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In ancient LDDLM times, BLDDLM even, Belgium could well have been the freaky house and ecstasy center of the world. If only we could remember all the lost hours... But after all, as the Brussel saying goes: 'it's Friday, tomorrow is Tuesday'.
At LDDLM, we try not to reminisce, that was just setting the mood.We are very happy to welcome ARTHUR JOHNSON in our non-fold, a young producer from Liege via Marseille and La Dame Noir. AJ is amongst those ever mutating artists, his u-turns slowly composing a real personality, and one fitting our contrarian attitude. In a way PERFECT STRANGER reminds us of a good 90's Farley/Heller remix, not so much camp Fire Island than almost sweaty late night trancer. We love those tracks that do not fit our ethos a priori but that we can't stop playing. COSMO VITELLI is a long time family friend and he beams up this stranger through the axis into some kind of romantic italo-german anthem.
BALLADA and SECRETARY DISCORDIA show a different side of AJ, a dub march echoing Dif Juz and a percussive machine funk number. We sincerely hope AJ keeps on straying for the best, his way being our way.

British DJ/producer Bearface has been on a bit of a roll of later. Aside from releases on his own Beartone label, the London-based label owner has also found time to deliver outstanding cuts to the likes of Exploited Ghetto, which housed his last release, the wonderful 'Moon'. This time around, he comes correct on his own Beartone label with a record that's notable for its quirky demeanour and undoubted eclecticism.

Opening up the release is the sounds of 'Mumbai Nights'. Although it gets us underway in fairly innocuous fashion, it quickly finds its feet thanks to a brilliant, whaling Indian-Inspired vocal that weaves in and out throughout. A whimsical track of that sort that's sure to be a hit with more daring DJs, it's an auspicious start to a release that's never lacking in personality.

As is his forte, Bearface then goes much deeper in search of kicks on 'Data Storm', taking us taking us down the rabbit hole to a place that's full of enticing oddities throughout. After this, the frankly bonkers sound of the electro-leaning title track 'Sista' take centre stage. A thoroughly intense peak-time workout, it's full of attitude and an indication of the producer's more gnarly and abrasive approach. All things considered, it's sure to get the night moving in an altogether different direction wherever it's unleashed.

Closing out the EP is the drum heavy sounds of 'March'. A broody track that's tailor made for the night's more relentless moments, it's a a fitting way with which to sign off an eclectic and dizzying release. The latest chapter in the Beartone story is a captivating listen throughout.

Awanto 3 and Meditation Tunnel appear on the latest Blitz, DJ Tennis' ongoing, limited, vinyl-only series. These colourful records sometimes pop-up around Life and Death showcases, often featuring non-standard cuts + off-kilter attitudes.

Dekmantel affiliate, Awanto 3 offers-up an infectious after-party gem, with "The Phone We Call It." Slow-burning cosmic keyboards pair with elements of Detroit techno and a subtle wink to RDJ's masterstroke, Xtal.

The flip contains a killer from Meditation Tunnel, the newly-birthed dance project from The Rapture's Luke Jenner. La La La is a Blitz future-classic. Syncopated bass guitar, crusty synthetic strings and the purest of vocal performances - Blitz #2 is one to remember.

We are glad to intruduce you this new joint venture, CRVEL are P.E.A.R.L. and Tensal colliding in the studio with the aim to create cyclical weapons for the most osbscure dancefloors. Raw synth lines, crispy high frequencies, continuous sequences and plenty of details and subtle twists that keep the flow going. Four exercises of futuristic techno with no turnabouts, straight to the point with a timeless attitude.

Bluestaeb's Evolution From A Beatmaker To A Producer Is His Sophmore Album everything Is Always A Process'.

He Is One Of The Key Figures Of A New Generation Of Up And Coming Hiphop Beatmakers, Who Have Emancipated From Genre Thinking And Instead Merge Old School Aesthetics With A New School Attitude And Organic Instrumentation.

Everything Is Always A Process Re-iterates Bluestaeb's Overall Approach To Life (and Thinking), But Also Has Direct Reference To The Making Of The Album Itself, Which Began With Moving From Berlin To Paris In 2015 In The Search Of New Influences And A New Creative Environment.
Created Between 2015 And Early 2018, Eiaap Embodies The Process Of This Transition - As Well As Collaboration With Instrumentalists And Vocalists From All Over The World And Recording In Different Studios In Paris, London & Berlin.

"meeting All Those Musicians And Trying Out New Ways Of Producing By Using Real Analogue Synths, Rhodes, Drums And Percussion Etc. Made It Possible To Overcome The Creative Boundaries Of A Home Studio With Just A Midi Keyboard" / Bluestaeb

Influenced By Madlib's "shades Of Blue" And Trained In African Drum Techniques Such As Djembé And Daruka, Bluestaeb Had Been Crafting His Own Beats Since His Teenage Years And Gradually Found His Sound Identity Through Experimenting With Hiphop And Jazz - First To Be Heard By A Broader Music Community In 2013, When He Released His Debut Album "1991 Extraterrestrial" (radio Juicy). Since Then The Prolific Young Artist Has Released Numerous Solo And Collaboration Projects ("b.l.u.e. Friday" In 2015 And - sidekicks With S. Fidelity In 2016). In 2016, He Produced Collaborative Album "lit - Lost In Translation With Rapper Juju Rogers, A Keen Manifesto Against Racism, Xenophobia And The Rise Of Anti-heroes Such As Donald Trump.
Today, Bluestaeb Lives And Works In Paris And Berlin And Is Set To
Release His Third Solo Album everything Is Always A Process', A
Smooth Neo Soul-induced Epic Featuring Artists Such As Noah Slee, Harleighblu And Melodiesinfonie, Via Jakarta Records In 2018.

Archie Hamilton touches down on Fuse once more for the 'Mercury Rising EP'. Right Hook kicks things off in typical Archie style with a snaking groove, resplendent with another one of his trademark catchy b-lines. 'Limbo' is the EPs VINYL ONLY track and delves a slightly deeper furrow with a headier vibe whilst 'Mercury' rounds off the package; a brisk tech-houser with warm attitude via blissed out pads and a charmingly understated synth riff.

Nicolas Lattansio, aka SHIT, was raised in Temperley, a small borough in the city of Buenos Aires, Argentina. In 1996, he had his first encounter with electronic music and has been inseparable ever since. Hes in love with the beats and the dance floor. His tracks are played by the likes of DJs Pareja, Alejandro Paz, Carisma and Mijo. Hes the founder and resident DJ of Te Re Cagamos La Fiesta and TOKYO, the Festival. He defines his music as indie techno, with strong beats, vocals and plenty of attitude. Without a doubt, SHIT is one of the most powerful projects in the neighborhood.


The Solo En La Pista EP shows SHIT's veritable force in the blooming indie-techno scene growing out of Mexico and South America, and the remix with Mexico City's Ali X x Ximena (former Azari III) is an extremely strong dance floor track that has proven itself upon many floors and festivals from Burning Man and beyond over the course of 2017 in preparation for it's public launch this year.

Lithuanian based label Sodai started its journey in 2016, making it a label still in it's infancy but making a big impression. Owned by artist Gardens Of God, who started the label to create his own 'no limits' platform for his experimental sounds and projects. While at the same time a platform to give other artists the chance to also have freedom with art and music.

With releases from Raxon, Few Nolder and Alex Krell under their belt, they can announce the exciting debut from UK producer Third Son this April. 'I've been an admirer of Gardens Of Gods' music for a long time, when he asked me if I could do something for his imprint, I was more than thrilled!' adds Joseph.

'Syncope's' synths spread far and wide, making this a journey of a track, modulating and panning in and out, pushing and pulling along a percussive drive. His broad musical range can be felt in this mix, with its slightly hypnotic tones.

'Irony' has a punctuated low end, which creates a deep and dark groove. The synthetic elements in this track gain in attitude, on top of ambient pads, leading nicely into 'Bach' to close out the release. It's driving and determined bass makes the backbone of the track, with a modulating hook line, along building and expanding frequency ranges.

The whole package makes for a very strong first release from Third Son, and Sodai are excited to be welcoming him to the family.

2x12"

Soma Are Proud To Present The Debut Album From One Of Techno's Most Prolific And Renowned Producers, Tensal. As One Half Of The Duo Exium, Hector Sandoval Has Already Carved Out A Career In Techno Spanning Over 20 Years, With Countless Release On Their Self-run Nheoma, Warm Up Recordings & Pole Group, To Name But A Few. In 2014, He Started The Tensal Project As An Outlet For His Own Productions Which Allowed Him The Scope Of Pursuing The More Direct And Minimalistic Approach With His Music And Also His Dj'ing. After Hooking Up With The Soma Camp In Early 2017 And Releasing A Collection Of Well-refined Singles, Tensal Delivers His Debut Album, Graphical. Searching To Go Beyond The Realm Of Standard Techno, Tensal Lends His Considerable Production Experience To This Project And Creates A Sophisticated And Immersive Album Experience That Flows Gracefully Between Idm And Techno.

With The More Stripped Back Approach At The Forefront Of The Project, Belga Gives Us An Insight Of What To Expect From The Album; A Refined Sequence And Melodic Element Build Gracefully And Hypnotically, Ending Abruptly To Leave You Wanting More. Santolaya Picks Things Up And Brings With It A More Pensive And Exploratory View Before The Droning And Atmospheric Roj0 Leans On A Decidedly More Experimental Side. Aimed At Bringing Tension To The Project, Convulsa's Waves Of Sub Bass And Syncopated Percussion Set The Tone For A Pulsing And Edgy Affair. Tensal Brings 4x4 Into Play With Polariex. Slow Paced Yet Staunch In It's Approach, A Gritty Synth Hook Stands As The Backbone. A More Hypnotic Approach On Egoaio Looks To Bring In The Standard Tensal Sound But As Always, New And Experimental Sounds Are At The Forefront. Closing Out The Album, The Focus Begins To Shift To A More Dance Floor Orientated Attitude. Zomb Is A Quintessential Dj Tool, Drawing On The Power Of Restraint, As Its Gradual Swells Create Perfect Cohesion Throughout. P R U V I 4 Continues The Ongoing Theme Of Tension As Multi Layered Hooks Surge Forth Against A Backdrop Of Forceful Drums And Undulating Noise. Tensal Ends His Debut Lp On A High With The Punishing Mimix. Pounding Kicks And Twisted, Tripped Out Synths Are Driven In Intensity With Chopping High Hats That Slice Through With Vigour.

With Graphical, Tensal Has Constructed A Body Of Work That Is More Than The Sum Of Its Parts; Easily And Intelligently Displaying His Production Prowess By Crafting A Sonically Accomplished Album.

Cause we love Vinyl..... Here is the first Vinyl from the Label JACKFRUIT RECORDINGS, a new label founded in 2017. Label Owner is the Berlin based Artist, DOMPE, known for good arranged House Sounds. He releases a lot, a real creative mind. Four handmade tracks can be found on the Vinyl. THE JOKER: Do you need a Joker Deep and warm Techhouse-Bassline So who is you favourite Buffoon now Risky grinning attitudes sounds you have to hear loud. After that bomb it's time for an new experience: It's time to Boogie. 1,2,3,4 what are you waiting for Move your Body to the Groove. CRY: snappy sounds, a necessary amount of percussions and a beat that makes you teeter along. FREE BIRD: Here are some very new House Beats for you! It is really time for some spring feelings, so the sounds go fresher! And it feels like hearing the bird singing, sitting in the sun meanwhile. Real Groove comes through your Speakers - turn is loud! Percussions make you hooo. So shake your body once again and dance until the spring is coming. JACK BROWN: Hey Sweetheart you are such a hot fruity! Another brilliant cooperation between AGENT! and DOMPE and as it is common: never change a winning team! These both guys living in Berlin are not only Friends; they got a perfect match with their sounds and ideas. Soundaholics with playful whims in their heads. There is a rumour that JACK BROWN gives his Name to JACK FRUIT. Not really just kidding. JACK BROWN makes you dance, drags u to the middle of the floor. Charming Bassline, Vocal and a direct urge for snipping your fingers.

Black To Comm's Marc Richter returns under his Jemh Circs guise for a 2nd album of sonic abstractions. In contrast to Black To Comm's analogue tape and vinyl based sound, in Jemh Circs he works with digital sources by primarily sampling modern Pop Music (and various other oddities) on YouTube (et al.) and sending chunks of it through a variety of arcane transformations and mutations.Using similar esoteric methods as on his 2016 debut album but with very different results the record deconstructs the hypermodern sound of Pop Music with a Post Punk attitude, energy and primitivism. Richter's combining disparate elements that shouldn't really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style."(untitled) Kingdom" converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds and narratives, completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.Some press clips for previous releases:The overall effect is quite remarkable. Each track is like a hologram of pop music itself, a tiny part that reflects the whole. You almost feel that you could open them out and re-create entire popular music cultures. We'll be grateful for that when the next solar storm fries all of our hard drives. (Ian Sherred / The Sound Projector) In that way Jemh Circs is a record about process - not just how Richter loops and distorts and mutates his samples, but how the sounds of pop music create a particular sonic signature, one that gets more interesting the farther they're pulled from their original context. (Marc Masters / The Out Door) Recycling random audio off YouTube, Jemh Circs' process couldn't be less sentimental, but the results turn out to be sneakily emotive. (Philip Sherburne / Pitchfork)

Ghent based pianotrio Steiger have earned their place in the ever growing peloton of young Belgian jazz innovators. As a result, they won the Young Jazztalent price at the 2017 Gent Jazz Festival. With their luscious and rigid grooves in minimalistic framing, they cose themselves between SCHNTZL and De Beren Gieren, likewise minded young Beljazzbands that don't take it so closely with traditions. They play jazz with a rock'n'roll attitude. Sdban Ultra is very pleased to present a sampler of their debut album 'And Above All' on a limited 10" vinyl for Record Store Day 2018. This release marks their introduction on Sdban Ultra, their sophomore album is expected next fall. And Above All' houses both jazz and modern compositions, avant-garde and experimental electronics. Steiger takes inspiration from jazz and refers to the traditions but equally pulls those apart, for example in the chaotic miniature 'Bachfag' and in the intimate 'Inverse/Reverse'. With 'Berlin Revisited' the band clearly chooses electronic instrumentation. It is reminiscent of the electronic jazz of the noughties: bands like Triosk, Sofa Surfers and Flanger did not so much work towards jazz but used the genre as a stepping stone to dive into the cosmos. Steiger are launching themselves into infinity on this track with a pounding beat, shrill cymbals, overdriven keys and an unwieldy bass.

Vidab X returns with a new artist, Faltin, who chooses to remain anonymous, plus a stepping rework by Gowentgone aka label owners Oliver Deutschmann and Stephan Hill.
Faltin's 'Phobos' is a stripped down analogue masterclass. Rolling and snaking, its arpeggiated lead growls with a hot headed tension, climbing while never losing balance and poise.
The 'Gowentgone Stepper' translates the original into a heavyweight, early-morning trip - a certain hybrid of broken beats and techno attitude that melts between genres. Waves of euphoria are carried by rumbling drums in this essential version.

Nat Birchall charts new paths toward spiritual communion, connecting jazz with classical Indian influences guided by the wistful flow of the harmonium.

Cosmic Language sees the UK-based saxophonist, composer and arranger return to Jazzman Records with a cross-cultural approach: an exploration of the parallel musical paths of jazz and Indian ragas. Here he takes influence from spiritual jazz forebears such as Alice Coltrane and Yusef Lateef and introduces the Indian harmonium to his band, where it takes the place of the piano. Making new connections to realise his transcendental ambitions, it's a logical next step in making music as spiritual cleanser.

The idea for the album was spawned from a one-off performance at a meditation centre, the Maharishi Golden Dome in West Lancashire. Seeking to bring a band set-up that was fitting to the quiet-minded setting, Birchall brought the harmonium with him. A small pump organ, it's an instrument he'd been in possession of for many years but hadn't previously used in his music. Building on the spiritual context of that show, and the associations of that instrument, it led naturally to the musical approach undertaken on the album.

Both the album and the show which preceded it were recorded with the same tight-knit group of players which have featured on Birchall's previous albums. All members of the group are part of the same like minded circle of Manchester-oriented jazz musicians, sharing stages and acquaintances with the likes of Matthew Halsall (a longtime collaborator with Birchall) and GoGo Penguin.

Birchall has always channeled wide-ranging ideas into music that's simple to understand, and this album is no exception. Album opener 'Man From Varanasi' is an ode to Bismillah Khan, one of Birchall's heroes of Indian music who hailed from the northern Indian city named in the title. It also sees him taking cues from the Indian raga tradition which, as with most other traditional Indian music, is a foundation which underpinned Khan's music.

Crucially, the ragas tap into the idea of of music as a means of spiritual release. As Birchall explains, "The whole act of making music is a spiritual experience. It's during performance and when playing music that I look for a kind of truth. It's with music where I find myself feel closest to attaining that 'enlightened' kind of feeling." "On rare occasions I've actually felt as though I was listening to the music being played rather than being involved in making it, almost like an out-of-body experience."

This natural feeling comes from Birchall's attitude toward jazz music. He sees it as an essential part of day-to-day life: instead of brightly-lit, occasional entertainment in lugubrious concert halls, he considers it an everyday, vital source of inspiration. At a moment where jazz-influenced music is undergoing creative renewal and wider appreciation, it's an important perspective that's found resonance elsewhere. His experiences and the world around him are filtered through his music, and he looks to have his music - be it live or on record - absorbed in the same quotidian way. "To me, it's an integral part of society, an everyday thing," he says. "You should hear the music every day."

Dirk Serries: electric guitar
Andrew Lisle: drums
Colin Webster: alto and baritone saxophone

Limited edition of 300

'Kodian Trio ... blasts through, mashing free improv clicks and clatters with free jazz-inspired hoots and hollers, all wrapped up in a waistcoat of gimlet-eyed punk attitude.' - Paul Margree, We Need No Swords

Les Shadoks (50th Anniversary Edition) - Collector's VINYL Edition (LP + 7"): High glossy gatefold sleeve, French + English liner notes / poster inlay with Shadok drawing by Robert Cohen-Solal, hype sticker

- Les Shadoks soundtrack by Robert Cohen-Solal available for the first time ever in its entirety, cut and mastered from the original reels, made in cooperation with the artist.
- For fans of musique concrète, electro-acoustic, psychedelic, early electronics, experimental, soundtrack, library, oddities, cartoons, 60s and 70s music, Prospective 21ème Siècle series, Bernard Parmegiani, Jean-Jacques Perrey, Luc Ferrari, Pierre Schaeffer, Pierre Henry, Bruno Spoerri, Groupe de recherches musicales (GRM).

WRWTFWW Records is delighted to announce the release of the complete soundtrack of cult French animated TV series Les Shadoks (1968-1974) by Robert Cohen-Solal, available for the first time ever in its entirety. Right in time to celebrate the 50th anniversary of Jacques Rouxel and René Borg's legendary television cartoon, this collector's item comes in two versions: a limited edition 12" + 7" vinyl album housed in a high glossy gatefold and with an exclusive Shadok drawing by Robert Cohen-Solal, and a digipack CD. Both versions are cut and mastered from the original reels under the supervision of the artist, and contain liner notes in French and English.

Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary - a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixing into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created!

A true literary, cultural and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee's La machine à gazouiller), left a lasting mark, making the term Shadok an often-used satirical expression to describe policies and attitudes considered to be absurd.

'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.

Purveyors of enigmatic dreamscapes and organic, danceable electronica, Leeds-based, electronic-soul quartet Noya Rao are set to release their debut album, Icaros, this November. Founded by producer Tom Henry (Cosima, Yellow Days) Noya Rao was originally conceived as a solo production project with a separate live band representation. Alongside bassist Jim Wiltshire and drummer Matt Davies, whom Tom had met playing in other bands within the Leeds music scene, the project grew to become a collaborative effort mixing Tom's production ideas with the attributes of Jim's unique bass synth lines and Matt's polyrhythmic beats. Their compositions drew on the influences of jazz, hip-hop and electronic music whilst incorporating the sounds of the bass-heavy-dub music synonymous with the Leeds music scene. Their sound really came into focus when they met vocalist Olivia Bhattacharjee who brought her gospel style and complex choral harmony to the band. Developing from raw, psychedelic improvisations, their sound became more defined and minimal, underpinned by live instrumentation and more structured song writing. This co-existing electronic and organic thread gives the band a strong identity and their powerful live show sets them apart from other producer-led bands. Matthew Halsall from Gondwana Records saw the band perform at an intimate show in Manchester in 2016 and blown away, signed the band on the spot.

Icaros takes the listener on a journey through the band's unique sound-world amplified by Tom Henry's bold and inventive production techniques. Sometimes fragile, sometimes raw and visceral the album opens with the ethereal Azimuth. It's contrasting sections and mysterious chords offer echoes of the band's instrumental beginnings whilst the repeated vocal harmony layers at the end demonstrate a signature feature of the new Noya Rao sound. Moments is the first tune they wrote together and reflects upon taking joy in the everyday: the opening womb-like chords are another distinct sound of the band. The gritty Golden Claw describes the effects of a manipulative heartbreaker, it's darker, more driving and has a ruder '80s flavour. Midas demonstrates the band's use of linear structural forms and complex rhythms influenced from around the globe. It tells the story of someone who, led by greed, made some regrettable decisions. The atmospheric Dreaming Part 1 and Part 2 are sumptuous dreamy soundscapes. They were born from the same epic improv-based writing sessions as Fly, which has a trippy disco vibe, offset with wonky chords and crunching vocal harmony. The hook-led I Feel points to future ventures for the band: mixing their electronic textures with a more formal song-writing approach. A sublime slice of dreamy space-jazz, Same Sun Will Rise, finds Olivia contemplating mankind's utter selfishness and a desire for change, "Over borders we've assigned, same sun will rise'. Minimal and spacious, This Time demonstrates the merging of ethereal edginess and delicate songwriting. It is this combined with their electronic and live approach and more than a hint of Leeds attitude that gives Noya Rao their unique sound.

Bugsy hails from Milan where he is resident and co-host of the brilliant Take It Easy club night which brings many of the finest house DJ's to the city and remains packed week in and week out. With his featured producers Astroloop at his side Bugsy has come up with a quality debut loaded with fat, low-slung deep beats and Detroit-inspired grooves for Freerange entitled the Svegsy EP. The lead track sets the mood with mid-tempo loping beats that have 'Freerange' written all over them. We can't get enough of the simple yet satisfying warm-up vibe which oozes from this track. Understated, warm and relaxed yet with a bump and grunt which calls you to the dancefloor.
A2 is a track entitled New Vision where we find a straighter groove underpinned by a restless, pulsing, analogue bass and shifting block chords. With it's heads down attitude and simple, rolling arrangement this is Jimpster's personal favourite for banging on a big system. Flip over for the aptly titled Ghost Song. Here we get off-kilter vocals and fleeting glimpses of a melody which then disappear into the ether. All in all a slightly surreal yet groove-heavy track which has a charm of it's own.
Rounding off the EP we have Chicago house legend Boo Williams on the remix of Ghost Song, where he takes a minimal approach with a hint of acid but keeping his soulful touch. Enjoy!

“There is rebellion in the daftness and obscurity, and Snapped Ankles are but a celebration of the necessity of the weird” the Quietus

“Uproarious post-punk vocals on an exhilarating, entertaining four-minute gem” The 405

“The most exciting thing in our world” Loud And Quiet

“A post-punk utopia fit for all the creatures of the forest” The Line Of Best Fit

“Just fantastic!” Marc Riley, BBC 6 Music

“Hot-stepping garage rock outta London, underlined with Factory Floor-esque monotone synths and punky attitude” Boomkat

“Snapped Ankles burst forth with a dose of thunderous, rollicking post-punk” DIY