next up on trickdisc is a double a-side from wingz and urph.

80s disco sound

killer unreleased mid 70’s blue eyed soul/aor - between the sessions at wishborne sound studios, the session musicians terry woodford, clayton ivey, muscle shoals horns among others, got down to record some of the finest funky soul and aor. they took the name mirage, aiming for stardom. unfortunately no album was ever released and many tracks went on the shelves in the studio. over 40 years later, preservation records are releasing two of their finest tracks on an exclusive 7”. only 500 pressed.

killer unreleased mid 70s blue eyed soul/aor between the sessions at wishborne sound studios, the session musicians terry woodford, clayton ivey, muscle shoals horns among others, got down to record some of the finest funky soul and aor. they took the name mirage, aiming for stardom. unfortunately no album was ever released and many tracks went on the shelves in the studio. over 40 years later, preservation records are releasing two of their finest tracks on an exculsive 7inch. only 500 pressed

two raw extended trips from the mind of stl in a rare foray beyond his self-run something imprint. stephan laubner applies his usual auteur principles to these groove experiments, whose sounds circle round each other cagily, rough meeting smooth, organic meeting synthetic, all combining in a propulsive form thats classic stl. shifty hats on * crank notion* provide an insistent shuffle through which nauseous pads plot a dissonant course. * neat buzzl* is a grimier excursion in the undergrowth, little creatures scurrying left and right while the kick maintains its forward stomp. join stl and assemble music in these off-map excursions and see where you emerge.

dinamuzac goes wax! a further step of living up to its own understanding of tradition after a preceding run-up with the opening works x, y and z tapes.futurity notion vol. 1 contains three authentic, habitually over the edge dinamoe tracks plus the unclosing tonal manifesto of dinamuzac - a small and modest, yet fully analogue, handmade, step by step recorded electronic composition. the main productions are analogue-digital hybrids that appear to divine the future from a rediscovered past ...

champions formula records present the debut ep from its first signee, the prodigiously talented rising star notion. having already turned heads recently with the rambunctious icicle, released via mixmag as a free download, the hereford-based producer serves up three tracks of unpretentious dancefloor weaponry.

once again phunkfiction brings on a hot new talent: notion is known for combining deep and dark moods with a wide range of musical elements and influences. >because< is a sick half tempo track using an ultra catchy pitched down vocal sample and an outstanding sound design - one for the fans of instra:mental and d-bridge. >iota< is a very stripped down dancefloor tool still spreading a big amount of funk - head nodding guaranteed. both tracks are getting support by many big djs on the scene.

notion meets hobzee & second life for a nice 2 track ep!!

the concept of strict musical genre has arguably been dead for decades, and the latest offering from danish powerhouses gustaf ljunggren and emil de waal once again reinforces this notion.

incl rock hymn sex on fire & use somebody !

by the time sewer sender had their inaugural appointment, nokato nomer found his way to the assembly right as remnants from the pulsing waste conformed. with ssndr002 we make acquaintance with nokato nomer who establish his granular sound with a clear vision. a1 is a steady paced roller with a primary chord that resonates throughout the entire release. a2 expands this notion by widening the soundscape and opens up for an introspective passage while b1 finds its way home with a long running dub version of a1 the flip side.

but the continuous stream wouldn’t provide sufficient answers for long. observing rudimentary structures sewer sender became tantalized with a vision of reverbation from lower vaults of confinement. waves reminiscent of solid concrete yet deeply seated below the ocean surface form and merges with the narrow surroundings. manitou takes the first step by setting a clear form for something deep seated. proceeding extends the notion of martinous inaugural appointment “procedure” with a take on industrial drums reverbing from the depths. never (anthem) takes the first part of the ep to fruition with stripped anthemic stabs and alarms to a strict and cleanly distorted beat. jargon solidifies concrete solid with enigmatic percussions over jaunty kick patterns. i have lost again focus on a dramatic narrative with hypnotic vocal stabs rolling over an intense kick and climatic builds. needlessness frames the entire release combining both the concrete solid and the deep sea seated with again a take on martinous inaugural release “needless”&#894,,, leaving the frail thematic stab subdued by syncopated kicklike percussion and soaring hihats to create a toollike appearance.

music from the documentary film soundtrack on double vinyl, housed in a gatefold sleeve.

abba’s first new studio album in 40 years! limited vinyl lp release, housed in a gatefold sleeve with poster and postcard included.

fresh abba album (after40 years ....) on cassette, collectors item

reissue

dnb madness

dj support from: bailey, chris inperspective, dj trax, storm, trex, latent notion, equinox, infest, ricky force, digital, invaderz, chef.

the ultimate collection of songs from the velvet underground on audiophile 180 gram double vinyl, housed in a gatefold sleeve.

virages label heads alva unites here artists from different places but with the same passion for deep grooves.

the law of seven refers to the spiritualist philosopher gurdjieffs idea that the evolution of phenomena proceeds according to a universal seven-step process. clay tells us that while this idea did not strictly factor into the composition of these tracks, you could abstract some elements into the musical creation process. gurdjieff was quite a thinker, but also composed music so i thought the lines i was drawing carried some weight. in particular his notion that creation proceeds through increasing restrictions which i find to be incredibly relevant to my process at least. time limitations and performance settings particularly seem to allow me to be far more productive than just working freely with no solid end point in mind

official repress on 12inch of these sought after charly kingson tunes. the label says: charly kingson, (ps. for charlie kingue soppo) is a legend of afro-funk who managed to shake the entire continent up with his infamous 1978 lp, born in africa. often forgotten when conversations turn to afro-dance, and the likes of tony allen or fela kuti, he has been an incredible source of inspiration to many musicians exploring the funkier side of jazz-dance, and this album itself goes way beyond any traditional notion of tropical discotheque. -born in african- itself is a funky groover for the dancefloor and here is the original 1982 remix, made by dutch legendary percussionist eddie conard available again, featuring nimele bolo on the flip-side. released in 1982 on ariola/fleet, but also pressed on the original fleet label. the latter (remarkably with identical catalog-number) never saw daylight. but, we got them all! all in all, this hard to find 12 inch (at discogs copies on the ariola/fleet label go for around 250 euro) was recently re-discovered, and now you can finally enjoy it again

the chisa years: 1965–1975 (rare and unreleased) is a compilation album by south african jazz trumpeter hugh masekela. the album consists of 14 rare or forgotten tracks recorded by stewart levine and hugh masekela from 1965 to 1975 when they ran their own chisa records label. thom jurek of allmusic wrote “in sum, there isn’t a weak moment on this entire collection. it’s appeal is wide and deep and one can only hope this is the first of many volumes of this material to appear. bbe records has done a stellar job in making this slab available.” dan nishimoto of the prefix magazine stated “the compilation focuses on masekela’s original idea of “african american music.” from the early experiments of the zulus (a group featuring m’bulu) in mixing doo-wop, rhythm & blues and south african gospel and the mbaqanga/”grazing in the grass”-style work of the generically named johannesburg street band to the clearly fela-influenced ojah (masekela’s band in the mid-’70s, consisting of players from ghana and nigeria) and the readyfor-primetime belting of m’bulu, each track reveals a multi-pronged effort to find and challenge the notion(s) of how african and american cultural forms could interact.”

toby tobias has a lengthy history of disturbing the peace. this is his second offering for the esp institute. on side a, second stimulus stirs shimmering staccato chords, roaming pipes and detuned robotic sighs into quite the disorienting stew—the loose arrangement remaining fragmented over 9 minutes of touch-and-go 808 programming, picking up a pseudo bassline assembled from sub toms, introducing a gritty break loop and eventually blissing out into oblivion. with side bs synchro surfer, toby plays with the notion of suspense by gently teasing a muted kick and percussion rhythm under washes of white noise, bleeps and sirens that are tape-dubbed and which, over time, begin a dialogue with each other, as if the machines have declared mutiny on the garage. toby continues to stretch his limits with his output for the esp institute, possibly headed toward a full-fledged devolution of conventional dance music. these two songs may have you arrested for public nuisance.

heavyweight 180 gram double vinyl

90s material from the man also responsible for the rex illusivii material we ve been adoring here. stunning again. download code included. artwork by emilija radoji&#269,,i&#263,,. tip! otherworldly, poetic, imaginative and full of exploratory spirit: the music of mitar suboti&#263,, aka rex illusivii aka suba is somewhere out there. pure spheres of sound, ruled by absolute expression and a sounding language beyond our notion of a language

kris baha turns to pinkman with a standout 5 tracker blending influences ranging from ebm, darkwave and experimental electronics. what makes them work together is a shared industrial edge, spine-chilling atmospheres and minimalistic vocals. by finding excellence in diversity this record is equally suited for boiling dance floors and home listening purposes.

phillys double exposure have undoubtedly earned the title of disco legends, their music has long been part of the heartbeat with numerous classics under their belts. their mighty release ten per cent was the first commercially issued 12 single and subsequently ushered in the notion of the format as a go to in the clubs and among djs. originally thought of as a fad in a world where the 45 was king, this 12 release unknowingly changed the direction of dance music and music promotions practically overnight. disco history indeed.

the music for this release was a process of literal catharsis, a purging of a build up of negative thoughts and emotions, but the music is also designed to be confrontational. the intent is to challenge mediocrity, to ask questions about the whole notion of techno as merely a form of debauched escapism. the music also asks questions about destructiveness and apathy. the aim is for something with meaning, as opposed to transience. our demons are your contentments- catharsis is the result of the meeting and collaboration between veteran techno producer -heretic- and dark ambient producer -emission-. the project is a quest to explore and purge negative thoughts via music. a modern ascetic experience in the pursuit of inner peace.

what attracts us to chilean-born artist ricardo tobar is the notion of intersection, and although fusion is nothing new, as a concept it will always pull our heartstrings. applying influence is amateur, we see this over and over again as we endure trend-driven appropriation of cultures the world over, but the epiphany when an artist finds true synergy between heritage and influence is a pivotal moment that the inspired will seek, even though it may take the length of one’s career to behold. as pretentious as that may sound, it is precisely the hybrid born from that place of intersection that excites us at the esp institute, the a plus b that equals 3. we hear this in ricardos music the latin american instinct in his drums and percussion, sometimes tightly aligned with body movements and other times hauntingly mis-aligned and chaotic, intersects with his rock influence of ethereal (micro) melodies that slowly layer and layer until were climbing a glorious (macro) wall of sound but most importantly we hear where these different parts of his life come together to further create one unique voice. on both sides of his esp institute debut liturgia, tobar couples one pulsing dance-driven track with another atmospheric and immersive track, requiring we educate ourselves in the polarity of this language he’s building, one that will expand to tell a broader story later this year with his debut album. we welcome ricardo tobar, another forward-thinking artist, to the esp institute, and are proud to support any direction his compass points from here, as we believe hell never follow but will always lead.

pierre bastien is a french legend that has collaborated with artists such as robert wyatt, jac berrocal and jaki liebezeit, to name just a few. he is also very well known for his compositions based on home-made mechanical instruments, designed and constructed by bastien himself. pure diy. using these instruments he would create a heady experimental mix incorporating poetry and some far-out music, all in all very intriguing and original indeed. needless to say when the notion of pierre bastien and versatile records potentially making a project together arose, it was a total honour! throw into the mix esteemed electro-acoustic composer eddie ladoire and now we ve really got something interesting. eddie and pierre met when they appeared on the same concert bill together and they decided to collaborate further with versatile being the platform for the fruits of this particular project. the original version of phantom dance is a beautiful piece where bastien plays a trumpet into some water blended with electronic drums and mellow organs lines, creating an otherworldly, subterranean jazz vibe for the freaks. suzanne kraft, the la native / amsterdam based producer turns the original into some mechanical broken funk vibes while rotterdam s oceanic delivers 2 fresh, reimagined versions. one for for the club with a strong afro beat feel while the other one is a slower affair for the after hours. both mixes bringing something new to the table. a truly original and interesting release from some very talented people, for those with open ears and open minds!

the good thing, if we talk about real artists is: their music never gets old. titonton duvante presents another essential record on his new classic series. this time it s the -furity ep- which came out on the legendary multiplex label 1998. all tracks are re-mastered and the music couldn t sound fresher than today!

hold on to your sideburns, the lionoil crew bring another debut ep to market in the form of edinburgh local passmore! jammed full of lairy disco chops, powerful aural emojis and tearaway string lines - these are no messing, all-year-round, hands in the air, tear jerking belters. guest appearance from handsome berliner philip budny, donning his mellow shades for a remix on the flip

in the field of minimal house reissues, this is a big deal. perlon main man dimbiman doesn’t appear on wax often, but when he does he makes it count. this early release on baby ford s seminal pal sl was originally out in 1998, when minimal house was a vague concept at best on the most outer reaches of dance music. -iso grifo- itself remains a masterclass of spine-chilling space and perfectly strange sonic matter, while -lava- pushes the notion of reduction dance music to its absolute limit. -round- is an even more immersive affair that hides many subtle layers within its seemingly simple construct. quite simply groundbreaking stuff, and highly sought after so don’t sleep on it.

“rocks foe returns to black acre with new, eight-track project ‘fight the good? fight’ — a dark and conceptual record built around the notion of, according to rocks himself, “everything being an internal and external battle”. a powerful lyricist and complex story-teller, rocks’ sound combines hyper-fierce spitting with his own, abstract beat sketches. having released his impressive debut ep, ‘legion’, back in 2015 — a raw, self-produced grime-rap hybrid — he has since remained dormant to the outside world, bar a quick-fire feature on commodo’s ‘how what time’ lp in 2016.

quazarz came to the earth from somewhere else, a musical ambassador from his place to ours. somehow, through fire or through fury, the palaceer of shabazz palaces caught wind of the tale, and it is through his prism that we hear the story. the beach was there, and atlaantiis, and chemical alterations and cell memories and andre norton, richard k. morgan, and always octavia butler. there were killings and there were votes, and brutality in both. there was sound and there were other worlds, and there was a vastness so participation sometimes came only at the edges. and the palaceer coasted down with the alien notion, like quazarz, and so became. on quazarz when they look at this place they see the inhabitants, the humans, but they don’t assess as we do. and so quazarz was sent to meet a cat with vibration, a creative and courageous, caring, compassionate dude that stood out. the dude was a drug dealer, but that was neither here nor there, until his dealings squashed the rendezvous, leaving our alien alone to figure out what this place is really all about. the vinyl release includes a download code.

with spring well and truly in the air and party season in step, mosaic records boss steve o sullivan launches mosaic s 38th release - joining forces with fellow londoner frazer campbell for a new studio collaboration. not content with letting the dust settle from his recent work alongside ricardo villalobos, o sullivan has stayed a little closer to his london home to work with frazer campbell for this latest tag team effort. a dextrous hand in the mix and producer in his own right, campbell has a passion for all things that sit on the deeper end of the house, techno and electronica spectrum. in his own words, thought emoting music is central to his mission having launched open recordings and elliot project records last year: a worthy sparring partner indeed. since the start of the year, the pair had their heads down focusing on finding a happy medium between deeply swung grooves and the airy influences of detroit - shaking out an interesting trio of tracks for their label debut. far from treading the obvious path, the main event a1 hypnotonic revels in a lighter touch as metronomic beat programming cycles endlessly to a held set of notes. off-kilter bass pulses, warped out vocals and effect splashes all intersect to keep the energy input constant as they capture one of those less frenzied moments where the very notion of time seems to hold still. make no mistake, this is a slow burn vibe. head to the flipside b1 soultonic to plunge yourself straight into hip twitching mode when the lights go down. a deep chord, syncopated hats and deftly tweaked synths echo as a full dose of shuffle inflicts its move. simple yet so effective, this track will not let you down. winding things back up a touch, the tougher edge of alleyway funk pushes the feeling on thanks to a thumping kick and a deft nod towards uk garage. met with a soft glisten of a rhodes piano and tweakish melody, the pair round things off in a boyant mood - fans of soul capsule and schatrax will no doubt agree. repeat play of this ep is recommended as its all the more rewarding for it.

bartellow has long been associated with the esp institute though tambien, a trio formed alongside bavarian cohorts marvin and valentino, who have released seminal dancefloor material over recent years. with his debut album panokorama, we are invited into a completely different world of bartellow s creation a place where influences become a melting pot of mood, nuance and texture, and where instrumentation is abstracted from a variety of cultures, including those that exist solely within his imagination. bartellow has found a way to merge primitivism with retrofuturism, identifying their point of intersection and reveling in their union across ten songs. while his academic background as a jazz musician certainly informs both his progressive approach to composition and non-linear production, it is his obsession with electronics and synthesis that shape his current musical climate. the title panokorama stems from bartellows visualization of the album, a surreal landscape with a foreign presence centrally embedded, a panorama punctuated by a ko, although a hybrid word that reads as nonsense, it somehow feels and sounds just right.