A3000 Magnetic Gliding to be reissued

8 tracks of genuine mid-90s acid, techno, and ambient for fans of AGE, Spacetime Continuum, Caustic Window & Air Liquide.

Reissue of A3000 Magnetic Gliding album, produced by Swiss musicians Marco Repetto and Stefan Riesen, also known as Synectics on Rephlex and founders of Axodya Records. Originally released in 1995 on the Italian Disturbance label, it has now been remastered and proudly reissued for 3023 in a limited edition of 300 copies by Musique Pour La Danse. Enjoy this trip.

Marco Repetto was a member of the world-famous wave/punk band Grauzone. In the late ’80s, he delved into techno, ambient, and psychedelic music, drawing inspiration from nature and shamanic knowledge. His performances are described as colorful, playful, and mind-opening experiences. His main project now is Bigeneric, which he releases on his label, Inzec Records.

Stefan Riesen has been a prominent figure in the Swiss techno scene since 1995. He is the founder-manager of Phont Music, SuperBra, Morris/Audio, Floppy Funk, and Speaker Attack. He has (co-)produced numerous tracks under various aliases on different labels, including Box Blaze, Flaptrack, Hooper, Nylon, Sonic Tourism, Spin, A3000, Box Blaze & Deetron, Dialogue, Lausen, R.B.R., Sidestepper, Silver Zone, Skank Burner, Synectics, and more.

Listen to ‘Sonic Stripes’


A1. A3000 – Sonic Stripes
A2. A3000 – Flow
B1. A3000 – Rise
B2. A3000 – Phantome Of House

C1. A3000 – Shelloid
C2. A3000 – P.S.E.
D1. A3000 – Part Of The Planet
D2. A3000 – Destination Underwood

Releases September 29, 2023

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Jeff Mills Presents Tomorrow Comes the Harvest Featuring Jean-Phi Dary and Prabhu Edouard

Tomorrow Comes The Harvest is the accumulative efforts of talented musicians and their visions about what makes the art form of music so special.

A theory initiated and put into action by late Afro Beat creator and Nigerian Drummer Tony Allen and Detroit Techno’s Jeff Mills. Each belonging to a long tradition of using music to reach higher levels of consciousness, along with veteran keyboardist Jean-Phi Dary, the three toured internationally until the untimely death of Tony Allen in 2020. However, the foundation of the concept was cemented and ready for continuation.

Mills reconfigures the concept to function as trio once again and invites Tabla virtuoso Prabhu Edouard to join the concept.

Tomorrow Comes The Harvest is about exploring the unknown, transcending by the way of intersecting sounds and rhythm through an array of improvisational movements.

Listen to snippets of Evolution just below

Axis Records will release Evolution on September 8th, 2023.

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Hip Holland Hip: Modern Jazz In The Netherlands 1950 – 1970

Sdban Records delve into the Dutch jazz scene of the 1950s and 1960s with a selection of classic and rare hard bop and cool jazz tracks from artists like Herman Schoonderwalt, The Diamond Five, Wessel Ilcken and Tony Vos. Holland never sounded this hip before!

“Jazz is garbage and a caricature of the modern orchestra; it is garbage arranged by half-grown musicians for the benefit of common entertainment.” In spite of the Dutch cultural establishment’s attempts to preclude jazz – as illustrated by this citation from the October 1926 issue of music magazine De Muziek – The Netherlands was one of the earliest adopters of the new music style as it came over to the Old Continent at the end of World War I.

Kwartet Leo Meyer So Why

Originally drawn to the clarinet under the influence of the Dutch Swing College Band as a teenager in the mid-1950s, Leo Meyer converted to bebop after befriending pianist Rob Madna. He then switched to the alto saxophone and learned the ins and the outs of the instrument by listening to records of Charlie Parker, Miles Davis, Phil Woods and Stan Getz. In the early 1960s, Meyer was playing with the cream of Dutch jazz (Madna, Herman Schoonderwalt, Frans Elsen, Cees Smal) in clubs in Haarlem, Amsterdam or Rotterdam (where he played the warm-up of Eric Dolphy’s concert in jazz club B-14).

The Jacobs Brothers Two Brothers

It’s difficult to imagine Dutch jazz history without the Jacobs brothers from Hilversum. To the mainstream audience, pianist Pim became the face of the post-war jazz scene thanks to his work as the fixed accompanist of his wife, star singer Rita Reys, as the host of thousands of ‘schoolconcerten’ (educational concerts in schools throughout the country explaining the principles of jazz to the youth) or as the host of his TV show Djes Zien. In all of these activitities he formed a partnership with his brother, Ruud, who was also the most in demand bass player of the Dutch jazz scene and played or recorded with Johnny Griffin, Dexter Gordon, Hank Mobley, Don Byas and Sonny Rollins. The song Two Brothers captures them at the dawn of their long and rich careers – Ruud, who makes a rare appearance on saxophone, was merely 20 years of age here.


A1. Herbie Mann with the Wessel Ilcken Combo – Afro Blues
A2. The Diamond Five – Amsterdam Blues
A3. Kwartet Leo Meyer – So Why
A4. The Jacobs Brothers – Two Brothers
A5. Kwartet Martin Verlinden – Four On Six
B1. The Rhythme All Stars – Relaxin’ With Rhythme
B2. Martien Beenen and the Orchestra featuring Sandy Fort – Golden Earrings
B3. Tony Vos Quartet – Lady Elisabeth
B4. Herman Schoonderwalt – Theme from the movie ‘Mensen Van Morgen’

C1. The Diamond Five – Les Halles
C2. The Red and Brown Brothers – Blues For Eddy
C3. Frans Elsen Quintet – Sem
C4. Leddy Wessel with Jack van Poll and his Tree-oh – Sing Sing Sing
C5. Boy’s Big Band – Blues Minor
D1. The Frans Wieringa Trio featuring Eduard Ninck Blok – Work Song
D2. Rita Reys and Oliver Nelson – Wives And Lovers
D3. Herman Schoonderwalt Septet – My Plea
D4. Trio Tony Vos – Comin’ Home Baby

Sdban Records will release Hip Holland Hip: Modern Jazz In The Netherlands 1950 – 1970 on June 16th, 2023.

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Frank De Wulf’s seminal B-sides reissued in a 4 LP box set.

Music Man presents the ultimate compilation of the seminal B-Sides project by Frank De Wulf, originally released on the label in 1990. He is considered one of the pioneers of the Belgian new beat and techno scene, and also became a driving force in the European techno circuit of the nineties.

While still at school in the mid-eighties he already ran his own radio show while keeping two residencies in Ghent. He soon started to produce his own tracks and remixes, inspired by the rising new beat movement in Belgium. One of his first releases was Acid Rock under his Rhythm Device moniker on Music Man, which instantly became an underground hit at famous night club Boccaccio – one of the Belgian clubs where new beat really took off – and over the years developed into one of the classics of the first European dance wave.

Frank De Wulf’s real breakthrough came with the infamous B-Sides 12″ series on Music Man Records. All four volumes charted in several European countries becoming a firm favourite among leading techno DJs worldwide. As a result of this success Frank traveled the world as a DJ and live act, playing all major raves and clubs at the time, meeting like-minded techno pioneers like Derrick May, Joey Beltram or Sven Väth as well as R&S Records founder Renaat Vandepapeliere, whose energy and strong belief in the success of quality dance music had a major influence on Frank’s career.

The list of artists he was asked to remix is an impressive one, including names such as Model 500, The Orb, The Shamen, Orbital, Jam & Spoon, N-Joi or Biosphere, just to name a few. Frank later released a great body of work on his own labels H.P.F., Mikki House, Tribal Sun or Growth in order to gain more creative freedom to release his tracks and do production work for other artists. At the end of the nineties Frank decided to concentrate on another great love of his: the world of film and post-production. He founded GRID, a post-production company specialised in visual effects and motion design, while still doing the odd remix or occasional DJ set.

This box set includes all music originally released on The B-Sides volume I, II, III, IV, ‘The B Sides Remixed’ & ‘Beyond The B-Sides’, pressed onto 4 x 180 grams heavy weight vinyl records including a 8-page booklet with liner notes.

Limited to 500 numbered copies.


A1. Frank De Wulf – Compression
A2. Frank De Wulf – Reforced
A3. Frank De Wulf – Just Another Beat
B1. Frank De Wulf – There Ain’t Nobody
B2. Frank De Wulf – Electrain
B3. Frank De Wulf – Compression (Remix)

C1. Frank De Wulf – Magic Orchestra
C2. Frank De Wulf – Freestyle 909
C3. Frank De Wulf – Magic Orchestra (CJ Bolland Remix)
D1. Frank De Wulf – Latino
D2. Frank De Wulf – The Heat of The Moment
D3. Frank De Wulf – Butterfly

E1. Frank De Wulf – The Tape (Remix)
E2. Frank De Wulf – The Darkness Revisited
E3. Frank De Wulf – Foreign Trips
F1. Frank De Wulf – Orbital Ways
F2. Frank De Wulf – The Original
F3. Frank De Wulf – The Tape

G1. Frank De Wulf – Moribund
G2. Frank De Wulf – Imagination
G3. Frank De Wulf – Raise
H1. Frank De Wulf – Traffic
H2. Frank De Wulf – Moral Soundabuse
H3. Frank De Wulf – I Love You

Music Man will release B-sides on May 19, 2023.

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Souma’s double album release revives Egyptian cult classics from Om Kalsoum

From the two towering pillars of the Arab World’s Tarab, Om Kalsoum & Mohamed Abdel Wahab, comes another cult classic of Wa Maret El Ayam

Umm Kulthum needs no introduction – along with the call to prayer, her magnanimous voice has reliably been one of the few daily constants across the Arab worlds’ sonic landscapes over the past century. From Aleppo to Alexandria, Baghdad to Beirut and Cairo to Casablanca, in 1934 and for the following forty years her live broadcasts on the first Thursday of each month would see streets and workplaces deserted as millions rushed home to tune in; Umm Kulthum triumphantly became the beating pulse of a new post-colonial Arab world order, and the embodiment of Egypt’s cultural renaissance.  Perhaps most remarkably, she spearheaded the remoulding of gender norms across the Middle East by setting an example of what dignified, perseverant and unabashedly Arab women can go onto achieve – she was incredibly business-savvy, actively engaged in public circles at the highest levels, and firmly devoted to her career over traditional family life. Her formidable presence extended to her fervent voice – being a contralto and in all her glory, she would stand at least three feet away from a microphone when singing. Her exalted tone and mastery of Maqaamat (Arabic melodic scales) allowed her to sing intricately layered Arabic poetry while evoking in listeners, be they peasants or aristocrats, a trance-like state of Tarab or rapturous enchantment where time and space dissolved into the music. Egyptian novelist and Nobel laureate Naguib Mahfouz aptly compares her to a “preacher who becomes inspired by his congregation…..when he sees what reaches them he gives them more of it, he works it, he refines it, he embellishes it” – perhaps this is why she was said to have never sung a line the same way twice! Though many have attempted over the years, Umm Kulthum’s voice has proven to be simply inimitable.

Her long-awaited and blessed union with the godfather of contemporary Arabic music, Mohamed Abdel Wahab, finally came in circa 1965 under the auspices and repeated urging of the widely adored Egyptian President Gamal Abdel-Nasser.

Egyptian King Baligh Hamdy and “The Lady” Om Kalsoum meet for the final time in her parting ode, Hakam Aleena El Hawa

There is no Western counterpart to Umm Kulthum, that much is clear. She was once described as having had “the virtuosity of Ella Fitzgerald, the public persona of Eleanor Roosevelt, and the audience of Elvis”, and the likes of Bob Dylan and Robert Plant of Led Zeppelin count her among their ultimate sources of inspiration. Charles De Gaulle adorned her with the title of “the Lady” and to the Arab world, she was simply known as the “Voice of Egypt” or “Egypt’s Fourth Pyramid”. What Umm Kulthum achieved over the course of her sixty-year trailblazing career is nothing short of legendary; renowned for her ability to gracefully rise above the grandeur of instrumentation, she would reincarnate melody by deftly colouring her tone depending on each piece’s deep emotional context. Adding to her gravitas, she had perfected the diction and pronunciation of Classical Arabic, having committed the entire Quran to memory aged 12 – a feat that remains to this day unmatched by any other prominent artist. Her five-hour long performances would rapture her listeners into feeling wistful melancholy, warming jubilation and fierce trans-nationalistic pride, all at once.

Throughout Umm Kulthum’s illustrious years in the limelight, there were persistent rumours of a romantic relationship between her and prolific Egyptian composer, Baligh Hamdy. The true depths of their relationship remain a mystery, however, their collaboration as artists brought the world some of its most prized & collectible pieces in the Arabic musical canon.

Hamdy was a powerhouse who epitomised the parlance between avant-garde oriental and occidental arrangements with vigour and tenacity, and Umm Kulthum herself was deeply compelled by his compositions. After delivering her the sensation that is Alf Leila we Leila and other timeless classics, Baligh Hamdy for the final time composes Hakam Aleena El Hawa in Umm Kulthum’s parting ode before her death. In a hauntingly beautiful ballad, she speaks of the overwhelming nature of love and sincere affection, over a delicately formulated Maqam Nahawand on the Arabic melodic scale. With an intro featuring the rhythmic fireworks of Hany Mehanna, Egyptian King of the Farfisa organ and pioneer of the oriental synth, Souma Records proudly present a remastering of the original studio version for The Voice of Egypt to live on. High-quality pressing housed in delicately handmade natural paper jackets.

Musing, beckoning and triumphant as always…

Muhammad Al-Najjar, Cairo, April 2023

Wa Maret El Ayam, and Hakam Aleena El Hawa are out now on Souma Records

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Laurent Garnier to release first solo album in eight years

Arriving this May, the French icon’s first solo album since 2015 is his most dancefloor-focussed yet.

Laurent Garnier is one of electronic music’s best-known acts, a pioneering household name responsible for decades of clubland classics. From experiencing the acid-house movement first-hand as a DJ at The Haçienda through to timeless hits such as the breakout Crispy Bacon and the enduring The Man With The Red Face, his tireless enthusiasm has permeated the dance music landscape via six celebrated albums, numerous singles and a relentless touring schedule.

Vocal-led tracks tastefully borrow from a range of genre influences; from the Hip Hop inflected In Your Phase with 22Carbone, an incendiary number that will be firmly burnt into the memory of any attendee of Garnier’s recent DJ sets, to the Punk of Saturn Drive Triplex, which features vocals from the late Alan Vega, of influential duo Suicide notoriety. Elsewhere, sprinklings of broken rhythms appear in the leftfield downtempo cut …et puis s’en Va! and Drum & Bass experiment Sado Miso, offering listeners a further view into his wide-ranging taste.

Across 2022, Garnier released five EPs, each containing a special hidden code referencing a fairground ride from his childhood, alluding to the album. Now presented through various mediums upon release, including a triple Vinyl LP, cassette, and CD alongside the digital copy, each version offers a thoughtfully tailored experience towards the listener’s preferred format.


A1. Tales from the real world (version instrumentale)
A2. Liebe grüße aus Cucuron
B1. Reviens la nuit (DJ Edit)
B2. On the REcorD (part 3)
C1. Saturn drive duplex [Feat. Alan Vega]
C2. Closer to you [Feat. Scan X]
D1. Sake stars fever
D2. Cinq o clock in le matin
E1. In your phase [Feat. 22Carbone]
E2. Give me some sulfites
F1. Au clair de ta lune
F2. Granulator Bordelum

Cod3 QR will release 33 Tours Et Puis S’en Von on 9th June 2023.

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