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The Afro National Band Was Formed In Freetown, Sierra Leone In 1972. Their Inspirational Leader, Sulay Abu Bakarr Accompanied By His Wife Patricia And Ayo Roy Macauley Split From The Sabanoh Jazz Band To Form Their New Group. They Skillfully Merged Highlife And Jazz Sounds With A Deep Knowledge Of West African Sounds. Growing To Become One Of The Premiere Bands To Emerge From Sierra Leone They Not Only Defined The Sound Of The Country For A Generation But Also Crafted Some Of The Country's Most Popular And Memorable Songs (for Example Sonjo Which Is Included On This Collection).

The Band Toured Extensively Throughout Africa And Europe In The 70s (working With The Giant Of Sierra Leone Music Akie Deen In The Process). Towards The End Of The 70s The Band Departed Sierra Leone, Sulay And His Wife Moving To Maryland In The Us And Other Members Moving To London.

Our Collection Focuses On Possibly Not The Best Known Songs Of The Band But The Tracks Which Have The Rhythms To Move The Dance Floor. We Open With The Foot Tapping "jokenge" And Its Driving Shuffle Beat, Swirling Organ And Percussive Guitar Lines. "push Am Forward" Takes A Afro-psychadelic Turn With Its Hypnotic Rhythms And Driving Distorted Guitar. "mr Who You Be" Is A Cover Of The Fela Kuti Track, Doing It Fine Justice. "gowa" Highlights The Vocal Prowess Of The Band, As Dose The Ever Popular "sonjo" (the Version Featured Here Is A Rare Alternate Recording).

"money Palava" Opens Up Side Two With Its Infectious Highlife Beat And Hooky Vocals. "money Nor Bataya" Highlights The Bands First Use Of Synthesizers. "mother In Law" Sweeps Up Back To Free Town 1973 With Its Clever Vocal. "set My Soul On Fire" Is A Bonus Track Which Brings In The International Flavour Of The Band.

The Afro National Band Continues In Various Guises To This Day, With Sulay And Patricia Acting As The Proud And Talismanic Figures For A Whole Generation Of Sierra Leonean Music.

New collaborative album from two of the world's most revered sound artists. 'At its best, William Basinski's music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.' Pitchfork // 'Awe-inspiring: strange, elemental, and profound.' AllMusic // For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, Selva Oscura, was seeded. The phrase Selva Oscura draws its root from Dante's Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiselled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.

Welcome to JANX Records' first release. The debut EP features Kevin Over, Sarp Yilmaz, Frag Maddin and Boj Angler. Four friends and four cuts of naughty sample-based house music. All tracks recorded with love in Berlin, Istanbul, Essen and Ibiza. Available as digital release as well as strictly limited vinyl with silk screen cover art, hand-printed and packaged by the artists themselves. Vital Sales Points: Various Artists EP featuring Sarp Yilmaz (Istanbul) with former releases on Apparel Music, Swink Music Kevin Over (Essen) with former releases on e.g. Madhouse Records, 4Lux, Rough Recordings Frag Maddin (Berlin) with former releases on e.g. Madhouse Records, Upon.You, Kakudo Records, etc. Boj Angler (Ibiza) with former releases on Esance

Soundway Records delivers a beautifully remastered reissue
of Brazilian duo Grupo Controle Digital's only album, 'A Festa
É Nossa'. First released in 1988, the album is now housed in a
tip-on heavyweight sleeve and restored artwork.
With the title track 'A Festa É Nossa' having circulated the
last few years in the DJ sets of influential tastemakers, the
album has become highly sought after by electronic fans
and collectors alike. Lo-f synths and cruising bass lines
permeate the record, influenced by the group's Brazilian
contemporaries at the time such as Tim Maia, Cláudio Zoli,
Secos E Molhados, and rock outft Made In Brazil.
Band members Billy Jaguar and Gel Valiery regularly
performed in various groups in São Paulo throughout the
80s and 90s, but after Gel passed away, Grupo Controle
Digital was no more - the band and the album faded into
obscurity and Billy became a priest, working with gospel
music. It remained that way until Brazilian DJ Millos Kaiser
(from label Selva Discos, and one half of Brazilian street party
organisers Selvagem) tracked down the remaining member
of the group to be able to include one of their tracks on the
highly anticipated Soundway compilation 'Onda De Amor:
Synthesized Brazilian Hits That Never Were (1984-94)',
released in July 2018.
Audio restored by Neal Birnie and re-mastered by Frank
Merritt at The Carvery, London. Artwork restored by Lewis
Heriz.
FOR FANS OF:
Soundway 'Onda De Amor' compilation, Music From Memory
'Outro Tempo' Brazil compilation, Spacetalk compilations,
Sabor Do Brasil

Camisole Records welcomes you on board for this Business Class Library compilation. During your flight you will be listening to music by Serge Bulot, Alan Shearer, Gérard Gésina and Pascal Wathelet. All these 80's electronic library tracks have been curated by your captain Silver Fox to assure you a pleasant journey. 'To Thwart Soul' by Gérard Gésina will guarantee you an easy take-off while 'Ondulations' by Serge Bulot is perfect to calm down during turbulences. For hours of magnificient dreams try 'Mouvements' by Pascal Wathelet. Landing with'Hollywood' or 'Marathon Life' by Alan Shearer will prepare you for your busy day to come. We thank you for flying on Camisole Records and hope to see you again on our lines. This trip is limited to 500 copies.

Fifteen track completion of deep biguines and Gwo Ka from the '60s French West Indies. The vinyl edition included a 4 page booklet + download code.

Biguine is a rhythmic style of music that originated in Guadeloupe and Martinique in the 19th century, which fuses 19th-century French ballroom

dance steps with African rhythms. Gwo Ka is found among all ethnic and religious groups of Guadeloupean society.

It combines responsorial singing in Guadeloupean Creole, rhythms played on the Ka drums and dancing. Gwo Ka is the musical and cultural product of the

region's African ancestry, forcibly brought to the Caribbean through slavery. Gwo Ka exists only in Guadeloupe, which is a very different island from much of

the Caribbean, in that it remains a 'department' of its original colonial master, France. Here the currency is the Euro and the baker sells croissants and café

au lait. This constant 'European-ising' of the island means that Gwo Ka plays a fundamental and important role in the defining of Guadeloupean identity.

'Antilles' Méchant Bateau', a low-tempo number with a bolero feel, indeed a pure case of the blues, and a terrific saxophone solo. What else would you

expect to set the tone for this selection, in which beguine regains its original colours, in the darkness of the Gwo Ka drums. This 45 by André Mahy, released

under the Aux Ondes sublabel, was recorded in the 1960s at Célini's, one of Guadeloupe's two main houses. Through its drum rolls and harrowing chant, it

recalled how, long before the mid-1960s, the Antilles' history was written in an ocean of teardrops - namely the Black Atlantic.

For the second opus of the popcorn diary we are proud to present some some parisian collaborations... Vadim Svoboda
&Paul Cut, Seuil &Yakine, Siler & Flabaire, 6 producers for 3 original tracks !!! Don't'miss it

The last in the Rommek 'Set in Stone Trilogy' with 'Metamorphic'.
Various established Blueprint artists transform the atmospheric and intense industrial soundscapes into with their own gripping interpretations.

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

For their next release Kontrapunkt goes deeper into the realm of experimentation. It reaches from neo
trance techno tracks to some spiritual influenced tribal tracks. There will be discoveries in the breaks
area as well. And in the end it is all about how rough techno can sound today

Fast-moving Times, In Which Popularity And Quality Are Often Equated Or Commonly Confused With One Another, Aids And Abets This Imitation Game Some Call Conformity, Others Professionalism. In The End, Both Paths Will End Up In Predictability. Here's Where Stathis Kalatzis, Aka Mr. Statik, Comes To Play. The Resident At Athens' Multi-purpose Cultural Space Six D.o.g.s Has Not Only Been One Of The Scene's Pivotal Figures, But Since He Started To Release His First Solo Releases In The Mid-00s, The Now Berlin-based Greek Dj Has Earned A Reputation For Being A Trend-ignoring, Unconventional Producer.

Whether His Output For Bpitch Control, Rotary Cocktail, Or Even Last Year's Debut Ep "rogue
Cherub" For Away - Mr. Statik Enjoys Thinking Outside The Box By Crossing His Diverse Pop-cultural Interests And Pulling In Expertise And Perspective From Beyond The Usual Functional Formulas. After A Decade Of Not Staying In One Comfort Zone Or Sticking To One Musical Direction, He Finds Himself More Comfortable In His Producer Shoes Presenting His Debut Album "metamorphose". Housing A Few Film References In This For Mr. Statik Typical Nebulous Fashion, The Ten Tracks Not Only Carrying The Narrative Potential Of An Imaginary Score, But Primarily Exploring A Versatile Array Of Influences, Themes, And Contradictions (which Mr. Statik As An Illustrator Also United On The Albums' Artwork). Ranging From The Sci-fi Infused Album Opener "insomnia", The First Non-dancefloor Piece He Ever Produced Around 7 Years Ago, Over "atastrophe", An Homage To Ancient Greek Theater, To Collaborate With Others Such As Beatrice Ballabile, Jan Niklas Jansen (locas In Love), And Rbma Alumnus Claude Speeed, Who Contributed Synth Work On "soulfur".

"metamorphose" Succeeds In Constantly Changing Its Tones, While Maintaining An Emotional
Frame, In Which Mr. Statik's Melancholic, Introvert, At Times Hopeful And Euphoric, Bottom End
Inclined Electronic Music Can Elaborate.

Mr. Statik On His Album Debut:

"i Have Always Tried To Approach Producing As Storytelling Exercises. This Allowed Me To
Experiment Finding Myself In Uncharted Territories, More Specifically In Music That Doesn't
Necessarily Fit To A Dance Floor - Unless It's A Very Adventurous One. 'metamorphose'' Is Loyal To That Mindset. I Usually Draw Inspiration From Cinema And Comic Books And Have Always Been Fascinated With Sci-fi, South Asian Culture, Surrealism And The Dreamworld. Initially The Album Was Supposed To Be A Collage Of The Various Influences That Had Shaped My Life, But Ended Up Being Something Very Different. During The Conceptualization And Recording Process A Lot Of Things Around Us Have Changed, Primarily For The Worse. I Became More And More Sensitive And Susceptible To Pessimism And Trendy Visions Of 'dystopian Futurism', So That The Lp Emerged Being An Exercise In Positivity: 'metamorphose' Is A Verb Describing The Act Of
Conversion, But In Greeklish It Is Describes The Urge Towards Others To Start Transforming Their
Environment, In This Case For The Better."

Switched-on Eugene Documents The Eugene Electronic Music Collective And Some Of The Many Synthed-out Figures In And Around Oregon's Iconic Hippie Stronghold During The 1980s. Whether Connected By Membership, Geography, Or The Tape Trading Scene, The Artists In And Around The Eemc Shared Compelling Visions Of The Future We Now Inhabit, Vividly Captured On Home-recorded Tapes And Distributed Via Zines, Classifieds, And Local Radio. Switched-on Eugene Is A Deep Dive Into A Heretofore Forgotten Sonic Microcosm Unlike Any Other.

Repress

Universal Eyes Ist Eine Experimentelle Noise-supergroup Der Detroiter Formationen Wolf Eyes Und Universal Indians, Bestehend Aus Nate Young, John 'inzane' Olson, Aaron Dilloway (pan, The Trilogy Tapes, Dais) Und Gretchen Gonzales Davidson (ex-slumber Party-mitglied/kill Rock Stars). "four Variations On Artificial Society" Ist Das Ergebnis Ihrer Reunion, Aufgenommen Und Produziert An Einem Wochenende Mit Der Detroiter Underground-legende Warren Defever (his Name Is Alive/4ad) Und Gepresst In Superlimitierten Auflagen. Cd Im Jewelcase, Lp Auf Farbigem Doppelvinyl Mit Download-code & Poster. Die Lp-erstauflage Erscheint Auf Weißem & Colaflaschen-klarem Vinyl, Eine Spätere Auflage Mit Roten Und Violetten Farbspritzern.

Chapter 3 of the Tale of Tales series from us at Lagaffe Tales is finally on the horizon, fronting some of Lagaffe's closest friends. Neovinyl Records label head Carlo, Ari Bald from the Swedish Klubbhuset and our very own Jonbjorn and Moff & Tarkin.

The theme of this compilation could be a farewell wish to the summer, a sort of reminiscence of the good times, with good friends and summer grooves.

AEVA conjures up images of our world laid to waste. Having picked up wide and varied support on his debut 12' Dramatic Sunset, AEVA returns with his Superstars EP, a trajectory marking the implosion of a star turning supernova as euphoria dovetails into paranoia. Summer draws to an end and the melancholy imprint of unfulfilled potential begins to rust as the smell of wet concrete fills the air. This is Massive Life.

After 10 years of releases since 2007, the label is happy to add some fresh blood to the imprint. A compilation in two Volumes will see the light this summer. Here is the Vol.1 with France 98 aka Leo Pol, Walid from Infoline & Hank Rideau .

ArchiPOP#2 is the 200th release on Beatservice Records, and the LP-version is a special limited edition celebration vinyl version. It contains a collection of the best electro-pop and house tracks from the last few years of digital singles from Beatservice Records.

ArchiPOP is a series of curated selections from the Beatservice Records archives. Songs that have been on single/EP releases or standout tracks on albums are put together in a new and well-selected environment by label boss Vidar Hanssen. The artwork following these compilations are mirrored and manipulated architectural images from Tromsø, Norway, the hometown of Beatservice Records. The pictures are taken by German born, now Tromsø resident architect and photographer Kristina Schröder. Many of her pictures show familiar architecture in new and unusual perspectives.

Archive curating + architectural manipulations = ArchiPOP!!

"Perlman's got beats and it ain't no secret." - The Beastie Boys

This lyric might have slid right by you while you were listening to Ill Communication, but the Beastie Boys were not playing when they said that. Robert Perlman, a native New Yorker, was way ahead of the curve and would stockpile an arsenal of heavy duty vinyl way before the 45 record craze took over. This compilation of over a dozen tracks represents a taste of the fruits of his hard work uncovering these often overlooked gems.

Including some personal notes from the artists you can find on this compilation.

- Spectral Decay' is a collection of musical reflections about the paradoxical contemporary state of humankind, whereas its own technological, social, cultural and economical development seems to entrench the possible points of a structura downfall. The narrative of - Spectral Decay' starts with heavy, mesmerizing industrial vibes. Due to the notable sound design techniques of Japanese artist Tetsumasa, his hefty piece - Nex' evolves into a harsh but still amazingly cinematical music sculpture.
Subsequent mid-tempo composition - Onzour Shayatini' by Meer dynamically follows the dark, experimental path of drone and noisy structures. Violent accents smoothly lead to the deconstruction of drum & bass patterns and turn into strident 90s metal riffs. The track progressively penetrates obscure subterranean abysses and becomes a perfect introduction to the next theme by Yuji Kondo - - Hades'. In Greek mythology Hades was the ancient god of the underground kingdoms, darkness, death and metals. Therefore, Kondo's music piece turns into an infernal portrayal of the underworld where tenebrous layers of bass frequencies, raw textures and Drexciyan sounds build up an enormous and lasting tension.
Side B begins with the track - Anthropocene' produced by Arboretum co-founder - Mogano. The whole composition refers to the present geological epoch we live in, characterized by environmental pollutions, depletion of fossil fuels and accelerated urbaniza- tion of the world. It is a deeply conceptual soundscape of a powerful system, that incorporates both - the destructive forces of technology and the infinite energy of the whole universe, that interweave in a devilish dance of post-techno, breakbeat and dub tones.
Thereafter, ~Raw in his piece - Poly Bios' pictures the interference of human structures in the nature. Creating a mosaic from indus- trial and tribal, organic sounds, he tells a mystical story of fear, hope, escape and primeval instincts.
The narration concludes with an atmospheric composition of NWRMNTC - solo project of Ana Quiroga from experimental ambient duet LCC. - Beyond' is a boundless, spectral reflection on collective human consciousness, where haunting vocals evoke a recon- dite, ineffable pain, leaving the listeners in a profoundly meditative state.
Laura Polan´ska

Solipsism is an archival release of music from Mike Simonetti's
tenure as owner of Italians Do It Better Records, spanning from
2006-2013. During that time Mike wrote a lot of music. Some of it
was used for films, some for TV commercials, some for fashion
shows and he even released a record or two.
Influenced by the intersection of 80's arena rock bands like AC/DC and Judas Priest, glam rock/dance bands like Rockets and Supermax, and especially the underground Italian producer Piero Umiliani - the album is chock-full of atmospheric rock-inspired arpeggiated riffs. The mixture of metal and chugging dance music makes for a unique listening experience. Every song has a riff, every song is heavy and dense. Only one song goes above 118 BPM. These are heavy chuggers that make for a tense emotional experience that exceeds your standard, easy-to-write-off 'soundtrack' fare, mainly because it was never written with that in mind. It was meant to be a fist-pumping arena rock inspired thumper! You can hear that in the one two punch of 'A Prayer For War' into 'Illusions", which is an outtake from his "The Magician"
sessions. Other songs like 'Solipsism' showcase the airy melodies
of that were to come with his other project Pale Blue, but that is
not typical on this album. If you listen closely, you can hear how
Simonetti's music and dark vibes inspired his then label partner
Johnny Jewel to take his own bands Chromatics and Glass Candy in a different, more cinematic direction.
This was written and recorded years before the Drive soundtrack and all the hoopla around the sudden soundtrack resurgence. In
2011 Mike was asked to submit some songs for a soon to be
released Hollywood remake. He submitted most of the songs from this album, and they were slated for release on the soundtrack,
but the project fell apart, and the film went in a different direction
and changed producers. Soon after, because of all the drama and foolishness, he left Italians Do It Better to start over with 2MR and Pale Blue. This is the nail in the coffin. Godspeed.

Solipsism is an archival release of music from Mike Simonetti's
tenure as owner of Italians Do It Better Records, spanning from
2006-2013. During that time Mike wrote a lot of music. Some of it
was used for films, some for TV commercials, some for fashion
shows and he even released a record or two.
Influenced by the intersection of 80's arena rock bands like AC/DC and Judas Priest, glam rock/dance bands like Rockets and Supermax, and especially the underground Italian producer Piero Umiliani - the album is chock-full of atmospheric rock-inspired arpeggiated riffs. The mixture of metal and chugging dance music makes for a unique listening experience. Every song has a riff, every song is heavy and dense. Only one song goes above 118 BPM. These are heavy chuggers that make for a tense emotional experience that exceeds your standard, easy-to-write-off 'soundtrack' fare, mainly because it was never written with that in mind. It was meant to be a fist-pumping arena rock inspired thumper! You can hear that in the one two punch of 'A Prayer For War' into 'Illusions", which is an outtake from his "The Magician"
sessions. Other songs like 'Solipsism' showcase the airy melodies
of that were to come with his other project Pale Blue, but that is
not typical on this album. If you listen closely, you can hear how
Simonetti's music and dark vibes inspired his then label partner
Johnny Jewel to take his own bands Chromatics and Glass Candy in a different, more cinematic direction.
This was written and recorded years before the Drive soundtrack and all the hoopla around the sudden soundtrack resurgence. In
2011 Mike was asked to submit some songs for a soon to be
released Hollywood remake. He submitted most of the songs from this album, and they were slated for release on the soundtrack,
but the project fell apart, and the film went in a different direction
and changed producers. Soon after, because of all the drama and foolishness, he left Italians Do It Better to start over with 2MR and Pale Blue. This is the nail in the coffin. Godspeed.

The Suedehead Sound Of The Early 70's Followed The Skinhead Style Of The 1968-70 Period.
The Notable Difference Could Be Seen And Heard, The Sharp Jerky Upbeat Rhythms Were Slowing Down A Notch To What We Soon Be Calling That Early Reggae Sound.
The Tougher Harder Look Of The Rude Boy/skinhead Style Was Relaxing A Little To Almost Meet With The Less Frantic Rhythms To A More Slowed Down Groove Like Sound. The Hair Got A Little Longer, Going From A Mark 1 To A Feather Cut Style..
The 'rude Boy Out Of Jail' Type Lyrics Were Becoming More Conscientious, This Was Another Twist And Turn In The Ever Evolving Sound Of Jamaican Music,
But What Is Sure The Artists And Producers Never Disappointed Us In This Period , So Here Is A Compilation Of Some Tunes That The Suedehead Crowd Were Grooving To....
Hope You Enjoy The Set....

As always, the return of Ruede Hagelstein is inevitable and with each return he ups the ante tenfold showcasing his ever growing prowess behind the studio door. It seems as if, with each Ruede EP, the amount of elements utilized shrinks while at the same time the sound grows in power and dominance and that could not be better exemplified than here.

Consisting of two originals and a remix from the one and only Martin Buttrich, the EP is a gross display of well thought out, mature dance floor jewels. Opening the short player is Hagelstein's 'Dematerialize feat. Justin Evans' where a sinister yet soothing vocal sets the tone for the entire track, laying the groundwork for a gorgeous bass drum and shimmers of distant percussion carry us into celestial spaces. 'Forward Vision' is up next and follows suit by relying on a brooding minimal groove to drive the shimmers of glistening atmospherics and sparkling sonics optimal for dizzy and delirious club moments.

Last but certainly not least we turn to the legend who is Martin Buttrich to twist the original 'Dematerialize feat. Justin Evan' into a more straightforward composition with his signature stylings
opening the doors of accessibility to a wider demographic of disc jockeys resulting in a track that stretches the playability to a wide range of disc jockeys making it a stellar addition and ensuring
the perfect variety to quench all desires.

Polish producer CYD joins the ever impressive E-Missions with six leftfield cuts in 'Disassemble Yourself' EP.

Launching in New York last year, the first three E-Missions releases came from co-founders P.Leone and Caiazzo. Since then the label has relocated to Berlin, developing its roster throughout 2018 with quality releases coming from Tred and Rush Plus that further cemented the label's growing reputation as one of the most interesting labels to emerge in recent years. Joining the roster now, CYD aka Karol Kazmierzewski has been making music under various aliases for the best part of two decades and has developed a versatile yet distinct sound as a result.

Swelling synths and grainy effects open the release in 'A Warmness You Can't Touch' before moving into the downtempo beats and scintillating melodies of 'Halcyon Dreams'. Up next, 'One Winged' ups the energy with crashing percussion, twisted effects and serene female vocals, making way for a layered composition complete with echoing atmospherics titled 'Hidden In The Forest'. With its dystopian aesthetic, 'Initiation' is the most ominous on the package, whilst 'Not So Shallow' incorporates chopped samples and quivering chords for a hypnotic conclusion.

Milan based collective Just This return with their biggest compilation yet, a twelve track package featuring varied entries from label regulars and esoteric talents alike. JT022 is due for release July 20th. Melodic fragments and melancholic harmonies spiral through ricocheting drums and marching kicks. Contributions from Skudge, Hiver, Hunter/Game, Artefakt, Pizetsky and many more combine to forge a formidable package channelling moody, hypnotic techno for darkened dancefloors.

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.

16 early vocal & jazzy tunes from the Golden Age of Jive & Kwela in South Africa. Released originally on fragile shellac discs only. Shellac is a very delicate material but the music survived thanks to the archives of ILAM. A truly great source of South African music is being preserved here for new generations, to inspire young and hopeful musicians and singers from all over the world. 180gram vinyl.These pearls of musical genius were recorded in the glory years of jive and kwela, the years 1940-1965 . On side A it is not difficult to recognise the similarities to American popular music like R&B and small combo close harmony singing.
But most of all notice that typical South African swing, that jive, that incredible smooth form of African jazz on side B; Kwela!
The rarest and most treasured finds are collected here, some with the original spoken intro's, 'sketches' as these were called. Characteristic conversations between the musicians, often in a humoristic slang, always extremely funny.
Now available as the fourth issue in the series 'Township Jive & Kwela Jazz'.

Banging Acid new labels from Planet Techno devoted to some even more acid sound !!

Acid dancefloor Techno... newscene dancefloor pearl !

Little house dishes for the sunshines moments !

Powel returns to All Day I Dream with an EP that perfectly encapsulates the label's emotive sound.
Beautiful and dreamy journeys to close your eyes to and float. Ever the perfectionist Powel's tracks have been heard at the events in various revised forms until, finally, he was happy. That makes us happy too.
If you're expecting peak time bangers please move on immediately. However, if you love tinkling bells, smooth flourishes of emotion and great beats then you've come to the right place.

Celebrating its 50th birthday this year, Westbound Records is the Detroit institution that discovered Funkadelic and the Ohio Players, with a rich catalogue that is probably amongst the most sampled in the world.

Our 'Super Breaks' series makes a welcome return, throwing the spotlight on the records which have been sampled on both Westbound and its Eastbound subsidiary. These come not only from the more obvious names such as the Detroit Emeralds, Denise LaSalle, Junie Morrison, Funkadelic and Ohio Players, but also the lesser-known Pleasure Web and the Magictones.

The list of artists who have sampled these records reads like a Who's Who of the hip-hop and dance worlds. These tracks will be recognised from well-known records by Kanye West, Dr Dre, Snoop Dogg, A Tribe Called Quest, De La Soul, Fatboy Slim, and many more.

Both the double vinyl and the CD come with extensive sleeve notes and a breakdown of where each track has been sampled.

A new chapter of the very well received MINIMAL SIGNALS V.A. compilation series is here. Again, MINIMAL SIGNALS aims to capture what's hot on the international minimal dark and post-pyunk scene. On this occasion, the american solo project DANCING PLAGUE, the Berlin based MARTA RAYA, the german HOLYGRAM remixed by the french chevalier of synths COLD COLORS and the french SYDNEY VALETTE remixed by his compatriots THEREMYNTH makes of MINIMAL SIGNALS VOLUME 4 a must have for the autumn 2018. It the It arrives on 12 Maxi-Single EP format and produced in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem

Mannequin V/A - Death Of The Machines vol.1

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

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