In The Night. Fast forward to 2018 and the group performed a monumental live show at Get Lost Miami, and are currently in the studio working on new material. This Summer they will shoot a new documentary and perform live at various events.

Jaar's Other People is pleased to present a new solo record of guitar and live custom electronics artist Patrick Higgins, an American avant-garde composer and producer from New York City. Higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the mythical avant-noise-jazz ensemble Zs. His solo work as a composer unites European avant-garde forms with the post-minimalist howl of New York. His upcoming release on Other People, 'Dossier,' is a four-movement piece performed live without overdubs or edits. All of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation. The sound world is post-apocalyptic in spirit but builds to an intimate and reflective end. The material was developed over a two-year period and finalized at the end of 2016. Cover art is by Alfredo Jaar.

Raga Yaman
1) Alap
2) Jod
3) Jhala
4) Gat (Composition in Chautal)

Zia Mohiuddin Dagar : rudra veena
Manik Munde : pakhawaj
Gayathri Rajapur & Annie Penta : tanpuras

Recorded by unknown at the University of Washington, HUB Auditorium, Seattle, Washington 15 March 1986 , concert co-sponsored by the UW Ethnomusicology Division and Ragamala.
Original digitally processed audio recording made with Panasonic PV-9000 VCR, Sony PCM-F1, PZM mics. Mastered & Cut by Rashad Becker at Dubplates & Mastering 1117 & 0318.

Liner notes by Renaud Brizard, Stephen O'Malley & Ian Christe.
Front and back cover photos by Niranjan B. Benegal, Seattle Center Folklife Festival 1979. Elizabeth Reeke & Annie Penta on tanpuras.
Inner gatefold photography by Niranjan B. Benegal & Ira Landgarten.

Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar.

Dhrupad, for those who do not know, is a branch of Hindustani classical music said to "show the raga in its clearest and purest form". It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance ... in short I was hooked on this new (to me) and ancient form of music from the first listen, and feel that a more or less continual listening & reviewing of Zia Mohiuddin Dagar's recordings in the years that followed have influenced my own approach to music quite heavily (if, albeit, indirectly).

In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access a massive archive of recordings and developed these two paired titles for my label. It's been a long path to arrive at actually releasing them but also probably in many ways one of the most significant releases I've worked on. And I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time.

Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad (Bahauddin Dagar continues the lineage as a master rudra veena dhrupad player of note today). Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release.

Raga Yaman was recorded at a public concert in Seattle at the HUB Ballroom at the University of Washington in March 1986 (the week after the accompanying release SOMA028 Ragas Abhogi & Vardhani was recorded) at the end of his last tour of the United States. Yaman was a special raga for Zia Mohiuddin Dagar, one of his signature raags. For centuries, Yaman has been considered as one of the most fundamental ragas in Hindustani music and is one of the first ragas which is taught to students. A deep knowledge of Yaman gives a key for understanding many other ragas. It's filled with tranquility, contemplation, pathos and spiritual yearning. .

-Stephen O'Malley, March 2018, Paris, France

First released in 1995 on Jonah's own Aba Christos Tafari Records,Intergalactic Dub Rockis a trip. While the 90s rave continuum buried down the hole of cosmic sci-fi culture, dub's fascination turned elsewhere after 80s touch-stones like Shaka'sBrimstone & FireandCaptain Ganja and the Space Patrol(re-issued by Bokeh last year). But Jonah takes things way far on this, his most adventurous outing: let your needle cruise along these bleeps and strings of 50s space travelling dreams, and the flutes and melodicas of planet earth, hear them clang with the hardest dub FX units the UK could buy at the time. It's one of the most righteous and outward-looking steppas LPs, now liberated from the hands of Discogs-types with a previously CD-only bonus track, 'White Nile'.

Inyotef, Bongoman, Jahman Dan, Kheru - Jonah Dan goes by many names and many trades - akete nyabinghi master, vocalist, producer and filmmaker. For many years he was the go-to studio percussionist for the UK dub scene, collaborating with basically everyone: Paul Fox, Jah Warrior, Robert Tribulation, Jah Fingers, Tony Roots, Alpha and Omega. Along with Bush Chemists (stars of BKV 020...) and Disciples, he toured the continent, spreading the message of UK dub and laying the seeds for a lot of the EU scene today. At some point his Aba Christos Tafari Records morphed into Inner Sanctuary, one of the greatest 90s labels still in operation, go check.

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

Following the 'Screaming Ghosts' collection highlighting the music of C Cat Trance, Emotional Rescue and Malka Tuti return with the first of two EPs where the band's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.

LYBES DIMEM is a project by visual artist and musician Lukas Rehm. With a focus on digital sound-de- sign, elaborate beat structures and the use of error, the music plays with cognitive phenomena and abstraction while maintaining an emotional refuge. LYBES DIMEM is presented in formats ranging from spatial sound experiences to sy- nesthetic shows complementing the auditive layers with visualiza- tions of real-time data, computer graphics and moving image. Lukas Rehms installative art, and compo- sitions have been internationally presented and awarded with multi- ple emerging arts prices.

SYNCLEFT CHRONEM is the first album released by LYBES DIMEM in both digital and vinyl format and accompanied by a moving image artwork. The title reflects the pro- jects interest in the potential of difference, cognitive frictions and exertion: sync = variability in the processing of auditive and visual signals, syncleft = the synaptic cleft, which is a crucial empty spa- ce in biological neural networks, chronem = the chroneme as a the- oretical unit to measure the time of

an articulated sound. Mathemati- cally clean sounds juxtapose pat- terns and transitions familiar from the realm of organic acoustics. Multi-layered noise textures ex- plore the simulated space. A tem- porary continuity is provided by percussive and melodic elements, right until the next escalation, eventually awaiting a concluding resolution.

The visual language explores dif- ferent phenomena and techniques of cognition inspired by the rhe- torics of big science (computer graphics, discontinuity of materi- al, pop cultural references). Both the moving image artwork and the graphic design of the release pay tribute to the multi-layered appro- ach of the music. The design of the vinyl cover by studio BNAG.cc uses subtractive colour synthesis to interchange between abstract for- mality and representationalism.

SYNCLEFT CHRONEM is the first release by LYBES DIMEM on SVS Records following a first encounter at the SVS residency at the 4D Spa- tial Sound Institute in Budapest.

Tony Clarke is from Waterhouse, St. Andrew Jamaica. At the tender age of 10 he started following sound systems like Sir Mike The Musical Dragon with the great toaster Prince Ruff at the controls, and King Tubby's with the legendary U-Roy. Tony Clarke did his first recording in New York in 1971 at Hugh Hendricks recording studio called "Righteous Man" of which he played both bass and lead guitar. The band was later managed by the legendary band leader/trombonist Carlos Malcolm.

Tony Clarke decided to write the song 'Going Home' to reference the roots of his music. In those days and even now good reggae music that was being recorded in the United States was not receiving the approbation from home because, in Jamaica they felt that the best reggae music could only come from and be created in Jamaica to substantiate the true feeling of the genre. So he decided to go back to Jamaica and record 'Going Home' at Harry J Studio with Sylvan Morris as engineer. The rhythm track was played by Lloyd Parks (Bass), Devon Richardson (Drum), Andy Bassford (Lead Guitar), Winston "Bo-Pee" Bowen (Rhythm Guitar), Franklyn "Bubbler" Waul (Keyboard), David Madden & Junior "Chico" Chin (Horns). He also recorded the cover version to 'Hey Little Girl' originally done by Dee Clark. For this 12'' vinyl edition, the artwork was done with a vintage photo of Tony Clarke in front of his house at Waterhouse and extended liner notes on the back cover.

Following the U.S. Army's liberation of Munich in May 1945, the world's first Amerikahaus was inaugurated there with a library, a magazine reading room, a children's library, a record and lm department, and lecture and seminar rooms, together with a concert hall and exhibition space. Up to 80,000 people a month utilized the offerings of Amerikahaus during its early years. Beginning in 1953, the United States Information Agency (USIA), an institution founded as an instrument of the Cold War, began to finance Amerikahaus. In addition to representing the U.S., its principal task in West Germany was to democratize and denazify the postwar population. After the beginning of the Cold War, many of these re-educative measures also served as propaganda in a programmatic linking of democratic and economic principles meant to strengthen transatlantic relations against the Communist Bloc. In 1997, the U.S. government concluded its work at Amerikahaus in Munich and shipped almost all its items back to the States. However, 1,630 long-playing vinyl records from the library were left behind in cardboard boxes in the basement. When Michaela Melián looked through this forgotten collection, one of the first things she came across was Don Gillis' 1940 tone poem »Portrait of a Frontier Town«, whose second movement is entitled »Where the West Begins«. Don Gillis, a composer and radio producer, used the musical styles and genres of that decade to create an explicitly American program music. Michaela Melián's »Music from a Frontier Town« is fueled by the diverse sonic material of this extensive record collection once considered as an instrument of cultural education. This record has been produced in addition to Melián's twenty-four hour performative music installation »Music from a Frontier Town« in the garage of what is now the Bavarian Center for Transatlantic Relations at Karolinenplatz, Munich (4-5 May 2018).

After putting out Kito Jempere's well received Sea Monsters album last year, Hell Yeah now serve up another selection of remixes of it. Accomplished musician Jimi Tenor, plus Miskotom and Max Essa all contribute before a 7", also taken from the album, lands later in summer. First up is Jimi Tenor, the legndary Finnish musician who has released on Warp, collaborated with Tony Allen and has his own band as well as occasionally playing sax with Kito Jempere Band at live gigs. He flips Puzzled into five minutes of stripped back and moody electronics with plenty of his own flute playing in the track. Busted drum sounds, spooky sci-fi synths and scattered hits make it woozy and late night and utterly absorbing. Miskotom—a newly emerging pair made up of Mik and his wife Andra, both based in Vilnius, Lithuania with credits on Pleasure Unit and Balearic —then reimagine 'Ampa' as a beatdown but of deep house with trudging drums staying low and shimmering synths drift out in all directions. Crunchy hits bring a subtle sense of funk and reverb drenched vocals bring a heavenly feel to the soul drenched grooves and summery keys.
Then comes Max Essa, the Japan based Brit who is a regular on this label as well as the likes of Is It Balearic. His first remix is a huge one that is sure to soundtrack many a boat party this summer. It's a gorgeous rework of 'Ampa' that puts achingly blissful vocals front and centre as low slung bass and slowly turning drums sink you into a pan-pipe laced reverie. Secondly, Essa offers a Dub Reprise that removes the vocals and places all the focus on his churning drums and new age grooves.
This is another perfect package of masterfully electronic horizontal sounds.

Since the early 1990s, keyboard player Jessica Lauren has been a familiar part of London's alternative music scene. Jessica's keyboard skills have augmented the live performances and studio recordings of world renowned artists such as Jean Carne, Tom Browne, Dexter Wansel and James Mason, Japan's United Future Organisation, and UK soul diva Juliet Roberts.

Her previous Freestyle album 'Jessica Lauren Four' (2012) highlighted Jessica's minimalist approach, something rare and refreshing in the jazz world: she instills her compositions and playing with a refined sense of space which makes her music as much about what she doesn't play as what she does.

The albums' opener - Kofi Nomad is a deeply percussive afrocentric epic, featuring the beautiful baritone saxaphone of Tamar 'Collocutor' Osborn, one of the most in demand woodwind players working today, underpinned by a powerful foundation of percussion courtesy of Richard látúndé Baker, Phillip Harper and drummer Cosimo Keita Cadore.

Jessicas' amazing skill for writing simple, understated yet superbly memorable and catchy hooks remains undiminished. Highlights in this new collection are almost too numerous to mention, but Amalfi is a breezy bossa, which conjures up images of easy living days and sun dappled Mediterranean coastlines, whilst the angular and brooding Simba Jike has something of an Eddie Harris style deep, dark groove over which Jessica riffs and solos beautifully on grand piano - and Tamar once again blows freely, whilst 'level' Neville Malcolms' upright bass figure roots the entire thing in a solid, almost primeval sound.

The albums closing statement Argentina is a masterpiece of pathos and perfectly demonstrates Jessicas' approach which is almost akin to a minimalist architecture style of composing and playing, such is the strength of its atmosphere and subtlety.