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With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.

At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.

The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production.”

“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.

Pünktlich zum 10-jährigen Jubiläum ihres Mega-Hits "All About That Bass" ist "Timeless" eine Bestätigung für Meghan Trainors Entwicklung als Künstlerin in den letzten zehn Jahren. Auf "Timeless" nähert sie sich den Themen Selbstliebe und Selbstbestimmung mit mehr Selbstvertrauen als je zuvor, was durch ihre intelligenten Texte und die unverwechselbare Produktion zum Ausdruck kommt.

The bleak and foreboding landscape surrounding Keeley's North Yorkshire home seems to inhabit her third LP, 'The Hollow'. The moors, visible from her studio window, impact upon a music that feels made of these places: windswept, rain-soaked and blinking through the low-lit landscape. The album's title derives from discovering a long-abandoned mining shaft whilst out walking - the past lurking within and haunting the present we now occupy. A connection to time that places us within it, facing what is gone and what may come. But also, perhaps that time has no concern as to whether we're here or not.

Keeley's unique elemental voice again sits centrally within this world-building. Her cathartic reflections are exorcisms in song. We hear an artist making sense of her life, willing to expose vulnerability without ever appearing weak. Working again with producer Ross Downes, the LP features Matthew Bourne and Colin Stetson, Forsyth sought to expand both her voice and music. Taking aspects of sacred music, minimalist post-classical, dark ambient, film and theatre soundtracks, she layers her vocals into chamber choirs, applies pitch shifts and other digital processing, moves from clear articulate intention to mumbled numb utterances.

Composer Mihály Vig's score to Bela Tarr’s film 'The Turin Horse' is reimagined as a pressurised outpouring, recasting the everyday within a mythical light of survival and hope. On ‘A Shift’, Mal Finch's protest song ‘We Are Women, We Are Strong ‘, originally sung by wives and daughters in support of the '80s miner’s strikes, is recontextualised in solidarity for an experience of creative labour.

Named "one of Europe"s most versatile and curious players" by Downbeat Magazine, Polish trumpeter Tomasz Dabrowski returns with the sophomore album from his internationally acclaimed septet. Following their eponymous 2022 debut, the ensemble proudly presents "Better",set to release on March 29th on April Records. With an atypical lineup featuring the cream of the crop of the Polish and Scandinavian contemporary improvisation scenes,"Better" captures the edge and energy of a live performance extended and elevated by the use of electronic instruments and textures. Drawing the listener in with its refined sense of space and pace, the record sees the septet navigate their way through Dabroski"s open compositional ideas, passing melodic structures around the ensemble and evolving through ethereal ambient soundscapes, scorching solos and adventurous cacophonies of collective improvisation. Drawing on a year"s worth of experience performing extensively together as an ensemble, the level of intensive listening, interactivity and trust within the group enables each instrumentalist to fearlessly contribute their voice. "Every track has a unique twist. "Upright" plays with form. "Bonzer", the use of instrumentation. "Hale & Hearty" explores textures." A testament to the ensemble"s commitment to artistic growth and creative evolution, "Better"reminds us to consider what we all can and should strive for. It"s an inspiring message that manifests in the music and radiates through every aspect of life. "We should all strive to do better. To be better versions of ourselves and observe how it resonates within and in those around us," Dabrowski says.

Tangential Music is pleased to present the new album from veteran Spanish DJ and producer, Dj Toner (aka Antonio Herrera). Alongside his co-writer/arranger Daniel Molina and with guests that include the legendary Blue Note Records innovator Erik Truffaz and Grammy winning flautist and saxophonist Jorge Pardo, he has created a 10 track collection of slow-burning instrumentals that straddle the worlds of hip hop, jazz and electronica.

With a personal, precision tooled approach to his craft, the Andalusian has offered up an album of finely modelled downbeat moods.

At first glance, ‘Out Side’ is made up of recognisably superior hip hop instrumentals but if you listen carefully, and with patience, one can hear a craftsman at work. A wooden box is just a box until you look closer. The hidden joints, the perfect lining up of the grain, the years of artisanal graft and laser-focussed attention to detail that go into making something that has nothing present, that doesn’t deserve to be there. This is how Dj Toner operates.

The two singles that preempt the album’s release reveal different sides of his craft. ‘Camina’ struts with tough intentions. Soundtrack-y in an exploitation police drama manner, the get-out-of-my-way drum break and tension-filled chords suggest the bad cop, Erik Truffaz’s piercing lyrical trumpet lines, the good. The Afro-jazz horns led second release ‘Surprise’ is an altogether more playful, sunbaked affair. Sensual and slow-burning, there’s still an edge but it’s too hot to quarrel.

Dj Toner’s minimalist attitude to creation is shared with his co-composer Molina - an individual’s contribution may be cut to the bone, leaving just its aura or tone. The echo of a piano, a single blast of tuneful wind from a flute, a perfectly positioned drum hit.

Since the Wu-Tang Clan’s RZA began applying his beatmaking prowess to movie soundtracks, the hip hop instrumental has been acknowledged as something to listen to, as much as being used as a DJ tool or backing for an MC. Dj Toner’s instrumentals can, therefore, be seen as soundtracks. Soundtracks to his life and craft, vignettes of his environment in both the urban sprawl and the wider and slower spaces of “el campo”.

The sweet-tempered jazz-blues of ‘La Rimosa’ is a gentle welcome to the album. A simple, laid back groove with the most romantic of piano hooks that one could imagine Common dropping rhymes on. You’re kept on your toes with the odd purposeful moment of discordant interruption but the tender heart of the composition is never far away.

‘O’Beat’ hints at John Coltrane with the sparse but full-sounding upright bass before a head-snap break leads into a curious piano groove, a vintage organ swirls into a psychedelic fractal, whilst the bluesy female vocal snippets add the spice, that zing in the Granadan gazpacho.

The flamenco guitar driven ‘Flama’ is an excellent example of intricate sample placement and musicality. Old school (school yard) scratch interludes, sweet piano hooks, a minimalist but knife sharp flute contribution from Jorge Pardo, and the crunchiest of drums taking us for an intriguing walk round the corner.

We’ve mentioned them before but it’s on ‘Sweetband’ that we can feel that Wu-Tang dread hanging off its shoulders. A brooding orchestral number with powerful horns and a cavernous piano hit. The title of the piece is in stark contrast to the dark shadows of the tune.

Erik Truffaz returns in fine form on the super lethargic jazz-funk-hop of ‘The Day’. His instantly identifiable muted trumpet sound paints dazzling colours over the more earthy tones of the filtered down keys as a rubbery upright bass keeps the forward momentum. Dj Toner’s ‘Blessed Are The Weird People’ album, was rated in Jazz Magazine as one of the 20 jazz albums of 2021, so he isn’t some dilettante when it comes to playing with the complex hues of jazz but he does like to strip it to its bare essentials.

‘Fanega’ sees a gorgeous flute contribution from Jorge Pardo. An eerie boom-bap groove with sprinkles of electronic pulses and washed out chords is the canvas on which the award-winning multi-instrumentalist evokes the heat shimmer of the savannah.


‘Esperanza’ translates as ‘hope’ in English and this lovely slow, swinging jazzy groove really does provoke feelings of positivity and belief. Sublime vibraphone and another stunning trumpet offering from Erik Truffaz, take us on a journey of warm days and possibilities, the shuffling drums and sweet chord patterns are nicely finished off by a tranquil horn chorus towards its unhurried end.

‘Under Beat’ ends on a beefy boom-bap groove with a liquid funk bassline, elegant synth strings and old school scratching. Again, there’s that undisputable soundtrack edge, action and motion, the smell of the city.

There you have it, 10 tracks that go beyond the surface, deep into the dedicated craft of Dj Toner. Decades of experience and collaboration purified and refined into beat-heavy emotions, listen closely or crank it up, it’s down to you!

Guzzle the momentum. Slap the door behind you. Run faster. The feeling pure. The attention fried. Rush from left to right. Repetition. Doorbells ringing. Where do I stand? Organizational chaos is a theory that predicts the here, the now, the never before seen or known. My attention is as pure as it is fried. Thrilled to announce that Thrills In +41 welcomes us with sheer brilliance. Let's Purifry The Attention. Solidified action. Embrace the filter. You feel it? Kicks and incredulous rhythmic action. Stuttered chopped vocals. A dash of madness and you're there. Open the door. National discoveries are about to be found. Discovery 70D is a gateway to a new portal known as... Skipman. Pull it in. Acidic drops drop harder than acid drops when you drop it because it's hot right now in the midst of this after-summer delight. Long sentences stretch like honey clinging on to your buttered knife as you make yourself toast because we're all toasted and we wrote a poem called d'Ache together that one night. Ahhh, the beat goes on. It's basically a Visual Illusion. An ambient setting wraps up this rap. Imagine tender vocals summoning the night over the howls of dusty vinyls and the digital embodiment of contemporary music making machines. We are a music making machine.

No sleep till Leipzig. 6 track EP in the ether with new and familiar faces. From acidic Slow-Death-Funk to the resurrection of Cybotron to a ballad that has been delayed by Deutsche Post. Claim it before you are shown an error message.

Bonobo alias Simon Green - heute einer der größten Namen in der Dance-Musikszene - tauchte erstmals Ende der 90er Jahre als einer der hellsten Sterne des Downtempo-Genres auf. Ursprünglich um die Jahrtausendwende veröffentlicht, ist Bonobos Debütalbum "Animal Magic" ein zeitloses Album und ein Kultfavorit unter den Fans geworden.

Aufgenommen auf einem Akai 4-Spur-Tonbandgerät, nimmt "Animal Magic" einen besonderen Platz in der Geschichte des in Brighton ansässigen Independent-Labels Tru Thoughts ein, denn es war das erste Album des Künstlers, das auf der Tru Thoughts-Compilation "When Shapes Join Together" debütierte. Bonobos Anfänge als talentierter DJ und Produzent begannen unter der Anleitung von Tru Thoughts A&R Robert Luis und seinen Label-Nächten in Brighton, wie z.B. phonic:hoop, wo Simon seine ersten Erfahrungen sammelte und begann, die ganze Nacht hindurch DJ-Sets zu spielen.

"Animal Magic" ist das Ergebnis von Simon Greens Zeit in der kreativen Küstenstadt Brighton und markiert einen wichtigen Meilenstein in seiner musikalischen Reife. Die Stadt übte einen entscheidenden Einfluss auf ihn aus und ermöglichte es ihm, seine Fähigkeiten als Drum-Programmierer und Produzent weiterzuentwickeln, während er unermüdlich als DJ in diesem kreativen Zentrum auflegte.

Während er in Brighton lebte, veröffentlichte Bonobo neben seinem kultigen Debütalbum "Animal Magic" eine Handvoll EPs und Singles wie "Scuba", "Terrapin" und "One Offs, Remixes & B-Sides" und legte mit anderen Künstlern von Tru Thoughts und Ninja Tunes in ganz Europa und Nordamerika auf.

Mit der Veröffentlichung von "Animal Magic" im Jahr 2000 wurde Simon Green als ernstzunehmendes Talent in der Szene bekannt, das der elektronischen Musik eine echte musikalische Note verleiht. Seitdem wurde Bonobo bei Coldcut's Ninja Tune unter Vertrag genommen und veröffentlichte sechs weitere Alben, darunter das GRAMMY-nominierte "Fragments" im Jahr 2022, während er seine DJ-Performance zu einer voll orchestrierten Live-Band weiterentwickelte, weltweit auf Tournee ging und zu einem beliebten Mainstage-Performer auf den größten Musikfestivals der Welt wurde.

Repress!

Radio Slave drops ‘Strobe Queen’ this June, complete with Eric Kupper and Kirk Degiorgio Remixes

Following a string of massive singles over the course of 2022 and 2023, in tandem with the continued success of his acclaimed Rekids and RSPX imprints, Radio Slave prepares his latest single ‘Strobe Queen’, a 12-minute, slow-burning house epic landing this March.

Eric Kupper and Kirk Degiorgio remix Radio Slave’s ‘Strobe Queen’ this June.
Heard in clubs courtesy of Honey Dijon, Laurent Garnier, and Sean Johnston, amongst others, and on the airwaves via the likes of BBC Radio 1, Radio Slave now recruits two legendary remixers for thw remixes of ‘Strobe Queen’. Requiring little introduction, Eric Kupper and Kirk Degiorgio both turn in
exceptional versions of the original, while Radio Slave contributes a stunning reprise of his own, continuing to explore his love of slower tempos and long arrangements of golden era NYC, as seen in subsequent singles ‘Wild Life’ and ‘Wake Up’.

Radio Slave aka Matt Edwards is one of dance music’s undisputed heavyweights. Having made his name as a DJ in the 90s, he went on to become the king of edits, twisting pop, R&B and indie cuts into essential versions that consistently set clubs alight. Since the mid-2000s, Edwards’ originals have helped define modern dance music, tackling techno, house, breakbeat, minimal and disco whilst exploring dub, balearic sounds and ambient across the myriad of other aliases and projects.

Lindstrøm remixes Radio Slave ft Cagedbaby ‘Amnesia’ The first remix package from Radio Slave’s ‘Venti’ LP features a remix and instrumental from the Norwegian artist.

A key single in the run-up to Radio Slave’s ‘Venti’ LP, the distinctly Balearic ‘Amnesia’ cut, which was the sound of Pikes in 2023, is remixed by Norwegian nu-disco pioneer Lindstrøm following the LP’s release in May. The original saw Matt Edwards team up with long-time collaborator Cagedbaby, aka Tom Gandey, for a blissful sunset track that won support from the likes of David Holmes, Sean Johnston, Jennifer Cardini, Peter Kruder and Perel.

On the ‘Amnesia’ remix package, Lindstrøm turns the downtempo breakbeat in Radio Slave and Cagedbaby’s original into a more upbeat groove with hints of 80s and 90s Euro-Dance in its piano breakdown and squelched-up acid-drenched guitar bass. The Norwegian artist, known for his frequent collabs with Prins Thomas and all-around superb nu-disco works, maintains the original’s sultry vocal, neatly scrubbed off in the instrumental mix for those looking for a party-staring club tool in this evoking ode to Ibiza.

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Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.












j 10. Désolé (feat. Fatoumata Diawara) Extended Version

Repress!

First leak of B. Bravo & Bay Area singer Rojai's upcoming Kool Customer project on Bastard Jazz that brings in the sounds of future funk, 80s boogie, and little bit of strip club sleaze. "Blackberry" is a dancefloor smasher with a big bassline, funky guitar licks, horn section and a hella catchy chorus. 7" drops early August and full project mid September.

2024 Repress

Straight in the wake of their eponymous debut LP released on the label back in 2016, Weval return to Kompakt this year with their sophomore album, 'The Weight', breaking their pop-mellow, nostalgia-friendly facet further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously coloured mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them - more playful and unpredictable - which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toys synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box - which for us was a totally new way of working". "We've always wanted a narrative for the album, and finding the right order perhaps took the most effort" they explain; "we felt anxious, felt insanely positive, felt heartbroken again, felt in love again, and there was death, and even suicide around us. It was quite chaotic. As a whole, 'The Weight' breathes with that transformative richness, free of limits and rules, except perhaps to "do quick and not think too much". Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music - one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life - from the most euphoric to those when music seems the only viable healing potion. More on the post-KLF, BoC-inflected electronica side of things, 'Are You Even Real' takes its listener for a round-trip across the star-studded dome and beyond, before songs like 'Someday' and 'Same Little Thing' head back down to a state of pulsating, earthly organicity, tense and mercurial as get. An arpeggiated slice of piano-strewn kosmische, 'Heaven' is another invitation to an epic-scale odyssey from the inner-spheres into the distant fringes of the outer-world. Weightless and airy, yet texturally dense and widely magnetic overall, Weval second LP is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
Nur zweieinhalb Jahre nach der Veröffentlichung ihres selbstbetitelten Debutalbums finden sich WEVAL zurück "an jenem Ort, an dem sich alles spontan, neu und aufregend anfühlt - so wie als wir anfingen zusammen Musik zu schreiben". An diesem Ort entstand "The Weight", ihr zweiter Longplayer, auf dem Weval sich ganz den Pop-verliebten, Nostalgie-freundlichen Facetten ihres Sounds öffnen. Stetig um den sehnsuchtsvollen Strahlenkranz ihrer Melodien tanzend, legt diese Platte noch vielschichtigere, mit feinster Präzision gewobene Gefühlswelten frei.

Obwohl die Aufnahmesessions nach eigenem Bekunden oftmals "miesepetrig und emotionsarm" begannen, so war das Duo überrascht darüber, wie schnell sich bei der Arbeit jene Freude einstellte, die sie aus ihren künstlerischen Anfangstagen kannten, eine Woge des frischen, naiven Gefühls der "absoluten kreativen Freiheit". Dieses Album ist die Frucht eines verspielteren und unvorhersehbareren Arbeitsprozesses innerhalb der Band, in welchem alles zum Einsatz kam, was ihnen in die Finger kam - von der ollen Gitarre, die in der Studioecke stand, über ein Piano und den bandeigenen Sythesizern und den sonderbarsten Spielzeuginstrumenten, die man sich vorstellen kann. All dies sowie zahlreiche Vocalaufnahmen dienten als alleinige Samplequelle - "was für uns eine völlig neue Arbeitsweise war". "Es war uns wichtig für das Album den perfekten Erzählbogen zu spannen. Die richtige Reihenfolge zu finden war ein extrem aufwendiger Vorgang", erklären Harm und Merjin. "Uns war bange, wir fühlten uns total selbstsicher, uns zerbrach das Herz und wir verliebten uns erneut. Wir waren sogar von Tod und Selbstmord umgeben. Alles war Chaos. Insgesamt atmet "The Weight" die Reichhaltigkeit dieser sich ständig verändernden Gefühlslagen, frei von Einschränkungen und Regeln - außer vielleicht "mach es schnell und zerdenke die Dinge nicht." Inmitten dieser Ansammlung von Songs und Instrumentals, die aus Wevals einzigartiger, von Zuversicht geprägter Herangehensweise entstanden sind - "Musik, die dich hochzieht und Hoffnung spendet, ohne dich notwendigerweise happy zu machen. Der Titeltrack "The Weight" steht exemplarisch für Wevals ambivalenten Ansatz, die feine Balance zwischen Dancefloor und Traumzuständen, perfekt in Szene gesetzt von Soundengineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.).

Der schwer aus gewaltigen Gewitterwolken tropfende Funk, die eine verhaltene Poolparty suggerierenden Riffs, die sinnlichen, geisterhaften Vocals und ein verwaschenes Ambiente, das wie ein Album alter Polaroidaufnahmen alle erdenklichen Momente des Lebens festhält - von den euphorischsten bis hin zu jenen, in denen Musik der einzige Trank ist, der Linderung verheißt. Das post-KLF und Boards of Canada evozierende "Are You Even Real" führt den Hörer auf einen imaginären Flug ins Sternenzelt, während organisch-klingende Songs wie "Someday" oder "Same Little Thing" wie Quecksilber am Boden haften. "Heaven" ist eines jener "kosmische" Stücke mit wilden Arpeggios und Pianosprengseln, die Weval in den vergangenen zwei Jahren zu einer Live-Sensation werden liessen. Wevals Musik ist schwerelos und luftig, aber gleichermassen von dichter Struktur und von einer magnetischen Anziehungskraft. Ihr zweites Album "The Weight" ist eine Synthese aus dem multi-perspektivischem, kaleidoskopischen Verständnis von elektronischer Musik: Herzerwärmend, alles umschmeichelnd und unendlich frei.

Randy Edelman’s score soundtrack to the 1989 film classic. The music had not been previously released (the CD release in August was the first time on any format). This is a 140g vinyl in a luxury spotglossed cover also featuring a booklet pressing on white and pink splatter vinyl. The album includes original tracks as well as 3 newly re recorded tracks and a track originally recorded for Ghostbusters II but not featured in the film. Marketing activity.

Marking one year following Phase Fatale’s (aka Hayden Payne’s) last EP on his label BITE, ‘Love Is Destructive’ is a clear shift into true techno territories, integrated with his distinct curation of narrative and sonic framework, imprinted with a musical diet of sleek, synthesised storytelling.The 4-Track EP reflects the turbulent ebb-and-flow found with emotional conclusion - a genesis soundtracked by raw energy and driving undercurrents. The Berlin-based DJ, Producer and Label-owner’s propensity for creating a symbiotic harmony by blending seemingly divisive elements from his genre defying repertoire, demonstrates his masterful understanding and control of the listener’s borderless, auditory journey. Exemplified by his marathon closing sets at Berghain, as well as techno arenas such as Khidi in Tbilisi (both of which he is a resident), Phase Fatale’s recent DJ performances and production endeavours reflect his fresh approach to pure techno sensibilities. The title track sets the tone with imperative grooves, energetic vigour and intrepid attitude. Following a progression of techno propulsion in ‘Magma Driver’, infused metallic textures and trippy, headier elements add depth, whilst the body of work’s cutting edge sound design echoes spacey vivacity and purification in equal measures. Dichotomy comes forward with tracks ‘Ambivalence’ and ‘Introjection’, processed vocal samples with dub techno leanings and hints towards broken rhythms are sculpted by Payne’s focused approach, resonating a feeling of hopeful resolution akin to resurgence. These romantic sensibilities offset by cold mechanical nuances are reflected in the EP’s artwork, depicting roses against the backdrop of engine-like machinery. ‘Love Is Destructive’ is dedicated to Juan, Simone and Luis. Featuring artwork by Silent Editions.

3 Feet High and Rising is the debut studio album by hip-hop trio De La Soul, and was released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. It contains the singles, “Me Myself and I”, “The Magic Number,” “Buddy,” and “Eye Know”. The album title came from the Johnny Cash song “Five Feet High and Rising”. It is listed on both Rolling Stone’s 200 Essential Rock Records and The Source’s 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on Rolling Stone’s The 500 Greatest Albums of All Time.

Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, “Me, Myself and I.” Their positivity meant many observers labeled them a “hippie” group, based on their declaration of the “D.A.I.S.Y. Age” (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap). 3 Feet High & Rising was chosen by the Library of Congress to be added to the National Recording Registry for its cultural significance and general excellence.

This special boxset release of De La Soul’s 3 Feet High and Rising includes twelve 7” custom singles pressed on splatter vinyl and housed in custom sleeves, housed in a box that includes a 7” pinup and a double-sided 7” slipmat, and is available first at record stores as part of RSD Black Friday. "

DJ Support: Danny Howard, Pete Tong, Sarah Story, Triple J, Groove Armada, Jamie Jones, Marco Carola,Nic Fanciulli, Sam Divine, Carlo Lio, Mat.Joe, Todd Terry, Jansons, Eskuche, Moon Boots, Format:B, Low Steppa, Robosonic, Dantiez Saunderson, Charlotte Van De Peer, Dario D’Attis, Shiba San, Dennis Cruz, Pirupa, DJ Rae, Danny Tenaglia, Rene Amesz, Juliet Fox, Ashibah, Boris, Carly Wilford, Booker T, Dateless, Melvin & Klein, Paco Osuna, DJ Lora

Nothing Else Matters is proud to bring an exciting new vinyl from HoneyLuv who makes her debut on Danny Howard’s imprint, teaming up with New York DJ, producer, singer-songwriter and vocalist Roland Clark for their brand-new single, ‘This Is My Life’. Crowned Radio 1’s Future Star of 2023, HoneyLuv has taken the Dance scene by storm in recent years with support from Seth Troxler, The Martinez Brothers, Nicole Moudaber, Kevin Saunderson, Maya Jane Coles, Loco Dice, Idris Elba and more, with releases signed to Black Book, Insomniac, Tuskegee, Three Six Zero and more. On the other hand, Roland has worked and co-produced music with many of the greats, including Fatboy Slim, Mark Knight, Todd Terry and Bob Sinclair, with his vocals considered the “voice of House” and one of the rare few that can bring you an electrifying DJ set while getting on the mic and giving you a performance unlike no other. Making for the perfect pairing, ‘This Is My Life’ is set to propel both artists to even greater heights and will surely be a firm favourite at clubs and festivals worldwide this year. Kicking off the B-side is a killer rework from the legendary Carl Cox who brings his A-game with this one infusing his signature grooving basslines and high-energy, hypnotic percussive grooves. Rounding off the package, Bontan’s rework delivers organic drums and captivating Afro-House rhythms catapulting the track to new audiences and new heights.

Dave Angel’s 'Revolt' EP on Rekids Special Projects is an emotionally steamy and intense offering with jolting drums and outspoken words. The title track, ‘Revolt’, brings subtle funk while the synths are imbued with plenty of Detroit-inspired soul designed to light up any dancefloor. Angel’s 'May I Have This Dance' shows a different side, with zippy lead synths amplifying the vibes as hunched, dubbed-out rhythms march down low and keep you locked into the groove.

Following up his 2023 ‘Glide’ EP on Radio Slave’s Rekids, Dave Angel now makes his debut on its RSPX sister label with the ‘Revolt’ EP. From remixes for the likes of Carl Cox, Orbital and Underworld to underground classics on labels like R&S, K7!, and his own Rotation Records, Dave Angel’s ever-evolving sound has made him a core part of the scene for over three decades. With ‘Revolt’, Dave once again shows his uncontested production skills with an infectious double A-side record oozing character.

Returning to Damian Lazarus’ renowned label for their seventh EP on the label, the Gruuv bosses showcase the latest evolution of their rich and diverse sound, with the dancefloor-driven quartet of hot cuts!

From their early beginnings between Ibiza and their hometown of Leeds to a near twenty-year-long career that has taken them from Space (Ibiza) to Womb (Tokyo), fabric (London) to Zouk (Singapore), UK duo Audiojack have remained and continue to prove themselves as both ever-present dancefloor hit makers, but artists that have helped carry the UK’s evolving house sound. From their initial releases on Leftroom and 2020vision through to their Crosstown Rebels debut in 2016, and then fast-forwarding to recent music on Solid Grooves, Knee Deep In Sound and their own Gruuv imprint, the pair’s unwavering passion for fresh sounds continues to burn bright. Now regulars on Damian Lazarus’ iconic imprint, serving up five EPs, numerous remixes, and their 2021 album ‘Surface Tension’ on the label to date, the end of May welcomes the duo’s latest chapter on Crosstown with their latest EP, ‘Play With My Mind’.

The skippy and vibrant ‘Play With My Mind’ opens the package with an abundance of nostalgia, channelling 90s sonics via the infectious organ melody and hooky vocals at its core, while ‘Casual Verve’ is trippy and loose while delivering a slice of driving funk to the mix. Next, ‘Connect’ provides a vocal-led, garage-dipped cut that keeps the energy levels sizzling before ‘Delirium’ closes the show with a swathe of pure dancefloor ecstasy.

Trailblazing a new wave of House hero, from the heart of Techno-dominated, Berlin - LOVEFOXY here delivers a dynamite 3 tracker for NYC's Nervous.

Opening up proceedings, with a defiant, smile-inducing, soliloquy - is ˙Sluthouse˙; a track that truly wears the artist's roots on its sleeve. With it being a pure celebration of heyday, US House music at its material core; whilst at the surface - a proud embrace of that inimitable Berlin attitude, atmosphere and desire to always be pushing things forward.

With its stripped back garb and distinct sense of purpose - ˙Freakfest˙ is pure club-born fire... its booming kicks, skating rides and racing hats delivering an invigorating sense of urgency that's hard to resist.

Summed up beautifully by her latest bio - LOVEFOXY's sound is often epitomised by its 'warm punch'; something that EP closer ˙Buisness First˙ showcases brilliantly. It's muted stabs, reverberating chords and hazy strings providing an almost palatial level of warmth; whilst the resonant bass, galloping kicks and incisive snares pack an almighty, sucker-punch.

DJ Support: Mark Knight, CJ Mackintosh, Mousse T, Dr Packer, Eric Kupper, Lenny Fontana, Ricky Morrison, Laurent Garnier & many more.

Michael Gray’s star has been firmly in the ascendant in recent years, with a string of chart-topping, floor-filling productions and remixes under his belt. The excitement is therefore palpable for his soon come album Optimism, which sees Michael pour both his heart and his three decades + of experience into what will be one of THE albums of the year.

'This album has been a year and a half in the making,' states the ‘Weekend’ hitmaker and one half of legendary disco house pioneers Full Intention, clearly now keen to release his career-defining magnum opus out into the world.

In these confused and often frightening times, we need musical communion more than ever. Only too aware of this, Michael has 'set out to make an album full of positivity.' Needless to say, the resulting 'hybrid of classic disco mixed with modern disco and soul' hits the spot and looks set to provide a soulful summer soundtrack to lift spirits and fill dancefloors.

In an era of often generic, over-computerised sounds, Michael returns to the source of his lifelong musical inspirations. 'Most of these productions have involved working with live strings and horns,' he enthuses. The musicians include live drums by Derrick Mckenzie from Jamiroquai, percussion by Russ Tarley from Incognito and string arranger Stephen Hussey, known for his work on Soul II Soul’s early hits.

Michael’s much-needed musical missives for the ages are masterful manna from the heavens. Things just got optimistic.

Warehouse Find!

The masterful, supergroup of Phreek lead by Patrick Adams, sees three of its sought-after masterpieces, two of which have never been on a 12 inch, officially reissued and remastered on a label that’s fast becoming a go-to for in demand reissues, South Street Disco.

A pure classic, ‘Weekend’, was born back in ‘78 written by Leroy Burgess and James Calloway and produced by Patrick Adams and Burgess, they lead an expertly curated troupe for this massive Paradise Garage staple and Larry Levan favourite. That late ‘70s sound where synthesisers rose to prominence, sees a combination of cosmic keys, freakish strings and power-play funk guitars, tied together with tight percussion, bold basslines and Christie Shire’s lead vocals, that whole heartedly captures the spirit of disco. Famously remade into a house anthem 10 years later by Todd Terry, ‘Weekend’ is a timeless slice of celestial magic.

In a similar fashion ‘Everybody Loves A Good Thing’ does another blast around the cosmos - a Universal Robot Band feel emanating from the buzzing synths and awe-inspiring vocal prowess of Leroy Burgess, coupled with ‘Shining’ star, Venus Dodson. As uplifting as it gets, complete with a killer piano breakdown to draw out every ounce of anticipation.

Flip it over and a whole side is devoted to the greatness of ‘I'm a Big Freak R*U*1*2’. A mesmerising, fast-paced, disco workout with sensuous groans, sleazed up, supernatural keys and a heavy bass that just goes and goes and goes! Favoured by the biggest and best out there, from Ron Hardy to Theo Parrish, it’s got the power and energy to light up even the most demanding of dancefloors.

2024 Repress

Electronic duo Atelier excel at riding chillwave to a cooler, moodier sound. Atelier was conceptualized by childhood friends Alexander Inggs and Jaś Miszewski whose love of analog synths, drum machines and effects pedals is revealed in a hardware-heavy live show. The project is a platform for combining their differing musical backgrounds – a blend of house, indie, folk and techno – and has an underlying maturity that emerges in their frank performances and honest productions.

2023 was a breakthrough year for EABS in many ways. It was all thanks to the well received, fully self-produced album entitled In Search of a Better Tomorrow, recorded in collaboration with the Pakistani band Jaubi. EABS' forthcoming sixth album is a return to their roots – literally and figuratively. It is an in-depth study on rhythm, which materialised in the form of the album titled Reflections of Purple Sun.

The back to the roots part not only manifests itself in the lack of guest instrumentalists, but also in a renewed focus on the history of Polish jazz. The band's debut album Repetitions... was dedicated to Krzysztof Komeda. This time, the band picked up the entire Purple Sun album, which Tomasz Stańko recorded half a century ago. From the POV of Purple Sun fans, a hard-to-find and somewhat forgotten album, it may seem like a doomed undertaking. However, in order to pay tribute to one of the most iconic figures of Polish jazz, it was worth embarking on this mission and attempting to engage in a non-verbal conversation with the Slavic spirit that Master Tomasz Stańko undoubtedly was.

You can learn more about Reflections of Purple Sun through the comprehensive booklet accompanying the record. The cover art was created by the label's regular collaborator, Animisiewasz, whose design pays tribute to Pia Burri's original Purple Sun concept. Release date is 10 May 2024.

‘Diré’, Idrissa Soumaoro new album, comes as a surprise to Malian and international audiences. Composer, singer, guitarist and master of the kamalen n’goni Idrissa Soumaoro presents here a beautiful collection of songs on his third album, Diré, named in honor of the town where he met his wife and where his first daughter, who is no longer with us, was born.
In 1971, after his studies at the INA in Bamako, Idrissa was transferred to Diré to teach music at the lPEG (Pedagogical Institute of General Education). He was 22 years old when he arrived in Diré. Idrissa has always been nostalgic for this beautiful place in the 333 Saints of Timbuktu region. As Idrissa sings in ‘Diré taga’ (Going to Diré), the track that opens the album, the city evokes deep emotions for the artist, as if it were a long-lost friend or lover. Celebrating the memory of the city of Diré leads the artist to retrace stories and lived situations that marked and animated him in years gone by: ‘I really miss the people, the colleagues, the friends and that period. Despite the time that has flown by, I would ardently wish to see Diré again’. Today, at the difficult time Mali is experiencing, remembering the city of Diré in the 1970s also means for the artist not giving up hope for peace: ‘The memory of Diré, a beautiful town in northern Mali, strengthens my hope for peace, union and real independence for the happiness of my people’; as he sings in ‘Sababou’, ‘Without hope, there is no life. Together we will succeed’.
The ten highly original compositions of the album are strongly based upon traditional music of Mali, but Idrissa’s life experiences, travels, education, collaborations and personal musical career have led him to compose and perform music with other influences. As Idrissa quotes: ‘My inspiration generally comes from the donso n'goni, a Bambara instrument played by and for hunters throughout Mali. This is a pentatonic instrument, similar to the blues exported to the USA by black African slaves. I've also spent so much time playing a variety of music that my music also reflects rumba, salsa (as well as Bamanan blues and a few derivatives: jazz, country, soul, rhythm and blues) etc. I have looked for and hope to have found my own form of expression from these influences’.
Throughout the album, his strong, clear voice sings in French, Bambara and English. It rides seamlessly upon a complex rhythmic sea of distinctly West African stringed instrumentation and percussion with accents of flute and balafon. There are keyboards in a few songs, but these, happily, do not dominate the music as we hear so often in today’s music. This album presents the music of a mature artist who has ‘been there, done that’ and returned to celebrate his country, his roots and his dreams in a flawlessly produced collection of songs of love, reassurance, fatherly advice and hope.
The album already has a long history: it was initiated in 2012 by Marc-Antoine ‘Marko’ Moreau, former producer and manager of Amadou and Mariam. Moreau had plans to produce the album and invited Idrissa Soumaoro to start recording in Manjul's studio in Bamako. When Moreau suddenly passed away, work on the album was still missing. The pandemic still added time for the production to continue. With the help of Climax Orchestra, arrangements and orchestrations were finalized in France. At the artist's behest, 'Diré' will finally be presented to the public by Mieruba, the independent label based in Ségou, the home of the blues in Mali. 'Let's stand together so that Mali can flourish': from conception to production and distribution, this is the message that 'Diré' carries.

The new album from Hysterical Love Project is a moody collection of guitar-shimmered downtempo odes. Lashed by the blue-hot debris of missing, it reverbs with adoration for those dear and far. It says I'm sorry for taking photos of sunsets, I couldn't wait to be alive.

The first in a series of archival releases from Cranes, the band’s John Peel Sessions are collected for the first time.

John Peel Sessions (1989-1990) will be available on black vinyl with a worldwide pressing of 500 copies.

Artwork by feted 4AD/v23 sleeve designer Chris Bigg (Cocteau Twins, Pixies etc)

Formed in mid-1980’s Portsmouth by the brother & sister duo of Jim Shaw (drummer, keyboardist, guitarist, programmer) & Alison Shaw (vocalist, guitarist, bassist), Cranes first appeared in 1986 with Fuse, a self-released & now highly sought-after cassette of demos.

Their debut album Self-Non-Self followed in 1989, catching the attention of legendary DJ John Peel, who invited them to record two sessions for his show in 1989 & 1990, the second seeing Mark Francombe (guitarist, keyboardist, bassist) & Matt Cope (guitarist) join ranks to form the line-up who would go on to record multiple albums for Dedicated including the much-loved album, Forever, which enjoys it’s 30th anniversary this year.

Cranes are releasing John Peel Sessions (1989-1990) on their own Dadaphonic label. The first in a series of archival releases, this compilation features original artwork by fêted 4AD & v23 sleeve designer Chris Bigg (Pixies, Cocteau Twins, The Breeders

Head X'Change is the new album by Scythe, a long-distance collaborative project of David West and R.A. Jones. First appearing on two cloak-and-dagger cassettes distributed by Low Company in 2019 and 20, Scythe's "expertly modulated space blues and isolationist architectures" betrayed a uniquely sleep-deprived, DIY take on kosmische atmospheres, where brittle, decaying synthesiser loops found solace in endless trails of feedback and reverb. X'Change was recorded with modest instrumentation but grand ambition, recounting a journey, a memory... of leaving earth, a loved one, a body. Lifting off from tense, unnerving Tennessee, an ode is made to Genevieve, for perhaps the last time. Landing in eerily familiar valleys and amongst the lunar debris of Dawngarden and Superwillow, marvelling back at Earth inflicts a feeling of tininess and innocence, captured in the stargazing blues of Embryo. The titular track then marks a sudden inward trajectory and shift in mood: cool winds and amorphous bursts of black and deep blue emanate from fissures, ominously foreshadowing tunnelling paranoia. "Mark, Ring Me" is a distant plea for human contact... but it may all be too late, for the aching psychedelia For Iris grieves alone into the abyss. For fans of Cluster, Craig Leon, Pete Namlook, space travel...

'Comrade Detective' ('Tovaraul Detectiv') is an
American buddy cop series created by Brian
Gatewood and Alessandro Tanaka.
Each episode is a different 'lost' episode from a
fictional Romanian television show that had been
commissioned by the Communist Party to promote
communism during the Cold War.
The episodes were filmed in Romania with local
actors and later dubbed into English for effect.
The episodes feature the voices of Channing
Tatum, Joseph Gordon-Levitt, Nick Offerman,
Jenny Slate, Jason Mantzoukas, Chloë Sevigny,
Jake Johnson, John DiMaggio and others.
The soundtrack features rare versions of
'Flashdance, What A Feeling', 'Obsession' and the
smash hit 'I Can't Wait' by Nu Shooz along with
Joe Kraemer's original score

Score by 20 Time Academy Award Nominee, 2 Time Academy Award Winner, Music Legend: Randy Newman. The album is pressed on classic black vinyl and includes printed inner sleeves. The vinyl release features different artwork from the CD and digital releases. Written & Directed by Academy Award Nominee Noah Baumbach. "At once funny, scalding, and stirring, built around two bravura performances of incredible sharpness and humanity, it's the work of a major film artist, one who shows that he can capture life in all its emotional detail and complexity — and, in the process, make a piercing statement about how our society now works.”

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Songs by Norwegian black metal drummer Einar
Selvik (Vikings, Gorgoroth, Wardruna), also known
by his stage name Kvitrafn (white raven).
Lyrics are sung in Old Norse and they mainly
consist of excerpts and edited Old Norse Skaldic
and Eddic poetry, except for the song ‘When Horns
Resound’, which was written by Einar.
Pressed on opaque white vinyl with printed inner
sleeve.

2024 Reissue

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Score by Danish composer Jesper Kid (‘Assassin’s
Creed 2’, ‘Borderlands 3’, ‘State of Decay 2’,
‘Warhammer: Vermintide 2’) and American
composer Sarah Schachner (‘Assassin’s Creed:
Origins’, ‘Call of Duty: Modern Warfare’, ‘Anthem’).
“‘Valhalla’ marks the first time the two of them
Sarah & Jesper have worked together, and the
sheer size and scale of the Viking-themed
soundtrack is all the better for it.” - spin
Double LP with Red with Yellow Splatter (LP1) and
Teal with Black Smoke (LP2) coloured vinyl in a
gatefold sleeve with printed inners.

While she was still a member of Nasmak, one of the leading bands of the Dutch ultra-movement, Truus de Groot started Plus Instruments in 1978 with herself as the sole member. When the project evolved, she found a wide range of rotating collaborators like Michel Waisvisz, Lee Ranaldo and James Sclavunos. Plus Instruments was about freedom and the live performances were largely improvised. The sound minimal but captivating. The music always came from within, but De Groot was also triggered by bands like Red Crayola, Suicide, DAF, Wire, Per Ubu, Devo and the No Wave scene in NY. She was always experimenting with primitive multi-track recording and whatever crappy gadgets she could find. Always looking for a gritty, dirty sound and bizarre overtones.

At a young age she travelled to New York and began to immerse herself in the nightlife of the city that never sleeps. Here she found true creativity, passion and expression. The club scene was alive but highly competitive, so this fearless Dutch girl would just knock on promoter’s doors to get gigs booked at places like CBGB’s, Peppermint Lounge, Underground and the Pyramid. De Groot eventually settled in the United States and never stopped experimenting with sound. In recent years she reinvented Plus Instruments and led the group into new territory.

The recordings for this LP were made by De Groot at home and the music is experimental, minimal, industrial but also playful, sounding nothing like most of the later material. 14 tracks in total of which 7 are taken from the elusive and impossible to find self-released debut cassette as ‘Truss Plus Instruments’ which was sparingly distributed by Nigel Jacklin and his legendary Alien Brains fanzine in 1980. The remaining 7 tracks are from the same period (1979-1980) and were carefully selected from the vast archive of De Groot. We are glad to present this anthology that serves as a long overdue testimony to the formative phase of a unique female pioneer of electronic music.

Turman first came onto the industrial scene in the late 70’s as the ominous ‘other half’ of legendary noise outfit NON. Shortly after recording the classic 1977 single Mode of Infection, Turman went on to pursue his own unique vision as a solo artist. Fusing every possible influence at his disposal while laying his ideas down on self-released cassettes like Flux (1981), Spirals of Everlasting Change (1987), Way Down (1987) and the massive Chapter Eleven cassette box set (1988). After a hiatus Turman resurfaced in 2005 to team up with seminal noise musician Aaron Dilloway. Since then, he has been gradually adding new titled to his already impressive discography.

For this archival release Turman selected 7 tracks that were recorded between 1980 and 1984. A welcome supplement to his library of avantgarde music that was released in the 80s. This album fits in nicely between the early industrial noise, the long-form minimalism of Flux and the rhythmic industrial of Way Down. Focusing on slowly shifting hypnotic loop-based layers of sound, it covers a specific side of Turman. It feels like there’s a direct link to his earliest works but it’s also a precursor to some pieces that were recorded much later. A missing link that finally gives us the opportunity of a complete overview of his early audio work.

All 7 tracks on this album have a connection to the written word in the form of a poem. Scans of the original typewriter poems are included together with collages and drawings from this specific time frame to create an essential and singular piece of art.