Cerca:awa

Plura Plura bends Electronica, Breaks and melancholic sensibilities into tracks that feel instantly familiar, like resonating memories from a life you never actually lived. Warm melodies collide with juicy, restless breaks, creating a
sentimental ecstasy that pulls you into the undertow.

Somewhere between comfort and unease, his second album captures a moment where everything seems okay — except it isn’t.

Estus & Lester Patterson’s ‘Gonna Find A True Love’ is one of the greatest ‘70s southern soul dancers. A sublime three minutes of smooth, shuffling, dance floor dynamite, that has been reissued before and will no doubt be reissued again. It’s a record that has been in demand since it was championed by UK DJs, as Northern Soul began its wonderful offshoot into Modern Soul in the early '80s. It’s one that should be permanently in print for those who feel the need to add it to their DJ set, juke box, or home-listening/dancing pile… and Acid Jazz Records has obliged.
Nearly seven years since group label Miles Away pressed 500 copies, this new pressing is on Acid Jazz. To add to the fun, the Deep Soul ballad ‘How Long Must The Show Got On’ is on the flip, which has, until now, been an album-only gem, just sitting there waiting for someone to shine the spotlight on it.

SAMOH unleashes his new dancefloor weapon, four-track EP ‘Changing Worlds’, out on February 26th, as his debut on Charlotte de Witte’s prestigious KNTXT imprint.

Charlotte de Witte: ‘I have been playing SAMOH’s tracks for quite some time now and I am very happy to welcome him to KNTXT. His acid, techno and trance driven approach to music fits my lane perfectly. There is an energy in his work that feels raw, focused and completely unapologetic. This release in particular has that acidic drive that I love so much. This is powerful club material and I cannot wait to see where it will go.’

Rotterdam’s producer, DJ & live artist SAMOH responds, ‘Releasing this as my first record on KNTXT is an amazing opportunity, and I feel honoured to be able to share my music with so many people and let this sound travel further worldwide.’

‘Changing Worlds’ EP: from the title track’s rampant beat, rattling drums, acid-saturated main theme with euphoric edge, and portentous vocal (‘reality peels away...’) to ‘We Are All Waveforms’ with its psytrancey, insanely acidic builds to banshee pitch over shutter & hiss FX at which point you are indeed ‘entering a non-linear dimension’, you are then a willing victim for ‘Reality Is Gone’ to hammer-drill into the brain and take command of your feet. Final piece ‘Echoes Of Tomorrow’ starts with dystopian chattering percussion and spacey FX, before luring you into a healing euphoric dreamstate with moonstruck, melodic trancey sweetly soaring singing.

’Changing Worlds’ represents my approach to acid techno/trance in its most direct and energetic form.’ SAMOH says.‘I made this EP with three high energy tracks, followed by a more atmospheric closing piece that brings everything together. It’s about a driving motion and intensity, creating moments where dancers can disconnect from everything else and fully give themselves to the music.’

You have been warned. You may as well succumb to acid as voracious as Venusian cloudforms, techno beats galloping over your inhibitions, and trance as bewitching as absinthe for the ears. You’ll be glad you did.

Since first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: "It's trying to be a hopeful record, while also being incensed." Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, "Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done."The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ("Drop Me Out," "Mob DLA") to jangling indie sneer ("Worth The Wait," "Deserve It") to heavy alt ("Feeling Bless," "Fill The Gap") to shoegazey spoken word ("Untethered"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places."Nowhere is this sentiment flexed more boldly than on "Mind's A Lie," a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths ("Face to face with all I've known / I can't call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

Joji returns with long-awaited 4th studio album ‘Piss In The Wind’ via Palace Creek. The new LP cements his place as one of the most distinctive and genre-defying artists of his generation, balancing haunting melodies with gritty yet atmospheric production. The album captures the quiet contradictions that always defined his music, wrestling inner turmoil into something strangely beautiful. Features “PIXELATED KISSES,” “Past Won’t Leave My Bed,” and more.


Joji kehrt mit seinem lang erwarteten vierten Studioalbum „Piss In The Wind“ zurück. Die neue LP festigt seinen Platz als einer der markantesten und genreübergreifendsten Künstler seiner Generation, der eindringliche Melodien mit einer rauen, aber atmosphärischen Produktion in Einklang bringt. Das Album fängt die stillen Widersprüche ein, die seine Musik seit jeher auszeichnen, und verwandelt innere Unruhe in etwas seltsam Schönes. Mit „PIXELATED KISSES”, „Past Won’t Leave My Bed” und weiteren Titeln.

Leave it to Joe Claussell to tap into our current collective artificial intelligence anxiety and render the racket divine. Alan Parson’s 1977 I Robot—the LP from which these two new edits were culled—was a harbinger for all the technological sheen and humanistic distress that was to come. Drawing from heady science fiction and even headier musicality and studio sophistication, ’The Voice’ evoked Jeremy Bentham-like omniscient surveillance, while the original ‘I Wouldn’t Want To Be Like You’ explores the ambivalent rift in perspective between the two poles of flesh and metal. For Claussell, the dichotomy leaves more unanswered questions and artistic possibilities, for the truth is always tangled and ripe for potential. Our bodies are propelled by the same electrons which accumulate in capacitors; our hearts, as Milford Graves was so enthralled, likewise transmit the same electric impulses which not only sustain our bodies but soundtrack our eternal, internal rhythm. These edits, with their strings, synthesizers and distortion-ravaged guitars, are protracted to dynamic sublimity, and seem aware of this seemingly opposing dynamic. Claussell, himself a lifelong proponent and interrogator of man’s relationship with mechanized rhythm and sound, leaves our earthly toil and unease behind for something greater, something yet unnamed, shared between us all at our finest. It's almost a feeling you can touch in the air…

Miles Borghese’s Direct Styles, up next on Jupiter’s Depth, explores a meditative dub techno palette that sits somewhere between dub, tech-house, and minimalist club music. Following a run of standout releases on 9FINITY and Squid Recordings, among others, we’re thrilled to welcome that alien modern club sound to the label.

The floor-focused Direct Styles opens with the title track, driven by a hyperactive bassline and layered with delay-drenched synth chords, galloping through time with restless momentum. On A2, a more tempestuous techno side of Miles Borghese reveals itself on “Dark Plan,” charging the release with a mind-bending looped groove, pulling everything on earth into a hypnotic, blitzed state.

“Climber” — a storm of immaculately constructed, phase-shifting textures that drags us deep into the B-side; a real dub-techno delight made for outer space. Closing the EP, Miles joins forces with Pipo Renault on the lush “Parapluie”: warm and groove-focused, a captivating, house-leaning masterclass built to keep you moving.

A Bandcamp-only digital bonus, Substance, awaits those willing to dig a little deeper.

“The Universe has to shaken you to awaken you”

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

WRWTFWW Records is ecstatic to announce a limited edition vinyl release of the remarkable PONYBOI (Original Motion Picture Soundtrack) by Chilean-born composer, arranger, music producer, and multi-instrumentalist Cristobal "Cristo" Tapia de Veer (The White Lotus, Utopia, Smile, Black Mirror, and many more).
This collector's edition presents Tapia de Veer's complete original score for the critically acclaimed feature film PONYBOI - a bold, genre-defying neo-noir tale directed by Esteban Arango and and starring filmmaker, actor, screenwriter, model, and intersex rights activist River Gallo who also wrote the movie. The soundtrack arrives as a deluxe audiophile vinyl LP, housed in a luxurious 350gsm gold cardboard sleeve, cut with utmost precision by Sidney Claire Meyer at the legendary Emil Berliner Studios, home to Deutsche Grammophon's world-renowned legacy.
Vivid, seductive, gritty, dreamy, tender, and sometimes heart-pounding in its tension, the PONYBOI soundtrack is a sinuous creature of its own - an emotional, atmospheric, and deeply textural listening experience. Tapia de Veer fuses shimmering electronics with haunting melodies, raw rhythms, shadowy ambience, and surges of romantic intensity, perfectly embodying the film's world of danger, desire, identity, and survival on a single wild New Jersey night. It's daring, intimate, stylishly noir, and unmistakably Cristo: music that refuses boundaries and speaks directly to the pulse.
The LP showcases Cristobal Tapia de Veer's uncanny ability to blend experimental sound design with narrative emotion - a talent that has earned him global acclaim and numerous awards, including four Primetime Emmy Awards for The White Lotus.
This new WRWTFWW edition celebrates his artistry in its purest form: warm, rich, analog, and physically stunning. A must for soundtrack fanatics, ambient and experimental music lovers, and rare memorabilia collectors.

For their 11th release, djfix makes his long-awaited return. A Soft Place to Land features six driving, techy tracks flexing his familiar djfix steeze with swung, slamming percussion, deep chattering low-end, and a psychedelic sheen.

Credits:
Written by Ethan Donovan in Bedstuy, Brooklyn
Mastered by Mike Grinser, Manmade Mastering
Additional Vocals: namastrange

OBI and insert includedstellal

Especial is delighted to reprise the label’s relationship with Osaka’s acid master, Akio Nagase. Following his debut, Global Acid EP and follow up African Acid EP covered a range of influences, all with the heavy dose of Roland TR-303, here he completes a trilogy of EPs, culminating in a homage to his love of dub reggae.

Having made reggae influenced dance music under the Makedub alias for decades, here he takes it a step further, utilising a knack for catchy hooks and acid lines, while fusing reggae and live desk-dub mixing.

I Love Smoke, a chant, the stand-out, those classic vocals flowing in and out with a 3AM (Eternal) bump. Riotously expounding the virtues of smoking ’Mari Jane’, the hypnotic stoner vibes are wrapped around Nagase’s meditative and dancefloor heartbeat.

Night Time High Acid swings, the low-end rumble and kick build before the TR-303 and harmonica lead interweave, samples and sirens encase in an ethnic, tribal slo-mo dub flow.

Things shift with the 4/4 bump of Creation Dub. A call to rise wrapped in the warmth of Dub House beats. Melody and dub flow, no need for 303. Vox are space echo’d to the limit. Keys stab, horns call, slip side away.

To finish, Harmonica Dub is just that. Heavy mouth organ solo, the blues calling atop a dub-techno stepper beat. Rimshot, stabs, echo. All encompass that psychedelic flavour of Akio. Dub, Love and Respect. Thank you Mr Kikumoto for the acid, thank you Mr Nagase for beats

Somewhere between heaven and hell…there is Fallen Angel. Dark Entries continues its mission of shining light on a generation of composers and musicians lost to AIDS with Brandy Dalton’s Fallen Angel, his soundtrack work for the award-winning Fallen Angel series. Brandy was known for many years in the LA underground for his performances with his boyfriend, Robert Woods, who was the resident DJ at Club Fuck. Eventually, they recruited John Munt to form the band Drance, becoming infamous for their high-energy performances and songs that tackled taboo topics like sadomasochism. While Drance explored the aggressive sounds of industrial and EBM, Dalton continued to produce a wide range of electronica, from abstract sonic textures to techno bangers. The Fallen Angel album collects 16 sweaty, sticky cuts composed for the pornographic series Fallen Angel, a trio of leather-focused films released by Titan Studios. The sounds here span from the fractured cyberpunk-rave of “Swelled” to the tabla-laced trance of “FA2,” taking listeners on a journey through hedonistic recesses chock full of crunchy digital drum machines and wailing FM synths.

This album was originally released on CD in 1999 by Titan Studios, capitalizing on the success of the film franchise. It will be reissued on LP as well as CD, featuring 6 bonus tracks. Artwork for the album, designed by Eloise Shir-Juen Leigh, features stills from the Fallen Angel film. Also included is an insert with liner notes and photographs. This album is dedicated to Brandy, who passed away from AIDS-related illness in 2006, after battling with the disease for 17 years. Brandy’s passing was preceded by his best friend and Drance co-founder Robert’s death in 1995. Documenting a sonic shift in the 90s bathhouse music, Fallen Angel provides a hardcore BDSM ride, building upon the analogue archival soundtracks that Dark Entries has previously released.

Spider Taylor crawls over to Dark Entries with Surge Studio Music, an album of archival gay pornographic soundtracks. James Allan Taylor was born into a working-class family in Los Angeles in 1951. Nicknamed “Spider” by his father due to his frantic energy, Taylor was a natural-born guitarist, gifted with perfect pitch and a voracious musical appetite.

Throughout the 70s, he expanded his musical repertoire, playing in bands ranging from country to post-punk, like his outfit Red Wedding, while always looking for new sounds and styles to explore. During this period, Taylor also partnered with his soulmate and musical collaborator, Michael Ely. They were part of a wave of bold, young, gay couples living openly together in the years immediately following the Stonewall Riots. In the early 80s, while working at the West Hollywood gay sex club Basic Plumbing, Taylor met Al Parker, the legendary pornographic actor and director, who recruited Taylor to produce the soundtrack for a film he was working on. Parker’s partnership with Steve Scott running Surge Studios produced some of the most popular all-male films of the era. Spider’s music was a natural fit for Surge, and throughout 1985 and 1986, he composed the soundtracks for five films produced by the iconic studio. Assisted by engineer Steve Conrad and armed with a drum machine and some synths, Spider’s compositions for film veer from the expansive, reverb-drenched “Rainforest” to the Miami Vice-esque chugger “Tech.”

While Spider thought of this work as little more than a gig, tangential to his real craft, enthusiasts of VHS-era nostalgia and vintage erotica will be brought to bliss. Surge Studio Music will be available on both LP and CD, the latter of which includes a 20-minute version of “Strange Places…Strange Things!” as a bonus track. The album’s cover art was designed by Gwenael Rattke, and features stylish images from Surge Studios releases. Also included is an insert featuring liner notes by Will Lewis, a longtime friend of Spider. The music is released from Spider’s estate by Michael Ely, Spider’s partner of 43 years. The shadow of AIDS lingered over Surge; Steve Scott passed from AIDS-related illness in 1987, and Al Parker succumbed in 1992. In 2014, when it became legal for same-sex couples to marry in Arizona, Spider and Michael finally became wedded. Spider would pass away from liver cancer six months later.