Aguirre Records present a reissue of Maggi Payne's challenging electronic album Crystal, originally released in 1986. Maggi Payne is an American composer, flutist, video artist, and co-director of the Center for Contemporary Music, Mills College where she teaches recording engineering, composition, and electronic music. Her work involves electroacoustic, instrumental, and vocal works along with works involving visuals, including dancers outfitted with electroluminescent wire and videos she creates using images ranging from nature to the abstract. She has composed music for dance, theatre, and video. Crystal was first released in 1986 on the Lovely Music label. Home to experimental musicians such as Robert Ashley, David Behrman, Pauline Oliveros, and Alvin Lucier. On Crystal, flute, spoken voice, sonifications, and synthesizers are processed to create dense and massive structures. Maggi Payne's musical imagination is vivid: she is interested in the surreal, the inward, the micro, and the accumulation of physical and psychological tension. Periods of silence gently evolve into flowing drones of complex resonances. Oozing drones evolve into dense and powerful peaks of short duration. The compositions and sounds on Crystal have incredible depth, a profound logic and, though not "pretty", an irresistible beauty. 180 gram vinyl; Remastered and cut at 45rpm by Rashad Becker; Gatefold sleeve with liner notes by the artist; Artwork by Atelier Brenda.

Maggi Payne on Crystal: "I create immersive environments, inviting listeners/participants to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile, visible, tangible. A narrative of the imagination exists, allowing each person experiencing the work to thread their own paths through their mind's imagination and their body's physical engagement. Each sound slowly unfolds, revealing intricacies and complexity. Each grows and evolves like crystals forming under the microscope. . . . I visualize the sound as originating from, for instance, a point source below where one is standing, then it swirls outward and upward in an ever-expanding spiral until it disappears high over the listener's head, morphing as it travels. Spatialization is not imposed when mixing, but is instead created in the original recording by increasing the amplitude of the sound on one track then decreasing its amplitude as the identical frequency is matched on the next track while it is increasing its amplitude, dovetailing the tracks across the space. Using extensive multi-tracking, the spatialization is retained, architecting and sculpting the aural space so that multiple perspectives and trajectories coexist."

With roots in the early developments of modular synthesis and free jazz and revered amongst the most discerning collectors of international jazz, electronic music, and American avant-garde, the experimental drummer known as Bruce Ditmas occupies a firm branch on contemporary experimental music's family tree. As the one time romantic partner (and artistic collaborator) of sound poet Joan La Barbara (later to be Miss Morton Subotnik) and the stand-out session drummer for both Robert Mason's mutant synth Stardrive project and Gil Evan's legendary Jimi Hendrix tribute band, Ditmas is best savored as the first recorded solo artist to utilize Robert Moog's lesser-known Moog Drum controller -- an instrument which over the course of two 1977 independent LPs (Aeray Dust and Yellow) would become synonymous with his blooming reputation. Raised in Miami, nurtured in New York City, and willingly exploited internationally, Bruce's public life as a child prodigy-cum-world jazz crusader (drawing similarities with the likes of France's Jacques Thollot) has seen him spread his select discography over many imprints, including Joan La Barbara's own Wizard Label, Enja, and ECM -- socializing with sound designers like Suzanne Ciani and collaborating on projects penned by Annette Peacock, Paul Bley, and his long running collaborator Enrico Rava. Spending the last thirty years travelling between America and Italy as a full-time jazz musician whilst working with inter-communal music initiatives, film directors, and theater groups, Bruce has retained the same maverick passion and macabre creative influences channeling brutalism, futurism, science fiction, and psychological horror through his percussive mantra and avant-garde approach to instrument manipulation and recontextualization. The selected titles on Visioni Sconvolgenti are extracted from various recordings made over the last three decades, comprising field recording techniques and percussive manipulation resulting in gritty tonal soundscapes and angular sonic sculptures, while drawing theoretical comparisons with European proto-industrial units like Germany's Faust, Swiss electronic jazz pioneer Bruno Spoerri, Czech sonic illustrator Milan Grygar, and sprawling generation of Parisian musique concrète informed anti-melodic luminaries. Reflecting a lifelong career in active melodic drum exploration and vivid existential sound design, Visioni Sconvolgenti provides an alternative, darker, meditative, glimpse into the work of a proactive composer at his non-conformist best in the uninhibited confides of his own home analog studio. Artwork by Andy Votel. Cut at Dubplates & Mastering; Edition of 500.

When Terry Fox went from San Francisco to Europe in 1972, he discovered the great pavement labyrinth at Chartres Cathedral. It consists of 11 concentric rings with 552 steps and 34 turns leading to the center. The discovery of the labyrinth became a revelation to him: He saw it as a metaphor for his own life, the numbers of rings and turns corresponding to cycles of health and sickness he had undergone. Thus, he decided to base all of his works until 1978 on the labyrinth. These include two major sound works, one of which -- The Labyrinth Scored For The Purrs Of 11 Cats -- was later released on cassette (1989) and LP (2009), while the other has remained unreleased so far. 552 Steps Through 11 Pairs Of Strings was a performance made in Fox's loft in San Francisco on August 14, 1976, starting at 10pm and lasting four-and-a-half hours. He stretched 11 pairs of piano wires of 11 different thicknesses across the floor and attached them to turnbuckles at each end, which he then hooked to eye-screws in the wooden floor. Each of the piano wire pairs were passed over a wooden bridge at both ends. over a wooden bridge at both ends. He played this instrument with a soft mallet in one hand and a score in the other. The score was a 34-foot string tied with 552 knots. Each knot represented a step in the labyrinth with the 34 turns indicated by either a piece of wire in a knot (a move to the next longer pair of wires) or a rubber band around a knot (a move to the next shorter pair). The audience was in the dark loft of the floor below. Alan Scarritt describes the performance in the liner notes: "We were all mesmerized by the beauty of the piece and lost in its grace. Around midnight a light rain began to fall outside the windows completing the piece's perfection. He played for another two hours or so. It also happened to be my birthday. It was the best birthday I ever had." This double LP includes four selections from the performance. Comes in a gatefold sleeve with a reproduction of the score, a photograph and a drawing of the instrument, and the invitation card to the performance; Texts by Terry Fox and Alan Scarritt; Edition of 300.

LP version. Elza Soares returns with new remixes of tracks from her acclaimed The Woman At The End Of The World album (MAIS 031CD/LP, 2016). Mixing rock 'n roll, free-jazz, noise, and electronics, The Woman At The End Of The World was ripe for remixing and Mais Um Discos reached out to producers in London, Lisbon, New York, and Elza's hometown of Rio de Janeiro to create an album where the new school of cutting edge Lusophone producers -- and two legends from New York and London -- take Elza's music into new dimensions. From London there was only one man to go to for a remix -- DJ, broadcaster, label owner, and Elza's biggest fan, Gilles Peterson. Teaming up with Simbad they turn "Pra Fuder" into a percussive monster. Gilles on his contribution: "I played the album cut all 2016 and so needed a new version for this summer! An honor to work once again with my queen of grimy samba." Representing the future sound of Lisbon are Principe Discos, DJ Marfox adds his rapid-fire future-Afro-Lisbon polyrhythms to "Maria Da Vila Matilde", and Nidia Minaj turns "Pra Fuder" into a dark and moody warehouse rattler. Soundway Records' iZem gives "O Canal" a trippy Arabic feel, whilst New York ambient guru Laraaji infuses the acapella "Coracao Do Mar" with his trademark celestial vibes. Rio de Janeiro bass-head Omulu sprinkles shards of funk-carioca to "Mulher Do Fim Do Mundo", Marginal Men and BadSista give "Firmeza" low-end wobble, as Caetano Veloso cohort Ricardo Dias Gomes washes "Solto" with synths and effects.

"Up from down under, following crucial releases on his own Body Language imprint, LJ shifts gears and steers his intricate sound-world -- torn between house and ambient, with Larry Heard's Alien LP coursing through -- into deeper, more techno-infused waters. Watch out for 'The Centre Of Time', evoking over its twenty minutes both the arctic vapour of 'Vletrmx21'-vintage Autechre and the expansiveness of Vangelis in full flight. Next-level stuff from Berceuse Heroique."

The real, great rock'n'roll swindle? You'd better search Belgium, and more specifically somewhere near Lou Deprijck and Yvan Lacomblez, two born-and-bred "Brusselians". If their names don't ring a bell at first glance, you've most likely already wiggled to their interplanetary hit "Ça Plane Pour Moi": A moronic song by a crappy singer... The prank swept through the world and within a few months, no less than one million 45s were sold just in France. It spawned mass-produced cover versions, becoming a universal punk anthem. Of course, such a cash cow would arouse envy and create quite a few vocations among our fellow countrymen. The song's trademark derision was about to bridge the missing link between original punk -- too violent, too dirty -- and the general public eager to enjoy a little Saturday-night pogo. Humor became the magic bullet to conquer a frightened audience. The formula had already proved successful. Remember the arrival of rock'n'roll in France (1957) through Boris Vian, Henri Salvador, and Michel Legrand. Their famous, jokey "Rock and Roll-Mops" already laid the foundations for the same equation: joke + rock'n'roll + derision = success. The big labels tried to produce punk bands in France -- Polydor signed the Stinky Toys and the Guilty Razors -- but only to result in huge commercial failures. But in the face of Mr. Bertrand's huge success, those big labels thought they understood how it worked. Music publishers and majors all wanted a punk hit. A&R executives brought all of their seasoned producers, composers, and lyricists into the stampede: eccentric arrangements, daft and stereotyped lyrics -- one-upmanship was the rule. An unprecedented bunch of punk-novelty records followed. Even André Verchuren had his own unbridled accordion cover version of "Ça Plane Pour Moi". Sure, most of these punk hoaxes are real lousy, real shitty but one must admit that some numbers stand out of the crowd. While they didn't reach the success of "Ça Plane Pour Moi", some, here and there, were really inspired and even more creative than the songs they hijacked and mimicked. Features: Piero, Soda Fraise, Stéfan, Geiger, Too Much, Gérard Bôle Du Chaumont, Sublime Deluxe, Bulldozer, Les Marylènes, Gisor, Anatole Frantz, Fatsy Wataire, and Plastichke. CD version comes with a 24-page booklet.

LP version. Editions Mego present the first release of a brand new project from JG Thirlwell. Recorded at Self Immolation studios in Brooklyn. This is Xordox. Xordox orbits a universe inhabited by darkness, wit, mystery adventure, and experimentation. The cinematic quality that exudes from Thirlwell's bent being presents itself in Neospection; Unlike Thirlwell's other works, this is predominantly a synthesizer record, including recording sessions from his residency at the legendary EMS studios in Stockholm, employing Buchla and Serge synthesizers. Sarah Lipstate (aka Noveller) plays her super-processed soundscape guitar on three of the tracks on the album, and additional mixing took place at Lazer Sound studios with Al Carlson (who works extensively with Oneohtrix Point Never). Xordox. Diamond circulating swells; Sequenced stealth sci-fi; Malleable membrane matters; Wild fabric electronic; Heart eaten beat; Fruits of fear and exhilaration. Neospection is neon noir. Neospection is ere 4 yor. Xordox arrives as unexpected and remote as any alien encounter but security lies in the cosmic drama and dark shadows that seep throughout Thirlwell's soul. In this, 2017 the listener once again enters the mind and world of one man who refuses to play along with anyone's game but the idiosyncratic one of his own devising. Tech and engineering at EMS by Jonas Broberg and Daniel Araya; Mastered by Scott Hull at Masterdisk; Artwork by JG Thirlwell; Space Shuttle cockpit photo by Ben Cooper; Space photos courtesy of NASA.

Double LP version. How Do You Are? Recordings present Too Slow to Disco 3, another incredible collection of songs that gleam with the high definition gloss of big-studio, bigger-budget production. TSTD 3 is another excursion into those late 1970s west coast delusions of grandeur, but in the company of songs that are also brimming over with soul, wit, and passion. Killer tunes, penned and played by virtuosic instrumentalists, backroom gals and guys who were often also Grammy-winners in their own right. All the elements that have made Too Slow to Disco volumes one (HDYARE 001CD/LP, 2014) and two (HDYARE 002CD/LP, 2015), and The Ladies of edition (HDYARE 003CD/LP, 2016), so beloved are back for another round of near-danceable lushness. This smooth wave continues to ripple round today's music world too: Think of Thundercat's single with Kenny Loggins and Michael McDonald (2017), or even The XX's sample of the Alessi Brothers' "Do You Feel It" (featured on TSTD 1) on "Say Something Loving" (2016). DJ Supermarkt has somehow prized open another box of obscure gems, selected and sequenced to bring out the mood of the era. Lyrically the focus remains on slightly difficult love affairs backed by grooves gentle enough to mix cocktails to. There's an accidental pop hit crossover from none-more-fusion jazz guitarist Lee Ritenour along with a dab of Christian funk from Archie Cavanaugh and his troupe. There's even a bizarrely funky and commercial sounding Grateful Dead laying down the chart-bothering beat of "Shakedown Street". Elsewhere Steely Dan's go-to sax man, Cornelius Bumpus makes an appearance with some angular funk (with his quartet), while Larry Carlton turns up the guitar-drenched white soul on "Where Did You Come From?". And the compilation goes beyond LA this time. The first non-English sung TSTD track comes in the shape of legendary Canadian songwriter Dwight Druick's slice of Montreal disco-funk. Then there's the groovesome Stars 'N' Bars from Sweden, and two acts from the UK, Vapour Trails and Billy Mernit. Also features: Bob Welch, Pratt & McClain, David Gates, Weldon Irvine, The Markley Band, Vapour Trails, The Fifth Avenue Band, Mark Capanni, Archie James Cavanaugh, Rob Mehl, and Jeremy Spencer Band.

Double LP version. Clear vinyl. Dasein is Richard H. Kirk's first solo album since 2011. Recorded, produced, and written by the founding member of Cabaret Voltaire himself, the album was constructed at Western Works, Sheffield, over a three-year period. Work began with recording on midi and analog synthesizers before guitar and vocals -- his first use of vocals in ten years -- were added. Kirk explains, "A lot of time was spent on post-production, editing and then living with the material and I think it benefited from stepping back and then revisiting after doing other things." Although it's not an overtly political album, it's hard not to hear a reaction to recent years' world events in the overwhelming urgency of "Nuclear Cloud", "20 Block Lockdown", or "New Lucifer / The Truth Is Bad". When questioned Kirk admits, "It's not really a political album, but over recent years -- during the recording -- all manner of horror show events have cropped up and now we seem to be in a rerun of the Cold War with Russia back as the Bogeyman." The album's title, Dasein (a German word meaning "being there" or "presence", often translated into English as "existence"), is a fundamental concept in existentialism. Kirk explains "culture succumbs to nostalgia in much the same way that an individual looks back wistfully to adolescence or childhood -- the nostalgia is partly for a time when he or she wasn't nostalgic, just lived purely in the now." In 2014, during the recording period, Kirk started performing live again with Cabaret Voltaire, so the two projects coexisted in tandem. Although Kirk's varied projects have always existed separate to one another, says Kirk, "in the past some solo works served as a blueprint for what I did later with Cabaret Voltaire."

"Militant jazz, fusion, funk and soul from mid-seventies Manenberg, outside Cape Town, with a set of roots in club dance traditions like ballroom ('langarm'), Khoisan hop-step and the whirling 'tickey draai' ('spin on a sixpence') of the mine camps; others in jazz-rock and the New Thing, from Santana and Chicago to Shepp and Coltrane."

LP version. For those not following Bill Orcutt's drift into increasingly ear-friendly orbits in his recent live sets, Bill Orcutt -- his first solo electric studio album -- shocks with its space and sensitivity. On this eponymous record, Orcutt mines the expansiveness and sustain possible on the electric guitar, letting notes spin out and decay at the edge of feedback. His pachinko-parlor pacing, marked by unraveling clockspring accelerandos crashing into unexpectedly suspended tones, is still in evidence. But here, his developing melodicism maps a near-contemplative mental realm, orbiting St. Joan-era Loren Connors more than the cascading treble clatter of his duo LPs with Chris Corsano and others. From the first notes of Ornette Coleman's "Lonely Woman", there's a lucidity and slow-burning lyricism that make Orcutt's plunges into barbed-wire fingerpicking all the more striking. While no one's about to mistake Orcutt for Jim Hall, you could probably play this for your jazzbo friends (should you be unlucky enough to have them) without raising any eyebrows. Orcutt's track selection mirrors his obsession with American popular song in its most banal manifestations, as radically reimagined via acoustic guitar on a variety of releases, including 2013's exhaustive Twenty Five Songs 7" box set, and the Editions Mego album A History of Every One (EMEGO 173CD/LP, 2013). Many of the songs from those two releases are here -- but stretched into new arrangements that explore the upper regions of the guitar neck (hitherto unexplorable on his shakily-intonated acoustic Kay), and lighting up new corners of each arrangement with a sensitivity born from years of reinterpretation. The result is a languid, freeform drift through Orcutt's internal cosmos into galaxies unknown to their original interpreters -- and occasionally, Orcutt himself. Most striking is "White Christmas", its careening low-register melodies crashing into complex chords that transcend Orcutt's primitive four-string fretboard. Orcutt's original compositions are equally striking. One of them -- "The World Without Me" -- is unique to this album, and notable for its trebly flurry of Clapton-esque 12th-fret drizzle. "O Platitudes!" by contrast, spins ever-faster in the cadence of a hand-cranked music box, before grinding to a near halt, its higher-key electricity standing in for the moaning vocalizations on Orcutt's acoustic rendition as heard on his 2014 VDSQ LP. With its deep-space beauty, harmonic complexity, and dark dissonance, Bill Orcutt is a stunning landmark in Orcutt's form-destroying trajectory.

Phoenix Records present a reissue of Flower Travellin' Band's debut album Anywhere, originally released in 1970. Anywhere is the first album from the legendary Japanese rockers fronted by Yuya Uchida. Although an album consisting mainly of cover versions, Anywhere still exhibited many of the musical traits that were to come to the fore on the band's next release, the classic 1971 album Satori (ASH 3002CD/LP), an album of original material delivered with panache by the increasingly confident Uchida. An album made memorable by its risque cover as well as its ground-breaking approach to Western rock music. 180 gram grey color vinyl; Original LP artwork; Includes original Japanese insert; Includes CD.

Sub Rosa present a reissue of volume one (Mindanoo Mistiru) and two (Gold From Wax) of Ethiopian Urban And Tribal Music, both originally released as two distinct LPs on Lyrichord in 1972. Mindanoo Mistiru and Gold From Wax were recorded by Ragnar Johnson. Ethiopia contains many diverse peoples and many styles of music. It was still an empire in July and August of 1971 when these recordings were made. Over 70 languages and 200 dialects are spoken in Ethiopia. In much of the music, lyrics are more important than instrumentation, and the transmission is oral. The urban musicians, the bagana, and Mary Armeede, were recorded in Addis Ababa. Ethiopian urban musicians come from many parts of the country and are familiar with, and adapt to, styles of regions other than their own. The Afar divination chants and flutes were recorded in the Danakil desert. The Anuak toum and Nuer harp, lament and dance were recorded near the Sudan border. The Konso dance and the Gidole Fila flute dance were recorded near the Kenya border. Mindanoo Mistiru means "What is the Unknown?". Gold From Wax refers to the two layers of meaning in Amharic poetry. File under: Le Coeur du Monde. Double CD version comes in a six-panel digipack; Includes booklet.

Another superb adventure in the Britxotica! series, looking into rare and amazing exotic British recordings. For this exciting installment, Trunk waltzes to the British ballrooms for charismatic cha cha chas, magical mambos, and a whole set of floor-filling fun! Britxotica! (pronounced "Britzotica") neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers, as well as unknown singers and bandleaders, threw convention on holiday and went wild. Put together by Jonny Trunk with DJ/tastemaker and smashing nightclub legend Martin Green, these groundbreaking compilations shine new light on lost and forgotten corners of British culture and sound. For Strictly Britxotica! Palais Pop And Locarno Latin, part four of Trunk's planned Britxotica! series, they head to the now defunct British ballrooms for a set of dynamic and often extraordinary dance numbers -- charming cha cha chas (including "Cha Cha Pop Pop"), lively Latin, and some fabulously freaky foot tappers, including a classic version of "Cerveza". Composers and artists include ballroom band legends such as Edmundo Ros, Ted Heath, and Stanley Black, but Trunk have also found work by lost geniuses such as John Graven and John Warren who are very much worthy of reappraisal. In short, this is another crazy and charismatic compilation of British music so obscure and rare that only Trunk Records could find and package it so superbly, and with such effortless and comedic style. Also features: Boyer And Ravel, Joe Loss, Johnston Brothers, Tony Scott, Tony Crombie, John Warren Orchestra, Martinas And His Music, Phil Tate, Dave Lee, John Graven Quintet, Don Carlos, Chaquito, Jack Parnell, Eddie Calvert, and Victor Silvester. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle.

A superbly crafted Bob Marley set, compiled and annotated by French journalist Vincent Tarrière, chronicles the story behind this legendary article "The Wild Side of Paradise" published by Rolling Stone Magazine in 1973. Features a handpicked selection of Bob Marley's best songs, recorded at his creative peak, during the late '60s and early '70s, when he was working with producers Bunny Lee, Leslie Kong, and Lee Perry. 1973 was a turning point for Jamaican music. Perry Henzell's highly-acclaimed film The Harder They Come had come out the year before and Bob Marley had just signed with Island Records and was about to take the world by storm. In July 1973, Rolling Stone Magazine published "The Wild Side of Paradise", a major story about Jamaica and its vibrant musical scene written by Michael Thomas with striking photos by Arthur Gorson. The pair had travelled to the island to soak up the atmosphere and immerse themselves in the local music scene. There they met a 28 year old Marley who was about to tour Europe. "The Wild Side of Paradise" was a bold move for the magazine. Jamaican music was essentially unknown in the western world up to that point. "Revolution was in the air and, ten years into independence, Jamaica was on fire," remembers Gorson. Through connections with Island Records' Chris Blackwell, Thomas and Gorson managed to spend time with Marley and a series of iconic photos of the artist was taken by Gorson, one of which is on the cover of this album. "Wild Side" was the first major feature focusing on Jamaican music and would help put reggae on the international map. The article was also the seed of Thomas's book Babylon On A Thin Wire in collaboration with Adrian Boot (1976). In 1973, Bob Marley was indeed no newcomer on the Jamaican scene. He'd been active since the early '60s and had recorded some of his most creative output accompanied by his group, The Wailers. The music is fresh and undiluted, catchy and inspired, and shows Marley's genius at crafting beautiful melodies. The set features several of his early classics such as "Duppy Conqueror" and "Caution", as well as lesser-known gems such as "Wisdom" and "Long Long Winter", and songs that would find a second life on his Island albums, such as "Trench Town Rock" or "Concrete Jungle".

The Pop Makossa adventure started in 2009, when Analog Africa founder Samy Ben Redjeb first travelled to Cameroon to make an initial assessment of the country's musical situation. He returned with enough tracks for an explosive compilation highlighting the period when funk and disco sounds began to infiltrate the makossa style popular throughout Cameroon. From the very beginning, there were several mysteries hanging over Pop Makossa. It was not until DJ and music producer Déni Shain was dispatched to Cameroon to finalize the project, license the songs, scan photographs, and interview the artists that some of the biggest question marks began to disappear. His journey from the port city of Douala to the capital of Yaoundé brought him in contact with the lives and stories of many of the musicians who had shaped the sound of Cameroon's dance music in its most fertile decade. The beat that holds everything together has its origins in the rhythms of the Sawa people: ambassey, bolobo, assiko and essewé, a traditional funeral dance. But it wasn't until these rhythms arrived in the cities of Cameroon and collided with merengue, high-life, Congolese rumba, and, later, funk and disco, that modern makossa was born. Makossa managed to unify the whole of Cameroon, and it was successful in part because it was so adaptable. Some of the greatest makossa hits incorporated the electrifying guitars and tight grooves of funk, while others were laced with cosmic flourishes made possible by the advent of the synthesizer. However much came down to the bass; and from the rubbery hustle underpinning Mystic Djim's "Yaoundé Girls" to the luminous liquid disco lines which propel Pasteur Lappé's "Sekele Movement", Pop Makossa demonstrates why Cameroonian bass players are some of the most revered in the world. "Pop Makossa Invasion", an obscure tune recorded for Radio Buea makes its debut here and joins the pantheon of extraordinary songs that plugged Cameroon's makossa style into the modern world. Also features: Dream Stars, Mystic Djim & The Spirits, Bill Loko, Eko, Olinga Gaston, Emmanuel Kahe et Jeanette Kemogne, Nkodo Si-Tony, Bernard Ntone, Pat' Ndoye, and Clément Djimogne. CD version includes a 44-page booklet.

Carillon Sudokus is the sonic counterpart to Oog & Oor (Eye & Ear), the last work that Dutch sound and visual artist Paul Panhuysen (1934-2015) realized. Oog & Oor was a design made with his daughter Sappho Panhuysen for a temporary installation in the lighted column of the Rietveld bus shelter next to the town hall of Eindhoven. It is a further development from Eight Double Sudokus, a series of large-scale prints exhibited at Museum De Pont in Tilburg in 2012. Both designs were created using sudoku puzzles and comprise various shapes of different colors whose structure was derived from the number sequences present in individual sudokus. Panhuysen used number systems such as magic squares, the Fibonacci series and the golden ratio in much of his art because he felt that instead of limiting his artistic freedom, such systems allowed him to make new discoveries and realize works that transcended his own imagination. René van Peer describes the composition in the liner notes: "A system is evidently at work behind the order of colours and shapes in these prints. On the other hand it is far from obvious what the underlying order actually is. Coloured bands and arcs converge in a rhythmic play of lines. Some originate from the same point, joining to form a right angle or part of a circle. Others touch only at the point or remain loose ends in a wave of motion. The orderliness of the structure and the erratic behaviour of the straight and curved lines strive for predominance in the series." These principles can also be applied to pitch and musical phrases. For Eight Double Sudokus, Panhuysen composed eight pieces for piano that were heard during the exhibition. For Oog & Oor, he envisioned music for the carillon, a bell tower on the roof of the Eindhoven town hall. The original idea was to generate 365 sudoku-based pieces, one for each day of the year that the installation was to be shown. In the end, around 50 pieces were realized in collaboration with town carillonneur Rosemarie Seuntiëns. Side A of this LP contains 11 pieces played live by Seuntiëns on the ceremonial ending of Oog & Oor on August 28, 2015. Side B features 12 pieces played mechanically by the carillon. Comes in full-color gatefold sleeve with printed inner sleeve; Liner notes by René van Peer; Edition of 300.

"The debut LP of this collaborator with Rhodri Davies and Chris Watson, evoking the knockabout, visionary, English humour of Jeff Keen and Bruce Lacy, spiked here with massive, steaming dollops of contemporary political outrage and disgust. 'Sounds are slurpy, runny, fizzy, spongy, hard as rock,' says the label, 'recalling long improvisational sets, floor-sucking dubwise psychedelia, plunderphonics and tight GRM-era electronic sound design.' Released to coincide with BD's summer-long exhibition at the Whitechapel Gallery in east London, nodding to everyone from Busby Berkeley to Max Ernst. Beautifully sleeved, with a double-sided A3 risograph poster."

OnderStroom present Fra Lippo Lippi's In Silence, originally released in 1981. Fra Lippo Lippi was a gothic post-punk band founded in Nesodden, Norway in 1978. Band members included Rune Kristoffersen (guitar, bass, keyboards, piano) Per Oystein Sorensen (vocals, synthesizer, keyboards), and Morten Sjoberg (drums, keyboards). Their sound was heavily influenced by bands such as Joy Division and The Cure. In 1981, the band recorded and released In Silence, a hard to grasp, dark album with ominous basslines, death-march percussion, pensive keyboards, and sinister, indecipherable vocals. The band had installed a semi-professional four-track recording studio in a small basement. The recording of the album started in June 1981 and it took four months to complete. Rune Kristoffersen on the record: "It took a long time. Our compositions were based on the drums and the bass, which we colored with guitars, voices, and keyboards. The sound was completely natural, both concrete and abstract." It's difficult to hear the vocals; it's as if it was mixed far behind the instruments. It's nearly impossible to understand the lyrics. In that sense, it is not unlike producer Martin Hannett's work for Factory Records in the UK. Rune Kristoffersen continues, "It is made quite conscious: put the voices far back to create a mood music. I also look at In Silence in a certain connection to what Brian Eno did with his ambient music." In 1998, Rune started releasing experimental music on his very own label called Rune Grammofon, where he has highlighted many experimental Norwegian acts such as Arne Nordheim, Supersilent, and Motorpsycho. Remastered by Equus; Layout by Jeroen Wille; Edition of 500.

"In Silence has a more unrefined sound and should have any fan of Joy Division wishing they'd heard of this band sooner. If I were to review Closer or Unknown Pleasures today, they'd obviously receive 5/5. Therefore, since Fra Lippo Lippi is so strangely similar, and In Silence is almost like having a new Joy Division/New Order album, I'd be hard pressed to give it a anything less than a near perfect score. Find out for yourself what you've missed out on for the past twenty years. Wow!" --Tiny Mix Tapes

Radiation Roots present a reissue of King Tubby And The Aggrovators' Shalom Dub, originally released in 1975. The house band of Bunny "Striker" Lee was formed in the mid-1970s by some of Jamaica's most prominent and musically expressive session players. The shifting core line-up spun off from the Soul Syndicate and thus typically featured Earl "Chinna" Smith and Tony Chin on guitar and Bernard "Touter" Harvey on organ. Carlton "Santa" was the main drummer, but Carlton Barrett of the Wailers band and "Benbow" Creary were sometimes featured. Most crucially, on bass, Aston "Family Man" Barrett shifted to Fully Fullwood (and occasionally, Earl "Bagga" Walker), until Robbie Shakespeare took over, becoming the bandleader. The band was responsible for the popular "flying cymbal" style that took Jamaica by storm, and you can hear it in abundance on this killer dub set from 1975. Its excellent cuts of Cornell Campbell and Johnnie Clarke material mixed at King Tubby's studio are a must for all serious fans of dub. CD version includes two bonus tracks.

Double LP version. Wewantsounds are back with a superb selection of spiritual jazz and funk grooves from legendary producer Bob Shad's Mainstream Records catalogue. Bob Shad was one of the greatest music producers of the 20th century, having worked with all the music giants, from Charlie Parker and Dizzy Gillespie to Sarah Vaughan, Lightnin' Hopkins, The Platters, and Janis Joplin to name just a few. "Bobby Shad was a legend in our family" says his grandson Judd Apatow who, together with his sister Mia, looks after Shad's back catalogue, Mainstream Records. Like his peers, jazz producers Creed Taylor and Bob Thiele, Shad went independent in the '60s, and by the early '70s, he was producing a string of superb albums mixing spiritual jazz with funk and soul. These albums are now being rediscovered by new generation of soul and jazz lovers hooked on the music of Kamasi Washington and Shabaka Hutchings. Recorded between 1971 and '73, the Fender-Rhodes-drenched tracks on Inner Peace showcase Shad's unique deep jazz sound. They feature such revered musicians as Harold Land, Roy Haynes, and Frank Foster, together with a younger generation of talented musicians led by Buddy Terry, Dave Hubbard, and LaMont Johnson. Here they are accompanied by the cream of '70s jazz session musicians including Bernard Purdie, Buster Williams, Eddie Henderson, James Mtume, Stanley Clarke, and Cecil Bridgewater. The Mainstream catalogue has been sampled by a long list of revered DJs and hip hop producers over the years. Roy Haynes's "Senyah" was sampled by De La Soul on "Pony Ride" and Shelly Manne's short outro "Infinity" forms the unmissable backbone of Jeru The Damaja's all-time hip hop classic, "Come Clean". A fitting tribute to the supreme sound of producer Bob Shad. Wewantsounds will start a reissue program of original Mainstream albums with bonus material and rare photos from the vaults. Also features: Charles Williams, Hadley Caliman, Pete Yellin, and Sonny Red.

Produced With Love is an extraordinary album from UK legend Joey Negro: a buoyant, life-affirming, disco-inspired album. It's hard to find enough superlatives to describe just how influential and prolific Dave Lee, aka Joey Negro, has been over the last three decades. One of music's major proponents of soulful, disco-tinged, vocal records, and without question instrumental music, is its development and popularization. No-one treats a loop, groove, or hook with as much care and attention as Joey Negro. Throughout his career, disco has been a key ingredient to his sound, and alongside the likes of Nile Rodgers, Daft Punk, Jamiroquai, and Dimitri From Paris, he's one of the few artists to have been keeping the disco fire burning. Produced With Love is only the second ever Joey Negro album to be released, and the first for more than 20 years. And as the electronic music scene threatens to be overrun with bland and forgettable productions, Produced With Love proves that dance music with character still exists. And rather than rely on sampling older records, the overwhelming majority of music is newly recorded. Album opener "Prove That You're Feeling Me", featuring Diane Charlemagne, is without question one of the catchiest and most urgent disco recordings produced in the last decade. Evoking the great Nile Rogers and Chic at their funkiest, it trips along on an exquisite bassline with orchestral strings and Charlemagne's vocal lending the record a truly timeless quality. Joey Negro explains: "Unfortunately, between starting and finishing the project, the supremely talented Diane Charlemagne, the singer/songwriter who I co-wrote many songs with over last ten years, very sadly passed away. We had a great working relationship, which was both fun and honest. Most of my final collaborations with Diane, 'Overnight Sensation', 'Prove That You're Feeling Me' and the partly re-written remake of 'Must Be The Music' are on this album." R&B and house music mainstay Linda Clifford narrates on "Won't Let Go", a deep house cut that celebrates musical escapism, whilst "It's More Fun To Compute" -- an unlikely cover -- is a fully orchestrated disco rework of Dusseldorf's finest. Further highlights include an utterly transformed "Must Be The Music", whilst things get both dubby and jazzy on the Arthur Russell-evoking "Distorting Space Time". Also features: Sacha Williamson, Lifford, Angela Johnson, Horse Meat Disco, The Fatback Band, Melba Moore, The O'Jays, Alex Mills, Julian Crampton, Peven Everett, and Gwen Guthrie.

LeVent are Maryna Russo (bass), Heike Rädeker (bass VI/vox), and Frankie Neumeier (drums). Berlin based trio LeVent got stoned, forgot to replace their guitarist, and then kept his name anyway. Formed in August 2015, the band has kept their shit together enough to have shared the stage with a bunch of talents including Kadavar, The Underground Youth, and Die Nerven, to name a few. They also self-released a four-track EP on cassette in 2016. LeVent is their debut album, released on A Recordings. Like a drunken driver, LeVent swerves up over the curb, drives straight through the garage, and totals their ride somewhere out in a goat farm. Bleating at its most danceable, they carry listeners far away to get lost in nice nonsense, stuck in heavy forgetting, and transfixed on what was, leaving you thirsty for more. Heike, from the band, says, "When someone comes up to you after a concert saying 'I'm going to make you a record' you are stoked for the moment, but you don´t reckon it will happen..." Half a year later Anton Newcombe of Brian Jonestown Massacre called LeVent in to his Cobra Studio in Berlin. Teaming up with studio engineer Andrea Wright from Parr Street Studios Liverpool, the red button got pushed. After what was a super pleasant experience of recording and mixing, they are now ready to present LeVent.

Following 2016's much-acclaimed solo album Mondo Alterado (HIPPIE 008CD/LP), original Pachanga Boy and Hippie Dance mentor Rebolledo returns to the limelight with the jam-packed Mondo Re-Alterado, tapping into his vast and varied network of friends and fellow soundsmiths. Artists such as Superpitcher, DJ Tennis, Maceo Plex, Red Axes, Fango, or Fantastic Twins deliver stunning takes on Rebolledo's unique signature sound, creating a full suite of exclusive remixes, cover versions, and reinterpretations. From the super-energetic club rumblings of Maceo Plex's "Discótico Pléxico" to DJ Tennis's dreamy "Pimiento Drive Version" of "A Numb Gas To The Future" or Fantastic Twins' party bomb "Fantastic Pow Pow", the journey through Mondo Re-Alterado is full of twists and turns -- a world where an epic, cinematic soundscape such as Superpicher's "Rainboy Super Space" sits comfortably alongside the claustrophobic, punishing banger that Fango sculpted from stand-out cut "Pow Pow". Meanwhile, Red Axes turn the casual narrative of "Life Is Strange, Life Is Hard, Life Is Great" into a bouncing workout -- a great companion piece to "WANT", Danny Daze and Shokh's propulsive, jagged dub version of "Fears Come True". Other highlights include Jörg Burger aka The Black Frame with the lush "Black Rainbow Woman", Paulor's country rock extravaganza "Discótico Desértico" and not one, but two excellent contributions from former Italians Do It Better honcho Mike Simonetti. It's a magical, surprising ride that finds beauty in contrasts -- while staying tuned to Rebolledo's spirit of adventure and powerful sense of style.

Finders Keepers present a reissue of Maria Teresa Luciani's Sounds Of The City, originally released under the Italian name Suoni Di Una Città in 1972. Welcome to the parallel musical universe of Miss Maria Teresa Luciani, a landscape of sonic architecture and theoretical composition constructed by a family of engineers that reinvented the wheel before the vehicle even began the journey. Imagine, if you will, the musical equivalent of Peter Cook's Archigram group or the soundtrack to Charles and Ray Eames's private sketchbooks, hinting at a new municipal, utopian metropolis, just hours before the blueprints are suspiciously misplaced by the courier and mainstream pop building regulations piss on our asbestos bonfire. These 1972 constructions of progressive, cyclic, proto-industrial color music were never intended for public habitation. These are the Sounds Of The City in a galaxy far, far beneath our radar and above your expectations that was never built. Pseudo-futurist pop music, cubic folk, tape-op-art. Before the needle hits the first groove, the story of Maria Teresa Luciani reads like an Alphaville caper full of foreign intrigue, low intensity identification fraud, secret codes, family bonds, mistrust and wanderlust... Naturally, you are holding a genuine Finders Keepers article. To say this rare Italian concept album is "unbelievable" is justified on multiple levels. This multi-story storage facility of found sounds, radiophonic samples, tape loops, early electronic music experiments, mechanical folk, cinematic vision, sound design, educated music theory, political pop, and high concept art-as-noise successfully layers more musical ideas within its unique structure than one would think possible for a solo artist within any musical genre. This is why Sounds Of The City presents a brand new genre defying compositional framework, pre-dating sampling culture, cut-and-paste plunderism, and industrial music in the process. Pre-digital, indefinable and genuinely unbelievable. But who is Maria Teresa Luciani? On hearing this record, respected collectors and enthusiasts have suggested "the female answer to Basil Kirchin", or "the Italian Daphne Oram", both with justified cause. Mystery, myth, legend, teacher, artist, inventor, author, musician, psychologist, daughter, and (possibly most importantly) sister.

LP version. Includes download coupon. Mental Experience present an expanded reissue of Voigt/465's 1979 album Slights Spoken, titled Slights Still Unspoken (1978-1979). Formed in Sydney in 1976, Voigt/465 was a truly unique band from the exciting days of the Australian post-punk scene. Heavily influenced by such luminaries as the Velvets, Stooges, Syd Barrett, Pere Ubu, Can, Faust, Henry Cow, Slapp Happy, and Eno's Roxy Music, they created an abrasive sound in which krautrock, DIY, avant-garage, post-punk, psych, art-rock, and free improv-noise combined to form a sound unlike any other. In 1978, they released one of the first DIY 45s from Australia, State/A Secret West, which showed their "pop-psych" side and was played by John Peel in the UK. The following year, their bass player Lindsay O'Meara decided to leave the band and join Crime & The City Solution in Melbourne. Before parting ways, Voigt/465 decided to record one last album as a testament. Slights Spoken saw the light in 1979 and it's without doubt one of the most fascinating albums from the post-punk/DIY era. The entire album is featured here, including the two tracks from their first 45. Includes download coupon which features three live tracks from '78-79, including killer covers of Faust, Can, and Roxy Music. RIYL: Can, Faust, Pere Ubu, Roxy Music, Family Fodder, The Homosexuals, Slapp Happy, This Heat, Pop Group, Primitive Calculators. Remastered sound; Insert with rare photos and liner notes by band member Phil Turnbull.

Having felt restrained by the limits of traditional instruments and the techniques tied to them, composer, music producer, and artist Konrad Sprenger (b. Joerg Hiller), spent years developing various algorithms and custom instruments to realize his work. His recent focus has been on rhythmic patterns based on the Euclidean algorithm, using a computer-controlled multi-channel electric guitar. The unique system can create complex rhythmical patterns whilst tuning the strings during performance -- sounding at once like an electronic instrument, a drum computer, a guitar, a harpsichord, even at times as a full orchestra. Hiller has long collaborated and performed with minimalist Arnold Dreyblatt, and musician/instrument builder Ellen Fullman amongst others, and first built primitive acoustic mechanical instruments, gradually developing a more complex, digitally-controlled system. "My guitar gives me the possibility to discover almost every aspect of the sound produced by the excitation of the string -- as if scientifically under a magnifying glass," he says. "I can control such parameters as the speed and time, length of the attack, the intensity, the pitch (allowing the use of different tuning systems), and the location of each string in space by the use of six speakers." Early on, Hiller realized that the harmonically complex sound of strings are impossible to reproduce digitally, and therefore became interested in the development of mechanical instruments, visiting European collections of pianolas and orchestrions in Belgium and Holland. Within his live performances and on this new recording, his music is influenced by the insistent rhythms from minimalism, krautrock, and techno, and their shared focus on transcendence through a propulsive, full-spectrum sound. Informed by early American folk music and its descendants (John Fahey et al.), his new album Stack Music presents a selection of recordings over the years from residencies and live performances, such as "Opening", an early live performance of the digital guitar system recorded in New York and composed at Phill Niblock's Intermedia Foundation Loft, whilst "Rondo" consists of recordings of the guitar played by a motor with shoelace exciters, horns, and piano harp. In "Largo", he utilizes the software Melodyne to generate midi notes from an original guitar system recording. Mastered by Rashad Becker at Dubplates & Mastering; Artwork by Bill Kouligas.

Soave present the first vinyl reissue of Roberto Musci's The Loa Of Music, originally released in 1984. The Loa Of Music is the debut recording project of Milanese composer and musician Roberto Musci, inspired by voodoo religion, Vever (the magical voodoo paintings), and Loas, the dark and magic spirits. The deep charm of non-western music led Musci to travel for many years across Africa, India, and Asia, studying rhythms, scales, performance, and interpretation of the most varied traditional and indigenous music. He made many field recordings and collected ethnic instruments that would then be combined with synthesizers and electronics in The Loa Of Music. Recorded in 1983, the project originally had 80 minutes of music, but only half was released on the original LP. For the first time, Soave have pressed the complete recording sessions from the original tapes of this phenomenally ambitious masterpiece that entirely refuses the well-trod path -- distilling a remarkable range of sonic reference and reality. A work of field recording, musique concrète, electronics, synthesis, and instrumentation, pulling from countless musics from across the globe, the result is nothing short of brilliant and stunningly beautiful. A near perfect work -- an egoless gesture, which rather than attempting to find consensus, offers every voice equity and cohabitation -- harnessing the history music, with all of its cultural diversity, as a vision for a more ideal future. Geographies and their sounds intertwine, while Musci's interventions and instrumentation thread a path. Ambiences ripple, sounds and voices converse in a vision of unity that may only exist within sonic realms. Unquestionably seminal, and one of the most important works to emerge from Italy in the last 50 years. Never before issued on vinyl since its original release, this will surely not to be around for long.

Double LP version. First full-length in seventeen years from the Chain Reaction/Force Inc. legends. Ever since their initial singles were released in the mid-1990s and became international calling cards for the Chain Reaction label, the Porter Ricks duo of Thomas Köner and Andy Mellwig have represented that crucible point in which techno music leaked into new social environments and became the background music for cutting-edge cultural critique. Their submerged "scuba" sound, presented in dark tone colors and reverberating to infinity, is now instantly identifiable as one of the "soundmarks" of Berlin club culture. Just as importantly, it is still a palpable aftershock of a pre-millenial genre explosion that saw deep dub, shimmering post-rock, abstract hip-hop, and art-damaged noise all drinking from the same well of inspiration. For proof of Porter Ricks's enduring legacy, look no further than the fact that "dub techno" is now a stylistic movement that has expanded far beyond the confines of Berlin and the Basic Channel/Chain Reaction label alliance (where Mellwig's mastering skills also played a starring role). Lurid traces of Porter Ricks's aesthetic can now be found in the work of producers like Andy Stott and Miles Whittaker, showing the potential for the duo's unique "aquatic" techniques to be applied to a variety of different musical contexts. Their new LP on Tresor, Anguilla Electrica, may be their first full-length release in seventeen full years, but it radiates with confidence and with a clarity and intensity rarely seen in a world so over-saturated with communications noise. It's made clear at once that it's a continuation of a sonic ideal rather than a tribute to what has already been achieved: the duo is not idly sitting back while their newer acolytes do their talking for them. This new LP is well worth the wait and is a life-affirming one in an uncertain and perilous time, drowning out daily anxieties like a rush of incoming surf -- yet it is far more invigorating than relaxing. True to the Porter Ricks's tradition, it will be just as exciting hearing this music as it will be to experience what new cultural mutations it leaves in its wake.

Bristol's finest post-punk polemics Idles have been promising to do great things for some time now, and with their debut album Brutalism, they absolutely fulfill that promise, a furious promise at that. Politically charged, refreshingly confrontational, and infectiously volatile, Idles are a band like no other. Bringing the unsettling reality of the world we live in into their frantic assault on the senses, they are a band that until now could only be truly understood by witnessing in a live environment. But with Brutalism, it surely feels like they have captured the intensity of that live sound. Bottled up here are the abrasive, memorable lyrics of Joseph Talbot delivered with all of the spite and wry humor he puts across on the stage. Dedicated in part to the loss of his mother, who adorns the record's cover, and partly to a perceived decimation of society, from the NHS to public services across Britain, Brutalism is a deadly serious indictment on popular culture.

Baum present the first solo EP by Dubatech, following his highly acclaimed track "Nonagon" on the Baum Limited Picture Edition 002 back in 2009. Dubatech releases three tracks of his signature dub-infused techno sound. White vinyl with yellow splatter.

Doxy present a combined reissue of legendary jazz harpist and poly-instrumentalist Dorothy Ashby's Hip Harp and In A Minor Groove, both released separately in 1958. Both albums feature Frank Wess. Dorothy Ashby had a unique soul jazz harp sound, and although the instrument she used is probably more thought of in terms of bedtime lullabies, she actually makes it swing nicely, and with a soulful sound that draws back to traditions of African stringed instruments. Ashby was part of the same scene as Yusef Lateef, and like Lateef, she managed to use odd instrumentation in new contexts, to get a very unique jazz sound. 140 gram clear vinyl; First pressing comes in an edition of 500 (numbered).

From the original liner notes for Hip Harp: "In Hip Harp in addition to the interpretations of standards like 'Moonlight In Vermont', 'Dancing In The Dark', 'Charmaine' and 'There's A Small Hotel', Dorothy and Frank work out on three Ashby tunes: 'Pawky', a minor-key blues, 'Back Talk', major-key blues and 'Jollity', a medium-up original. Dorothy Ashby has added to the basic territory that the harp previously occupied. In fusing her sometimes guitar-like, swinging line to the expected harp effects, she has added another step to the instrument-scope of jazz (...)"

Black vinyl repress. "Die Tödliche Doris was born out of West Berlin's lively post-punk community in the early '80s. Along with Einstürzende Neubauten, Malaria, Sprung Aus Den Wolken and Frieder Butzmann, Die Tödliche Doris ranks amongst the Geniale Dilletanten -- which roughly translates as 'ingenious dilettantes' -- who sought to democratize cultural productions beyond the grip of both Western capitalism and GDR socialism. The Geniale Dilletanten became synonymous with a free-for-all approach to music, film, painting and performance where participants encouraged raw expression through provocation and experimentation. Wolfgang Müller and Nikolaus Utermöhlen founded Die Tödliche Doris in 1980, presenting the public persona of Doris as a constantly shifting entity that deliberately engaged the contradictions of the human condition. The band often referenced themselves in the third person singular, alluding to Doris as a fully-formed female character with explosive, colorful emotions. For her debut album -- originally released on Zickzack in 1982 and playfully titled " " (that is, blank space surrounded by quotation marks) -- Doris most closely entertains the notion of a typical rock band with drums, bass and guitar. Produced by Neubauten's Blixa Bargeld, the thirteen songs presented here are disquieting lullabies of profound anxiety, savage and primitive deconstructions of German polka and manic lacerations of punk minimalism: all reflections of the many and fractured personalities of Doris. This first-time vinyl reissue includes a reproduction of the original 24-page booklet."

"Originally released in 1998 in a limited run on Estrus Records. Satan's Pilgrims' Creature Feature expertly distills the essence of West Coast 60's surf instrumentals. Eastern scales dive-bomb with full bodied tremolo and glide across seas of reverb. Infused with classic Monster Sounds, Satan's Pilgrims brings the boneyard to the beach. Limited to 500 copies; Green Ooze colored vinyl; Original design by Art Chantry."

Floorplan, the father-daughter duo of Robert and Lyric Hood, return with their first new productions since 2016's Victorious (MPM 028CD/LP). stripped-back "Let The Church" straddles the realm between tough house and raw techno with its hefty bassline, infectious claps, and vocal cry, while "Made Up In My Mind" focuses on a looped piano refrain and funked-up drum work under a joyous gospel vocal. Also included is a hypnotic Robert Hood remix of "He Can Save You" from Victorious, and Lyric Hood's mix of the future classic "Never Grow Old" -- a deep mix that shows her love of house grooves.