Schrödinger’s Box News

Happy707 have their vinyl debut, and it is well worth the wait. For years the Buenos Aires pair have been electrifying dancefloors far and wide, now their brand of electronics is set to infect even more speaker cones.

With a unique style that meshes ebm, industrial, techno and wave, Escupir Un Burgues is an addictive furore for the senses. From the energy packed “Cyber Chase”, the listener is pulled through the fog and the strobe of “El Extranjero” and into the headfirst thump of “Las Bolas.”

Distant vocals and stuttering percussion are pivotal in the stripped bare title piece. Stammering synthlines and shattering snares rail and rage in the bold body music of “Magic Wave.” The curtain fall comes care of “Ultraman Theme.” Beats are emboldened, tempos race in this tongue in cheek slalom of laser beam melodies and videogames memories.

Hailing from Richmond, VA, Heartracer makes anthemic synthpop, combining modern production techniques with classic pop songwriting. Inspired by ’80s icons such as Duran Duran, a-ha, Peter Gabriel, The Outfield, and Springsteen, Heartracer’s sound is a nostalgic mix of dreamy synths, melodic guitars, and swooning vocals.

On their new album The Feel, the band channels all of that inspiration and filters it through a fresh lens; the result is a retro-inspired modern pop masterpiece. Midnight Mannequin Records is proud to present Heartracer’s The Feel on deluxe white vinyl, complete with OBI strip.

Keita Sano from Okayama is back on Row Records with a new 5 track EP. Reminiscent of his 'Bowl Of Water’ EP in 2015, which marked the label's first release, his latest work fits perfectly with Row’s catalog. Here, roughness meets rhythmic clarity to ignite the dancefloor.

Included is a bangin' remix by Dayzero who has just released two EPs on Zam Zam and Livity Sound.

Michele Mausi presents the first various artist release for his R3volution Records. He has selected artists who are different from them, some emerging, others already estabilished, but all of them carry the name of techno music all over the world. Yan Kook, Temudo, Kaiser, Gotshell and the label owner Michele Mausi are ready to make you crazy and destroy your dancefloor with 5 brand new technotravels.

Prolific musician and visual artist NAH (US / BE) presents ‘Totally Recalled’, a new album set for release on March 15. The record will be available on Vinyl LP via VIERNULVIER Records and digital via NAH’s own Difficult Sounds.

Across 10 tracks of relentlessly pulsing yet highly reflective works, ‘Totally Recalled’ continues NAH’s never-ending exploration of the balance between acoustic and synthetic percussion and the noisy overlapping genre intersections they pass through.

It pulls upon years of NAH’s experiences in dark clubs and grimy basements across the globe to present the listener with an audio snapshot of the genre-less alternate reality that NAH continues to traverse.

‘Totally Recalled’ is a listening experience that serves well at home, submerged in headphones, but ultimately meant to be witnessed live in all its decibel meter breaking glory.

To enhance ‘Totally Recalled’ on a visual level, NAH has developed a new live AV show of the same title with dates at CTM Festival (Berlin), Melkweg (Amsterdam), Out The Frame (Ghent), We Are Open (Antwerp) and many more.

‘Totally Recalled is set for release on March 15 on vinyl LP via VIERNULVIER Records & digital via NAH’s own Difficult Sounds

Following up on his Night Dreamer debut, accomplished pianist Nicolas van Poucke returns with a Direct-to-Disc recording of the works of Chopin. “Direct-to-disc is a unique process for classical recordings, and when given the opportunity by Night Dreamer I knew at once that I wanted to record the works of Chopin.”

Originally entering the studio with the intention of recording the Chopin pieces, van Poucke’s technical skill and emotional depth resulted in producing two direct-to-disc recordings, the other being a Beethoven record released in 2022 on Night Dreamer. Although an unusual method of recording for this style of music, the one-take process was met by van Poucke head-on, balancing the fine lines of emotion and detail, and following in the footsteps of the greats who once recorded in this way. Live recordings of classical works are rare and studio recordings lean towards the meticulously edited, with the detail afforded by hi-fi digital clarity often preferred to the warmth and feel of an analogue process. “Overall, with this album, I have aimed to showcase the full spectrum of Chopin's genius, from the intense drama of his larger works to the delicacy and poignancy of his miniatures. Recorded direct-to-disc, thus without any editing, the music is presented in its most honest and purest form, highlighting the utterly communicative aspect of Chopin's music. I am honored to have had the opportunity to record this album for and with Night Dreamer, and I hope that it will serve as a fitting tribute to the timeless beauty and profound emotional depth of Chopin's music.”

Direct-to-disc is a unique process for classical recordings, and when given the opportunity by Night Dreamer I knew at once that I wanted to record the works of Chopin. His music has long held a special place in my heart and remains central to my repertoire.

"After Outer Edges we were trying to find a new direction for Noisia. This resulted in an extensive journey that took us through a lot of new ideas and music.

Although we eventually decided to stop, we are proud of the things we made along the way, and these tunes were always meant to be part of a larger whole. So before we finally close the book on Noisia, we wanted to share them with you, on one last album. Previously released or newly finished, they all represent directions we enjoyed exploring.

In the end, we didn't manage to figure things out. But we did get closer." - Nik, Thijs, Martijn (Noisia)

"After Outer Edges we were trying to find a new direction for Noisia. This resulted in an extensive journey that took us through a lot of new ideas and music.

Although we eventually decided to stop, we are proud of the things we made along the way, and these tunes were always meant to be part of a larger whole. So before we finally close the book on Noisia, we wanted to share them with you, on one last album. Previously released or newly finished, they all represent directions we enjoyed exploring.

In the end, we didn't manage to figure things out. But we did get closer." - Nik, Thijs, Martijn (Noisia)

"After Outer Edges we were trying to find a new direction for Noisia. This resulted in an extensive journey that took us through a lot of new ideas and music.

Although we eventually decided to stop, we are proud of the things we made along the way, and these tunes were always meant to be part of a larger whole. So before we finally close the book on Noisia, we wanted to share them with you, on one last album. Previously released or newly finished, they all represent directions we enjoyed exploring.

In the end, we didn't manage to figure things out. But we did get closer." - Nik, Thijs, Martijn (Noisia)

"After Outer Edges we were trying to find a new direction for Noisia. This resulted in an extensive journey that took us through a lot of new ideas and music.

Although we eventually decided to stop, we are proud of the things we made along the way, and these tunes were always meant to be part of a larger whole. So before we finally close the book on Noisia, we wanted to share them with you, on one last album. Previously released or newly finished, they all represent directions we enjoyed exploring.

In the end, we didn't manage to figure things out. But we did get closer." - Nik, Thijs, Martijn (Noisia)

Nu Zau on Playedby´s Sublabel Underplay with 3 fresh cuts – Dancing Mountains EP

Channeling her innermost depths, Oshana reveals her widest body of work to date, “Disciples of Dystopia;” a multi-faceted expression of the emotions, influences, and sounds that have guided her on her musical journey. The album aptly marks the fourth release on her very own, Psionic label, and is the first double 12” in the catalogue.

As you lift into orbit, “Disciples Of Dystopia”, seduces your senses with an ominous vocal of what lies ahead. The opening track simmers gently with a progressively rising atmosphere as the down tempo vibe flows inside you-Automatic connection. “Mind Over Matter” is a futuristic breaks experience, familiar nostalgic hip hop scratches flash in and out, winding into a spiraled synth labyrinth that introduces you to dimensions unknown. Slowing the pace down a notch is “Labor Of Love;” emotional chords and floaty melodies work their way around the steady and pitched down body of the track.

As we coast into the B side, “Embrace The Wave” offers some italo energy; clean disco kicks meld into retro synths; this one cruises on a loose, irresistible, and unrelenting groove. “Take Me Away” sweeps you right off your feet and includes a feature from long time collaborative partner, Anthea. Anthea’s transcending vocals set the tone for a harmonious quest, enriched with positive and imaginative energy; the type you want to absorb as the night concludes. However, the night is far from over.

As we coast into part two, we’re introduced to “Odyssey,” a slow rising track that takes you from the intergalactic ocean all the way to the techno tides. As the track progresses, all of the mechanical cogs converse in absolute harmony. Who doesn’t enjoy a “Heated Moment?” Crisp and punchy drums drive the track as a trance bassline ripples throughout, making an impression on the most discerning of dancefloors.

Riding a squelchy, arpeggiated acid line from the start is “Astral Flight”, a psychedelic club room charmer that revolves around warm and direct bass. The closing track of the LP “Automated Beats,” is a raw, animated affair structured around chunky 808 arrangements and hip hop percussion; playful with a pinch of ghetto booty charm for good measure.

“Disciples Of Dystopia” is more than just an LP; each of the tracks feed off of the next, and Oshana’s never-ending creative energy shines as she bends through genres with effortless ease.

The word Asapani is part of the artistic vocabulary of Paolo "Batà" Bianconcini, percussionist of the La Scimmia Records collective, founding member of the Circolo Psiconautico and part of the Neapolitan bands Parbleu, Funkin' Machine and Nu Genea. This ancient-sounding term is a creation of the artist, who defines it as a word of nature, but also the (italian) acronym of Listen to the Silence, Listen to the Peace, Listen to the Inner Nothingness. More than a simple term, an exhortation.

The music contained in Asapani was written and produced between 2022 and part of 2023 by Paolo “Batà” Bianconcini who together with the Circolo Psiconautico (Paolo Petrella on bass and synth, Pietro Santangelo on wind instruments and Roberto Porzio on synths) and takes shape from observation of time and the infinite possibility we have of blocking its fragments and making them our own and then sharing them in another form. The intent is to transport the listener outside of himself, through sound vibrations, during the span of four long tracks that melt into each other feeling like one singular body of work.

This album spans several genres, but at the same time is unique in its style. Spiritual jazz blended with primitive settings, achieving a sensation of sonic primitivism. The listener is projected into a circle of musicians who, sitting around a fireplace, are transported towards infinity by their internal vibrations.The research starts from the four elements of nature (water, fire, earth and air) and thus uniting and fusing with each other they make us question our existence, our depths.
As Batà himself explains, starting from the four fundamental elements in order to keep the search for the fifth element constant.

A location, Melizzano, on the western slopes of Monte Taburno, where the Batahaus stands, the physical and spiritual home of Batà, a magical place in which the Circolo Psiconautico meets, with the aim of navigating the waves of the unconscious and composing music which, through contamination and experimentation, captures the moods of the moment and projects images and colours from the inside out that speak to everyone. Like a real club, the Psiconauti come together to give each other the chance to explore together, create suggestions and get excited among friends.

Harde Smart is back again! With the new Harde Smart 7" Sampler, you get a taste of the upcoming Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's, the successor to the acclaimed original Harde Smart compilation that showcased the best of the Dutch-linguistic territory back in the '70s. Even in the decade that followed, a whole host of gems were made that were remarkably danceable, catchy and playful, as proven by the two tracks on this sampler. Joost Belinfante puts it nicely on the B-side: 'nothing to prove, nothing to claim, it is as it is.' Harde Smart never disappoints.

Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's

Harde Smart is on it with the sophomore compilation effort Flemish & Dutch grooves from the 1980's. Vinyl aficionado's No Sleep Richy and Micha Marva teamed up with Sjefke De Kok (one of Holland's illest to rack those crates!) to continue their journey. While raking deep in the dusty bins with Dutch and Flemish records, they once again discovered an exquisite selection of tracks. Too weird to play, too rare to throw away. From butt-shaking boogie to weird disco adventures on wax, this album is sounding like all the good stuff the eighties had to offer: both smooth and sexy as well as dark and wavy. Get ready for an atypical introduction into the Dutch lyric-driven music from the 1980's.

The Harde Smart 7" Sampler will be released on Friday 15 March 2024 via Sdban. Harde Smart volume 2: Flemish & Dutch Grooves From the 80's will be released soon via Sdban

Death Is Not The End's 333 sub-label drops a much needed reissue of Rupie Dan's My Black Race 12" from 1982. A huge Shaka selection featuring one of the heaviest dubs available from this era of UK roots production. Originally written and produced by Rupie for his Flag Records label, with engineering from Tony Addis (later of Addis Posse and the Warriors Dance label).

"The lyrical idea for My Black Race came about during the 1980/81 social/racial revolution that took place in several cities all over England, including London, Liverpool, Birmingham, Leeds etc. I was living in Bradford, West Yorkshire at the time and was a DJ/Sound System operator on Jah Scorcher International Sound. I also co-hosted a Reggae show on an independent radio station Called Pennine Radio 235. In my regular job I was a youth and community leader with the Bradford education council. I was fully connected and in touch the community.

Seeing how the media used the events of the social uprising as a weapon to further discriminate against the African & Caribbean community committed me to say and do something to elevate the minds of especially young people who were already demoralised by the rhetoric that brought about the so called "riots" of the time. It was during this time that the lyrical foundation of "My Black Race" was laid. The rhythm came later after hearing Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". In the summer of 1982 I entered into the Addis Ababa recording studio on Harrow Road, Paddington and recorded the song having moved to London the previous year. Musicians featured included Victor Cross on bass and Mark Wright on drums (both from the Ariwa band), Rizzo on guitar, Tan Tan and Bami on Horns (all 3 from Aswad band), Bubblers on Piano/Organ (Undivided Roots/Ruff Cutt Band). Lead vocals were provided by myself, with backing vocals Jenifah Gad and Niomi who was working with David Bowie at the time. The engineers were Bubblers and Tony Addis (later of Addis Posse & the Warriors Dance label).

Jah Shaka was in the studio during the entire recording session. I was aquatinted with him as I was previously involved in a 3 way soundclash with Shaka, Quaker City and my sound at the time Jah Scorcher. Some years later I was in Terry's Dub studio in North Acton cutting some dubs when King Jammys and Bunny Lee walked in and heard the song. Bunny was responsible for the production of Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". Thankfully they were both impressed by the track which delighted me as a young up-and-coming artist/producer. The rest is history as we know it. Jah Shaka was mystically constant hence his attachment and love for the song. Jah bless and guide him."

Cosmic Rhythm's 20th installment is celebrated with 4 house tracks that will make it feel like summer is upon us. There couldn't be a better way to celebrate this milestone.

Schicksal is the alias of Rudi Huybrechts coming from Hoboken, a small town near Antwerp. He started experimenting with synths and drum computers in 1982. Heavily inspired by Front 242 first album “Geography”, DAF’s elektronische körpermusik “Alles Ist Gut” and Kraftwerk’s “Man Machine” and “Computer World”, Rudi spent lot of hours programming and composing at home with just some gear and a tape recorder. Some of these tracks appeared on local compilations but it was not until the hype of New Beat in Belgium that Schicksal gained a real attention. In 1988 Rudi persuaded Marc Grouls, the resident DJ of discotheque Prestige in Antwerp, to play the track “24 hours”. All the people on the dancefloor just got wild and the next day Schicksal signed a contract with Maurice Engelen for the release of a maxi-single on Subway Records. This new edition includes all original tracks plus two new remixes of “24 Hours” and the new track “Fate”

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. The mighty 'Roller Rink Funk' by Shift is the next reissue from the archives and never has a jam been more aptly named!

Another class act from the plethora of uptown groups that were associated with Queen Constance and her orbiting planets, Shift was possibly yet another 'studio' group put together for this one time release. The co-production nous and involvement of long-time associate Bernard Thomas lends these cuts some serious B-boy credentials. Thomas was involved in a lot of the P&P era early Rap material, as well as working with BDP and lending his skills to releases on the cult Rap label Zakia too. Needless to say, this particular release is that magic funky frisson between Disco, Funk and the earliest stirrings of Hip-Hop, an especially rich vein of music. As the title suggests this one is meant to be heard at the roller rink, the syncopated rhythms mimicking the skaters movements and repetitions. As with any good roller-skating Funk record (there are many!) it doesn't take long for you to want to hit the dance-floor, whether it's to skate or to simply get down. An often tricky record to find in it's OG state, commanding 'collectors' prices, 'Roller Rink Funk' is back on the block for all the Disco freaks for 2018. Perfect.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

Achtung, Meisterwerk! Die Jungs von Souls of Mischief aus Oakland (gegenüber von San Francisco) definieren den Sound dieses Jahres neu. 1993. Nach dem Vorbild von De La Soul oder A Tribe Called Quest nimmt ihr Sound sowohl Anleihen aus dem Funk als auch aus dem Jazz. Dieses Album ist ein Muss für jeden Liebhaber des US-Rap der 90er Jahre. 140G Doppelvinyl in zweifarbigem Splatter in Rot und Orange.

Rude Boys are synonymous with Jamaican Dancehall culture from the present day going back to the very early days of Sir Coxsone Dodd and Duke Reid’s first sound-clashes in Kingston. Studio One Rude Boy features artists and songs about rude boys and rude boy culture from all periods of Studio One’s history.

The album features Ska, Rocksteady, DJs, Roots and Dub The album features classic tracks from Jamaica’s finest singers and groups such as The Wailers, John Holt, the Wailing Souls, Dennis Brown alongside super-rare tracks from artists such as Mr Foundation, Dudley Sibbley and The Soul Brothers all recorded under Clement ‘Sir Coxsone’ Dodd’s supervision at the legendary recording studio and record label. Musical backing comes from the legendary in house bands – The Skatalites, The Sound Dimension, Soul Vendors and Soul Defenders – who provide the classic Studio One rhythms so influential in the history of Reggae.

After the amazing State Of Play EP, Synaptic Voyager returns to Frame Of Mind with the beautiful and deep Disconnect To Reconnect. Six Detroit influenced techno and house tracks. Simply breathtaking!

Repress

The rebirth of the ongoing series of concept albums on russia's Trip records. "Happy new year! We wish you happiness!" Is the theme for this double album of carefully curated breakneck techno and IDM. The eight-track package is a fantastical celebration of the new - with three new artists joining Trip and a fresh new visual outlook for the series and the start of a promising new year. Recommended!

This is the 30th release and 3rd Anniversary of our first tape, so to celebrate the label has brought together friends new and old for a spectacular compilation ranging from ambient to dreampunk to uk garage to house. All proceeds from this release will be donated to the Coral Reef Alliance.

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.

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series – and the second to celebrate the ‘90s, NOW – Yearbook 1990; 79 tracks from a fantastic year in Pop! Available on 4CD deluxe book format with 79 tracks , 4CD std digi with 79 tracks and 44 tracks from a fantastic year in Pop, pressed on gorgeous translucent triple orange vinyl. Disc One includes #1s from New Order, New Kids On The Block, Steve Miller Band, and The Beautiful South, as well as Pop smashes from The KLF, The B-52’s, Kylie Minogue, Whitney Houston Kim Appleby, and concluding with the theme from Twin Peaks, Julee Cruise’s ‘Falling’, Chris Isaak with ‘Wicked Game’ and Pet Shop Boys defining ‘Being Boring’. Dance floor-fillers kick off Disc 2 from Deee-Lite with ‘Groove Is In The Heart’, #1s from SNAP!, and from Adamski & Seal plus club classics from Bass-O-Matic and Adventures Of Stevie V with ‘Dirty Cash (Money Talks)’, plus the unexpected collaboration between DNA & Suzanne Vega. Disc 3 opens with the still-breathtaking interpretation of Prince’s ‘Nothing Compares 2 U’ from Sinéad O'Connor. Up next are film related hits; Maria McKee’s ‘Show Me Heaven’, from the ‘Days Of Thunder’ soundtrack, and the ‘Young Guns II’ track ‘Blaze Of Glory’ from Jon Bon Jovi

180 grams / coloured vinyl

For the first volume of our new 'Proper Bits' series we bring you some hot tunes from various artists. So it will contain 4 stomping tracks by Dave Simon, Dominik Musiolik, Tom Hades & Irregular Synth.

Deestricted strikes again with its third vinyl EP with a trippy excursion into Georgian landscapes and sounds. Techno beats in favor of oppressed cultures, bring new light and freedom for all

The World of Monnom Black makes it triumphant return, unveiling the highly anticipated third iteration of its iconic release and ushering in a wealth of new artistic voices into its ever-expanding universe. Celebrated for curating the finest handpicked music, the series remains a beacon for championing the true essence of techno. Presented on triple vinyl and graced by 19 esteemed artists, marking this as the label's most innovative and important release to date. Welcome to The World Of Monnom Black 3!

Repress

Hailing from the ancient Russian city of Tambov, on the banks of the Tsna River, the youngest member of the Trip family Vladimir Dubyshkin emerges for a potent debut solo EP. cheerful pessimist is an engaging package of highly anticipated deep, swirling techno tracks that many will recognise from label head Nina Kraviz's DJ sets. Diving straight into the core of a peak time set, Vladimir unleashes five formidable doses of unrestrained energy. Swollen sub bass and thumping percussion forge an unmistakable sense of physicality, whilst spiralling, a melodic leads run circles around the listener. Cheerful pessimist wastes no time warming up, plunging head first into the belly of the beast. A thrilling debut and an essential release for lovers of vibrant techno.

Vivian Yabby You' Jackson, Beware Dub' was a very nice LP, that was a classic, very popular in England. That was not mixed as one LP, it was version sides from singles, and then me put it together and take the different version them and compile it.

Stomu Yamash'ta's ultra-rare cult 1971 LP is reissued for the first time, it is a deep, cosmic, at time ambient performance recorded live and
featuring two other Japanese legends: Takehisa Kosugi from the TajMahal Travellers and jazz pianist Masahiko Satoh

Remastered from the master tapes with original gatefold artwork, obi and newintroduction by Paul Bowler. Recorded live at Yamaha Hall in Tokyo on April 18, 1971, the all- night concert was recorded in front of an invite- only audience consisting of friends and musicians. Yamash'ta had Satoh on keyboards along with Fluxus master and leader of the Taj Mahal Travellers Takehisa Kosugi on violin and Hideakira Sakurai on electric shamisen.

Edited down to fit two sides of an album that will become 'Sunrise From West
Sea', the performance is both hypnotic and ethereal. It starts with Kosugi's
distinctive electric violin and develops into a deep, spiritual free form
conversation between the four musicians, giving them all the space, they need to
freely improvise and interact with each other, mixing electronics, percussion,
electric organ and shamizen without ever clashing. The interaction alternates
between quiet, tranquil Eastern meditations and more paced parts, fuelled by
Yamash'ta's extraordinary percussion playing.
Yamash'ta never reached the creativity heard in 'Sunrise From West Sea' again.
The album was recorded during one of the most fertile periods in Japan where
such groups as Les Rallizes Denudes and Taj Mahal Travellers and jazz
musicians like Masahiko Satoh and Yamash'ta were revolutionising the Japanese
music scene.

We are excited to present The Tony Slug Experience. To be released 22/03/2024 by Suburban Records, Wap Shoo Wap & Alternative Tentacles, the album is an adequate homage to the legend of Dutch punk pioneer Tony Slug (1963-2023). Featuring over 30 players/writers, including Jello Biafra (Dead Kennedys), Jennifer Finch (L7), Nicke Andersson (The Hellacopters), Jerry A. (Poison Idea), Happy Tom (Turbonegro), and many more!

“And this is what we know: Tony Slug is hands-down plain & simple the most bad-ass rock’n’roller to ever emerge from the European Continent” — Happy Tom, Turbonegro

Burn Out - the latest release from Mini Trees - is a defiantly euphoric EP with the sonic and emotional bandwidth of a full-length record packed neatly into five new songs from Los Angeles-based songwriter Lexi Vega. Inspired by a relentless touring schedule that followed the release of her 2021 debut album Always In Motion, the songs of Burn Out confront questions of identity, exhaustion, and how to navigate creating art in an industry fixated on commodifying it.
A month away from music sparked Vega’s creativity and inspired her to return with long-time friend and producer Jon Joseph. Together they determined to push the limits of Mini Trees’ “bedroom pop” description, opening the door to a number of new

collaborators - keys from Zac Rae (Death Cab for Cutie, Lana Del Rey), arrangements from James McAllister (Sufjan Stevens, Taylor Swift), and even bass from longtime family friend Jimmy Johnson (James Taylor, Phil Collins). These songs shimmer in production, even as they’re saturated with the pervasive sense of fractured identity, disillusionment, and otherness that has shaped much of Vega’s sense of self. The overwhelming weight of these disparate identities is reflected in the EP’s cover art - a bed cluttered with clothes she’s chosen not to wear, familial heirlooms and mementos strewn at her feet.

London-based artist, musical director and producer Amane shares ‘Moments Of Solace’ via Música Macondo. Introspective and contemplative from the outset, the 6-tracks EP meanders between the hypnotic pulse of electronic percussion, nocturnal pads evoking elated epiphanies and calming synths. Echoes that fade and return, an ecstatic wave of sound. For Amane, the music collected on ‘Moments Of Solace’ is the physical answer to a world that seems to become darker every day. A creative way out, a sonic world where ambient excursions à la Boards Of Canada coexist with thumping beats that could have rolled out of a Floating Points’ set at Plastic People. On ‘Moments Of Solace’ Amane distills ambient electronica, idm, jazz, crafting music that reflects his global pursuit - a non-stop touring creative able to soundtrack night drives on the Pacific coast highway, clubbing in London or a meditative trip on the Shinkansen.

Dune Castle Records Presents… For Private Use Only by Cantrips, two heaving psychedelic funk pieces composed by Cantrips' Patrick Ryan and recorded over one day by a studio band including members of Surprise Chef and Karate Boogaloo.

Cantrips is a Melbourne psychedelic funk and cinematic soul group led by multi instrumentalist and studio producer Patrick Ryan. With heavy groove sensibilities, Ryan composes head nodding psychedelic funk music from the Dune Castle Throne Room, a DIY studio in Thornbury, Melbourne, from where he operates the label Dune Castle Records. Ryan composed two tracks in homage to David Axelrod's work with Psychedelic Pop band The Electric Prunes in the late 1960s. Ryan performed these pieces with members of Surprise Chef, with Henry Jenkins (Karate Boogaloo, Surprise Chef, Emma Donovan and The Putbacks) producing the two pieces.

This release follows a psychedelic funk LP composed by Ryan under Dune Castle named Dark Age Martial Arts. A self released record; it was nominated for the Australian Music Prize 2022. It received airplay and support from Radio DJs around Australia on stations such as PBS, RRR and FBI, as well as featuring on radio shows across England, Scotland and France. It also received considerable support from record stores in Australia and the UK.

Wonderwax returns with yet another 12″ filled with the distinctive soulfulness that has been a stand out point for the label since its inception.

DJ Spinna has been a fan of R&B/Neo-Soul queen Carmen Rodgers since her debut album 20 years ago, so it was just a matter of time before the two teamed up for something special. The result is an epic soulful house journey on Side A, where Spinna gives his typical Galactic Soul touch to Carmen’s jam “Again and Again”. The og version of the song was released originally in her “Hello Human vol. 1” EP together with “Say So”, which also gets Spinna’s twist on Side B: a progressive Hip Hop/Soul flip for the downtempo heads. Classic!

From the outset Craig Armstrong and Scott Fraser decided their collaboration would be based on an electronic aesthetic. We intentionally limited ourselves almost entirely to using vintage synthesisers, modern hardware synths and soft synths. The use of electronic bass and piano were the only exception to this rule

Samosa Records return with De Gama's new 'Funktastic' EP, a disco and funk groove machine of an EP. Ever since his game changing 'Afrika' release back in 2010, De Gama has been turning heads and this new EP shows why he continues to do so. Not only is it filled with fantastic music but it is only the fourth release on his own label, Samosa Records. Continuing his own form, it is also shows a continuing commitment to great music from the new label and is sure to keep everyone watching to see what they do in the future.


The EP opens with 'Son Of A Slave', a deeply grooving and moving throwback to heyday's of funk. The multi-layered groove will call to mind the heights of dirty groove typical of the Ohio disco-funk bands in the second half of the 70's, reimagined in a way thoroughly suited to the modern dancefloor. '1972' follows, a nod to the same era. It opens in a far murkier manner than 'Son Of A Slave' and exudes a far more modern feeling than the opener. Before long, the irresistible Afro-carribean grooves join in and get your head and shoulders swaying and bobbing, the kind of sound which characterized the Cosmic Wave era. Keys join in and plant a firm smile on your face. This is the other side of soul music.


De Gama closes off the EP with 'Star-Buk' and some handheld percussion. Funky guitar follows in before the big synth and kick join in. Where can the groove go next The bassline answers this question by taking it into outer space. 'Funktastic', it does what it says on the tin.

180g, black vinyl. Warm and harmonic, this four-piece Scandinavian soul act deliver nostalgia steeped tracks with a timeless feel. Described as the bastard lovechild of Fleetwood Mac, Khruangbin, obscure Motown singles, hip-hop duo Eric B & Rakim seasoned with a bit of Stevie Wonder, Selda Bagcan, Elis Regina and Ted Gärdestad, Dina Ögon borrow across decade, country, and genre, ultimately delivering cohesive and homely retro pop from a laidback Nordic horizon. With two critically acclaimed albums under their belt and backing from the likes of Tyler The Creator, many sold out tours and and an organic growth and word of mouth build up on a global level in just two years, they are gearing up to release their third album "Orion" in February 2024.

Hot as f*ck Ghettotech from Detroit's very own djkage

The time has come. The funky nerd and knob-handler Erdbeerschnitzel alias Tim Keiling is releasing his first physical album on Mirau. The young producer, who has moved from his hometown of Mittelfischbach to Bonn, tapped into the lode of versatility early on, and has been extracting one surprise after another ever since. After single-handedly releasing a first digital album that was obviously bursting with ideas ('Pathetik Party', 2009), Erdbeerschnitzel rapidly made himself a name with first-class single releases in the following years on 3rd Strike Records, 4 Lux and Mirau - a name not easily forgotten. The release of the much-celebrated single 'To an End' on Mirau made clear that this was but the beginning of a work together. In the wake of anticipation created by the digital single 'Through the Night', the album 'Tender Leaf' is now available on beautifully packed double vinyl. 'Tender Leaf' is a collection of 12 wonderful tracks, splashing at the edges with Erdbeerschnitzel's signature deep, driving vibe throughout the entire album, pulling us into a pool of swinging, iridescent oomph. Each elaborate audio-bouquet is full of spirit. Sometimes weirdly romantic and introverted, then breaking out into raucous assemblage, flaunting sonar reverb. Keiling's production makes these gems sound like an essence of all the music around us today, which calls out to us in echoing vocal traces. In 'The Mattress Excursions', guest singer 'The Drifter' steers his soulful voice through the escalating arrangement and broken beats as we remember from early Jamie Lidell tracks. Erdbeerschnitzel frequently gives things a humorous turn, flashing us winks from the midst of the fray. His characteristic beat programming, clever and exulting, makes otherwise bland patterns swing into pulsating vivacity; picking up on contemporary styles and aesthetics, he re-animates sounds within his own parameters. Multifacet-flow

With 8 tableaux, I tried to give musical form to a painting. Music is an art that takes place over time. Painting is a freeze-frame at a precise moment in the painter's creative flow.

So how do you combine these two art forms? Do you have to stop time? How do you stop time in music? By basing the structure of the pieces on cycles that recur again and again, we can make the listener believe that the music was there before, and that it will also be there afterwards.

With no beginning and no end, all that's left is this musical freeze-frame. In taking this approach, it became clear to me that music and painting both appeal to contemplation. Another concept I worked on for this record is the notion of randomness in music. Riopelle is often associated with the Automatist movement.

For me, his major works from the 50s are more reminiscent of romantic abstraction or even a great organic and organized chaos (a link to be made with nature here). It was on the basis of this reflection that I tried to integrate the notion of controlled chance or, rather, of chaos filtered through emotion.

Frank Leicher back on Vinyl with his own Label 'Solid Body Music'.
Three powerful hypnotic downtempo Technotracks, just solid body music.

Powerhouse R&B/Soul vocalist and Canadian Idol finalist. Gary Beals, is thrilled to be releasing his new album, The Melody Within. The Melody within is a musical journey that unfolds across two sides, much like a story that reveals new layers with each turn. The album is more than just a collection of songs; it's an emotional guide that beckons us to explore the depths of our own feelings and explores navigating emotions, self discovery, and nostalgia through soulful melodies. "This album serves as the aftermath to my previous album, "Bleed My Truth". It's a continuation of my musical journey, a fusion of soulful melodies and diverse influences that mirror both my personal and artistic evolution," said Gary Beals. "Each song is a chapter, a piece of my heart and soul, inviting listeners into my world of emotions, experiences and connection. It uncovers the melody that resides within. The anticipation is building as I look forward to sharing this collection of new music, and I hope it resonates deeply, offering a meaningful and memorable musical experience enriched with a multitude of emotions." With this new body of work, Gary had the opportunity to work with two talented primary producers,Beatchild (Drake, Justin Nozuka, Glen Lewis) and Myles "Losh'' Schwartz (Allan Rayman, Tobi, The Game, Pretty Lights). Additional production credits on the album include, Chris Guirguis, Frizzy Astro (Raz Fresco, Daniel Son), Jordan "Tempo" Farmer, Kobebeats (Rodwave, Kcamp, Sevyn),Sid Aakowa, Ty Danelley (Popcaan, Tory Lanez, Pressa) and Warren Williams, who all helped to shape the makings of the album while maintaining a consistent synergy. Side A of the album draws inspiration from the likes of Al Green, Aretha Franklin, Otis Redding, Marvin Gaye, and James Brown, and pays homage to artists who have played an integral part in shaping Gary's musical roots. This side includes Gary's previously released singles, "Good People, Good Vibes" and "All of Me," and the album's title track "The Melody Within," that commends the process of self-discovery and introspection. Also included is the album's 5th single, "Self Revolution," which will be released on October 27th along with the official music video. On Side B, you'll encounter a fusion of R&B and pop elements while still staying true to the album's soulful essence. Included on this side, is Gary's third single "I Like That," featuring JRDN and KAYO ,and the new single "How Do I Say (I Love You)," released September 22nd. "How Do I Say (I Love You)" dives into the inner conflict of conveying affection, showing vulnerability, and the bravery needed to expose one's heart to someone else. About Gary Beals: Two decades ago, Gary embarked on his musical journey when he, a small-town kid from Nova Scotia (now calling Toronto home), made a remarkable entrance onto the national stage as a part of Canada's inaugural season of Canadian Idol. This month marks the 20th anniversary of the finale where Gary was crowned as the "runner up" on the show. The experience ignited a transformative period of self-reflection and discovery that propelled Gary toward personal growth, shaping his life and musical career in lasting ways.

Fast forward through three albums and twenty years, Gary's work and talent have made a remarkable impact and received widespread critical acclaim. Among his accomplishments are debuting in the top 10 of the Canadian sales chart, being nominated for a JUNO Award for "Best R&B/Soul Recording," winning an East Coast Music Award and seven African Nova Scotia Music Awards, as well as scoring nominations for an Urban Music Award and a Canadian Radio Music Award. These accomplishments led to his home province's Premier officially designating November 22nd as Gary Beals Day in acknowledgment of his achievements.

With his return, Gary is poised to make a positive impact on the ever-expanding global community as he prepares to release his new album The Melody Within. The album will stand as a tribute to the strength that resides within all of us and a reminder that true fulfillment comes not just from achieving goals, but from discovering the intricate beauty that lies within our own hearts and souls.

Craig Charles is a big supporter of Gary Beals and spun his single 'All Of Me' for three weeks in a row on his Funk and Soul Show on BBC Radio Six

That true beauty lies in the essentiality and meticulous combination of a few elements is sometimes not just a cliché. The delicate blend of Roland CR-78, acoustic guitar and dissonant organs that intertwine in Open Windows is a vivid demonstration of this. It is these few elements, now distant and hinted at and now close and deafening, that paint the backdrop of melancholic nostalgia where laconic whispers move the listener within the paintings that bear the sonic signature of Human Figures. To Daniel Lewis’ new project, which has seen its springboard through releases on the label of his friends at Frigio Records, perhaps the adjective “new” is already quite tight. He has built a very recognizable sonic tibre, an influence of producers and listeners at different latitudes of the post-punk and wave scene.

In the 8 canvases of Open Windows the folk tradition is repainted in a more contemporary guise: the sweet and sad litanies are alternated with fast and frenetic stornelli in which the combination of tradition and experimentation constitutes the stylistic signature. The open window through which the listener has the opportunity to look out in this album does not, however, give onto a natural external panorama. It projects into an inner world where introspection and silence are the only chance to grasp its sublime beauty.

Stamp is back with a special three tracker of disco edits from J1mi Beyonders!

A trio of unashamed hands-in-the-air pumpers to induce dancefloor euphoria...

Never Sleep charity tape series continues with a legendary recording from the world famous Mary Anne Hobbs stage at Sonar Festival.

UK phenomenon Joker encapsulates the era perfectly with his signature "Purple" sound and Dubstep sonics. A rowdy late night work out of his own productions, a rare dub from Skream, Bristolian funk from Gemmy and classic Mala.

Hosted by an enthralled Gaslamp Killer and beautifully captures the feeling of the infamous stage. Timeless, cutting edge and a slight hint of nostalgia for any Sonar Festival aficionados.

All proceeds go to Bristol based charity “The Cause" who help young locals in the creative arts.

Label friend Jules Heffner is doing his debut on Terrace Trips.
"Swamp" kicks off with some jungle sounds and a deep dotted bass line. Guy From Downstairs (GFD, Robsoul) serves a smooth remix with a rolling morphing bass line and some crisp percussion hints. On the B-Side "Wharf" is with his flurry synths more like a fata morgana tearing you in some wet fantasies. A remix of this one is coming from Anatol who just uses some synths from the original and a simple 303 bass line which turns the track in a more minimalistic direction
You better use NoBite on this one.

Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O'Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden. Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone's music is the intimacy stirred by the close listening it encourages. Malone's new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019's breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone's compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O'Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve. All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition's internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony. The titular composition "All Life Long" appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice In the latter, Malone pairs the music with "The Crying Water" by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, "All Life Long" moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator's relationship to the timeless tears of the sea. "Passage Through The Spheres," the album's opening piece, contains lyrics in Italian pulled from Giorgio Agamban's essay In Praise of Profanation. In it, Agamban defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs. This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.

Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.

 An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”

 Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.

 Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.

 For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”

 “It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”

 Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.

 Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.

Dynamite cuts is proud to cross over to the amazing sound and world of Library music. Muisc that can capture a feeling and mode in a single note and groove. This selection is from the German Library series Sound Music Albums, These tracks are taken from volume 11 in the series, the Original album sells for £150 plus

Dynamite Cuts begibt sich in den erstaunlichen Sound und die Welt der Library Music. Musik, die ein Gefühl oder Modus in einer einzigen Note oder Groove einfangen kann. Die 4-Track-Auswahl stammt aus der 'Sound Music' Albenreihe der Deutschen Bibliothek, deren Originale heute zu dreistelligen Summen gehandelt werden.

Dynamite Cuts begibt sich in den erstaunlichen Sound und die Welt der Library Music. Musik, die ein Gefühl oder Modus in einer einzigen Note oder Groove einfangen kann. Die 4-Track-Auswahl stammt aus der 'Sound Music' Albenreihe der Deutschen Bibliothek, deren Originale heute zu dreistelligen Summen gehandelt werden.

Appalachian style old-time banjo and guitar player Nora Brown joins with award winning fiddler Stephanie Coleman (of Uncle Earl) to present their new EP, Lady of the Lake, featuring two tight-harmony songs and two instrumental duets.

Brought together by Brooklyn’s tight-knit old-time music community, Nora Brown and Stephanie Coleman share a rich musical partnership. Nora is a singer/banjo player, and has released 3 albums on Brooklyn based Jalopy Records. Stephanie is an award winning old-time fiddler, and has recorded with and toured with celebrated artists such as all-women string band Uncle Earl, Watchhouse’s Andrew Marlin, and more.

Lady of the Lake is the first time Nora and Stephanie have recorded together since Nora’s 2019 debut album Cinnamon Tree, and portends more exciting developments to come.

The EP will be released on vinyl and via streaming and digital download.

The special edition vinyl is available as a 10” 45rpm record, in a beautiful custom printed chipboard jacket and sleeve with liner notes by the artists.

Reissue of the 80s 12” single from Trinidadian musician Oluko Imo (Black Truth Rhythm Band), featuring Fela Kuti and Femi Kuti. Recorded between Lagos and New York in 1988, the tracks sit at the fault line of the Trinidad-Yoruba connection, blending calypso heritage with the Afrobeat and jazz of Nigeria.

The Dutch icon Orlando Voorn is releasing his second album for Deeptrax Records sublabel Contrafact! Having started his career in the early 80s with major influences of Parliament, Kraftwerk, Motown and P funk, he is now widely recognized as an ingenious (Detroit) house and techno producer with former releases on Juan Atkins’ Metroplex records and Kevin Saunderson’s KMS. "The Master 2" is an album that is heavily influenced by the deeper sounds of soul and funk.. Orlando Voorn has used aliases in the past to present and release various styles of music without limiting himself and is one of the most versatile producers out there. We are proud to team up with Voorn and release this album that captures soulful jazz, funk rhythms and perfectly fused with passionate vocals in a real jazzy Detroit vein.

Skyllumina represents a new evolution of London-based, Italian-born composer, bassist, and vocalist Ruth Goller. Goller is known for her bass and vocal work with Alabaster DePlume, whose music she elevates in live contexts with her genre-less improvisational intuition, and an incredibly diverse résumé that includes performance and recording with Bex Burch"s Vula Viel, Shabaka Hutchings, Rokia Traore, Melt Yourself Down, Sam Amidon, and even a very brief moment with Paul McCartney. For Skyllumina, her International Anthem debut, Goller expands upon the concept of her first solo album Skylla - de-tuned bass harmonics with layered voices - this time collaborating with a different drummer on each track. Her accompanists on the album include The Smile"s Tom Skinner, go-to London drummer Seb Rochford, Berlin-based International Anthem labelmate Bex Burch, and ex-pat Chicago legend Frank Rosaly. But more importantly, the music is an immersive hyperfocus for Goller and her patently distinct, singular compositional vision.

After numerous releases on his Dub Junction label and two lead singles on the subsidiary SUPERCHIP label, Simma presents his debut LP: SIMMA ENTERS THE GAME. Featuring guests Natty Campbell, Danny T, Tenor Youthman, Dandelion, Who Knew, Indra MC & Nina Girassóis.

Contrived through a pure spawn of friendship and boundless exploration, Sin Limites began as a jam between Nap, Ex-Terrestrial & Roza Terenzi in Montreal 2018 with no intentions. After a reshape and polish from Priori it found its way back to demolish dancefloors, slipping into mixes over the years and standing the test of time; a micro reissue of sorts finding a home on Delicate Records with a pair of remixes from none other than Ambien Baby & D. Tiffany to keep things in the chosen family. The title track is simple yet bold in nature; daring hypnotic metallic sequence, original Spanish vocals laced throughout by Nap and rough ‘n’ rugged 606 drums; a master in exquisite nuance and tech-evolution. Dormant until 2021, the B side rose from the ashes via the remixes to anoint the record as a three part ode to No Limits; a timeless ethos shared and lived amongst all involved.

collecting orders for repress be fast to grab your copy!

Stephan Laubner a.k.a. STL with 3 new tracks for Perlon.Following his latest fantastic releases on his own imprint "Something-Records", we are more
than happy to get "Lost In Brown Eyes".

The Smile veröffentlichen ihr mit großer Spannung erwartetes Debütalbum "A Light For Attracting Attention" am 13. Mai 2022 digital auf XL Recordings. Die Vinyl- und CD-Veröffentlichung folgt am 17.06. Die 13 Tracks des Albums wurden von Nigel Godrich produziert sowie gemischt und von Bob Ludwig abschließend gemastert. Die Songs werden von Streichern des London Contemporary Orchestra und einer kompletten Bläsersektion zeitgenössischer britischer Jazzmusiker wie Byron Wallen, Theon und Nathaniel Cross, Chelsea Carmichael, Robert Stillman und Jason Yarde begleitet. Die Band, bestehend aus Thom Yorke und Jonny Greenwood von Radiohead und Tom Skinner von Sons of Kemet, hat bereits die Singles "You Will Never Work in Television Again", "The Smoke" und "Skrting On The Surface" veröffentlicht. "The Smoke" wurde außerdem als Dub-Remix des legendären Reggae-Produzenten Dennis Bovell veröffentlicht. Die letzte Single "Pana-vision" von The Smile wurde bereits am 3. April veröffentlicht und lief im Finale der BBC-Serie "Peaky Blinders". Das animierte Video zu Pana-vision zeigt Artworks des Radiohead-Künstlers Stanley Donwood sowie Thom Yorke. Die brandneue Single "Free In The Knowledge" erscheint heute parallel zur Albumankündigung. Das Video zum Song entstand unter Regie von Leo Leigh. Der Song wurde erstmals im Dezember 2021 von Thom Yorke im Rahmen der "Letters Live"-Veranstaltung in der Londoner Royal Albert Hall aufgeführt - dem ersten Auftritt von Thom Yorke seit Beginn der Pandemie. Bei der Vorstellung des Songs widmete er ihn allen britischen Musikerkollegen. Im Januar spielten The Smile drei aufeinanderfolgende ausverkaufte Liveshows innerhalb von 24 Stunden in London. Diese Shows wurden gleichzeitig per Livestream an ein weltweites Publikum übertragen. Die Band beginnt ihre Europatournee Mitte Mai 2022 und wird am 20.05 in Berlin im Tempodrom spielen.

Repress in Blue Vinyl

Third Attempt shows sparkling form on his latest long-player on Beatservice Records, crafting a typically refined selection on the gorgeously eclectic and majestically constructed 'Momentary Bliss'.

Since announcing his arrival in 2018, Torje Fagertun Spilde's music recorded under his now-familiar Third Attempt moniker has lit up the ever-reliable Beatservice roster. Combining an awe-inspiring production quality with an equally inspiring work rate, his work quickly confirmed his status as one of the Norwegian underground's most magnetic artists to have emerged over the last few years. True to his evolving-but-recognisable sound, his latest long-player seamlessly glides across musical textures, forging elements of lounge, ambient, disco, house, funk, hip hop and more into a brilliantly coherent collection.

The album opens with the dreamy swells and evocative vocals of the 'Precious Day On Earth' intro before quickly raising the energy with 'Soul, Body & Mind' - a funk-flecked track pitched somewhere in the alluring territory between glossy nu-disco and hazy trip-hop. Here, dreamy chords glide over rolling bass as hip-hop vocal licks enliven the rhythm, with airy synth motifs and ethereal female vocals entwined over crisp drum beats.

'Love Star' finds Spilde in typically inspired form, demonstrating his flair for sampling as he elegantly layers atmospheric vocal chops and dexterous musical refrains. Unfolding over a sprightly broken rhythm, summery chords are embellished by carefree horns and strings as hypnotic guitar and sparkling keys augment the feel-good groove.

'Keep Your Head Up' sees crafty hip-hop vocals and dexterous scratches dart over soothing keys, ethereal strings and atmospheric horns. Supported by thick bass and rolling breaks, the arrangement elegantly unfolds as soulful vocals add mystique to the groove, the smokey aesthetic equally suitable for at-home meditations and backroom jamming.

The dusty-fingered sample manipulation continues on 'Teach Me', where smokey vocals drift across waves of twinkling keys, funk guitars and impactful horns as tightly-spun rhythm and bass guide the tempo, while 'Turbo' continues the funk-flecked theme, with crisp drums driving mesmerising guitar licks, spacey synths and stirring chord progressions chords. with the neatly woven music pitched perfectly to sound equally striking in disco-loving bars, clubs, and living rooms.

Next, 'Secret' drifts into focus with luscious chords, hypnotic guitar riffs and robust bass augmented by soul-drenched vocal stabs and atmospheric synth work. Upping the disco energy, 'Our Show For The Night' subtly shifts the mood. Emotive horns soar over twinkling keys and thick bass notes before harmonic guitar licks add texture to the groove, the honeyed vocal samples beautifully augmenting the captivating orchestration as the dynamic arrangement unfolds.

'Keep Playin' rises in with lively broken drums providing a hyper-infectious rhythm. Atmospheric chords swirl over the tight beats as dexterous guitars and agile keys dance across the panorama, the chopped hip-hop vocal lines cutting through the musical mist before growling synth bass adds weight to the groove.

The floor-focused tempo continues via the soul-soothing flex of 'Hold Me', with seductive vocals bursting over gorgeously orchestrated instrumentation as feel-good guitar licks and stirring strings combine as psychedelic synths glisten over sampled textures and tight disco drums. Equally suited to balmy dancefloors and swaying back rooms, this is yet more elegant crossover material from Spilde.

Finally, the rolling breaks and sumptuous strings of 'Hard Times (Part Of The Journey)' propel jazzy keys, hazy guitar licks and evocative vocal samples to see the album home in suitably engaging style.

Unquestionably an artist with a diverse and powerfully vivid musical message to share with the world, Third Attempt demonstrates his boundless quality across this mesmerising album. 'Momentary Bliss' is set to further enhance his already formidable reputation in - and far beyond - the dance underground.

Green Marbled Vinyl

Excellent deep & atmospheric techno tracks by Tiefton (Faut Section,
Recorded Things). The vinyl is limited to 100 copies!

Repress!

180g vinyl, limited copies! Mysterious new label, let the music speak, a lovesong is forever.

Vinyl Only

Four disco edits aimed straight at the dance floor, rumoured to come from within the Crazy P camp.

Daje Funk Records is back with Vol. 4 of the legendary ‘Slam Dunk’ series of EPs, this time featuring Souldynamic - Musta - Les Inferno - Groovemasta !!!

On the A-side, the supremely talented Souldynamic kicks things off with ‘Tales From Q.J.’ - a delicious chunk of late summer grooves bathing in sun-drenched keys and strings. The rolling bassline acts as the hook, and what follows is a gloriously constructed melodic masterpiece sprinkled with heavenly vocals. Fall in love with this, you will.

A2 sees Italian maestro Musta crack open the deep reggae vibes with ’Soup’. You’ll find it hard to resist this bubbling broth of twisted, rhythmic precision bass, ‘one drop’ beats and tight, short skanking guitar riffs. With ‘Soup’, Musta demonstrates his complete understanding of this genre. Darkened room or bar sun terrace - you decide.

On the B-side, label co-owner Les Inferno spices things up several notches with the aptly titled ‘Hot Burn’. And boy, does this track sizzle. A hustling rhythm that takes over your dance nodes from the get go, Les Inferno lovingly sprinkles Latino and Afro vibes all over this searingly hot dish. It’s furious, intense and relentless - and the brass breakdown acts as the tabasco sauce. Drink water. Plenty of water.

Closing Vol. 4 out on B2 is Groovemasta with ‘That Funk’. A track that treats its funky beats and chunky bass like royalty, this 118bpm monster wastes no time in demanding ‘Gimme that funk’. And you’re gonna hand it over. The swirling, gyrating sexiness of ‘That Funk’ can’t be understated - impossible not to lose yourself in this guaranteed dance floor time bomb.

Slam Dunk Vol. 4 seriously raises the bar for this already excellent series, and has to be in any self-respecting vinyl junky’s record box. Grab it while you can!

Stepper dub bullet !

Stepper Hight Ranking with blessed Murray Man !!

Weldon Irvine was one of the finest American jazz pianist and composers of his generation. He released several classic albums man of which are now being reissued thanks to P-Vine, but not before being fully remastered for the occasion. Weldon and The Kats was one that he put out on his own label Nodlew Records after releasing some albums through RCA and Strata-East. It is perfectly indicative of his style and has his early work 'Mr.P.C' on it, which was recorded in 1968 with Steve Grossman on tenor sax and sometime Miles Davies associate Lenny White on drums. This one has never been reissued before so snap it up before it goes again.

Repress!

The latest release on An’archives, Suikyō, documents a first-time meeting between three Japanese improvisers: Takashi Masubuchi on guitar and harmonica; Ayami Suzuki on voice and electronics; and Tomo on hurdy-gurdy. Recorded at Permian on the 29th of January, 2023, it’s a stunning, forty-minute long improvisation of rare artistic sympathy. Notably, it was the first time the trio had performed together, though Masubuchi and Suzuki have prior form as a duo; on the evening itself, the trio performance was preceded by solo sets from Suzuki and Tomo, which served as a kind of introduction, of sorts, to the broader aesthetic visions of two of the musicians on Suikyō.

Masubuchi, Suzuki and Tomo make for a fascinating trio, not only due to the shared musical sympathy that’s clear from their performance, but also due to their histories, and the way these dovetail on the music you hear on Suikyō. Masubuchi has recorded a number of stunning solo albums for guitar and has also improvised with a number of musicians: you can hear his responsiveness and thoughtful playing on albums alongside Suzuki, Taku Sugimoto, Straytone, Shizuo Uchida, Takahiro Kawaguchi, and more. Suzuki’s work for voice has been documented on several solo cassette releases, and in consort with Tetuzi Akiyama, Rob Noyes, Leo Okagawa, Aidan Baker and Tobias Humble. And Tomo’s music can be heard on a small clutch of solo CDs, as a member of Tetragrammaton and Archeus, and in collaboration with Junzo Suzuki.

The way their instrumental voices meld together on Suikyō, though, is evidence of a capacity both to draw from these histories, and to take these collective knowledges to new places. And sometimes, unexpectedly old places: Masubuchi notes that his guitar on this set took him back to the rock and blues he used to play, perhaps in earlier groups like Pelktopia, which he suggests contributes to “the psychedelic mood” of Suikyō. Tomo’s hurdy gurdy matches this by pulling drones out of the air or allowing melodies to slowly morph and envelop the listener – their development, at times, reminds me of troubadour music from Occitanie.

Suzuki’s presence is equally compelling and curious. Her voice is an eternally flexible instrument, and whether it sits unadorned within the soundworld magic’d into space by Masubuchi and Tomo, or slips between the cracks thanks to subtle use of electronic effects, it has a quality about it that is both otherworldly – at times, the voice soars and pirouettes – and thoroughly, deeply grounded, of this earth, a most human and intimate encounter. There is a lovely consort between Suzuki and Tomo, the voice and hurdy-gurdy shadowing each other: as Tomo notes, “the hurdy gurdy has been an instrument played to accompany singing since the Middle Ages.” For Suzuki, the performance was “psychedelic and hedonistic in a good way,” but it wasn’t simply given in to that experience: “we were at the same time looking at it from an objective point of view.”

That feels like the right way to approach Suikyō: as a performance that both sets the mind and ears spinning, but with a careful, thoughtful, and considerate objectivity to its moment-by-moment development. It’s also incredibly gorgeous. As a first encounter, it’s surprising in both its comfort and its challenge: and as Masubuchi says, the playing together feels just the way it had to be: “instinctive, unintentional, and inevitable.”

Alara Music is releasing the new album of OXY, the new stunning electronic project by Ivan Pavlov (COH) and Sasha Galianov (Shortparis).

OXY is a transient project combining talents of Ivan Pavlov, major electronic artist better known as CoH who has collaborated with Coil, and Sasha Galianov, the main force behind the electronic sound of the avant-garde performance collective Shortparis. The two once met at a festival where they performed a semi-improvised live set. The first performance sparked mutual interest in continuing joint experimentation, which, after a series of concerts, eventually led to this studio recording.

The name of the album is constructed of the two titles presented each on one side of the LP. The first side, AETHER, delivers a powerfully charged contemplative exploration, in which the two seem to carefully study the sound of each other's instruments. The search for balance between the analogue and the digital reveals a murky terrain of focused sonic pressure interwoven with potent silence filled with echoes. Towards the end, AETHER, amorphous in the beginning, gains structure and rhythm, as if preparing the listener to its more agitated sequel, GUST.

Side two, starting with trademark minimalistic patterns of CoH quickly picks up in intensity and wanders into the domains of digital heavy-metal, in which Sasha's menacing guitar riffs are meticulously disjointed in favour of power focus. Then GUST takes the listener through a minor apocalypse, past a few relieving joyful moments of temporal enlightenment, and towards a strange peace found in a disorienting, synth-framed collage of acoustic guitar sounds.

AETHER GUST is a record that requires listener's full attention, offering in return a captivating journey though peculiar landscapes at the intersection of the worlds of two adventurous music explorers, exchanging their sonic beliefs and passions. An intense journey through a landscape of contrasts, between the warmth of analogue sounds and the aridity of demanding electro, both minimalist and abundant. This journey, these intersections, but also this permanent encounter between analogue and digital, are magnified by the physical version of AETHER GUST: it comes as a bundle of both Vinyl + CD versions of the album, all in a 12" vinyl sleeve then nestled in a thick crafted carboard black embossed sheath.

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GOREFEST, BOLT THROWER, AMON AMARTH, BLOODBATH

‘Otherness’ is Ferris & Sylvester’s second studio album. The music ranges across a spectrum of psychedelic folk, blues, rock and soul, yet the songs are connected by the duo’s stark and vivid storytelling. Echoes of Alabama Shakes, Madison Cunningham and The Teskey Brothers ripple throughout.  Recorded at the pair’s studio to a 1960’s tape machine and released through their label Archtop Records, the husband-and-wife duo dedicate the album to anyone who feels like an outsider.  The 14-track album, and its accompanying otherworldly artwork, is available on marble red heavyweight double vinyl, standard black heavyweight double vinyl, and CD.  The vinyl products include an exclusive hidden track, with the song’s handwritten lyrics etched onto Side D.  “Ferris & Sylvester have built their own world. Breaking down walls and claiming fresh territory as their own.” - Clash  “Folk-rock at its most elegantly haunting.” - Wonderland  UK / EU 26-date headline tour (February - March 2024), with London show at Lafayette, 1st March 2024.  Press - Reviews & features in Classic Rock, RNR, Rolling Stone, House Of Solo, MINT Magazine.  Radio - BBC Introducing (West) live session, BBC Scotland Another Country with Ricky Ross live session.

Gemeinsames Album des vielseitigen, mit einem Grammy ausgezeichneten Pianisten und Songwriters Bruce Hornsby und des experimentellen
klassischen Ensembles yMusic ,unter dem Namen BrhyM.
Deep Sea Vents ist ein Album mit 10 Songs über Wasser und die Art und Weise, wie wir mit, in oder gegen das Wasser leben. Hornsbys unmittelbare
melodische Leichtigkeit verbindet sich mit der rhythmischen Präzision und endlosen Vielseitigkeit von yMusic, und verbindet die verschiedensten
Einflüsse zu einem unverkennbaren Stil.
yMusic und Hornsby haben bereits bei mehreren Bruce-Hornsby-Alben zusammengearbeitet, darunter auch bei seinem letzten Album 'Flicted 2023,
seinem dreiundzwanzigsten. In seiner langen und abwechslungsreichen Karriere hat Hornsby u.a. mit The Grateful Dead, Pat Metheny, Ricky Skaggs,
Justin Vernon, Jamila Woods Songs aufgenommen und ist mit ihnen gemeinsam aufgetreten.

finally repressed!

First release from Swedish Abdulla Rashim. 3 tracks refined from one single signal generator, processed through a mixture of aqua regia and sulfuric acid. Serious tracks on this new label with ultra limited first edition!

»Other Rooms« is an uncompromisingly adventurous and engaging listen. It manages the rare feat of remaining concise while brimming with detail and inventiveness.

Ten years into a multifaceted career in experimental sound, Belgium’s Adriaan de Roover presents »Other Rooms«, his second solo album and a product of the thoroughly unexpected things we all experience, from societal freeze to the dissolution of individual relationships. Originally recorded for a performance with Fennesz at Église Notre-Dame de Laeken in 2020, »Other Rooms« was reworked into its final form in 2023. De Roover notes an inspiration from »looking at different versions of a life, sitting in a space between them; a constant focus on those alternate things... What if, what if.« It is introspective music informed by a desire for connection to oneself, to others, and to the boundless scale of everything else.

»Other Rooms« is Adriaan’s second outing through the acclaimed Dauw imprint, which is also the home to Midori Hirano, Dylan Henner, H.Takahashi, Lieven Martens and Taylor Deupree. Stepping back from rhythm-oriented motifs, this latest work is a concise but varied collection of weightless melodies and expertly sculpted, computerized soundscapes.

Wenn etwas aseptisch kalt wie die Musik der New Romantics und gleichzeitig aber deep, soulful und trippy ist, dann dieser Release von Al Chem aus Berlin: ein verdammt gutes Modellieren von No Wave, Electronic, Minimal und Dance.

Aufgewachsen mit einer Diät von Post-Punk, New-Wave, verloren in einem verrauchten Warehouse - diese Art von Musik und Stimme (Depeche Mode oder Johnny Cash lassen entfernt und posthum grüßen) in einem minimalen Lo-Fi Electronic Bett ist schwer zu finden. Al Chem’s Timbre und Texte sind einfach betörend, in den Himmel eintauchend, begleitet von einem hypnotischen Synth-Faden.

Das Paket mit zwei tipp-topp Remixen angereichert: Shahrokh Dini zaubert einen super drahtigen Club-Mix, durchaus geeignet für jedwede Peaktime, während Compost‘s Boss Michael Reinboth cool und sicher auf einem stein-kalten 80er Groovegerüst herumturnt.

Continuing its streak of red hot releases, Modeight Records now shines a light on an exciting new talent in Icelandic artist Ali Demir. Injecting a funky, infectious energy into 3 original compositions, backed up by a sublime remix from label head Silat Beksi himself. The young artist beguiles the listener with his raw and rollicking flow. From the uber fun, head bobbing bassline jam on "Fluent Whistler", to the slick electronic riffs of "Kumpas", and the deep, sub sonic wiggle of "Blackout", Ali Demir carves out a sophisticated and immensely enjoyable sonic journey. A breakout release for an artist who's certainly be one to watch in future.