Parris
Passionfruit

A stunning follow-up to his late 2018 release. Mostly recorded live at the Apollo Hotel Amsterdam in 1991. This is a compilation of the ''Apollo Hotel CD box'', that Ronald made himself, for family and friends.. BIG tip!Some words from the label:From 1986 until 1992, Ronald had a residency in the lounge of Amsterdam’s Apollo Hotel. He would play there 5 days a week, for 5 hours a day. In 1991, throughout several sessions, he recorded himself on a cassette recorder. The recordings were ranging from re-interpreted cover versions to multiple own compositions.The Apollo was particularly known for its sophisticated and elegant crowd. Guests would come to meet in the lounge to talk business, or end the day with a drink at the bar - dancing was never an option.Listening to the album, one must wonder how some of this music would go hand in hand with a place like that. It seems Ronald gets lost in music and returns in unequally balanced patterns. Lounge sounds meet drum computer rhythms, punchy baselines, distorted space noises, reoccurring clarinet interludes and improvised piano solos.Back then, just as now, Ronald never liked to be the center of attention. He simply tried to interact with the surrounding as a provider of the mood - as he explains himself.

French producer and DJ Nathan Melja returns with his debut album, "With Dan!", out via his own imprint Parodia, the follow-up to a series of breakthrough releases on cult labels Mister Saturday Night, Technicolour, Antinote, Kalahari Oyster Cult and more.Produced and recorded over the past two years hand-in-hand with his father Dan, a seasoned guitarist and sound engineer, this album is his most personal project to date and holds a true feeling of spontaneity, juggling between genres and driven by Nathan's characteristic unrestrained creative approach.Over the course of its ten tracks, Nathan gently steps away from his previous dance offerings in favor of exploring new paces and rhythms, while consistently delivering a refreshed take on his trademark hybrid sound palette and textures. On "With Dan!", he embarks an array of local and international friends on vocals, which bring yet another dimension to his rich, at times lush, at others challenging music.Forget what you know! We don't know nothing!

Reconnected is compiled from Harold Lucious’ addictive 1990 release Connections, a visionary mix of soulful house, New Jack Swing and RnB, an American predecessor of street soul. Deeply connected to music from an early age, Harold started his music career in the early 70s at the age of 16. He sang in his first group, The Final Seconds, who pressed a 7” single in New York City in 1973. The group would go on to record a full album called Neo Cosmic Blues, but never had the chance to press it. They would continue to perform and write together throughout the 70’s and searched in vain for a label to work with. During that time, Harold landed a guest spot on the legendary Brother Ahh record Move Ever Onward, set up by his manager who was Brother Ahh’s sibling. Harold is listed as having played koto, but really he provided background vocals. Throughout the 80’s, Harold worked at WBI radio programming talk shows. On air, he would act out modified scripts to Richard Wright novels like “The Outsider”.Connections was his effort to finally release a record after years of recording and playing music. Experimenting with dance music he came up with an album that was inspired by his love of house music and RnB. He sold the record out of his backpack, ending up with boxes of copies that were eventually destroyed when he had to move from his long-time apartment in Brooklyn. Few of the original LP remain, and it has become almost impossible to find.Reconnected is a remastered redux with four songs taken from the original LP, and pressed onto a loud 45rpm 12” for maximum dance-floor potential. Mixed Signals is honoured to introduce Harold’s music to a contemporary audience around the world.

Le temps lent by Enfant MagiqueSlowing down time with Eric GingrasThe simple acoustic guitar plucks out a lulling back-and-forth, accompanying a voice that seems to arrive from another, far-off era. Elsewhere, the guitar moves around in the background, repetitive and drawn-out. But here, alone, it takes the time to find its rightful place, much like the deceptive simplicity of a hand-made quilt. This humbly whimsical patchwork seeks out form, succeeds, and is reunited with the voice. Articulate and elastic, it sometimes crisscrosses, sometimes circumnavigates this landscape of song both subtle and rich. Its clear lines of flight point to a remote village and its recent arrivals, a motley crew of hybrid things and beings: woolly sheep, beat-up robots, small synthetic drums, minimalist jaw harps, obsessive alarms, light footsteps on a gravel path, a few propellers, many layers of slow time.The sea’s waves break against this shoreline where our mutant from the 1970s seems to have washed up. He isn’t looking for a fight, and he isn’t looking to show off. However, as the custodian of utopian leftovers from an open agreement between artifice and artful making, he is clever and skillful in a thousand and one little ways. His voice is stubbornly discreet, but also able to take flight, carrying with it words devoid of preciosity and over-categorization. This is a voice that prefers attention to affectation. Bresson-like, it knows how to recount when recounting is needed, articulating both quivering fatigue and deep doubt.Joined now by others, the mutant feels supported, loved. He withdraws, and an assertive, childlike voice moves into the foreground. The mutant accompanies, discreet but fully present. And what better medium for this finely woven poetry and play of childhood’s expression, both clumsy and bold.- Anne Lardeux (translated from French by Simon Brown)

The third release on U-TRAX in 1993 was also a third debut, this time by Natasja Hagemeier and Jeroen Brandjes. Early in their career, they used several artist names, but became most commonly known as The Connection Machine. With their debut mini-album The Dream Tec Album they more or less described their style: dreamy techno. It became an instant Dutch techno classic and U-TRAX is proud and delighted to offer a fully remastered re-release, including three never before released bonus tracks (one of which is digital-only).Natasja and Jeroen resided in Utrecht back in the 90s. In 1991 they assembled all their ideas and recorded the track "24 Hours" with DJ Paradize. Soon after this experience, they started to buy their own gear, all strictly MIDI (which wasn't too obvious in those days). In their early recording years, they had three producer-names (Syndrome, The Connection Machine and Bitch&Bites), that were all collected under the The Utroid Machine Missions umbrella, which was used for their debut on U-TRAX.All tracks on The Dream Tec Album are The Connection Machine's earliest works, from the 1991/1992 years.