Australia

Late night techno, deep house, ambient soundscapes, introspective electro and sci-fi soundtracks with strong influence from the music of Detroit and Chicago.Obscure Australian imprint Offworld Records reactivates after a 21-year hiatus to issue the ‘Still Tomorrow’’ EP by producer Tim Jackiw as a label follow-up to the rare ‘Science of Sound Vol 1’; touted as “one of the best deep techno 12” singles of the 1990s”, reissued in 2016 on the Recondite label and now highly sought after by collectors worldwide.A series of archival DAT and tape recordings produced in Tim’s Adelaide-based home studio during the same mid-90’s period as Science of Sound and the recent Memory Feedback release on Slow Life Berlin, this 6-track extended play 12” covers a broad spectrum of electronic sounds including late night techno, deep house, ambient soundscapes, introspective electro and sci-fi soundtracks with strong infl uence from the music of Detroit and Chicago.

Killer compilation that sheds light on oddball tunes made in Australia and New Zealand during the 70's and 80's..For musicians inhabiting the Antipodean countries of Australia and New Zealand during the 70’s and 80’s, it was a geographically and culturally isolating environment. Boutique shops, community radio and mail order exchanges championed independent and contemporary music from across the globe. It was, however, this isolation that caused a number of small community-focused scenes to evolve, creating their own unique interpretation and reappropriation of outside influences. Through both these scenes and government initiatives, a vast amount of music emerged on self-released and independent labels.Yet, even among small scenes that were creating unique sounds, a number of artists seemed to be making music that was neither here nor there, often meshing together numerous genres and influences to create anomalous sounds. Artists like Olev Muska along with Ingrid Slamer meshed traditional folk songs of their Estonian heritage with cutting edge computer technology. Ngahiwi Apanui used his native language of Te Reo and a “cheap drum machine” to create a pulsating tale that highlights the creation of Aotearoa (the Maori name for New Zealand); while the Free Radicals would sing through PVC pipes to construct their vision of post-apocalyptic tribal music. Sydney’s Nic Lyon used his classical training to craft a distinctive gem which matched eastern and African influenced instruments with synchopated drum machines, while artists like Delaney Venn and Toy Division managed to challenge their post-punk sensibilities by blending both dub and atmospheric sounds respectively.Compiled by: Chris Bonato and Umut Turkeri

The first in a series of compilations by Jura Soundsystem is a blend of Dub, Ambient, Downtempo, Boogie and Proto House with a focus on music never before released on Vinyl, sought after out of print titles and some special versions edited specifically for the album.The intention with this project was to delve deeper into the reissue pond and unearth some lesser known tracks and artists. Highlights include Smackos (AKA Legowelt) Ambient epic ‘We Can Watch Alf In The Hotel Room’, never before released on Vinyl, the Dub / Psych hybrid of Minus Group’s ‘Black Shadow’, Kash’s sought after ‘Percussion Sundance’ and special edits of Ken Dang and Tabou Combo. The end of the album includes some soothing Ambient tools.

After previously releasing Starship Commander Woooo Woooo’s – Mastership LP, Left Ear Records have continued excavating the archives of the artist more formally known as Omer Coleman Jr. The result is two handpicked mid 80’s instrumentals salvaged from the original master tapes, as well as an extended vocal edit on the flip for good measure.After laying his alter ego to rest Omer made a handful of electronic releases on his own Kansas based ‘Remo’ label. Of these releases Left Ear has selected their two favourite instrumentals: ‘Lovin “Babe” Sure Is Fun’ and ‘So Good’. ‘Lovin “Babe” Sure Is Fun’ was originally released in ’85 and was created to celebrate a time in America where “the economy was good, people were happy and love was in the air”, the essence of which Omer captured using his Roland 808 and 303 in what may best be described as Acid-Boogie. ‘So Good’ on the other hand is a sensual downtempo cut shaped with heavy-bass, telephone samples and guitar solos that conjures images of late Night Rendezvous and compromising scenarios.

BACK IN STOCK !!!!Fans of the first Voyage sampler will be familiar with the sound of Harvey Sutherland and his ability to make synths sing. For those who aren't, you're welcomed with opened arms to experience the joy of Harvey Sutherland through his new EP "Brothers". An exploration in all things that make Harvey Sutherland the wizard he is, "Brothers" blurs the atmospheres surrounding boogie, house, jazz and funk. An outer space voyage for your mind, body and soul.Pressed on 180G heavyweight vinyl and packed into manila sleeves.

From a lost Australian electronic soul gem, to a cult classic: Shahara-Ja’s ‘I’m An Arabian Knight’ has gained much momentum since it’s 2017 reissue, so much so that the Egyptian Lover reached out to the label proclaiming he’d do a remix. The electro innovator who the original release appears to be highly inspired by seemed like a perfect fit for this sleazy late Night groover. The result is 3 fresh mixes using elements of the original session tapes and the perfect touch of the Egyptian Lover’s signature 808

Respuesta Alternativa or the Alternative Response was the project of Spanish musician Jesus Mª Catalan, created with the help of Julián C. Pérez.As the title implies the music was generated in response to traditional music notions of the time, and reflects how Jesus Mª Catalan would challenge these traditional ideals using a fusion of styles and his unique vision. Jesus laid out his synths and drum machines, while other musicians played traditional instruments over the top. This unique approach worked to create atmospheric tracks capturing simple themes, with each influence being carefully thought of in the joint result. As he explains “each instrument weaves independently throughout a passage in a curious game where the listener’s attention goes from focusing on a keyboard, guitar to bass or percussion. Previously only released on a cassette album in Spain, Left Ear have polished 5 choice cuts for a 2018 12”.

Heads may not know it, but Olmos (real name Oliver Graham) has been one of the busiest influencers on Australia’s underground music culture this side of the 90s. Through family-run operation Paradise Loft Records, he has quietly imported thousands of dead stock Disco, Boogie and early House records into crates across the country - affording tastemakers a slice of digging culture only a trip to NYC would previously have allowed.Thus Ol’s arrival at Gulf Point gleams with the jewels you’d expect from a producer with such inspired tastes. These are set free on “Luna’s Groove”, a star-chasing collection of nouveau post-disco works, crafted in earnest with dancers in mind. Raised on a healthy diet of Levan mixes and M+M dubs, his own use of juicy Moog basses, progressive arrangements and glittering melodies have bought forth an EP which modestly harnesses the New York Garage aesthetic he loves so dearly.Three Olmos originals are teamed with an astral mix by Benny Badge, reigniting his Freekwency namesake to redo the title with cosmic pads and the gravitational pull of a timeless 808 sequence. Jack Doepel, known for his work with Melbourne's rising Krakatau, also makes an appearance on sax - landing this interstellar mission somewhere on Jupiter’s fifth moon, Rhea.This is Ollie and Benny’s second meeting, the first being Freekwency’s “Flip The Coin” on Voyeurhythm. Recorded in 2011, their collaboration fuelled a simmering Boogie revival and remains in high demand alongside similar transmissions from Tom Noble, Psychic Mirrors and PPU. Since then, Olmos’ evolution has scored him some deserved points of his own - “Luna’s Groove” however, may have just hit the bulls-eye.

Isle Of Jura’s second longplayer reissue is an album from Ingleton Falls that touches upon Ambient, Dub, House and Balearic styles and was originally released in 1991 as a limited run of 100 self distributed cassette tapes.Ingleton Falls are Andy Hannam Seymour and Andy Eardley from Tyne and Wear in Newcastle. Having come from a more traditional band background originally, Ingleton Falls was their electronic project and the result of a love of acts like Dub Syndicate, African Headcharge, Gary Clail, The Orb and The KLF.Andy Hannam Seymour remembers “It was a very creative time musically, there was a lot going on around us that used new technology. I was excited by the possibilities. Up until then I'd been playing guitar with a more traditional drums/bass/guitar/vocal band with all the 'musical differences' that entailed (the two bands ran side by side for a while). I also liked the idea that you could write and record a piece of music that was ready to release yourself, rather than it being a demo or having to pay a lot of cash for studio time. That DIY aspect was a lot of fun.”The album is split into 2 parts, ‘Aware’ and ‘Unaware’. Andy explains “We decided that 'side1' and side2' were pretty dull and came up with the aware and unaware division based on a kind of enlightened and unenlightened mind kind of idea. The unaware side had the tunes with themes like necrophilia and samples of christians and the aware side was more expansive mindful themes.”Equipment used the make the album included a Cheetah SX16 sampler, Alesis HR16 Drum Machine, Yamaha FG440 Acoustic Guitar, Tokai Stratocaster Guitar and an Atari ST computer running a Steinberg Pro 24 sequencing program (from floppy disk!). Due to a lack of sampling memory sounds were added live from cassette into the final mixes. 25 years later these songs finally reach a wider audience, initially via a limited cassette release followed 6 weeks later by the 180 Gram Heavyweight LP.