Ryan James Ford
MDR 017

On their self-titled debut album Etienne Jaumet and Fabrizio Rat, both trained pianists, re-invent their favourite instrument to make us hear it in a totally new way. While the former creates unusual sounds thanks to the rhythmic machines that accompany his piano, the latter uses this classical and romantic instrument par excellence to explore the techno sphere."The basic idea of our duo is to confront the harmonic richness of the piano and the synthesizer through rhythm. To explore our interactions through live music. To develop new atmospheres thanks to the evocative power of unusual sounds. Somewhere between ambient and sound experimentation…'

‘Distrub Roqe’ encapsulates the ultra-precision of Bristol-based producer FFT as he asserts both intensity and restraint in unearthly textures. Numbers's latest signee FFT’s sonic mark has been dispersed over an obscure association of aliases which sprawl between labels - including The Trilogy Tapes, Low End Activist’s Bruk Records and his own imprint Super Hexagon. Converting signal into rhythm with an impressive amount of focus, the bass resonances of ‘Disturb Roqe’ are particularly loaded with weight to capture outlandish, alien frequencies.

Brand New Ashkabad featuring Baltimores "Four Shades of Dub" released on PatchWork records. A fresh shot of Dancehall Dub for fan of ruffest O.B.F. vibrations

Comet Records presents from Afrobeat pioneer Tony Allen, N.E.P.A Reissue LP Vinyl remastered and coming in an heavy Deluxe Tip-On Jacket.In 1979, Tony Allen decided to leave Fela Kuti & Africa 70 and moved to London in 1982. Originally Released in 1984 on Earthworks Records, this reissue holds an extra track previously unreleased on vinyl called “Olokun”. N.E.P.A (Never Expect Power Always) is a searing critique of the Nigerian Electric Power Authority, an organisation that governed the use of electricity in Nigeria.It starts out with the title track, with a definite Afro-beat punch. Electro-claps stand as part of the percussion line, adding to a more modern look at what Afro-beat was becoming.This is followed by an even further modernized piece of Afro-beat, as the title track is given a dub mix. “When One Road Close” has a similar pace, and is similarly followed by a dub remix, complete with the necessary space-effects reverb.And to make this reissue extra special the track “Olokun” was never released on vinyl before.Blending the nascent rise of electronica into Afrobeat production, it’s tighter than any Fela album and became a definitive project in shaping Allen’s future sound. Whether it’s the electro beats or the punchier, multilayered arrangement, it instantly stands out in Allen’s vast and expansive discography.

PPU's first long-play LP highlights some of the early beginnings of one of the label's favorite producers, UKku Kuut. Written and recorded at Uku's home studio in Los Angeles and Stockholm between 1982 & 1989.Some tracks co-written with Maryn E. Coote, famous jazz vocalist who had her beginnings in 1960s Soviet Union. "That's my MOM" recalls UKU, "I remember when I was little, sitting under the mixing board at her sessions". Growing up in studios, Uku's love of music production began early, and over the years he has amassed a vast collection of domestic and soviet electronic gear. In true PPU style this LP is a mix of Uku Kuut's raw cassette demos, forgotten masters and unreleased magic.