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Finnish producer Aki Latvamäki also known as Artificial Latvamäki is not a newcomer to Goldmin as he already appeared on two compilations of the label. Notably with the sensational and distinctive track called "Symphony of a Metropolis" which was one of the true highlights of the Goldmin 5 Years Compilation. Yet we were desperately hoping for a proper album of him one day, checking the very few demos he was sending to us with a lot of curiosity and interest. Suunta is the result of years of creativity and of Aki's very own mastery at seeking cultivate the uncommon, and the rare sounds, might it be through an hyperactive electro-track or an organic deep techno ballad like "Baumwolle" is, he is always transposing difficulties and trumping the constraints, making techno not only a functional music for clubs but a full member medium of expression, capable of sarcasm, irony and rebellion and so all throughout a fragile and precarious melody. Has Aki escaped from this scene? That's all for the best, as he as also escaped from all these easy, prefabricated structures and schemas and is still doing his own thing as he always did.

Ellen Allien and the We Are Not Alone collective are back with a second edition of the We Are Not Alone series. A 36-track compilation split into 3 parts, each consisting of 12 cuts, dedicated to the infamous We Are Not Alone event series and the best of Berlin’s underground techno talent.

Ellen Allien's innovative party series We Are Not Alone was launched in 2016 and remains committed to inviting an exciting crew of artists to perform at the 36 hour events, now in a new home at RSO.BERLIN, where they returned with bang over 36 hours and 3 floors in May.

The We Are Not Alone compilation features artists that have played at the parties, as well as those who will join the line-up for future events. The 4th, 5th and 6th parts include music by Ellen and established names names such as Thomas P. Heckmann, Dollkraut & DJ Europarking, Francois X, Phase Fatale and Etapp Kyle. Rising stars Nene H, Nur Jaber, Stephanie Sykes, Wallis and Métaraph. BPitch signings including Rosa Anschütz, Shaleen, Matasism and Uncrat.
For this installment of the series, Ellen Allien collaborates with esteemed director and photographer Stini Roehrs for the multidisciplinary project ‘’AFTER DARK – Emotional States of Techno’’, consisting of a virtual rave film, book and exhibition produced by AKKURAT Studios, and the We Are Not Alone VA, which is to be released physically and digitally via BPitch.

The next We Are Not Alone parties take place at RSO, Berlin in July, August and October of this year. 22nd July, CSD weekend, is set to be a single night event on two floors. 20th August a We Are Not Alone floor during the RSO Club Festival and then we’ll be back for over 30 hours on 15th & 16th October. Watch this space.

'Wenn du mich nicht begehrst, verlasse ich dich,' singt uns die Demokratie mit der Stimme des Wiener Liedermachers Thomas Andreas Beck entgegen wie eine gekränkte Geliebte. Die Klänge sind dunkel, der Beat treibt. Das 6. Album 'Ernst' ist textlich eine Mischung aus brandaktuellen politischen Ereignissen, verdrängter Geschichte und starken Emotionen. Musikalisch fühlt man sich wie im Underground Club aus Wim Wender`s Film 'Engel über Berlin', nur dieses Mal steht nicht Nick Cave auf der Bühne.

ONE SIDED BLACK VINYL.
First ever release of the scariest, most inappropriate and possibly most influential kids TV music of ALL TIME.
'A first-ever release to the series' alarmingly experimental soundtrack'
SHINDIG! Five Page Feature.

There is only 17 minutes of music throughout the series, so we have fitted it all onto a one sided LP. Artwork is by Julian House – legendary hauntologist (Belbury Poly etc) and the man behind some of the greatest spooky band artwork of all time- Stereolab, Broadcast, Primal Scream etc etc.
Sleevenotes by Stewart Lee and inner sleeve notes by Alan Gubby of Buried Treasure Records.
It all looks and sounds superb. Of course it does because it’s a Trunk Records release. AND REMEMBER THIS IS NOT A REISSUE!!! SO DON’T SAY IT IS WHEN YOU TRY AND SELL IT.
anyone who watched was scared shitless. The 7 part drama centred around disturbing happenings in a strange pagan village of very weird and unusually happy people, all set in the midst of the stone circle at Avebury – known as Milbury for the show.
The series shown across British TV (and USA TV in 1980) would scar, disturb and influence an entire generation. Without COTS it’s unlikely we’d have hauntology, spooky folk stuff, stone circle clubs, weird walks and a hunger for such pagan oddities everywhere. And COTS really is the key TV series in many of these modern movements, way before The Wicker Man. Even though The Wicker Man was released in 1973 it was an adult film only released to a few cinemas.
Very few people saw it and its influence really started in the late 1990s with the first release of the music. Whereas COTS on the other hand was shown at 5pm, on schooldays, to a whole nation of impressionable kids, who had never seen or heard anything quite like it. The power of COTS runs deep. So much so Stewart Lee made a whole documentary about it. The release of this long-awaited album will be a “Happy Day” for many.
THE MUSIC:
According to rumour the director of the show was listening to Penderecki as he first approached Avebury to scope out locations. Sidney Sager and The Ambrosian Singers produced an avant-garde and often quite oddly terrifying sequence of vocal drones and dramatic peaks based on ancient Icelandic singular word “Hadave”. And yes, it’s still scary.

Felicity is an Australian sound artist, composer and educator based in Berlin and her latest effort "Train Tracks Recorded And Edited By Felicity Mangan" will be out world wide on tape and digital December 9.

"Train Tracks Recorded And Edited By Felicity Mangan" composed of field recordings was made during a Green Tour, while traveling only by train and ferry through Denmark, Sweden, Finland and Norway in June 2022.

For this release Felicity utilised raw and sampled field recordings to create a sense of slow travel by train, train networks, train delays and the moments in between waiting for trains or missed train connection in cities and small towns.

Felicity has presented projects in many different settings from galleries, gardens, clubs, festivals and online platforms throughout Europe, including National Gallery Denmark, Technosphärenklänge CTM/HKW, Sonic Acts Academy, RIVERSSSOUNDS.org and recently sound design for 100 Climate Conversations , Powerhouse Museum, Sydney, Australia.

““Stations In Between” establishes a pulse early, recreating the initial excitement that turns to tedium. Four minutes in, the drums disappear, swept away by chimes; no longer stuck, the passenger is moving forward again. The station comes to life: another radio, a street musician, a bicycle, a cough ~ the last sound bearing a reminder of the last two years.”
Richard Allen — A Closer Listen

“the elements of sound are manipulated for effect, and the performance nature of Mangan’ work tends to be an effects driven construction of collated and improvised sounds.”
INNERVERSITYSOUND — Cyclic Defrost

“Throughout the album, it sounds rather as if Mangan had written elaborate electronic music permeated by discreet rhythms and pulsating drones equipped with a whole range of devices. The fact that this is not the case is as impressive as the actual music itself.”
— Fieldnotes Berlin

25 years on the scene! New Tide Orquesta (xNew Tango Orquesta) with
compuser Per St Jut bring leading release their 8th album
Music from the play Monster Outside that the group did together with the
Brooklyn- based danceunit Sidra Bell Dance New York. New Tide Orquesta have
toured the world over and over, made music to a large number of movies and
plays. And made themselves stars. All the way from home in Gothenburg, to
Germany , Kiev, Beijing, Rio to the tango clubs in Buenos Aires.

THREADS is back with another powerful VA.

Label co-owner A Virgo On The Moon joins forces again, after their Y7 with Paolo Mosca for the opening track which is a dreamy but powerful club cut. The second track marks the debut of the Ukrainian artist Kebab Traume and it is a fast tech house tool with clear Akufen - ish sounds.

The B-side opener is another strong club tool, this time more with that South American vibe provided by Peruvian Mario Liberti. The closing track is from matteo. who's back on THREADS after his solo EP, this time with Brazilian artist Lourene, and shows his dance floor side which we definitely like!

The release is dedicated to the loving memory of Andrea.

Theo Parrish and Marcellus Pittman's collaborations run deep, from those seminal Essential Selections 12"s some 20 years ago through to the T.O.M Project with Omar S, the 3 Chairs super group and on and on. In the usual Sound Signature style, a new link-up between the two Detroit legends arrives with a minimum on fanfare, just a killer jam with all the grit and soul you'd hope for from this pair. The drum levels push and pull in the mix from red line pressure to back seat driving, while a mellow blur of soul sampling comes calling through the mist until the titular low end glues everything together. It's understated and casual brilliance, everything a Sound Signature club drop should be.

Marijus Aleksa is a Lithuanian cross-genre drummer and music producer who has spent his last decade touring and in session with some of the contemporary jazz greats including Joe Armon- Jones, Ashley Henry, Bill Laurance, China Moses and many more. Manfredas is a key figure in Lithuanian electronic music community, internationally acclaimed club DJ, owner of Radio Vilnius, music producer and remixer on releases by Andrew Weatherall, Metronomy, Erol Alkan and more.

Daniele Baldelli presents the first official double vinyl on COSMIC, the historical italian club.

One of the 80's most advanced discotheques in the world that, thanks to the intuition of Baldelli, its main dj, became a palce that, even today, is a source for nspiration for new artist dj and producers

Prolific Japanese producer T5UMUT5UMU has built up a reputation in the last few years for his ability not just to recreate club styles but to flip them into almost unrecognizable dancefloor hybrids. "Asyl" follows a blistering run of Bandcamp releases where T5UMUT5UMU has melted together gqom and techno, deconstructed grime and welded dubstep to traditional music from Japan and India. Here, he's operating completely off the grid, pulling raw materials from across the globe and hammering them into confounding shapes and patterns. On its surface, 'Fireball' sounds like a liquid metal approximation of South African gqom, but move in closer and you can make out dubstep bass squelches, trap hats, and industrial techno jet propulsion filling in the gaps with rubberized mortar. 'Desert' is the EP's most lightheaded cut, a psychedelic percussive spiral that curves micro-tuned mbira clangs around bee sting bass, aerated noise blasts and sub-aqueous kicks. It's a hard track to place, but fits in somewhere between Donato Dozzy, Menzi and 33EMYBW, all shifting rhythms and precision-edited sound design. 'Sea of Trees' retains this momentum, pushing the tempo and interspersing woodblock vibrations with syncopated bass drums and goosebump-inducing synths, while closer 'Bottomless Valley' shifts back into a gqom framework, shuffling the expected pulse with a powerful dembow swing, half step subs and Indian-inspired rattles. "Asyl" is a varied but shockingly coherent statement from an enigmatic producer who refuses to confine himself to a single path, and at a time when "cross-genre" is the norm rather than the exception, it's refreshing to witness a producer who's unafraid to truly make stylistic left-turns, rather than simply mash together top-level aesthetics.

Rui Fradinho has been DJing and record collecting since the age of 15, having played drums and keyboards on several different projects and starting his electronic music production journey in 2001, when he made his first ever original track – A Bright Future (release number 1 on the label).

Lover of music of all sorts, Rui’s musical base stems across different genres, including House, Drum N Bass, Hip Hop, Footwork, Bass Music, having more recently nurtured a deeper devoted passion for all things Jazz, Fusion and Broken Beat / Nu Jazz.
There are undeniable major influences from Jazz, Soul, Funk, Latin, African, Brazilian and Global music on his productions and Rui has released remixes for several artists on several labels such as Str4ta for Colin Curtis Presents, Nimbus Sextet for Acid Jazz, Luiz Gabriel Lopes for Da Lata Music, Momenta for Lazy Robot Records, Various artists for MJDC – Modern Jazz Dance Classics, David Borsu for Broadcite, Makala for Orrua Diskak and Ray Lugo for Ammonite Records.

Highlights of his DJ career include a 6 year residency at Sociedade Anonima club in Portugal, then Bicaense Café and Lux Club in Lisboa. Earlier in 2017, he did a stint on London’s Back2BackFM, playing at Dalston’s Club Makossa, the BBE Store in East London, closing the Chill Out Gardens stage in Portugal’s Boom Festival 2018, DJ’ed at Gilles Paterson’s first edition of We Out Here festival, currently guests at Birmingham’s Bruk Up Broken Beat night and opened the Portuguese festival LisbOn - Jardim Sonoro in 2022.

Jamie Jones and Lee Foss’ label Hot Creations will deliver a combined EP by Aix en Provence-based DJ and producer MALIKK and Marseille-born duo Chicks Luv Us in August. Bridging chunky tech house with dub techno, Can We Dance displays their collective love for bright and playful beats.

On the title track, the producers work in symbiosis to create a club-driven chunker with chopped-up vocal samples and a squishy bassline. Bouncy ‘til the last beat. On the B-side, Chicks Luv Us drop a Balearic-flavoured banger with Makelene. High-pitched vocals pulsate throughout the track, as huge kickdrums and playful sound FX amp up the energy. MALIKK offers a quirky closing track on Walkie Talkie, packed with punchy drums, bleepy percussion and techy vocals—perfectly aligned with Hot Creations’ colourful aesthetic.

Chicks Luv Us are two Marseille-born pals with a penchant for groovy house and minimal techno. Their back catalogue echoes the textures that bring them together as producers, with releases on Loco Dice’s Desolat, Steve Lawler’s Viva Limited and many more. They cut their teeth in DJing during their residency at Spartacus Club in Cabriès in the south of France from 2009 and 2018. Today, the pair continue to grow a legion of international fans while finessing their craft in the studio, and soundtracking dancefloors worldwide. MALIKK is an Aix en Provence-based artist whose early appreciation for 80’s disco, funky and soul still occasionally seeps into his current club-focused music. Previous releases on Hot Creations, Hottrax, Toolroom, and Solotoko display his multi-dynamic palette, nodding to several genres and moods. Having played in Brazil, Argentina, Spain, Belgium, Netherlands and his native France, MALIKK’s DJ sets reflect his fun and explorative approach, marking him as one of Aix en Provence’s finest exports.

180g double LP, black vinyl, 45 RPM. Berlin-based psychedelic post-punk group The Third Sound (led by Brian Jonestown Massacre guitarist Hákon Adalsteinsson) are set to release a new Fuzz Club Session LP on December 9th. Recorded live at Berlin's Marie Antoinette club, the 10-track double album sees The Third Sound perform a discography-spanning set with tracks from last year's highly-praised 'First Light' LP (2021), 'All Tomorrow's Shadows' (2018), 'Gospels of Degeneration' (2016), 'The Third Sound of Destruction and Creation' (2013) and 'The Third Sound' (2011). The session is released on vinyl, digitally and as a series of videos by Fuzz Club Records. It's number 19 in the London label's ongoing Fuzz Club Session series which has also seen the likes of A Place To Bury Strangers, Night Beats, Holy Wave, Heaters, The Entrance Band, The Myrrors, Lumerians, The Underground Youth, 10000 Russos and more.

Tombolo Rumble Vol I. is here! The first volume of a list of selected releases by different artists from around the globe. Proud to be presenting four tracks by four upcoming and established legends on the panorama of electronic music: Unknown Mobile, DJ Dog, Poly Chain and Abdul Raeva.

First artist on the list is Unknown Mobile, an amazing producer and dj based in Montréal, Canada. You may know him well from his well received releases across some of the dance sphere labels like Planet Euphorique or Pacific Rhythm among others. What you can find in his track is a 4×4 upbeat house atmosphere that goes along with crazy synths, and a beautiful armony creating a perfect melting for the dancefloor. Second track is by DJ Dog, the fun aka of DJ Fett Burger, a Norwegian legend based in Berlin founder of projects such as Sex Tags Mania or Trushmix. He comes with a downtempo, jumpy track, with very fun percussions and synths that will make you feel as if you are walking on Mars. Third track is by Estonian duo Abdul Raeva. Huge track for the club, upbeat techno with acid baselines on a fast bpm percussion. And last but not least, we have Poly Chain, a Ukranian artist that is getting a lot of attention due to her strong mixes as well as her productions, delivering some fat broken beats with acid baselines as well.

Red Vinyl

Introducing Time Is Now's newest recruit, a link up that felt inevitable. A Bristol native, Borai has had a firm foot in the city's bass scene since its inception, his steadfast dedication to rave culture helping to shape what it is today. When he's not curating his own Higher Level label, helping steer the Club Glow collective, or cutting dubplates for Dubstudio, he's exercising his passion for hardware, crafting vital DJ tools which span an impressive crosssection of the hardcore continuum. Naturally EP is a culmination of these endeavours, as well as his far-spanning influences.

We're transported out of Bristol and into late 80's Chicago - the golden era of garage house - via soulful vocals, nebulous melodies and saxophone whispers. It wouldn't be a Borai release, though, without some UK flavours. Rich atmospheric jungle track 'Phosphenes' brings things to a euphoric close, and reminds us of the producer's ambidexterity.

The Wildacre story continues. From the outskirts of the Netherlands we bring you WA002. Four pounding techno bangers. The a side gives you hypnotic sounds with hooks that will burn into your brain. The b side are bass heavy trips, who will tear the walls down. 180 gram vinyl version perfect as a dj-tool.

Play it, work it, dance to...

The Vivid label is yet another one from Burnski who also runs Constant Blanc and Instinct. He is s single handed garage hit making machine and he knows how to tap into the next gen, too. Here he calls upon Peaky Beats for a naughty and nasty three track affair that has retro feels but contemporary style. 'Can't Stop' opens up with a 2-step shuffle and steely hits, then 'Get Ready' gets more free and melodic with some boxing little melodic patterns and oscillating bass. Last of all is the most menacing and dark - 'Wildcat' flips into a dub wise swagger mid-way through that is going to blow up the clubs.

After a summer of touring and working on remixes, Big Miz readies this new self-released 5 track EP. The first outing on Miz Records since February, three solo cuts and two collaborations
bring us yet another versatile spin on the modern house sound.

With aquatic sound design and tight kicks introducing ‘Causal Loop’, an opener that quickly morphs into a Legowelt / Alden Tyrell type synth-led jacking house jam, the EP wastes no time in getting going. There’s a sharp vocal sample of the narcotic persuasion that brings to mind Paul Johnson’s classic ‘Give Me Ecstasy’, whilst the clubbier vibe of those early LIES 12”s is also present. The title track is a drum machine workout that gradually ends up in a loopy 90s style minimal techno groove, whereas ‘An Facile’ pushes and pulls at the dancefloor with a mean acid line and makes reference to a gig that may or may not have taken place at a now shut-down Glasgow club many moons ago. You’ll need to ask Miz.

Over to Side B and ‘Sleep Well’ brings in production help from fellow Scottish stalwart Ewan McVicar, the pair working on the tune in a hotel room after a show. Evidently no sleep was had as the swirling acid lines, modulated rimshots and tempo trickery combine to make one of the trippiest jams on the record. Things draw to an end with an Underground Resistance sampling colab with Good Thing resident DD Watermelon.

Just a single album and a bunch of singles, rising star Linda Di Franco debuted in 1985 and left the scene all of a sudden in 1986. Her first album was a combined effort produced by Don Was (Blue Note’s Renaissance Music Man and previously leader of post disco combo Was Not Was), a gentle selection of soul-pop ballads and lushy synth arrangements. With leading single ‘My Boss’ the album shows an ethereal continuum with an excellent rendition of Burt Bacharach ‘The Look Of Love’. Recorded in London, Detroit and New York the Rise Of The Heart is definitely a keystone in the rising club culture revolution verging on the more existentialist pop aesthetic. RIYL: Sade, Lizzy Mercier Descloux, Carmel, Antena.

Phase Group continue their exploration of the fringes of contemporary electronic music with a release that brings together two separate projects born from analogue hardware improvisations.

‘A Given Moment’ presents the dub-laden, mind-bending and noise-driven music of Brussels-based artist and Vastechoses label head Lostsoundbytes, and the lo-fi, early morning lysergic experiments of Lowspace, an unearthed, forgotten collaborative project by French DJ and musician Low Bat and Dresden-based producer Heninspace.

This is music that takes you deeper into the vortex, made for dark and smoke-enveloped clubs and cosmic day-break afterparty moments. On the A-side, Lostsoundbytes continues his prolific output of masterfully crafted bass-heavy and dub-wise analogue machine jams, while the B-side presents two lost psychotropic experimental recordings by Lowspace made in 2016 upon a visit by Low Bat to Heninspace’s Dresden studio.

'A Given Moment' will be out on Phase Group in December 2022

Artwork by Andrija Čugurović
Mastered in Glasgow by Murray Collier.
Professionally dubbed to cassette in Prague by Headless Duplicated Tapes.

Strategy guided by activity. How to best cross the threshold? By allowing the untamed rhythm of thought to reign, or through the possibilities that arise from assembly and cooperation?

Game Plan is the meeting of Gabriel Rei and Gene Tellem. A longstanding friendship unfolded through mutual love for dance music and experience. ‘Club Negotiations’ arrives on Bienvenue Recordings as their first official studio collaboration. Three melodic and hypnotic compositions to help find your focus from the ecstatic nature of the party to the daily hustle of modern life.

Terapia Records is thrilled to introduce you the very first release of its catalogue, a stunning LP by the two founders Luca and Michele (aka Complementary Minds) called Butch Haynes introduces Complementary Minds Vol. 1. The newborn label launches its ambitious, yet very much considered project, after the debut of one of the two head-honchos Luca Ferrara aka Butch Haynes on Apparel Music and Sistrum Recordings. He metaphorically introduces the first LP by the Milan born and bred duo, who share a deep love for music and a great productive connection. They deliver a brilliant eleven-track album, full of diversified sonic influences and quite representative of their bright talent. The record, which will be presented to you both on vinyl and digital, starts with a couple of masterly produced beats (Fantastic/Teacher Carey), both with an analogous mellow, warm energy, some brilliantly crafted bass-lines and a substantial harmonic presence. The album keeps rolling with the Deep feeling of Flower Diva: its soulful, skilfully arranged vocals and the dreamy synthetic chords help the pair to perpetuate this passionate, balmy vibe. Insomnia ends the first quartet of sexy tunes with some seductive improvised spacey key stabs and its delicate pensive chords while Q Orchestra (the lost tape mix) speeds up the heartbeat and leads to the closing track of the A side, Bebi: a gorgeous groovy interlude. B side kicks off in style with the slightly darker feel of Myers Boogie Man where the pitched sampled vocals, the solid rhythm section, a profound array of sonic details and a marvellous warm synth melody towards the end of the track make it a true ghetto hit! Right On, with its broken-beat and a radiant harmonic progression, Contact 911 with its tight kick-snare connection and some far-out, whimsical chord evolution and G Buster with its irresistible slightly acid driving force, pave the way for the grand finale where Maam, a proper club banger, ends this amazing LP in epic fashion. Butch Haynes introduces Complementary Minds Vol. 1. is such a cohesive, yet incredibly diversified album and their authors, Luca Ferrara and Michele Fallabrino, achieve the challenging task of telling their sonic story with a flawless work. What a way to start Terapia Records’ experience.

Pleasure Pool are Finn O’Hare, Andrew Robertson and a rolling cast of Glasgow-based musicians, performers and artists. They sound like nothing else to have come out of Glasgow recently, exploring the territory between live performance and club culture through their collaborative ethos and party-starting attitude. Their debut EP, Night Scars, arrived in early March 2020 and now comes Love Without Illusion, Pleasure Pool’s debut album, released on Optimo Music.

Love Without Illusion adds layers of complexity and introspection to Night Scars’ squarely dance floor-focused brew, though the record still oozes danceable energy. Open Hours is like opening a door and finding a party already in full swing, an assortment of recurring Pleasure Pool motifs – echoing, dubbed-out vocals, gorgeous, impossibly airy synth melodies, louche percussion, cowbells, rising and falling flecks of trumpet – all introduced in short order. Lick The Bag, which prominently features vocalists Chloe Charlton and Raissa Pardini, has a controlled chaos befitting its morning-after-the-night-before name.

The rest of the album rides this glimmering, night-magic mood at varying frequencies, with the title track a gentle storm of grandiose walls of synth and pulsing vocal fragments. The slow and low flickering funk of album closer Zero Hours pulls all that has come before it together to end things in the woozy bliss of a walk back home in warm, gentle sunlight.

Love Without Illusion is a dazzlingly complete expression of Pleasure Pool’s intoxicating sound and vision. Dive on in and explore.

Teil 38 ist hier! 39 Tracks mit Cuts und Tracks des einflussreichsten Rappers aller Zeiten: DR DER, der den Stars des Hip Hops wie 50 CENT, SNOOP DOG oder EMINEM auf den Weg geholfen hat. Dies ist eine ganz besondere Waffe für alle Hip Hop Mixer und DJs.

It's finally here the fourth and final release in the afro series with Zeke Manyika and Faze Action. This time they crank up the horns and lean towards a more afro latin, balearic flavoured track entitled "Maswera". Its tailor made for any festival or outdorr situation with its infectious piano riffs and Zeke's chants. This track is set for peak time moments. On the other hand "Rugare" has its roots firmly in the afro electronic sound. Think Eddy Grant meets 'manu Dibango circa 1981 and your in the right area. A solid bass line underpins the whole track, while horns and guitars dub in and out to create a classic afro club track.

Last year's 'Will We Ever Dance Again' 12" was a big one for Coyote who now follow it up and impress once more. First up they do so on 'Baka Re-Rub' by paying their respects to the iconic Jon da Silva remix of The FADS track. It's steamy, tropical, full of loose drum energy and jangling synths that lightened up any club. On the flip you find 'No Entry' which is a big house anthem plenty of classic tops, uplifting arpeggios and pianos, and dramatic strings next to big acid lines. It's an all out, hands in the air gem that brings the good times.

Soft Raw is a new label from Danielle – a natural extension of the Bristol-based DJ’s expansive tastes within contemporary club music. Over the past few years the NTS resident has become a leading light in the multifaceted world of modernist techno abstractions, ably balancing soundsystem pressure and propulsive rhythmic intensity with experimental textures and explorative energy variations. Soft Raw seeks to continue that mission with releases which will progress stylistically from one approach to another, taking in exciting, emergent producers unique in their approach but bound together by the idiosyncratic curation of Danielle – a faithful reflection of her proven skill as a selector.

The label launches with a six-track drop from Slacker. Sam Black has been winding up a potent strain of needlepoint techno which leans towards jungle and half-time D&B in its tempo and structure. Across a selection of various releases, Black’s sound has evolved into an accomplished and detailed style which draws on moody atmospheres and advanced engineering in the grand tradition of UK soundsystem music. Across this EP the Slacker sound matches up to the spirit of Soft Raw, balancing fierce kinetic energy with delicacy and finesse and leaving some space for outright ambience. At times he locks into a half-step warm-up mode, while elsewhere the amens creep in for a more pronounced jungle rinse-out.

It’s a strong opening statement for this new label, but crucially this doesn’t spell out the future in absolute terms. True to Danielle’s broad outlook, subsequent releases are set to take in everything from straight up 4/4 and acid to footwork and electro, with a narrative binding each release together according to her internal logic and the tension between soft and raw qualities explored across consistently cutting-edge tracks.

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP.

Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying."

As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space

RNT welcomes Brooklyn-based band 79.5 to the family with the first single from their forthcoming eponymous LP. Soulful and psychedelic, the haunting melodies of Club Level float above a steady strutting rhythm section, punctuated by moaning baritone saxophone and drenched in washy reverb.

NYC mainstay Eli Escobar crafts a masterful remix that leans into 80s nostalgia, with a soundscape and arrangement nothing short of perfection.

Pique-nique Recordings is proud to present People’s Dream, the latest solo release from NYC-based vibraphonist and electronic producer Will Shore.

Inspired by Francis Bebey and Don Cherry’s electronic music from the 70s and 80s, People’s Dream draws heavily from modal jazz, minimalism, and dance music. It blends tightly composed percussive phrases with freely moving melodic improvisations that feel as much at home in a DIY loft space as they do on a custom-built sound system at Nowadays.

Shore says: “The vibraphone is the thing that I know best, but I’ve always found the instrument quite limited. Its pure bell-like tone can seem too pretty to evoke a wide range of feelings. I normally find ways to obscure that pure sound: I distort it, pitch it down, or layer rougher textures over it. But for People’s Dream and Lucid, instead of obscuring the sound quality, I decided to embrace it.

I used the vibraphone for not only melodic parts but also as a driving rhythmic element. I let the entrances and exits of melodies appear and disappear in a dream-like way, and added electronics and percussion as texture, to create a more cinematic atmosphere.”

On the B-side, UK producer and label-head Tom Blip (Blip Discs) flips Lucid into a driving, bass-oriented club track, fit for vibrant dancefloors this summer. On the back of successful collaborations with East African artists Swordman Kitala and Mubashira Mataali Group, Blip unleashes a trademark peak-time drum track designed to elude any dream-like state.

People’s Dream is the seventh release on NYC/Sydney label Pique-nique Recordings, which worked with Shore in 2019 on their signature event, Take Two. Shore led a nine-piece band through a reinterpretation of Albert Ayler’s Spiritual Unity for the occasion, utilizing his mentor Butch Morris’ conduction technique to rapturous effect.

Amman-based Toumba announces ‘Rosefinch’, his first EP on wax, and the debut release from London-based record label Hypnic Jerks.
Key info about the artist:
His next release will be on Hessle Audio and then Nervous Horizons. His first release was a digital EP through All Centre.
Toumba is one of the creative minds behind MNFA, Jordan's most important underground music venue. He serves there as a booker and curator, bringing the likes of TSVI, Giant Swan and Parrish Smith to the venue.
He is also anationally respected artist and holds a residency at the MMAG Foundation in Amman. The foundation works with a selection of the most gifted artists in the Levant. By sponsoring Toumba's ongoing artistic practice, MMAG has furthered his research into Levantine music, which he synthesises with avant garde and electronic music.
He is a resident on Movement Radio in Athens and formerly Ma3azef Radio, with guests including Ben UFO, aya and Gabber Eleganza.
About the release:
Integrates elements from Jordanian and Levantine folk music into his left-leaning, low-end heavy club sounds.
The EP is named after the national bird of Jordan.

Afro-Finnish band Maajo return with their third album, "Water of Life," a fluid celebration of various influences. Supported by two preceding singles, "Better Days" and "Unelmissani," the album is the group's first release with the Brooklyn, NY-based tastemaker label Wonderwheel Recordings. Maajo's signature Afro-Balearic sound meets late eighties new age and fusion, with touches of modern soul. The addition of two band members, Waina and Gilbert K, as well as featuring artists Issiaka Dembele and Ismaila Sané, has rooted the album's stories in a diverse range of backgrounds, featuring vocals in no less than six different languages.

Gilbert K's drum grooves pay tribute to the late Tony Allen's legendary heritage and the percussion experiments on a more melodic and atmospheric tip. Cold synth pads and 303 squeaks blend with warm guitars, fretless bass, and Issiaka Dembele's sublime kora harps and balafon mallets. "Water of Life" shows a band at its maturation point, reaching the cross-cultural coalescence of Finnish-African sound that's ready for the dancefloor or home-listening.

The three vocalists take centre-stage on the album: Waina hails from Zambia and sings in Nyanja, English and Finnish; a renowned musician in Zambia for over two decades who now calls Finland home, Waina wrote a song that reached the finals of the 2020 Afrimusic contest. Gilbert K primarily sings in his native Mauritian Creole while comprising part of the percussion line. He made his way to Finland by way of South Africa and China, eventually winning the Voice of Finland show. Gilbert K has played with such legends as Tony Allen, Andy Summers, Diana King, and Suzanne Vega. Ismaila Sané is from the Casamance region of Southern Senegal and sings in Wolof (a widely-spoken language in West Africa) on "Ndekete," and in Jola (a smaller language in Casamance) on "Èwàn".

Maajo is a sonic, linguistic, and cultural melting pot that has come together in Tampere, Finland, like a tropical breeze from the cold north. Their musical explorations lead from equatorial soundscapes to the woods and moods of their native Scandinavia. African influences, electronic beats and organic rhythms, ethereality and the sounds of nature all make up the patchwork sound of Maajo.

Not only is Maajo's music a way of travelling to faraway places, the songs themselves have travelled all over the globe. Maajo has evolved from a sample-based electronic music project to a full-sized band, including African vocalists and musicians. The group has put out two full-length albums and three EP's on Queen Nanny records, in addition to a release on German label Permanent Vacation. Maajo has received the remix treatment from artists such as Luke Vibert and Call Super, and has toured festivals and clubs internationally. The band has built a dedicated international following having been championed by the likes of Gilles Peterson (Worldwide FM), Tom Ravenscroft (BBC Radio 6), and Tim Sweeney (Beats In Space), while they've been featured by KEXP (Song of the Day), Resident Advisor, Ransom Note, and Pan-African Music.

"Water of Life" is out on Wonderwheel Recordings October 14th, 2022, both digitally and as an exclusive, limited-run 2xLP.




d 04: Better Days (Kumba) feat. Waina & Gilbert K

MILK GREY VINYL

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP.

Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying."

As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space

Módulo 1000 were not messing around when they made 'Não Fale Com Paredes’. It holds its own, not just as a raw, heavy, experimental “Brazilian” psychedelic rock album, but as a raw, heavy, experimental psychedelic rock album, full-stop!

Formed in Rio de Janeiro in 1969, Módulo 1000 honed their craft as the house band in clubs and resorts in São Paulo where they predominantly covered American artists such as Jimmy Hendrix as well as British giants, Led Zeppelin. After acquiring a taste for fame following the performance of one of their tracks at the Rio International Song Festival, the band focussed their attention on composing original material. Their manager, Marinaldo Guimarães, encouraged the band to explore their experimental and creative sides. This, in parallel with the explosion of experimental music in Brazil, resulted in the band performing alongside heavyweights such as O Têrço; there was a happening in the air.

Módulo 1000 recorded just one album. Released on Top Tape records in 1972, it featured Eduardo Leal on bass, Candido Faria on drums, Daniel Cardone on guitar, violin and vocals, and Luiz Paulo Simas on organ, piano, and vocals. 'Não Fale Com Paredes' was produced by the popular DJ, Ademir Lemos, and came housed in a fold-out cover featuring tripped-out artwork and design by Wander Borges. However, due the uncompromising nature of its wild, heavy psychedelic rock sound, the album was destined not to be played on the radio in Brazil. Rumours suggest that the label didn't understand the album, and as a result, it wasn't promoted or marketed. Thus, like many other underground cult classics, it was lost in the ether, only later to be rediscovered by a new audience at a different time.

One thing is certain, you definitely know when you've heard Módulo 1000. The sound is raw, heavy and at points quite aggressive, more Black Sabbath than Os Mutantes. It floats between psychedelic rock, prog rock, early metal, and dare we say, displays elements of proto-math-rock.

The band’s discography includes a 7" single, as well as their music being featured on several compilations for Odeon Records, additionally they released a 7" single under their alias 'Love Machine' for Top Tape Records. These compositions are included as bonus tracks on the CD version of our reissue.

incl. dl code

Patås premieres his new label LEK with 4 tracks toying around in the Techno/broken beat spectrum. "Måsans dødsleie" (Måsans deathbed) starts the EP following the last journey of Måsan, a character that everybody knows; the one guy in every group of friends that just cant stop partying, the re-uper to re-up them all.

Glitchy percussion, freaky synthriffs, and a heart monitor guides him all the way to the great beyond. Ethereal "Atlantic Potion" (made in collaboration with Canadian Jamie Cox) closes the side out with its cold lushness. On the other side the theme music from Final Fantasy 6 gets reharmonized and redrummed in "Hommage a Uematsu", for some guaranteed nerd chills to all you JRPG clubbers.

Last track "TMA 4ever (Patås remix)" turns Kim Dürbecks epic ambient tune into a broken beat journey with accompanying bird sounds and hectic percussion.

If you've been in the club scene for many years like David Dorad, you will one day face the big, essential, serious questions that each of us will ask ourselves sooner or later:

Are marmots pack animals?
Can marmots sign language?
Do marmots plan their lives according to European or Chinese zodiac signs?
Do marmots need a special passport, after all they don't have a thumb to turn the pages?
What happens when a marmot eats Coke and Mentos at the same time?

And with all those questions whistling, hissing and muttering in his head, David grabbed piano, baton and BioBassline to crochet his new EP.
This is called "Marble" and offers 6 different approaches to solve these big questions.
As a source of ideas, he has competent partners at his side in Roman Flügel, Mira, Christopher Schwarzwälder, Canson and Sascha Cawa.


A1 -
Murmeli - original
The marmot tribe awakens. Get up to brush your teeth. Gets your toes tapping. Makes you snap your fingers. Dare to roll your hips. Later rhythmically to turn. To look elegant at the same time. Eyes closed - eyes open.
Murmeli, the regular leader, sits at the piano.
Everyone is dancing, toothpaste in the corners of their mouths and a smile that takes the toothpaste by the hand.
A normal morning in marmot houses.

B1 -
Murmeli - Mira & Christoph Schwarzwald RMX
Mira and Christoph Schwarzwalder take over from Murmeli. They vary, combine and subtract. The first marmots raise their thumbless fists in the air - showing their passports, ready to take off.

B2 -
Murmeli - Canson RMX
Canson also sits next to Murmeli. Caress the theme, tickle the groove.
Murmeli has the best ideas early on: "Boy, let's try Mentos with Cola, we'll definitely take off."
Canon is in!


C1 -
Murmelot - Original
The sun goes down in Murmelhausen too. Then Murmelot is ready. Gives his advanced Pilates class, which the whole tribe takes. The village wants to remain mobile.
Murmelot's motto is "Why not stretch while walking?"
And so shall it be. He sets the rhythm on his wooden Fairtrade 303 and our furry friends shave shaky and obscene messages down each other's backs while impatiently hopping for the drop.

D1 -
Murmelot - Roman Flügel Remix
Roman Flügel and Murmelot are old buddies. Struck while carving the 303.
Roman happily takes over the Pilates class, the dancing crowd. Enchanted until the razor's batteries are empty and only dancing remains, only dancing is important.

D2 -
Murmelot - Sascha Cawa RMX
Sascha Cawa takes his trunk by the hand, wants to motivate her again shortly before the second sunset of the day. Whispers little obscene Pilates positions in their ears. That motivates. Murmelot switched from piano to percussion.
The marmots' sweat feeds the golden orchids in the clearing for the next six months.