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But now it's official: this was no flash in the pan! Voodoo Kiss are back to stay. And their furious second album "Feel The Curse" is even more fun than their debut. With verve, vigor, punky grit and their typical sense of melodic heaviness, Voodoo Kiss blast, fabulate and groove their way through eight powerful examples of how this music of the eighties can be made exciting, original and rousing in the 21st century. Of course, the list of ingredients on "Feel The Curse" also reads like something straight out of the textbook of electric guitar music: the opening title track is a galloping banger with razor-sharp riffs and Pretty Maids flair, "Spellbound By Her Eyes" offers black romanticism and early Maiden vibes, "Dr. Evil" is the semi-acoustic intermezzo with Spanish guitars and eruptive thrash outbursts, "Lords Of Darkness" is a gripping semi-ballad with just the right amount of pathos and the closing "Dead Without A Grave" fires from all cylinders like Motörhead in their prime. Everything in, everything on.

The second LP by Tokyo ambient conceptualists UNKNOWN ME began as a commission for historic Japanese cosmetic conglomerate Shiseido, conjuring audio approximations of seasons and scents, but soon flowered into its own refracted and rarefied environment: Bitokagaku. Translated as “beauty and science,” the album is the foursome’s first composed solely with software, reflecting the collection’s utopian, laboratorial muse. 
From levitational electronica (“A Rainbow in Meditative Air”) and vaporous downtempo (“Dancing Leaves”) to planetarium reverie (“Kitsune No Yomeiri”) and AI IDM (“Retreat Beats”), the music moves like weather patterns in a bio-dome: dazzling, microcosmic, and delicately calibrated. Percolating synths crossfade with field recordings from Shiseido’s research division; the sound of streams and distant birds blur into a processed haze; clinical voices read lists of precious stones. It’s a vision of new age as soft robotics, of serenity streamlined by sentient systems.
UM’s team of engineers (Yakenohara, P-RUFF, H. Takahashi, and Osawa Yudai) cite an eclectic swath of inspirations behind Bitokagaku – molecules, stars, Kenji Miyazawa, Akira Kurosawa, even “the sparkle of rainbows” – but their guiding artistic principle is as ancient as it is eternal: “beauty.”

-3rd album from veteran rap duo Dillon & Batsauce. Dillon on the raps & scratches, Batsauce on the beats. ('On Their Way' - 2018, 'Self Medicated' - 2020).
-Produced entirely by Batsauce, guest features include Grand Puba, Kool Keith, Quelle Chris, Reef the Lost Cauze, Headkrack and Jay Myztroh of Stono Echo.
-Atlanta, GA + Jacksonville, FL album release parties booked for end of July + Northeast Tour Run scheduled for August.
-Batsauce has been producing hip hop and soul for 20+ years with multiple albums on labels BBE (Barely Breaking Even) producing for his wife, soul-singer, Lady Daisey + Galapagos4 where he produced multiple projects for Qwazaar of Typical Cats. He is 1/3 of the group, 'The Smile Rays' (which includes Lady Daisey and Paten Locke). He's also done extensive work with Akrobatik, Mr. Lif and even has multiple songs with George Clinton!
-Dillon is an Atlanta, GA based MC/DJ who has been releasing records for 20 years, 10 of those years was running FULL PLATE, the label he started in 2013 with Paten Locke (RIP). Dillon has worked with many of Hip-Hop's elite from the old school to the true school such as Chuck D, Diamond D, Count Bass D, Kool Keith, Greg Nice, Grand Puba, Homeboy Sandman, J-Live, Quelle Chris, Sadat X, Ras Kass, Stacy Epps, Planet Asia, eLZhi, Slimkid3 of The Pharcyde - and the list goes on!
-Classic black, standard weight vinyl in full-color jacket w/ matte finish. Includes Download Card.
Underground hip-hop veterans, Dillon and Batsauce have been making unorthodox rap music together for nearly 20 years with a simple formula: Batsauce makes the beats, Dillon writes the songs, and whatever happens, happens. After carving out their own lane with a catalog of EPs and LPs over the past 2 decades, the duo has finally slowed down enough to ask themselves, 'What Have We Done'?
Is the title of their latest effort rhetorical or meant to be an actual question? If so, Dillon and Batsauce probably don't want to know the answer. They probably don't want you, the listener, to think too much about it either. Instead, 'What Have We Done' is an invitation to experience the trials and tribulations, the small wins and the big losses of being aging independent artists in an increasingly cut-throat world for music makers.
But Dillon & Batsauce aren't the only ones on this joyride, we also hear from a well-curated crew of characters they've befriended along the way, from bonafide legends like Grand Puba and Kool Keith to modern day rap heroes, Quelle Chris & Reef the Lost Cauze. The end result is a collection of songs that runs the gamut from personal to aspirational to...delusional. Whether it's 'too much' or 'not enough', the answer to the question, 'What Have We Done' remains open to interpretation. Perhaps it’s not a question at all, but merely the naturally visceral reaction when career creators look back at a life lived on the edge.
Track Listing: 1. What Have We Done (Intro) 2. Mind Made 3. Quiet as a Library 4. Eddie Farah 5. Make History 6. Cannonball feat. Grand Puba 7. Banana Peels 8. Accolades feat. Reef the Lost Cauze & Jay Myztroh 9. Wakin' up Hungry feat. Headkrack 10. Goin' Viral 11. Ready on the Left feat. Kool Keith 12. What Are We Doing (Interlude) 13. Watercolors feat. Quelle Chris 14. Speak Easy 15. Isiah Thomas 16. Rock Bottom 17. Yoga Flame

Since forming in 2008, Falling In Reverse have racked up a fanatical fan base, so much so that the band"s legendary videos have been viewed over 30 million times. The attitude of the 1980"s Sunset Strip, the bravado of battle-ready rap, the take-no-prisoners bottom end of metalcore and the boundless revelry of underground EDM parties have all beautifully converged in this one band and this new album. It"s for everyone on Instagram, on Twitter, or anyone with a brain and two ears. "My dad raised me on metal, but my first serious love was hip-hop," Ronnie explains. "When I heard Dr. Dre"s The Chronic, that"s when I fell in love. I didn"t know what the hell they were talking about, the beats were intertwined, and it came inside of me and took me over. When we added hip-hop elements I was thinking, "Should I do this? This sounds crazy! Are people going to like this?" Now I"ve never been so proud of something. The final product, Fashionably Late, is the best work I"ve ever done." First time pressing on limited edition Clear w/Hot Pink Splatter vinyl to celebrate the album"s 15th anniversary!

As deep and wonky as it gets, Buffalo bass wizard isded is back with some potent dubstep saucery in the form of Swang EP - the latest release on Truth’s Deep, Dark & Dangerous imprint.

One slurp of the producer’s potion will see you hypnotized and intoxicated in equal measure as the four cuts of the most matured and delectable bass seep through your veins.

Tribal feels, sub-shattering lows and crisp percussion all coalesce to create the perfect conditions to take the step into the unknown crevices of your own mind.

Ready to get swang? We didn’t think so.

From listening to pirate radio recordings, putting on illegal parties and working for one of the UK’s original rave promoters, Greg Hepworth, aka Settle Down, has always had roots in the foundations of UK dance music.

Settle Down’s 30 year journey began when the sounds of Fantazia drifted into his childhood bedroom at the age of 10. After wearing out cassettes of pirate radio recordings and immersing himself in a growing culture, what followed was putting on illegal raves across the South Coast and packing tapes for Dreamscape, before crossing over to Creator and releasing for Metalheadz and Reinforced as 'Ulterior Motive' and reinventing himself as 'Settle Down'.

From fan to facilitator to maker. Voyage is a documentation of Settle Down's 30 year journey through UK breakbeat culture. Presented as a recording of a 90’s rave cassette mix, it chronicles the journey through house, breakbeat, hardcore and jungle and the influences that make up these genres, a love letter to the past and an ode to the vibe.

Voyage will be released on a limited edition mixtape cassette, 12” vinyl and digitally mixed and unmixed single tracks alongside some limited edition merchandise.

At the muddy miracle that was Woodstock, the most miraculous performance just might have been Jefferson Airplane’s. The band had been one of the first to sign on for the festival, their imprimatur prompting many other acts to hop on board, and their stature had landed them a coveted headlining slot closing Saturday night’s schedule. But, as the torrential downpours and the unexpected crush of half a million people kept on delaying their set, the chances of putting on anything approaching a quality performance seemed to diminish.

According to Paul Kantner, “We were supposed to go on at 10:30 at night and we’d been up and down about four or five times on acid that night, getting ready to go on, and then everything was delayed for whatever reasons. So, we didn’t get on until like 7:00 the next morning and everybody was pretty much burned out.” Kantner’s protestations to the contrary, the Airplane (with guest pianist Nicky Hopkins in tow) played a scorching two-hour set that defied the elements and the circumstances. Grace Slick led the charge as the band plunged into a frenetic version of Fred Neil’s “The Other Side of This Life”: “Alright, friends, you have seen the heavy groups. Now you will see morning maniac music. Believe me, yeah. It’s a new dawn!” What followed was an adventuresome (and surprisingly tight) set that not only featured the band’s big hits like “White Rabbit” and “Somebody to Love” but also premiered songs from the Volunteers album that was still three months away from being released, including a 21-minute version of “Wooden Ships!” Indeed, about the only members of the crew who weren’t up to snuff were the ones filming the concert documentary, which explains why the Airplane is not one of the acts that commonly come to mind when thinking about Woodstock; they didn’t appear in the film due to subpar footage, and only one of their songs (“Volunteers”) was included the chart-topping 3-LP Woodstock release.

Now, Real Gone Music is proud to present Jefferson Airplane’s complete Woodstock performance. The 3-LP set comes inside a gorgeous, double-gatefold jacket sporting photos of the band at Woodstock, most of them taken by the legendary Henry Diltz; liner notes by folk-rock guru Richie Unterberger complete the package. Pressed in iridescent, “clouds breaking” blue for its 55th anniversary, this release makes a convincing claim that Jefferson Airplane’s Woodstock performance ranks right up there with those of Jimi, Sly, and Santana as a festival highlight. Limited to 1000 copies!

Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we've been listening to their self-released debut album Trouble In The Shed since last year and finally spoke with the band and agreed to release it on vinyl for the first time. It was very good timing as they've just been in the studio to finish recording their second album, so we'll be releasing that later in 2024. Welcome on-board! We caught up with Peter to ask as few questions about the band_ Q: "In a week when the Labour Party promised to return the rail network to public ownership, we ask how did your fascination with trains begin?" A: "Honestly, I don't really know - I've just loved them ever since I can remember. It's not like with some people who had a family connection or watched Thomas the Tank Engine; I've just always loved them. I guess it's just a childhood obsession that never went away!" Q: "'Trouble In The Shed' is quickly becoming a firm office favourite here at DG. There's a touch of punk, indie and new wave about it. What would you say are the key influences that make up your musical DNA?" A: "My main influence when this album was released was Blyth Power. They'd been my favourite band for years when this was recorded, so everything on it was influenced by them in some way. They've had so many different musical styles over the years that they kind of conglomerated into this album, to create yet another eclectic mix of songs. The only real exception to that on this album is Electrification - no prizes for guessing the influence there! If you see us live, however, you may notice another influence pervading through our songs. That influence is the anarcho-hippy band 'The Astronauts,' whom I discovered midway through the recording process, and have quickly become one of my all-time favourite bands!" Q: "What's the story behind your song 'Hornby Horrors'?" A: "Hornby Horrors is an interesting one. People who haven't heard it may assume it's about some ill-fated model railway endeavour, but it's actually a tale of corruption in, of all places, the model train company Hornby! This song was the result of several minor scandals at Hornby HQ making their way to the modelling masses, the main ones of which were an ill-fated tier list, which placed retailers in three categories as to whether or not they received Hornby's products, with tier 3 retailers barely getting anything at all. Interestingly, the UK's former biggest retailer, Hatton's Model Railways, was a tier 3 retailer due to their 'competing products' (made by their own small brand Hatton's Originals') and has recently announced closure due to financial hardship. Now as we all know, correlation does not equal causation, but I wonder_" Q: "The album is being released on a specific shade of green vinyl. What's the significance?" A: "The shade of green on the vinyl is very similar to the shade worn by the locomotives from the Great Western Railway in the 1870s - 1940s. Due to this connection, we thought it was only proper we picked this colour, which we have dubbed 'Great Western Green!'" Q: "The album release coincides with an appearance at Rebellion Festival in Blackpool this August. Can you give the readers three reasons why they should come and see your performance?" A: "1 - We like to think we provide something different with our music - it is very obviously punk, but it's a bit more light-hearted than a lot of the political stuff, with nearly all the songs being about some sort of obscure steam loco engine. If you just want something light-hearted to enjoy, we might just be the band for you! 2 - We've got a rather interesting line up - instead of the usual line-ups you see, we've got a 15 year-old singing drummer with his dad on guitar, a newly-turned adult with a massive ginger afro playing the bass, the guitarist from the old anarcho band 'Dog On A Rope' playing some gnarly lead parts, and all topped off with some beautiful backing vocals from the drummer's sister and mother. As Attila the Stockbroker described us, Blyth Power meets the Partridge Family - not to be missed! 3 - Here's something you won't forget in a hurry - as well as his vocals, our 15-year-old frontman Peter plays drums and trumpet at the same time! If that's something you want to see, make sure you get down to see us!"

Introducing the inaugural vinyl release, envisioned by Ekaterina Arshanitsa, designer and founder of the progressive streetwear label, DESU Clothing titled "Fashion Show".

This exclusive LP marks the genesis of our limited vinyl collection, comprising of only 10 meticulously curated records, each edition being limited to 300 copies.

Articulating a fusion of progressive clothing design and intelligent music, "Fashion Show" will grace the shelves of our flagship fashion house in Bali, as well as select partner stores in global fashion capitals such as Paris, New York City, Los Angeles, Dubai, Tokyo, Moscow.

Renowned artists, who share a passion for DESU's innovative style, have composed exclusive tracks that embody our vision. Aquarius Heaven, eclectic singer, and stylish performer Monoplay, remarkable duo Kurt & DJ Nils, and Silas Hoppe, side project of techno producer Roman Shultz, all contribute to the first of ten collectible EPs. Each composition reflects a seamless blend of intellectual music and cutting-edge fashion, showcasing the subtle and profound synergy between sound and style.

We now present our first DESU "Fashion Show" - avant-garde electronic music with modern street fashion. Ready-to-Play!

JANEIN RELEASES FIRST ALBUM "VIRTUAL UNIVERSE"
Get ready for a journey like into the deep space as JANEIN drops his first album, "Virtual Universe." The Album takes you on an adventure, with each track marking a unique point in this exploration.

Legalize Lambada is back and there ain’t no moldy gorgonzola in this Italo homage! Legendary cosmic captain Albion returns to Lambada-land and starts this edit compilation with 'Nucleare', a robotic jam seasoned with Italian vocals which serves as a great intro to the release. Ric Piccolo’s 'Disco teacher' on A2 and 'Alright' on B1 are serious floor fillers, possibly ready to injure part of the Boston dynamics fleet after inducing uncontrollable dance moves. At the end it’s Hysteric’s 'Moment' on B2 that prompts a soulful side of italo for some deep machine learning.

“An Electric Storm” is the most renowned work of UK collective White Noise, an English experimental electronic music band consisting of virtuoso knob twiddlers and tape splicers. Although not very succes- sful on its initial release, the album is now considered an important and influential album in the develop- ment of electronic music. But beyond its historical importance, the harmonic progressions, among other things, are by no means taken for granted, and refer a lot to the Baroque and to classical composition in general. This album was obviously a labour of love, taking a whole year to complete seven amazing songs before sampling technology, synthesizers and digital equipment were readily available. There’s also chaotic humour at play on the feverish “Here Come the Fleas,” which contains more edits in its two minutes than the whole of Sgt. Pepper’s. Yet it’s the retro-futurist textures that still grab the ear most.

Released in 1969, The Golden Gate’s “Year One” album is a gem of late 60s psychedelic pop and alternative rock. This album is renowned for its innovative compositions, combining complex harmonies and rich sonic textures. With its poetic lyrics and experimental production, “Year One” captures the spirit of its era while offering a unique perspective. It is considered a cult classic for fans of this revolutionary period in music.

Black Decelerant is the second installment of Reflections, a series showcasing contemporary collaborations orchestrated by RVNG Intl., recently inaugurated by Steve Gunn and David Moore. Black Decelerant, the duo of Khari Lucas, aka Contour, and Omari Jazz, explores jazz traditions, improvising with synthesizers, guitars, and electronics as a practice laid forth by their musical ancestors. This experience allows for sonic meditations on themes such as Black being/nonbeing, mourning/life, expansion/limitation, and the individual/the collective. The two strive to create a sonic surface which can simultaneously allow Black listeners a place to be still, and to serve as a basis for a movement beyond "the moment." The album's ten compositions configure vast, resonant landscapes with signals, weathers and spirits, suspended in memory and distilled in time. The Black Decelerant machine recalibrates archival relics and acoustic impulses into collages of amalgamated timbres, where harmony exists not without discordance. Across the expansive space of the record, cadent storms of modulated sound ascend beside serene melodic spells. Piano keys and bass lines tumble in free fall throughout the release, accompanied on tracks "two" and "eight" by the spectral trumpet improvisations of Jawwaad Taylor. The duo arrived at their name upon reading Aria Dean's Notes on Blacceleration, an article which explores Accelerationism within the context of Black being or non-being as a foundational tenet of capitalism. Coupled with the record's intended effect, "Black Decelerant" references the music being an invitation to slow down, while hinting at the shared politics between themselves and the artists and thinkers who inspire them.

Italian producer Toto Chiavetta returns to Mind Against's HABITAT with a spellbinding new single titled "My Eyes Are Failing". Off his new EP of the same name, the song is a haunting journey where crunchy textures and hypnotic melodies come together with the refrain, "I think my eyes are failing, but I feel my lungs inhaling," to envelop listeners in a dark, atmospheric soundscape. Featuring the mesmerizing Thom Yorke-esque vocals of Trenton, the new track showcases Chiavetta's mastery over immersive, emotionally-charged electronic music.

Bolstered by b-side single “The Sacred Space” and a club-ready alternative version from Toto himself, plus remix from Echonomist, the new EP rounds out to create a defining statement from Chiavetta. With a growing list of supporters that include industry heavyweights like Âme, Sasha, John Digweed, and Camelphat, to name a few, and previous releases on Innervisions and Diynamic, Toto Chiavetta is poised to make a big impact with this landmark release on HABITAT.

After a world-conquering 2023, UK electronic duo Gorgon City continue their next chapter by announcing their fifth studio album ‘Reverie’, out 19th July, alongside the new single ‘All That You Need’ featuring Caroline Byrne, out 4th April


Following the release of lead single ‘Biggest Regret (with Bbyafricka)’ at the beginning of the year and the club-ready ‘You Know It’ last month, the anthemic ‘All That You Need’ is another sign of things to come from Gorgon City’s upcoming summer LP, with a filthy bassline, bouncing synth toplines and distorted vocal melodies that instantly ingrain themselves into your memory

This Giant 12" EP collects the batch of covers on the heavier format for those that may have missed out. The A Side features "IS IT ALL OVER MY FACE?", KRAFTWERK's "WE ARE THE ROBOTS" & HERBIE HANCOCK's "READY OR NOT". The B side covers TEAR FOR FEARS, THE JONES GIRLS & KANO.

BALTHVS is THE premier eclectic & psychedelic world funk trio from Bogotá, Colombia, sparking a counterculture revolution in their home country.

Cause & Effect is BALTHVS's second record. An evolution from its initial chill psychedelic sounds portrayed in 2020's 'MACROCOSM'. Owing to its Colombian roots, the album has plenty of Latin American rhythms, as well as ventures into Deep House, Turkish Music, Vaporwave, Trip-Hop and Disco. Their signature psychedelic elements are always present, ready to engulf the listener in a hypnotic trip across time, space, cultures, and different eras.

The name of the album reflects an ancient hermetic axiom. Nothing is accidental, everything is invoked. Chance or fate are names for a cosmic law not comprehended. Everything you do, consciously or unconsciously will come back at you, nothing happens without reason.

This is the memorable debut album by Wendell Harrison, the founder of TRIBE, under his solo name, and is also known as the first version of "Message From The Tribe", which was released the previous year as the iconic masterpiece "TRIBE". The first version of "Message From The Tribe" (a.k.a. "Cliff Jacket"), which was released the previous year, is an updated version of the A-side that Wendell Harrison steered! The opening "Mary Had An Abortion" (M1) and "Consciousness" (M5), which quickly builds tension with its poetry reading and freaky sound that conveys a strong message in a deep voice, and the ferocious "Soulful Soul" by a young Wendell Harrison. The soulful "Vol II Angry Young Man Part I - Part II" (M3-4) is overwhelmed by the blows of the young Wendell Harrison, "Rebirth" (M6) is shaken by the heart-string-tugging horns against a tranquil soundscape, and "Mellow & Spiritual" (M7) is a mellow and spiritual masterpiece. Where Am I" (M2), a mellow and spiritual song loved by many DJs and diggers! All tracks have been newly mastered and reissued in the original 1st pressing jacket with full-size printed visuals!

Can't Stop .There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe.

Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.

While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!


Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop!