Suche:be 2

Sydney-born, Berlin-based DJ / producer Logic1000 delivers a euphoric dance remix of José González’s timeless hit track "Heartbeats" - the 2nd in a series of new remixes celebrating the 20th anniversary of González’s acclaimed debut album, Veneer

Perc returns to Perc Trax for his first full EP since the release of his Resident Advisor recommended album 'The Cut Off' in March 2024. Across the three tracks of 'Soft Launch' Perc sets out his current sound, a groove led take on classic techno with the depth of production and unexpected twists that Perc's tracks are famous for.

Title track 'Soft Launch' is based around the interplay between the three main elements of the track, the driving kick & bass, cut up percussion loops and the ever building string chords, creating something unique that has been a key track in Perc's sets since it was completed.

'Tonight' sits somewhere between pulsing electro and gritty lo-fi techno, constantly pushing forward as a female vocal breaks through the wall of percussion demanding to hear something fresh.

Finally 'Gravity Drop' pushes the sound design further, mixing a crisp industrial kick drum groove with cut up atmospheric melodic and vocal elements creating a psychedelic dreamlike atmosphere to close the EP. Packaged in a full colour sleeve designed by Perc Trax design god Jonny Costello, Perc's Soft Launch is a statement of Perc Trax's future both sonically and visually.

Next up on NINE CHANNEL is DJ legend JOSEY WALES. Throwing down what he does best over a wicked stripped-down rhythm – TIME & TIME AGAIN calls for Love and unity and time to love each other no matter what race colour or greed – proper colonel chanting style. Flip to the B side for a killer DUB – check it.

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by."

Following up the big room belters on Pablo and Shoey 'Raw Human Emotion' EP was going to be quite the task for those lovable Dublin disco messers at Fatty Fatty Phonographics, so they handed the reins over to one of the true maestros of the artform - NYC legend Mr. K.

The A-side is a propulsive extension of 'Let The Sunshine In', featuring ecstatic, gospel-shouting breakdowns. Dropped at the right moment, this is one of those tunes that brings everyone together with that look on their face, the hairs on the back of the neck standing up, arms instinctively flying toward the sky, disco fingers aloft...Excuse us, we just have something in our eye here...

Flip it over for a serious one for the heads...A few years ago Mr. K put out '1,2,3' on a 7-inch on the aptly named Most Excellent label. It was an edit of a roaring clav-funk number from the acetate collection of the legendary 'DJ's DJ' Walter Gibbons.

The Fatty folk persuaded him to revisit it, and he did a magical job of extending it out across the full 12 inches of vinyl, just the way the good Lord intended. 2 sides of utter dancefloor devastation here, be quick!

"The twentieth Altered Circuits entry comes courtesy of Attack & Disperse, the moniker Cooper runs in parallel with his Reflex Blue project. It focuses on darker, deeper moods, with a hardware-based, imperfection-embracing approach--and sits on the axis of electro, Detroit techno, and progressive. DiscoNnect revolves around a murky, slightly unstable bass with strong sub presence and a thickly accented vocal sample. Distorted synth brass interludes enable the bare-bones sections to punch as hard as they do. Higher Places works with the same energy, but channels it in a bolder way thanks to its snappy palette. The tune is indebted to the after hours, yet carries enough crossover appeal to set off any club setting. On Power Of Overthink the current shifts somewhat toward the effervescent. Its flanged square lead is surrounded by fidgetty arps and acid squelches, and feels sturdy enough to carry a dozen tracks' weight. Closer Beat from E is a composition of IDM-inspired drum patterns laced with a brash mixture of samples - pitched-down vocals, vocoders, and scratch salvos all make their way in - and propelled by a fat MS20-type bass. Cooper has been on a steady tear with his sleekly balanced, club-oriented releases, and we are delighted he's now joined our catalog with The Second Contact EP."

Young Gun Silver Fox are the captains of AM Waves, setting sail towards an isle where melodies soak the shoreline and grooves sway like palm trees. Their route traces a natural progression fromWest End Coast, an album that cast Andy Platts (Young Gun) and Shawn Lee (Silver Fox) as musical virtuosos of SoCal-infused pop. AM Waves does more than duplicate the perfection of West End Coast. It improves it.

Recorded at The Shop in London and Roffey Hall in the English countryside, AM Waves burnishes the blend between the duo's modern aesthetic and their sumptuously crafted homage to '70s-styled pop, rock, and soul. "This music hits a certain spot for me personally that nothing else quite does," says Shawn, who produced the album amidst his projects for Saint Etienne, Shawn Lee's Ping Pong Orchestra, and several other acts. "It's real high-caliber music. It's easy and breezy to listen to but it's really hard to make. Every aspect is A game."

The A game behind AM Waves fuels 43 minutes of Young Gun Silver Fox in peak form. "AM Waves is much more instinctive," says Andy, whose penchant for writing irresistible hooks and melodies also shapes his role as lead singer and lyricist/composer for the band Mamas Gun. "It's more vivid. You can see the clarity to the colors of AM Waves whereas West End Coast is slightly more impressionist, as it were."

Originally issued as a single in September 2017, "Midnight in Richmond" is the anchor of AM Waves. "I hit one chord, which I'd never played before, and the song sort of wrote itself," notes Shawn. "It was intuitive. In many ways, the primary function of what I'm doing is trying to find that chord that opens a door and takes you someplace else. Those chords have magic." Andy embellishes the song's appeal by nimbly juxtaposing wistful emotions with a sun-kissed melody, his voice evoking richly drawn memories. The qualities that make "Midnight in Richmond" an instant classic abound throughout the album.

"Lenny" and "Take It or Leave It" spotlight Andy's versatility as a songwriter. The former was inspired by a dream he had where Lenny Kravitz owned a bar. "It was surreal," he says. "He was polishing the glasses and just serving me hit after hit." Like swimming through moonshine, Andy languorously savors every syllable in the song. "Take It or Leave It" is pure pop bliss. "That was one of those songs that fell out in half an hour," he says. "I had everything and it was done." Shawn adds, "It's such a perfect song in itself. When I listen to it, it's like you've created a record that already existed."

Young Gun Silver Fox introduce a five-piece horn section on "Underdog" that literally trumpets the song's protagonist. Shawn affectionately dubbed them the "Seaweed Horns" in honor of the Seawind Horns, an LA-based unit that recorded with powerhouses like Michael Jackson,Rufus & Chaka Khan,and Earth, Wind & Fire during the late-'70s. Andy explains, "The horns grab another hue of the west coast sound, which is the starting point, but it's also maybe the point where we're injecting a little bit more of ourselves and some outside colors into the familiar west coast palette."

A bounty of treasures course through AM Waves' ebb and flow. "Mojo Rising," which the duo penned with Rob Johnson, is a veritable retreat to paradise. "Sky-bound, heaven sent / Way above the clouds watching shootingstars descend," Andy sings, mirroring the music's celestial undertones. Sensuality contours the notes on "Just a Man," a song that basks in the allure of a woman who leaves "footprints on the water" while "Love Guarantee" is festooned with the Seaweed Horns. "I wanted to bring more of that R&B slickness into the mix," Shawn notes about the latter track. "We hadn't done a tune with that sort of groove." Similar to his work on "Underdog," Nichol Thomson's intricate horn arrangement on "LoveGuarantee"exemplifies another distinction between AM Waves and its predecessor.

"Caroline" occupies a special place on AM Waves, beyond spawning the album title. It tells the story of Radio Caroline, a pirate radio station that broadcast from an offshore vessel during the '60s and '70s. "They played the music that kids wanted to hear, whether it was the old stuff or cutting edge stuff," says Andy. "'Caroline' is about Radio Caroline's eventual capture." Complementing Andy Platts' deft wordplay, which draws parallels between radio airwaves and the station's literal home on the ocean, Shawn Lee layers nearly a dozen different parts on "Caroline," showcasing the vastness of his musicality. "I loved that track as soon as I heard it," Andy continues. "It's a beautiful fusion of me and Shawn."

The Seaweed Horns joinYoung Gun Silver Foxas they detour to the dance floor on "Kingston Boogie." Shawn explains the track's genesis, "I was thinking, what have we not done yet We definitely should get an AOR disco thing happening. I quite like disco. The beat is so metronomic that it allows you to be really sophisticated on top. 'Kingston Boogie' just laid itself out. I call it 'midnight disco.'" With a nod to "Lenny," Andy Platts sets "Kingston Boogie" back at Lenny's Bar, this time revealing a detail or two about its mysterious proprietor as he pours sweet wine and moonshine.

In a sense, AM Waves ends with the beginning. Even before there was Young Gun Silver Fox, there was "Lolita," the first song Andy Platts and Shawn Lee wrote together and a crowd-pleasing staple of the duo's live sets. The tale of a femme fatale who harbors a secret was recorded for West End Coast but instead furnished the B-side to "Long Way Back" as well as a bonus track on the North American edition of the album. Despite the song's checkered trajectory, its infectious chorus sparked the brighter, more buoyant orientation of AM Waves.

Like the moon pulling the tide, Young Gun Silver Fox are a magnet for good songs. "We're both so obsessed and constantly interested in music-making," says Andy. "We're both thinking about it all the time. When you know you have an accomplice with you that's the same as you, it's very liberating. Suddenly, worlds of color start to appear." Indeed, AM Waves is elemental in its power to induce pleasure. Dive right in.

Christian John Wikane

(New York City / February 2018)

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

Unlike anything we have heard from her before, Okkyung Lee returns to Shelter Press with "Just Like Any Other Day: Background Music For Your Mundane Activities", a deeply intimate body of recordings at the juncture of ambient music, minimalism, and the baroque, that stands as radical intervention with what experimental music can be, and the place that organisations of sound occupy in our lives. For more than two decades, Okkyung Lee has stood at the forefront of the most radical trajectories of experimental music: a virtuosic cellist and improviser, renowned for her creative rigour and emotive depth. Particularly noteworthy for her range, dexterity, and adaptability, over the last five years Lee's output has revealed unexpected shifts and developments that move far afield from the realms of free improvisation for which she is most well known. 2020's "Yeo - Neun", a heart-wrenching, ambient chamber work - drawing inspiration from the Korean popular music of her youth - was issued by Shelter Press to great critical response, followed closely by "Teum (The Silvery Slit)" - one of a series engrossing electroacoustic works created at Groupe de Recherches Musicales in Paris - on Portraits GRM, and then "Na-Reul" in 2021, regarded by Lee as a closing statement of more than two decades living in New York, which set the precedent of her allowing her emotions to fully occupy the forefront of the music for the first time. Marking her return to Shelter press, "Just Like Any Other Day": Background Music For Your Mundane Activities", encounters Lee upturning the apple cart once again, weaving a profoundly intimate artistic statement on completely unexpected terms. Like its three aforementioned predecessors, "Just Like Any Other Day" belongs to broadening shift in Lee's approach to composing that roughly aligns with her return to her native South Korea, having lived in the United States since her late teens. Infused with a deep reengagement with her own culture and relationship to memory, it is equally a response to those critical challenges and questions provoked by significant life change. Worked on in isolation, and continuously returned to, over the course of four years, the album's nine pieces began with a simple recognition that experimental music is not always what we imagine it to be. It is a practice and a pursuit - a music for which, at its inception, the outcome is unknown - rather than an idiom defined by certain syntaxes, approaches, and qualities of structure and sound. From this departure point, Lee began to inquire after the utility of music itself: what is it for, what does it do, and what place does it (or can it) occupy in our lives? This solitary and durational journey, each composition gradually moving through different phases and evolutions over years, led Lee toward uncharted ground: a music that is not only playful, introspective, and seductive, but also intended to provoke a relationship to experimental music beyond its normative expectations. Rather active or deep listening, it pursues passive listening. Rather than a grand statement, it is discreet. Rather than virtuosity, it embraces the elegant and direct. Even more strikingly, for the first time, the music of "Just Like Any Other Day" encounters Lee leaving the cello entirely behind. Created at home on keyboard, computer, and an inexpensive cassette recorder, "Just Like Any Other Day" presents a remarkable form of ambient music - organisations of sound that become their own environment, to be occupied - intended, as the album's subheading infers, as Background Music For Your Mundane Activities. An expansion of the creative pathways opened by the Korean pop imbued compositions of Yeo - Neun, aspects of electronic process explored by "Teum (The Silvery Slit)", and the emotive foregrounding of "Na-Reul", each of the pieces presented across the two sides of "Just Like Any Other Day" implies something far greater than the limits of its own temporarily: a mood, provocations of memory and place, mirrors for the solitude within which it was made, and palpable emotion lingering just out of grasp. For Lee, each of the album's compositions could be continued or looped for an indeterminate duration: straddling a ground between the minimal and the baroque, enveloping the listener in endless cycles of appreciating, repetitive and rhythmical notes, flirting with the melodic and implying a disembodied imagism that borders on the profound. Remarkably beautiful and direct, Okkyung Lee's "Just Like Any Other Day: Background Music For Your Mundane Activities" - issued by Shelter Press on vinyl - represents a radical reconfiguration of experiential music, stripped to its bare essence in defiance of the widely presumed aesthetic signifiers. Unlike anything we've heard from her before, this immersive body of intimate recordings not only reveals new dimensions of Lee's striking range as an artist, but also of how we might regard and occupy music itself: an ambience to lived and felt like a second skin.

Scintillating, alchemical kosmische; visionary, deep, and luminous; and beautifully sleeved, with gold foiling and silver ink.

Works In Metal fans out a set of acid treatments and finely sharpened blades — cutting, shaping, suspending form. Sounds are melted down and forged as if liquid metal.
The works are paired. Arc’s Blue Flame previews the smoking volatility at the album’s core. Echoes and resonance soften the dissonant, bright textures; all overlaid with Fofana’s signature, percussive kick drums. Welding drills into the discordant thrills and spills of metamorphosis. Sparks fly and the bittersweet arc of change unfolds.
Fofana discreetly folds in text, poetry, and field recordings, spooring their decomposition and recomposition with a prismatic point of view. The coupling Obscure Light (Decomposition) and Obscure Light (Recomposition) marks something new in his music. The pulse is brightly honed, cascading beyond the dancefloor, exultingly eluding musical genre.
Works in Metal is perhaps Fofana’s most narrative album. At its heart is the killer, extended Lure of the Fragment / So Another Sound Suggests Itself. Melodies circle in call-and-response patterns, balancing proximity and distance, signalling the inward gravity required to work with metal. A nested story-line, with birds flying in; an album within an album. Dredging up memories and associations, Fofana filters in selections from his sound-archives. Layered with synths, field recordings become instruments in their own right. The last three minutes proffer precious clarity — a memory, in miniature, flashed onto molten metal.

In 1943 Suzanne Césaire declared that ‘our surrealism will then supply them the leaven from their very depths. It will be time finally to transcend the sordid contemporary antinomies: Whites-Blacks, Europeans-Africans, civilized-savage: the powerful magic of the mahoulis will be recovered, drawn from the very wellsprings of life. Colonial idiocies will be purified by the welding arc’s blue flame. The mettle of our metal, our cutting edge of steel, our unique communions — all will be recovered’. Works in Metal is a tribute to her prophecy; its enactment, sculpted in sound.

Two of Lamp's masterpieces will be released on vinyl at the same time! Two of Lamp's masterpieces from the 2010s, "Tokyo Utopia Tsuushin" and "Yume",
will be reissued on vinyl! After becoming a viral hit on TikTok in the 2020s, Lamp now has over 2.1 million monthly listeners on Spotify.
In addition to his deep-rooted popularity in Asia (China, Taiwan, Hong Kong, Korea, Indonesia, etc.), he was selected as a support act for Mitski last year
and accompanied them on their North American tour. At the same time, his solo tour "FUTURE BEHIND ME" North America 2024, which visited 17 locations
in North America, was all sold out. This summer's solo show at LINE CUBE SHIBUYA was also sold out immediately, and Lamp's two masterpieces,
which are currently gaining worldwide acclaim, will be released on vinyl at the same time!

This is the sixth album by Lamp, a mixed-gender trio that has inherited the Japanese pop music of each era and sublimated it into new pop music by sprinkling
elements of 70's pop and Brazilian music throughout.
This album depicts the mental landscape of a man and woman passing each other in a certain place in a city.
It suddenly reminds us of the cold and warmth of winter, a nostalgic feeling that everyone has experienced at least once.
The jacket features many illustrations by Suzuki Oji, who was active in the manga magazine "Garo," which had a great influence on young artists in the 70s and
produced many geniuses in the manga world, and is known for his representative work "Motorcycle Girl."
The unique, fantastical illustrations resonate with Lamp's music to create a fantastical world.

After last year's extroverted and funky album "Be Who You Wanna Be," Stef Kamil Carlens presents a more introspective double album recorded with Nel Ponsaers and Rahmat Emonds. Featuring 14 songs—some of his own compositions and very surprising covers or reinterpretations—this album emphasizes lyrics, vocals, and a band sound primarily driven by acoustic instruments. Once again, it stands as a key addition to the already very eclectic catalog of one of Belgium’s most versatile and productive artists. Stef Kamil Carlens & The Poem will tour starting in October 2025.

Congratulations! 55th anniversary of debut

The third album "Single Man", released on April 21, 1976, was an album with many controversies from the production stage.
It was discontinued less than a year after its release, and then a movement to re-release "Single Man" arose, and it finally re-released in 1980, so it has
a twisted story.

The album features a variety of performances due to the transition period from the folk period to the electric arrangement period, and above all, many
masterpieces that can be said to be representative of the entire RC period, such as "Slow Ballad". The driving force just before the rapid climb to
"KING OF ROCK" after 1980 is already boiling in this album.

In addition to the latest remastered sound source from the original master tape of the album, this deluxe edition includes single songs from that time,
versions not included on the album, and a studio live sound source from tvk's "Young Impulse" at the time of the album's release.
It is a deluxe edition packed with the overflowing talent of RC Succession at that time.

The booklet includes for the first time all 17 images from the original jacket illustration, "Pictures for the Test of Painting Apperception of Infants and Children."

・Remastered by zAk
・Disc 1: Half-speed cutting / Disc 2: Normal cutting by Miles Showell at ABBEY ROAD
・180g heavyweight clear vinyl
・Booklet (17 images of "Pictures for the Test of Painting Apperception of Infants and Children" (illustrations by Minamioji Hajime), commentary, lyrics)
・Liner notes: Imai Tomoko, Sakai Hiroki

Not to sound like a broken record, but it truly has been quite the year for Keinemusik, hasn’t it? After playing their biggest New York headline show to date in a densely packed Flushing Meadows Corona Park, the next single from the crew drops just in time to keep that unforgettable magic around for a little longer. „See You Again“ features Dutch-Iranian songstress and avantgarde icon, Sevdaliza, who imbues the track with its unmistakably emotive depth. Lyrics anchored on yearning and hope lend themselves to a likeminded production that merges warmth and introspection, making for elegant peaktime energy. For Sevdaliza, this comes on the heels of the announcement of her highly anticipated forthcoming album Heroina, due later this year, which is a sonic exploration of feminine power, cultural identity, and spiritual survival. „See You Again“ has been a staple ID at Keinemusik shows since its debut play at Coachella, and is out to see you again and again and again on your nearest dancefloor.

Stone classic Bullwackies (as excursioned by Rhythm & Sound for Burial Mix), sensationally featuring two unreleased dubs, newly extracted from the master reels. Both are equally unmissable but quite different, with contrasting effects: the second dub adds ninety seconds, including whip-dem spring reverb. Drawn from the Selective Showcase LP, the vocal mix is more open and dubwise than the Sing & Shout LP offering, with less keyboards.
Asked whether it should be mash or march, after some pondering Bullwackies replied: "That's a good question.'

To celebrate the 20th anniversary of the film Brice de Nice, Stereo Ronin Records is offering fans an exclusive and previously unreleased edition: the cult original soundtrack composed by Bruno Coulais, available on vinyl for the first time!



With its iconic melodies, blending quirky electro vibes and memorable orchestral flights, the film's music has accompanied the adventures of the most famous surfer on the French Riviera. Now, it can be rediscovered in a collector’s vinyl format, delivering a unique and authentic sound experience worthy of this cult comedy.



This special edition, presented in DolBrice stereo and carefully pressed, will appeal to both vinyl enthusiasts and die-hard fans of the film. A dream opportunity to dive in (without getting wet!) into the musical universe of Brice de Nice and relive the unmistakable energy of its legendary character.

With "I Dream", her second EP on Roche Musique, Paris-based Korean producer DIDI HAN delivers a bold, dreamy blend of electro, pop, phonk, and alt-R&B. From the hypnotic “Paper Plane” to the euphoric “Youth” and romantic “DROWN”, the EP explores movement, emotion, and style through lush synths, textured beats, and ethereal vocals. A cinematic, fashion-forward soundscape, already supported by Mixmag, Boiler Room, ODDA, The Luna Collective.

Lamp's seventh album is so unique that it is difficult to compare it to a specific genre or other artists.
In particular, songs such as "Sachiko," "Symphony," and "Autumn in A City," which are a high level of harmony between complexity and beauty, are no
exaggeration to say that they have elevated popular music to the level of art.
"Yume," a beautiful culmination of sincerity in music, creative drive, and imagination, is permeated with a firm perspective and unwavering values.
This attitude can be called "Lamp-style rock."
The cover features a painting by Hayashi Seiichi, a painter and illustrator who represents the youth culture of the 1970s and is known for his illustrations for
Lotte's "Koume-chan" and the manga "Red Elegy." It adds color to Lamp's delicate and lyrical world.

Discoweey makes its vinyl bow here, and in some style, too, as Hotmood brings the heat. He is no stranger to doing that - the Mexican Guillermo Gonzalez Santana broke out more than a decade ago and has been leading his local, and the global, disco scene from the front ever since. Side A kicks off with the global hit 'Ya Te Olvide' extended and guaranteed to ignite. Following that is 'DDD,' a high-energy banger, then 'Funk Party' is a crowd favourite that held the top chart spot for weeks and smooth and soulful closer 'D.R.E.A.M.I.N.G.' leaves a lasting impression.

Rare groove fans, take note of yet another gem from the good folks at P-VINE as they reissue Les DeMerle's iconic cover of 'A Day In The Life,' famously sampled in O.C.'s hip-hop classic 'Time's Up.' It's a laidback and jazzed up sound with deep cut rhythms, big horns and conversational sax leads that hit different. Alongside the jazz-funk gem comes 'Aquarius' with DeMerle's sharp drum breaks (which in the past have been sampled by Jurassic 5, De La Soul and DJ Shadow) ride beneath funky keys work and joyous horns that persuade you to get up and move. Pressed in very limited quantities, it's a vital addition to any hip-hop or rare groove set.

"Taking influence from the pioneers of Música Popular Brasileira, Wolfgang Pérez has crafted an exquisite album of summery experimental pop music that encapsulates the beauty and chaos of modern Brazil. A must-listen for fans of Tom Zé, Gilberto Gil, Kiko Dinucci, Negro Leo, Ricardo Dias Gomes, and João Gilberto.

Genre-blending songwriter, arranger, and guitarist Wolfgang Pérez is set to release his highly anticipated new album Só Ouço in July 2025 on Hive Mind. Known for his unique fusion of influences, the German-Spanish artist first captured attention with his 2021 debut WHO CARES WHO CARES (Fun In The Church), followed by the critically acclaimed Spanish-language album AHORA (BAUMUSIK, 2024).

Só Ouço is the fruit of an 18-month creative residency in Rio de Janeiro, where Pérez collaborated with a group of young Brazilian musicians. Deeply inspired by the city's sounds and rhythms, the album marks an exciting chapter in Pérez’s evolving artistic journey.

In 2022, Wolfgang Pérez arrived in Rio de Janeiro on a university exchange to study composition, and quickly found himself immersed in the city’s rich musical landscape. Introduced early on to Rio icons like Thiago Nassif, Arto Lindsay, and Ana Frango Elétrico, what began as a semester turned into a transformative three-semester stay. Pérez absorbed the city's contrasts - it's beauty, its people, it's chaos and violence, all it's contradictions and life - while deeply studying Brazilian music at UFRJ/UNIRIO under the guidance of masters Josimar Carneiro, Marcello Gonçalves and Almir Cortes.

Wolfgang spent the first 6 months or so soaking in as much as possible, going to shows, to the baile funk parties, walking the streets, hiking the mountains in and around Rio, listening to music, making friends, learning where to go and where not to, learning the language, learning the slang, incorporating the culture. He used the time to forget himself in the vibrance of the city.

After this the band came together through a series of chance encounters and happy accidents...some loose jam sessions led to shows around Rio, where Wolfgang, alongside Luis Magalhães (bass), Pedro Fonte (drums) and Paulo Emmery (electric guitar), started to flesh out some of Wolfgang's compositions. At a show at Audio Rebel they met Angelo Wolf (owner of Wolf Estúdio and engineer for artists such as Bala Desejo, Dora Morelenbaum, Zé Ibarra, Marcos Valle, Antonio Neves and Ana Frango Elétrico); moved by the music, Wolf offered Pérez residency and studio time at Wolf Estúdio, providing the foundation for Só Ouço. Angelo was a catalyst for the production of Só Ouço, his openness and generosity helping to shape the sound of the record. Carol Maia, a young guitarist, lyricist and singer brought a sensitivity and tenderness to the songs, while Antonio Neves helped to pull together the brass and woodwind players who would complete the lush sound of the album.

Meticulously arranged, and beautifully composed, Só Ouço is a joy to listen to and surprising at every turn. Classic songwriting and cutting edge production blend to produce an album that is by turns tender and gentle, abrasive and unsettling, a joyful celebration of life in all its complexity."

INTEMPORARY AND INDETRONABLE FRENCH COLD WAVE CLASSIC in a SPECIAL EDITION to celebrate the 40th anniversary of this mythical album.



This edition includes a 45T with 2 previously unreleased tracks, available nowhere else.



Thierry Müller, who initiated the RUTH project, is not at his first try when the album POLAROÏD/ROMAN/PHOTO including the eponymous track is released in 1985. His older brother Patrick along with one of their cousins make his musical education and he quickly becomes familiar with contemporary and experimental music. He starts quite early to tinker sounds on old tape recorders by himself but it is in 1977 that Thierry launches with some friends his first group, ARCANE, while studying at the School of Applied Arts. Their sound is weird, a mixture of saturated scratches and feedback tapes: there is no discographic or scenic testimony of this experience.



Alongside ARCANE, Thierry is already working solo on his ILITCH project / concept, an experimental and innovative work, whose first album Periodmindtrouble is released in 1978 on the Oxigène label. Despite insubstantial sales, this album brings Thierry recognition and success in the very elitist circles of experimental and underground music.



ILITCH’s musical bias was too narrow for Thierry’s ceaseless experimental curiosity, parallel to these activities, he therefore develops a Punk project called RUTH ELLYERI with the author, actress and photographer Murielle Huster. The title is an anagram of Thierry Müller (the complete name is Ruth M. Ellyeri). The character is meant to impersonate one of his schizophrenic facets and allows him to extend his field of expressions to musical styles differing from those in ILITCH.

From this work, the very cult punk piece Mescalito emerges, song that can be found on the mythical but unfortunately very rare compilation 125g de 33 1/3 tours (1979) of the Oxigène label (first “french punk” sampler). At the end of 1978, he meets Philippe Doray at the Oxigene office. Doray is another big name of French experimental music. Thierry moves to his home near Rouen, a remote farmhouse with a music studio made of odds and ends.



They work on their respective creations but meet from time to time on experimentations in common, including CRASH (a tribute to JG Ballard) As early as 1982, a first version of the track Polaroïd/Roman/Photo is out under the name of the project RUTH. “I wanted to write a piece to make the girls dance and make fun of the boys. I plugged a small handmade clock on my Farfisa organ as a sequencer. I had a small Roland synth-guitar, I put the organ in it and that’s how it started.” Philippe is quite amused by the idea of working on a more Pop project and offers to write the text. Thierry works on other tracks for the future LP and asks some friends to write other texts : Edouard Nono, visual artist, writes the lyrics of Mots, Frédérique Lapierre those of Misty Mouse and Tu m’ennuies . It is her voice you hear on these 2 tracks and on the first version of Polaroïd/Roman/Photo. Later, Thierry settles down in the Anagramme recording studio to carry out acoustic sound recordings. But when the sessions are over, the 2 musicians are not too happy with the results of Polaroïd/Roman/Photo: according to them, they lack “flamboyance”. They decide then to record a new female voice with a professional singer and the sound engeneer Patrick Chevalot offers to mix the track in the Synthesis studio “so that it blows out”.



With his tape ready and the help of Jacques Pasquier (S.C.O.P.A. / Invisible records where Ilitch’s second album, 10 Suicides, is released) he starts to contact record companies. “I visited almost all the major record companies and was thrown out every time. Only at RCA’s I found someone interested in my music. It was Francis Fottorino who had signed Kas Product but when it reached the the big boss, no way! Philippe Constantin from Virgin records raised some hope but in vain.



The album was finally released in 1985 with Paris Album, a small independant label.” The album barely sells 50 copies in 1985, despite the eponymous title as a potential success. « In 2004, 2 DJs Marc Colin and Ivan Smagghe discover the track Polaroïd/Roman/Photo and decide to exhume it from oblvion. They release it on a compilation called So Young but so cold (Tigersushi) and then with Born Bad records on the BIPPP compilation in 2008. Thanks to them, the track and the album start a new life.



Alongside his activity as graphic designer, Thierry Müller carries on producing music under his name, those of ILITCH and RUTH for his own creations and various collaborations.

Double 7” vinyl, both packaged in one heavy PVC clear wallet, with centre label & sticker design by Ciaran Birch.

I Jahbar, G Sudden, Buddy Don & RDL Shellah representing Portmore, Jamaica's DUPPY GUN meet Lyon's Warzou, where each vocalist tee up a track off Warzou's mutant inspirations of the 94' Corduroy Riddim.

Cooked up at Record Studio Congos in Portmore, the Duppy vocalists go to town on the pressured & twisted dancehall excursions, referencing one of the most important riddims of the 90s. The DG collective have been making waves over the past two decades and this recent collaboration is another inter-continental link up of the highest order.

The meeting of the two finds it's home on Bristol imprint, Accidental Meetings.

Das selbstbetitelte Album von Ava Luna markiert eine fundierte und introspektive Entwicklung für das Quartett aus Brooklyn. Die Band, die nun aus Carlos Hernandez, Julian Fader, Ethan Bassford und Felicia Douglass besteht, kehrt nach einer längeren Pause mit einem reduzierten Sound zurück, der sich auf Schlagzeug, Bass und zwei Gesangsstimmen konzentriert. Dieser Back-to-Basics-Ansatz, eine Abkehr vom ,kosmischen" Gefühl ihres Vorgängeralbums ,Moon 2", hat seine Wurzeln in gemeinsamen Erfahrungen in NYC und den Rhythmen des Alltags. Themen wie Erschöpfung, Gemeinschaft und fragile Freude tauchen in Songs wie ,Lasting Impression" über die Arbeitsmüdigkeit und ,Math Money Job", einem spielerischen Gesang über Wiedersehen und Verkörperung, auf. Julians Schlagzeug und Ethans Bass Themen wie Erschöpfung, Gemeinschaft und prekäre Freude tauchen in Tracks wie ,Lasting Impression" über Arbeitsmüdigkeit und ,Math Money Job", einem verspielten Gesang über Wiedersehen und Verkörperung, auf. Julians Schlagzeug und Ethans Bass treiben das Album an, das teilweise vom rohen Sampling-Stil von Soul Coughing inspiriert ist, der in Tracks wie ,Frame of Us" zu hören ist. Gesanglich bewegen sich Carlos und Felicia wie eine Einheit - sie verschmelzen, harmonieren und fragmentieren mit Absicht, besonders in ,Archive". Obwohl im Kern minimalistisch, ist der Sound des Albums üppig und strukturiert, angereichert durch Congas von Reggae-Legende Larry McDonald, Klavier, Samples und Gitarren-Noise. Songs wie ,Social Diving" und ,My Walk" spiegeln persönliche und urbane Geschichten wider, während ,Your Man" und ,Fancy" von Widerstandsfähigkeit und Würde erzählen. Das Ergebnis ist Ava Luna in ihrer ehrlichsten und raffiniertesten Form - ein Porträt von NYC und einer Band, die sich noch immer weiterentwickelt und nichts von ihrer Dringlichkeit eingebüßt hat.

cv313 and Federsen join forces again for the ‘Altering Dimensions Part One’ release, the initial drop in a series of collaborations which will later form together as one long player project.

Detroit-based dub techno pioneer cv313 (Stephen Hitchell of Echospace fame) and Federsen join forces on the forthcoming collaborative EP Altering Dimensions via Federsen’s own Alt Dub imprint. cv313, known for landmark releases such as Seconds to Forever and the deeply influential Dimensional Space LP, has been central to shaping the modern dub techno sound, blending immersive atmospheres with hypnotic rhythms. Federsen, celebrated for releases on Echospace Detroit, Grayscale, Synchrophone, Lempayung, Avant Roots and others. has also established himself as one of the genre’s most forward-thinking producers, bringing a meticulous, analogue driven warmth to his productions. Altering Dimensions marks a meeting of two highly respected producers in contemporary dub techno, bridging Detroit’s timeless legacy with Federsen’s cutting-edge sonic explorations.

The release comprises four alternate interpretations of the title-cut and leading the way is the original mix of ‘Altering Dimensions’, a seven-and-a-half-minute excursion through weighty low-end pulsations, spiralling atmospherics and ever unfolding nuance throughout. The ‘Redesign’ follows and shifts gears into a more robust deep techno realm as cavernous reverberations and shifting echoes ebb and flow alongside murky bass and sturdy drums.

The ’Dub’ mix follows on the flip-side, as the name would suggest laying focus on a more classic dub techno style with crisp percussion, billowing spaced out delays and vacillating subs before the ‘Reduction’ mix concludes the project, as the name would suggest stripping things down to the composition core atmospherics elements alongside oscillating percussive elements and fluctuating pads.

On September 19, 2025, Mac Declos will release his second album, MTY-013 « Nothing Stands Still », on Mama Told Ya. Following the acclaimed MTY-007 « Hard Work Always Pays Off » and a trilogy of striking EPs : Angel Eyes (2025), Endless Cycle (2024), and Cuir en Cage (2023), as well as countless DJ sets and All Night Longs around the globe, Mac is now ready to unveil a bold new chapter in his musical journey.

Nothing Stands Still is a sonic artefact: a double-vinyl album composed of 12 timeless tracks. Eleven pieces are produced solely by Mac Declos, with one co-produced alongside Anetha. The album also features unique contributions from Mac’s mother, Doona Rolls, and Mac’s dad, Eric Declosmenil, adding emotional
depth to the project. While music is often elusive and ephemeral, with Nothing Stands Still, Mac Declos set out to create an archive of the future that transcends time and trend, an echo meant to endure. Once again, Mama Told Ya reminds us: Music remains.

On December 8, 2023, Siska unveiled a first single titled Arabian Knights, a cover of Siouxsie and the Banshees, and it’s a 4-track EP that she is preparing to release on March 29.



« Diggin’ the Roots » 4 times that she was unearthed deep in her emotional discotheque; from her high school years (Arabian Knights) to her encounter with Rasta (Igziabeher), from her Watcha Clan period where she mixed Arabic and Hebrew (im Nin'alu) to the soul music that has marked his journey since his childhood (Troubles...).



This EP is produced, arranged and mixed in-house with Clem a.k.a Adelo Basileus and Soupa Ju at VLB Recordings and it’s thanks to the solidity of its foundations that the Marseille singer can continue to always move forward.



A 2nd ep of compo this time, will be released in September with 2 new productions signed by Prince Fatty and some surprises to come.

A landmark recording from one of Ghana"s great musical architects, Ebo Taylor"s 1977 self-title release marked the first solo LP by the legendary guitarist, arranger, and composer after years behind the scenes shaping the sound of modern highlife.

The Reds, Pinks & Purples is a San Francisco indie band led by Glenn Donaldson (The Ivy Tree, Skygreen Leopards, Art Museums and Painted Shrine). For fans of_ Guided By Voices, The Chills, Teenage Fanclub, The Shins, The Replacements, Leonard Cohen, The Go-Betweens, Robert Wyatt. Having penned over 200 songs in the last six years, The Reds, Pinks and Purples release a collection of tracks previously unreleased on physical format that continues to romanticise the wonders and woes of the world. With song titles that read like chapter sub-heads for a post-Douglas Coupland novella, 'The Past Is A Garden I Never Fed' takes The Reds, Pinks and Purples central orator Glenn Donaldson through the turmoil of small talk and everyday water cooler moments with a fine sense of pathos and irony. Set to a soundtrack that swerves between the dark days of Television Personalities and Byrdsian twang to the Jarvis Cocker-styled rhetoric and vocal tenderness of 'Richard In the Age Of The Corporation' with hints of everything from Husker Du's fuzzed splendour to the chiming majesty of The Chameleons it's an empowering listen. The pathos and irony of the glorious track 'The World Doesn't Need Another Band' sets out the band's store, it's a measured and quietly outspoken rant at lacklustre opposition peppered with a gorgeous guitar break. Meanwhile, 'I Only Ever Wanted To See You Fail' rumbles with an Eddie And The Hot Rods pre-punk riff before dissolving into a tale of self-doubt and remorse, bemoaning others' good luck. 'Toxic Friend' is from the book of the TVP's Daniel Treacey with an upbeat chorus that smacks of all that was good in old school indie in a hail of fuzzy logic and guitars. From humble beginnings as a home recording project, The Reds, Pinks and Purples has blossomed into a sporadic live unit with tours on both sides of the Atlantic and appearances at Pitchfork Fest London and Woodsist Fest as well as support slots for indie legends such as Destroyer, Guided By Voices, and The Feelies. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork.

Ferdi is an emerging saxophonist artist from the Brusselian-Parisian musical scene. Fifteen years after evolving at the conservatory, he decided to develop his artistic career. He surrounded himself with prominent artists of the modern music scene: the rapper Peet, the pianist Sofiane Pamart, his trumpeter mate Bessau, and the King of Funk Dabeull!



Ferdi’s new album « Romance » has been conceived from this artistic exchange. « Romance » offers a romantic, funky moment for two lovers of 80s music: Dabeull and Ferdi. »

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

“We are proud to release this on vinyl and take our listeners into an aural adventure,” the trio says.
“The spiritual world is accessible through sound! Here’s the proof!”

"The Happening by Tomorrow Comes The Harvest is the least case, a provocative confrontation. It's a challenge or dare to the idea that music can be useful if we are able to experience it. I would imagine that to many, music having an objective beyond the listener doesn't make sense because the general thought is that Music is made for us to consume, to make us remember, to influence us and to make us feel something. The Happening does all those things but much more. What it does is expand the scope from us to "it". Creating and constructing music for the subject of existence is a tall order.

The concept of The Happening is about the beginning and the end of Time and Space; the initial point of when reality starts and its conclusional apex. In the beginning, there is a great light. And from this light, comes life. Life is lived until it isn't.

This is what The Happening implies. It speaks about a 9-minute frame in reality, used to emphasize something that happened a very long time ago, something that happened in its creation and what will eventually happen far in the future.

The Happening was of an accidental birth. The love child of three musicians (Jeff Mills, Prabhu Edouard and Jean-Phillippe Dary) who was just asked to play "something" so that the camera crew could have extra b-roll for all the previous footages of the band while they were working in the recording studio in the North of Paris for their album Forbidden Planet. There was no discussion of what they'll do, no plan, no direction other than to use music to reach a level of consciousness.

Somehow within these transformative 9 minutes, something was felt by each of them, explored to its furthest point, which lead to this extraordinary creation. The Happening refers to the life and death of everything living thing. Infinity."

Jeff Mills

Originally released in 1981, Mr. Circle’s Thi Nam should really have been recognised decades ago as a jazz dance classic. A beautiful example of European jazz fusion at its most sophisticated and optimistic, the album is immersed in the sonics and rhythms of pan-Latin fusion and Brazilian samba, but with one foot in the upful jazz fusion exemplified by Roy Ayers or the Mighty Ryeders.
Taking inspiration from Ursula Dudziak, Flora Purim, and Norma Winstone, singer Monika Linges uses the crystalline tone of her voice as an instrument within the ensemble. The LP is built around the interaction of her vocalising with bandleader Mikesch van Grümmer’s keyboard versatility, all underpinned by the surging Brazilian rhythms laid down by drummer Gerd Breuer and percussionist Ponda O’Bryan.
The result is a unique set of sunlit, Brazilian-inspired jazz fusion. Aimed squarely at the feet throughout, the album kicks off with a double whammy: the funky title track, followed by. the percussion-rich Juntos. The long form Suka begins with a shimmering intro before taking flight halfway through into an urgent jazz samba with Linges’ vocals to the fore. Featuring the vocals of Bill Ramsay, Tides is another driving jazz-dancer with a Brazilian twist, while the summery, propulsive Schoch-Schach features virtuosic interplay between Linges and alto saxophone.

We don't know who Cosmic Slide is or are, and this appears to be their debut release. It comes on the fledgling Trueschool Ltd, and is a dead good tune. 'Acid Thunder' pairs a poised bassline with some aching chords and subtle sci-fi melodies with hip-swinging claps and a playful groove that's cool but reserved. It's perfect for warming up or bringing things back down and a gorgeous vocal is the perfectly soulful icing on the cake. An instrumental is included too, and both tunes make us keen to hear more from Cosmic Slide.

ALL DAY I DREAM COMMENCES THE NEW YEAR WITH A BANG, RELEASING A WINTER SAMPLER VI COMPILATION
Lee Burridge’s All Day I Dream imprint is thrilled to kick off 2024 with the latest addition to its semi-annual compilation series, A Winter Sampler VI, releasing January 26.

Serving as a testament to the label’s commitment to fostering emerging talent and highlighting the cutting edge of melodic house music, A Winter Sampler VI is a curated selection of tracks that showcase the diverse and vibrant sounds within the All Day I Dream family.

A Winter Sampler VI brings together an impressive consortium of artists from around the globe to put together a 12 track offering. The compilation kicks off with Simon Vuarambon's remix of St Germain’s 2000 hit ‘So Flute’, the euphoric and driving track setting the tone for a journey through the innovative and cutting-edge sounds of the compilation. From Wassu and Bona Fide’s deep yet playful collaborative track ‘Threshold’ to Nathan Katz’s serene and uplifting ‘For You’ to Seth Schwarz and Solidmind’s beautifully spiritual collaboration ‘Create The Universe’, each contribution adds a unique flavor to the sonic tapestry, resulting in a must-listen body of work from beginning to end.

A Winter Sampler VI serves as a testament to All Day I Dream's dedication to providing cutting edge melodic house from select talent across the globe, providing a platform for both emerging and established artists to shine.

All Day I Dream invites music lovers to dive into the next edition of their compilation series with A Winter Sampler VI

Amonita, the ethereal musician known for her enchanting compositions and captivating live performances, is set to release her latest body of work, the Rainbow EP, under Lee Burridge’s esteemed record label All Day I Dream.

Since her debut in 2017, Amonita has been on a steadfast mission to craft iconic melodies that resonate deeply with listeners, evoking emotions that linger long after the music fades. She seamlessly blends live instrumentation with electronic elements, creating an immersive sonic experience that transports audiences to a world of serenity and wonder. Amonita is no stranger to All Day I Dream; In addition to her Secret of Happiness EP in 2019 and Aura EP in 2021, Amonita has contributed tracks on two A Winter Samplercompilations, and was featured on Gorje Hewek’s 2021 Collages album released on the label.

Drawing inspiration from her time spent in Turkey surrounded by nature, Amonita infuses the Rainbow EP with the essence of the awe-inspiring beauty she experienced: sun-kissed landscapes, tranquil seas, and the vibrant hues of a majestic rainbow. Her music speaks to the hearts of true dreamers – those who believe in love, walk barefoot in the rain, watch sunsets, admire the stars, and are impressed by the mystery and beauty of the moon.

In her own words, Amonita shares, "No matter how difficult your path through storms and thunder is, after that you will see a rainbow!"
This sentiment encapsulates the overarching theme of resilience and hope that resonates throughout the EP, serving as a beacon of light in challenging times. The Rainbow EP is a testament to Amonita's boundless creativity and passion for storytelling through music. From the shimmering melodies of title track ‘Rainbow’ to the hypnotic rhythms of ‘Amulet’ to the dark and mysterious ‘Moon Dust’, each track invites listeners on a transcendent voyage of discovery.

Prepare to be spellbound as Amonita unveils the Rainbow EP on March 29th. Experience the magic for yourself and let the music transport you to a world where you can dream while awake and rainbows reign supreme.

Manchester based trio, Sonnenspot have unashamedly taken their favourite records from the Kosmische Musik landscape and fused these to inform their own spontaneous sonic constructions. Motorik drums, pulsating flutes, wah guitar and almost excessive use of space echo make this a dense and dreamy listen, with a hint of the rainy pensiveness of their home town.

Notable inspiration from Neu!, Manuel Gottsching, Sonic Youth and Yo La Tengo is all clearly audible in the various recordings on this album and minimal effort was made to shy away from this. The longest track 'Motorway' is an epic homage to the space rock art form and 'Madrugada' takes both John Martyn's 'Small Hours' and Gottsching's 'Inventions' as a starting point. Others include the tobacco lovers art-rock-ear-worm ('Liquorice Paper'), a dub laden celestial synth jam ('Slow Blinker') and the album opens with the first thing the band ever recorded, as a meaningless improvisation to tune their synths up to ('Figurescene'). Turned out it had a killer bass line and drum part.

Initial sessions were mostly just an excuse for the three long standing friends to get together musically for the first time, and after knowing each other for many full moons, it was long overdue.

They all bring some peripheral musical heritage to the table. Ian Smith was the guitarist in Alfie and the The Beep Seals and played on Badly Drawn Boy's 'The Hour of Bewilderbeast'. Pete Philipson played in Jane Weaver's band for ten years and has made his own ambient guitar albums. Dan Hope plays in the jazz folk band Mother Sky and promotes events around the city under the Rainy Heart banner.
They were joined by another long term musical friend Sam Kynaston who added heavenly flute to much of the album.

Danny Elfman, film composer, classical composer, singer-songwriter, and recording artist, has garnered international recognition for composing over 100 feature film scores, as well as compositions for television, stage productions, and the concert hall. Elfman has been Tim Burton’s composer for more than 35 years, having scored 17 Burton films such as Batman, Pee-wee’s Big Adventure, Beetlejuice, Edward Scissorhands, Charlie and the Chocolate Factory, Big Fish, Alice in Wonderland, and Beetlejuice Beetlejuice, as well as music, lyrics and songs for  The Nightmare Before Christmas for which he also sang the part of Jack Skellington. Elfman was also the lead singer and songwriter for the LA rock band Oingo Boingo for 17 years.
Waxwork Records is thrilled to release BULLET TIME Original Animated Picture Soundtrack by Danny Elfmanas a deluxe 7" vinyl EP and also on cassette! Features include 90s inspired splatter colored vinyl, an insert, and artwork by Kostas Firinidis and cassette artwork by Tristan Tait and Kostas Firinidis.

Bone White & Orange Splatter Vinyl. John Carpenters Soundtracks für die jüngste Halloween-Trilogie, die er zusammen mit seinen langjährigen Mitarbeitern Cody Carpenter und Daniel Davies komponierte, markierten die Rückkehr des legendären Regisseurs und Komponisten zur Filmmusik nach fast zwei Jahrzehnten Pause. Halloween (2018), Halloween Kills (2021) und Halloween Ends (2022) wurden alle von David Gordon Green inszeniert, der Carpenter bereits früh in die Vorproduktion einbezog und ihn schließlich als ausführenden Produzenten und Soundtrack-Komponisten für die Trilogie engagierte. Halloween Expanded, ursprünglich 2019 veröffentlicht, erscheint nun in einer brandneuen Verpackung und ist damit ein neues Highlight für Fans, das sie ihrer Sammlung hinzufügen können. Halloween aus dem Jahr 2018 war ein Erfolg, der die kühnsten Träume aller Beteiligten übertraf. Der Film startete mit den höchsten Einspielzahlen in der Geschichte von Blumhouse und den höchsten in der Geschichte der Halloween-Reihe. Es war unvermeidlich, dass bald zwei Fortsetzungen, Halloween Kills und Halloween Ends, grünes Licht erhielten. Green unterschrieb für die Regie beider Filme, wollte aber nicht davon ausgehen, dass John, Cody und Daniel für die Filmmusik zurückkehren würden. ,Ich nehme nichts als selbstverständlich hin", sagt er. ,Man hofft also, dass sie eine gute Erfahrung gemacht haben. Ich weiß, dass wir Spaß an dem Projekt hatten, aber man weiß nie, wie die zeitlichen und finanziellen Interessen der Leute aussehen und all diese Dinge. Die Realitäten des Geschäfts, des Filmemachens, laufen nicht immer so reibungslos ab. Aber es gab keine Probleme. Wir sahen uns an und sagten: ,Wie können wir das hinbekommen? Lassen Sie es uns noch einmal versuchen.` Zweimal." Die erweiterte Version von Halloween enthält mehr als 28 Minuten zusätzliche Musik aus dem Film und bietet ein noch vollständigeres, immersives Hörerlebnis. Das zusätzliche Material der erweiterten Ausgabe umfasst insgesamt 24 neue Titel, die auf zwei weiteren Seiten der Deluxe-Doppel-LP verteilt sind. Diese neue erweiterte Ausgabe enthält brandneues Artwork von Chris Bilheimer und ein exklusives 24x36-Zoll-Poster, das von Creepy Duck entworfen wurde. Erweiterte Versionen der Soundtracks zu ,Halloween Kills" und ,Halloween Ends" sowie ein Box-Set mit allen drei erweiterten Editionen werden ebenfalls am selben Veröffentlichungstag bei Sacred Bones erhältlich sein.

From the crypts of Parisian funk obscurity comes the long-lost Halloween holy grail, Disco Frankenstein from Ice AKA Lafayette Afro Rock Band. A teasing album of horror-disco oddities originally released as a compilation—a misnomer cloaked in mystery, as the tracks themselves hail from the group’s playful experiments in the mid-to-late ’70s.
This album unearths a twisted treasure trove of grooves, originally scattered across obscure side-projects and international pressings, brought back to life by Strut on blood-soaked vinyl exclusively for Halloween 2025.
Originally released as a 1976 Japan-only compilation featuring the Lafayette Afro Rock Band under a plethora of pseudonyms—Sweet Exorcist, Captain Dax, Hot Blood, Krispie and Co., and more, the release was masterminded by producer Pierre Jaubert and led by bandleader Frank Abel with the funk-virtuosity of the Lafayette Afro-Rock Band group, the minds behind the much sampled ‘Soul Makossa’ and ‘Malik’ albums.
Disco Frankenstein represents the band at their most creative—layering wah-wah guitars, thunderous Afrobeat rhythms, and creepy-crawly synths into a funky stew of horror-disco gold. Tracks like “Dr. Beezar (Soul Frankenstein),” “Disco Vampire,” “Zeke the Zombie,” and “Igor’s Reggae” blur the line between Halloween novelty and dancefloor fire, conjured with full seriousness by studio wizards who knew how to raise the funk.
Resurrected by Strut Records and remastered by The Carvery, this compilation finally gets the deluxe treatment it deserves: pressed on limited blood-stained vinyl just in time for Halloween 2025.

Recognized worldwide for his delicate musical selection in dance floors from
around the world, Manuel Sahagun’s productions found a place in the bags of the
best recognized djs in the house music scene.
For the follow up of his critical acclaimed A Daily Noise EP on Fortunea Records, he
comes back on the Austrian imprint with the 5-tracker ‚Mermelada‘. Each side of the
record features different sides of the electronic music hemisphere. A fusion of both
modern and classic influences with cutting-edge contemporary sounds that has
elements from broken beat, warm and intimate ambient excursions and floorfriendly pumping house in it.
A perfect package that is coming to your record store, download store and
streaming service this october.
_________________
The vinyl is limited to 200 copies. There will be no repress!

Bangs and Talbot get back to business with a stonking new 45 for 2025, their take on the instrumental classic ‘K Jee’.

Originally by US band the Nite Liters (an instrumental precursor to soul act New Birth), this classic track has been a club favourite for decades. It was later covered by MFSB and included in the Saturday Night Fever soundtrack.

Taken from their forthcoming album on Acid Jazz, this latin disco funk flavoured jam is written by Motown hit producer Harvey Fuqua and Charles Hearndon. It features Mick Talbot on Wurlitzer, organ and piano, ably assisted by German funk guitarist Felix Fraenkel, Italy’s Donato Greco on flute, brass from California’s Dan C, and drums, percussion, and bass from original Acid Jazz DJ/producer Chris Bangs.

On the flip is a Mick Talbot-original ‘Re-Micks’ from the ‘Back to Business’ sessions, which gets a heavy-duty live boom bap rework by hip hop pioneer DJ Premier Inn.

Presented on black vinyl in a new colour version of the current Acid Jazz house-bag, with labels reminiscent of the classic RCA design for an authentic ’70s touch…

pictured cover sealed in shrink wrap (first time ever on Samosa)



Samosa Records comes back with a real summer bang in the form of the ‘Afro-Ritmo EP’ – a four-track journey into afro soaked vibes courtesy of Anura & Sr. Lobezno and featuring label boss De Gama!

First up on side A is the EP’s title track, the mesmerising ‘Afro Ritmo’. Anura & Sr. Lobezno announce their arrival on Samosa Records with this spicy West African rhythm bomb. Kakaki trumpet fanfares meld with intricate synth stabs and ethereal Oja flute, whilst the solid tribal beats and rolling bass dictate the dance moves. And dance you must…

Track 2 is the deliciously glitchy, conga bonanza ‘Sungu Sa’. Make no mistake, ‘Sunga Sa’ is out to get you from the very first beat – tempting you to go behind the curtain as the haunting guitar lures you ever closer to its secret door. Dark, uplifting and ritualistic, the chant of ‘Sunga Sa’ will live in your head rent free well after the sun has gone down. Don’t say you weren’t warned.

Over on Side B De Gama takes the title track ‘Afro-Ritmo’ and applies his unique sonic rubs, balms and enhancers to create a pulsating after hours jam full to the brim with Afrotropic sparkle and magic dust. Like an unstoppable chugging train steaming through a savanna, De Gama is the conductor supreme as the raspy synth, bluesy guitar riff and uplifting brass fanfares entwine around that pounding beat.

Finally, Track 4 gives us the seriously powerful Javier Morrilas remix of ‘Afro-Ritmo’. The original is stripped right down and given the Big Beat treatment for this insanely good take – a peak time switcheroo of a track that keeps you guessing as to where it’s taking you. As the flutey breakdowns and broken beat madness get you, you will fall in love with this one instantly.

The ‘Afro Ritmo’ EP is a powerful, masterful four tracker from Anura & Sr. Lobezno which is well at home in the Samosa Records cooking pot. Spread the word, buy the vinyl. You won’t be disappointed.

• Reviewed with love by The Black Light Disco

Written, Produced, Arranged and Mixed by Anura & Sr. Lobezno.
Keyboards & Percussions: Anura.
Trumpet: Jimmy Garcia
Sax & Flute: Carlos Ligero
Trombone: Prudencio Valdivieso

*Remix and Additional Productions by Stefano Gamma aka De Gama for De Gama Rec - Rome.
Jazz Guitar & Acoustic Bass by Pietro Nicosia.

** Remix and Additional Productions by Javier Morillas.

All tracks mastered by Francesco Pierguidi at L’n’P Studio – Rome.

Artwork and computer graphics by Nerina Fernandez.


SMS038

Modularz 93: UHFVHF – A Sonic Exploration of Analog and Digital Frequencies
Modularz is proud to present Modularz 93, a groundbreaking collaborative project between two heavyweights in the techno scene: Developer, the visionary producer and label head, and Stanislav Tolkachev, the Ukrainian techno ambassador known for his raw and experimental approach to sound. Their new release, UHFVHF, is a deep and immersive journey into the sonic interplay of analog and digital frequencies, a love letter to the mystique of over-the-air signals and the grey areas where the known meets the unknown. This project marks the culmination of countless hours spent in the studio in Berlin, where Developer and Stanislav have fused their unique creative processes. By blending analog hardware with cutting-edge digital techniques, the duo has crafted a sound that is both timeless and forward-thinking. The result is a series of tracks that explore rhythm and texture in their rawest form, pushing the boundaries of techno’s narrative and embracing the unfiltered power of sound. Through UHFVHF, Developer and Stanislav continue to redefine the parameters of contemporary techno, offering an uncompromising experience that speaks to both the mind and the body. This release is a testament to their dedication to the art of sound, offering a sonic landscape that pushes the boundaries of what techno can be. Modularz 93 – UHFVHF is a must-listen for anyone who seeks the raw energy and unapologetic power that defines the heart of true techno.

Docile is a reaction to the stimulus that is Detroit. The “my way e.p.” is a product of a turbulent time of readjustment. Made from Weathering confusion and standing strong. Docile refines a style of minimal that is authentic and independent from mainstream dogma. Docile belives in the vinyl record; a.garcia presses and checks every copy himself. Docile is, and will remain for itself.

"1 more day” builds a bed of unfocused synth for a healthy and life sick melody to nuzzle in. A heart felt tune of 4/4 simplicity grounded by an easy knock and an array of ticks. ”Hold up bro” a topsy turvy funk swing of chopped sound, voice and bassline escorted and overwhelmed by a mystic serenade of a synth. “Almost gone” assembles random sound into a soulful fragmented rhythm made steady by a poppy kick and stiff tick that breaks and stumbles into a dramatic melody. ”Detroit Rumble” struts tuff with a belligerent bassline and a menacing minimal kick that rattles and deforms chimes across a spartan and haunted landscape,

Perfect Location Records in partnership with the one and only Ear Candy Music is proud to announce 00-04, a compilation of early works by Bevan Smith aka Signer, New Zealand’s most prominent name in ambient electronica and dub techno.

Smith has been producing emotive chords, pop ambience, and thick dub-ospheres since before the turn of the century. His output is prolific, ranging from various solo monikers (Aspen, Introverted Dancefloor) and collaborations (Skallander, Feeling Flying) to unique projects (Touching the Void soundtrack, Isolated Dreams’ 24 EPs and counting). A rare artist with indie crossover appeal thanks to the 2004 Signer album The New Face of Smiling released on Carpark Records (Toro Y Moi, Beach House, Dan Deacon, Montag), Smith has played as a member of bands such as The Ruby Suns (Sub Pop), Over the Atlantic (Involve), and Glass Vaults (JUKBOXR).

Encompassing field recordings and evoking a cloudy coastal sky, 00-04 is a collection of mostly unheard material written in the early 2000s as Smith navigated the chaos and stress of living in London just after 9/11. A portion of this release may be recognisable to those familiar with the Involve catalog––“Drone Early,” for example, is an alternative version to the dub giant “1201A”––and to those acquainted with Signer’s 2002 Low Light Dreams (Carpark/Involve), an iconic album composed of processed guitar, dub-influenced bass, and synth drones; as if that doesn’t sound appealing enough, Low Light Dreams is home to “Building Memories Without You,” an unforgettably engulfing track featured on Fact Magazine’s 25 Best Dub Techno Tracks of All Time.

00-04 is a (re)issue both nostalgic and new, familiar yet unknown, fresh out of the archive. It possesses the Low Light Dreams aural palette while offering a carefully curated array of never before heard icy-cold moods, soothing minimalism, and shyly optimistic melodies, all glazed with recently finalized additions.

Alan Parsons Project second studio album "I Robot", widely regarded as one of the greatest concept albums of all time, is re-issued in a variety of different formats including a limited edition 180gm clear vinyl, half-speed remastered by Miles Showell at Abbey Road studios. The album was originally released in July 1977, and draws conceptually on author Isaac Asimov"s science fiction Robot stories, exploring philosophical themes regarding artificial intelligence. The album was a worldwide hit selling in excess of two million copies, achieving platinum and gold status in numerous countries including the USA, Germany, Australia and Canada. Limited Edition 180gm heavyweight clear vinyl. Featuring a half-speed remaster by Miles Showell at Abbey Road Studioa. Insert contains a sleevenote featuring quotes from Eric Woolfson

DUSTY DONUTS ISN’T JUST A LABEL — IT’S A TURNTABLE MANIFESTO.

Since its inception, the collective of vinyl scientists behind Dusty Donuts has been applying their signature "Dusty Formula" to every cut – a potent blend of deep crate knowledge, razor-sharp edits and roots firmly planted in the Hip-Hop culture. Each 45 is crafted with the instincts of seasoned DJs and the ears of lifelong diggers, spinning like a secret weapon on the decks: restructured classics and forgotten gems, reimagined with just the right bounce for today’s dance floors.

Now, with their new imprint DUSTY DONUTS CLASSICS, the crew levels up – kicking things off with a standout collaboration featuring the incredibly talented Emma Noble, who they first crossed paths with at the legendary Mojo Club. Emma’s soulful style and versatility made her the perfect fit for the launch of this new venture.

Dj Fly, DMC Legend with 4 DMC World Champion titles including 2024, France's most successful turntable player, presents his first Battle break / Dj Tool Vinyl!
With 19 tracks, you'll find an ultra-complete Dj Battle Tool including Skip Proof Scratch, Cuts, Tools, Sentences, Beats and Continuous Sound!

It's a limited edition of 300 copies, including a digital download coupon!

Black 12” vinyl.

Hot off their two smashes for Marvel’s blockbuster lm Venom: Let There Be Carnage, CZARFACE is back, triumphantly swinging into your universe with their all new CZARMAGEDDON! Expect many twists and turns as Wu-Tang’s Inspectah Deck and Esoteric go to war with an all-new, all-different soundscape from Czarface producers the Czar Keys. Alt-rap icon Kool Keith shatters the lyrical glass and the enigmatic Frankie Pulitzer, who rst appeared on the Venom soundtrack on Czarface’s Today’s Special, is back with guns blazing. Fans will crash the gates for this all new chapter of the Czarface saga.

Includes:
-Collector's Lunchbox with embossed Czarface art on front and back
-Series 2 Trading Cards only available with the Lunchbox
-Cassette of CZARMAGEDDON! only available in the Lunchbox

"Que Se Sepa Pt. 1 & 2" by Kenny Dope Featuring Daniel Rojo
Released on Kay-Dee Records, "Que Se Sepa Pt. 1 & 2" is a vibrant, rhythm-driven collaboration between the legendary Kenny Dope and talented vocalist Daniel Rojo. This two-part single captures the essence of Latin breakbeats, infused with the unmistakable flair of Roberto Roena’s cover song influence, creating an energetic fusion of tropical percussion and funky beats.

Kenny Dope, known for his work with Masters at Work and his extensive influence on the house and hip-hop scenes, produces a dynamic track that combines smooth rhythms with infectious hooks. The sound is an irresistible blend of classic Latin grooves and modern, dancefloor-friendly beats, perfect for both the old-school salsa lover and the contemporary club crowd.

The release is an homage to Roena's legacy, infused with breakbeats and explosive percussive elements that pay tribute to the genre's rich history. The energy and rhythms of "Que Se Sepa Pt. 1 & 2" are destined to bring the heat to any playlist, with Daniel Rojo’s vocal contributions adding the finishing touch to this unforgettable Latin-influenced masterpiece.

This release marks yet another impressive addition to Kay-Dee Records, known for curating tracks that bridge the gap between classic sounds and modern production, celebrating the vibrance of Latin music while keeping it fresh and exciting for today’s audience.

Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns this autumn with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album, out 23 October via his A State of Flo imprint. The album will be launched with a special live show at London’s Jazz Caféon the same day.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

“Birds of Paradise is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded.” The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”

The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.

Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”

This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”

Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.

Repress!

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962), a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.



Cirque - originally released in 2000 - was Biosphere's first album for the UK label Touch. This new re-issue comes with a 6-track bonus album and new artwork.



Mojo (UK): Fourth full album from ambient pioneer. Coming to prominence with 1992's Microgravity - which along with the first couple of Aphex/Polygon Window CDs, defined the genre ambient - Geir Jenssen as Biosphere has made three of the '90s' best albums, culminating with last year's near beatless Substrata. The idea - as it always was thanks to Eno's On Land - is music as environment (reflecting, creating): working from his base in Tromso, Arctic Norway, Jenssen offers a polar, Apollonian exploration of the human psyche. Cirque is a perfectly constructed 47-minute sequence: cold clarity up against real depth of field, synth cycles dissolving into sudden moments of sonic revelation that sound like a waking dream - try the first 20 seconds of Black Lamb and Grey Falcon. (And if you think that's pretentious - your loss). Inspired by the story of a young American, Chris McCandless, who walked alone into the Alaskan wilderness and perished, Cirque balances the tightrope between warmth and unease, resolving into a moon melody that leaves you a peace. What a good record! Jon Savage.

Seit langem fragen Leute, ob sie diese Alben erstehen könnten und bisher lautete die Antwort: Nein. Bisher! Wir sind begeistert, die Re-Issues dieser vier unglaublichen Alben mit verbessertem Artwork bekannt zu geben. Alle Alben wurden remastered und ist zum ersten Mal überhaupt auf Englisch erhältlich (eine englische CD-Version wird später auch noch erscheinen). Als die ursprünglichen Versionen veröffentlicht wurden, wurden die meisten Exemplare in Frankreich verkauft. Aber Yann wurde, nicht zuletzt durch den Soundtrack von ,Die fabelhafte Welt der Amelie auf der ganzen Welt bekannt. Für sein internationales Publikum hat er nun höchstpersönlich seine Titel mit größter Sorgfalt ins Englische übersetzt, um sicher zu stellen, dass die Originalinhalte beibehalten bleiben. Im Januar folgen die nächsten beiden Alben. ++ Auf "Rue Des Cascades" bedient sich YANN TIERSEN einer ganzen Armada an spannenden und mutagen Instrumenten: einiger sehr rare Instrumente, aber auch Klaviere, Kinderklaviere, Cembalo, Geigen, Akkordeon, Mandoline, Glockenspiel, Melodica und Banjo zusammen mit menschlichen Stimmen. Zusammen sorgt das für eine äußerst angenehme, entzückende und wunderschöne Musik mit einer warmen Atmosphäre. Einige der Stücke auf "Rue Des Cascades" tauchen auch auf TIERSENs "Amelie"-Soundtrack auf, so dass jeder, dem die Musik des Soundtrackes gefiel, auch hieran gefallen finden wird.

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

Domino Records celebrate the 20th anniversary ofFranz Ferdinand’s seminal sophomore album ‘YouCould Have It So Much Better’ with a specialedition coloured vinyl 2025 remaster.
Undeterred by any notion of a second albumslump, the record picked up where their debut leftoff and featured now classic tracks like ‘Do YouWant To’, ‘Eleanor Put Your Boots On’ and ‘WalkAway’.
This is pop music at its finest, drawing you in, butchallenging you at the same time.
Orange vinyl LP with printed inners and digitaldownload code.

"One Hit Wonders" ist eine dynamische Doppel-LP-Zusammenstellung, die die unvergesslichen Songs feiert, die den Äther beherrschten und zu zeitlosen Klassikern wurden. Diese Sammlung vereint legendäre Hits aus verschiedenen Jahrzehnten und Genres, von den energiegeladenen Beats von "You Spin Me Round (Like a Record)" von Dead or Alive bis zum sanften Yacht-Rock von "Steal Away" von Robbie Dupree. Mit Tanzhymnen, gefühlvollen Balladen und genredefinierenden Titeln ist dieses Album eine nostalgische Reise durch Songs, die trotz der Tatsache, dass sie die einzigen großen Chartstürmer ihrer Künstler waren, in der Musikgeschichte unverzichtbar geblieben sind.

Diese sorgfältig zusammengestellte Auswahl umspannt die Welten von Pop, Rock, Funk, R&B und Hip-Hop. LP1 enthält Wohlfühl-Hits wie "Walking on Sunshine" von Katrina and the Waves, den Synthie-Pop-Charme von "Wouldn't It Be Good" von Nik Kershaw und die eindringliche Schönheit von "Only the Lonely" von The Motels. LP2 hält die Energie hoch mit funkgetriebenen Grooves wie "Play That Funky Music" von Wild Cherry, der filmischen Magie von "Neverending Story" von Limahl und sanften Balladen wie "Because I Love You" von Stevie B. Jeder Track auf dieser Compilation ist einkultureller Meilenstein, der von der ersten Note an erkennbar ist.

"One Hit Wonders", herausgegeben von MPO, ist ein Muss für Musikliebhaber, Sammler und Fans von klassischen Hits, die Generationen überdauern. Ob Sie diese Hymnen wiederentdecken oder zum ersten Mal erleben, dieses Album fängt die Magie von Songs ein, die Geschichte geschrieben haben, auch wenn ihre Schöpfer nie wieder denselben Erfolg in den Charts hatten. Sichern Sie sich noch heute Ihr Exemplar und lassen Sie sich von der Musik in die Momente zurückversetzen, in denen diese Titel die Charts beherrschten und und die Welt in ihren Bann zogen.
Tracklisting

Having worked together on his 2024 album Colours & Light, Project Gemini aka Paul Osborne joins forces once again with Wendy Martinez, French singer and composer, and also part of renowned psych-girl group Gloria on a new collaborative EP. Landing on Mr Bongo, ‘Time Stands Still / Le temps s'arrête’ is a sonic exploration that shows a shared love of the progressive music emanating out of France in the ‘60s and ‘70s and the celebrated film soundtrack composers of the time. A more melodic and romantic excursion than Paul’s previous recordings, this EP marries his richly textured, cinematic psych rock with Martinez’s captivating vocal presence.

A body of work born during the period Paul was finishing up his last LP Colours & Light, he penned an album’s worth of instrumental library-style music and had the idea of having Wendy add vocals and lyrics to a selection of them. The instrumental record got scrapped, but thankfully ‘Time Stands Still’ grew out of it.

Paul was a fan of Wendy’s work as both a solo artist and in the band Gloria, and her inclusion on the Project Gemini tracks ‘Entre chien et loup’ & ‘Extra Nuit’ showed a clear synergy to their musical approaches and sounds. For ‘Time Stands Still’ he sent over instrumental tracks one by one, with Wendy taking time to find melodies and French poetry she was happy with and returning her ideas from her home just outside of Lyon.

Drawing inspiration from French soundtrack composers such as François de Roubaix, Frances Lai and Michel Colombier, as well as French female artists including Léonie and Laurence Vanay, these productions are a contemporary love letter to this sound, not a homage. Mixing psych, folk, chanson, and French new wave, it’s music that pulls you in deeper, with groove, grit and passion at its core.

'Je n'ai plus peur' kicks things off with a sultry energy. It’s a psych-funk production drenched in attitude, swagger, and edge, which nods to the left-field side of Serge Gainsbourg’s music. Elsewhere, 'Âme contre âme' feels like the opener from a forgotten new-wave film, managing to be at both beautiful yet sinister and longing. 'The Crawler' could be incidental music from the same film, with Wendy using her voice as an instrument layering the backing track as Paul's bass takes centre stage. The ghostly spoken word of 'Ce qui est intact' echoes a funky version of what the Théâtre du Chêne Noir d'Avignon may have recorded.

A transportive journey ‘Time Stands Still’ is nostalgic yet new in the same smoke-filled breath. Fuzzed-up guitars and driving basslines meld with folk-leaning organs and mellotron vibrations to give that eerie, otherworldly edge. All of which are seasoned by the sensuous, layered vocal tones of Wendy Martinez, alongside crisp drums from Tony Coote and considered percussive touches by Paul Elliot.

A Walking Contradiction resurfaces with a new release by their friend & collaborator Katatonic Silentio, channeling a collection of tracks submerged in echoes and pressure-shaped pulses. AWC011 traces fluid architectures built from delay, decay, and deep resonance--each composition unfolding like sediment in motion. Sounds sway with tidal pull, suspended in chambers where space thickens and time refracts. Basslines emerge like sonar beneath shifting layers, while percussive elements flicker at the edges, softened by current and drag. Elastic and disorientated, these underwater constructions are tuned to the language of depth and dissolution.

Man O To from the elusive producer NU is finally set to be released as a single on Crosstown Rebels, featuring remixes from Parisian producer Pépé Bradock who producers two amazing takes on the original. Since its inclusion on Acid Pauli's Get Lost Compilation in 2012, the track has gained huge support and become a modern-day electronic classic.
A nomad of modern times, NU has travelled the continents with his diverse music to unearth his imitable style. Represented heavily in Man O To, where instruments amalgamate with electronic production to become solid rhythms. An extra spark come from its lyrics, outtakes from an old Persian poem from the well known poet Rumi, who speaks of true happiness in love here performed by Ghazal Shakeri from an original recording made by renowned French composer Armand Amar.
Julien Auger aka Pépé Bradock is a widely respected producer best known for his ground breaking remixes and releases on labwes such a Avatisme, Classic and Versatile Recordings. As a DJ, he has spun in almost every major club in the world and is known for his versatile, and mesmerising style. Bradock conjures a trippy remix and dub version of Man O To and fitting ode to the original.

LIMITED CLEAR VINYL EDITITION

Manche Orte und Landschaften prägen einen und wollen einen gar nicht mehr loslassen. Für Benjamin Woods ist Cornwall einer dieser Ort. Der Platz seiner Jugend, an den er, als er während der Pandemie seinen Job in der Tate Modern Bar in London verlor, zurückkehrte. Dort, wo tausende Touristen ihren Urlaub verbringen, während eine Vielzahl der Einheimischen sich wohl nie einen solchen leisten werden können, war der einzige freie Job für ihn der als Hilfsarbeiter auf einer Baustelle. Diese befand sich an einer der düstersten Ecken von Truro, wo die stetigen Sirenen die Szenerie der langsam wachsenden Häuser, die bald erschwingliches Wohnen in Cornwalls Hauptstadt versprechen sollen, untermalen. Während sich das zweite the GOLDEN DREGS-Album "Hope for the Hopeless" (2019) noch völlig in persönlichen Schmerz vertiefte, schaut Benjamin auf seinem 4AD-Debüt "On Grace and Dignity" auf seine Heimat und erforscht, was es bedeutet von dieser geprägt zu sein. Neben persönlichen Reflektionen über den Verlust der Unschuld und über die eigene Minderwertigkeit, verwebt Benjamin seine Erzählungen mit Themen wie Überleben, verzweifelten Ausbrüchen von Gewalt, Verlust und den Einschnitten in die Gemeinschaft, im Auge der drastischen Gentrifizierung. Und das alles präsentiert er mit einer Stimme, in der die überirdische Weisheit eines Kurt Wagners (Lambchop) oder eines David Bermans (Silver Jews) mitschwingt. Mittlerweile ist Benjamin wieder nach London zurückgekehrt, aber mit seinem neuen Album "On Grace and Dignity" sowie einem Miniatur-Modell von Cornwall, das der Model-Künstler Edie Lawrence, der auch schon an Artworks für die Idles oder Jamie T beteiligt war, gebaut hat, hat er seine Heimat auch heute immer nah bei sich. Jeder Song des Albums spielt in einer Ecke der fiktiven Cornwall-Stadt des Modells, das auf dem Cover zu sehen ist.

In 1982, the elite, core musicians (MFSB / The Salsoul Orchestra) behind the soulful Philly Sound - Earl Young (drums), Ron Baker (bass), Norman Harris (guitar), Lenny Pakula (organ), Larry Washington (percussion), Vince Montana, Jr. (vibes) - and powerhouse vocalists David Simmons, Joe Freeman, Ron Tyson and Bobby Love convened at Philadelphia’s historic Sigma Sound and Virtue Studios to record some of the genre’s biggest hits. This small, but amazing set of lush recordings, which were mixed at Alpha Studios - ensuring that every note and nuance was captured with the highest fidelity, recently caught the attention of the famed producer and remixer Eric Kupper. Kupper got his start working as a keyboardist and guitarist for such producer/remixers as David Morales, Frankie Knuckles, Arthur Baker, Peter Rauhofer, and Richie Jones, just to name a few. Since 1986, he has played on, remixed, and/or produced over 1400 records for artists spanning all contemporary musical genres. Presented here is “Bad Luck” which features Simmons’ incomparable lead vocals and a brilliant remix by Kupper. This release is not just a tribute to the past, but a vibrant continuation of the legacy these legendary musicians helped create.

Guedra Guedra ist das elektronische Musikprojekt des marokkanischen Produzenten Abdellah M. Hassak. Der Sound von Guedra Guedra ist eine schillernde Mischung aus visionärer elektronischer Musik und musikalischen Traditionen des gesamten afrikanischen Kontinents! Tipp!

MUTANT ist das zweite Album von Guedra Guedra und das erste auf Smugglers Way. Auf MUTANT mischt Abdellah M. Hassak analoge Synthesizer und Drumcomputer mit Field Recordings aus Marokko, Tansania, Guinea und anderen Ländern, die er auf seinen Reisen durch den Kontinent gesammelt hat. MUTANT erforscht Themen wie Identität, Panafrikanismus, Afrofuturismus und Dekolonisierung und verbindet das musikalische Erbe des Kontinents mit Elementen von Techno, Bassmusik und Dub. "Ich wollte einen kulturellen Sound schaffen, der Innovation mit afrikanischer und diasporischer Musik sowie den Vibes von Rhythmus und Bass erforscht", sagt Abdellah. Die Musik von Guedra Guedra ist durchdrungen von Abdellahs Vision der kulturellen und technologischen Dekolonisierung. Eine Vision, die den Panafrikanismus feiert und die Art und Weise hinterfragt, wie Mainstream-Produktionswerkzeuge nicht in der Lage sind, nicht-westliche musikalische Ausdrucksformen zu erfassen. "In afrikanischen Traditionen ist der Rhythmus, insbesondere in seiner polyrhythmischen Form, nicht nur ein Puls oder ein Takt, sondern eine Kartographie des Lebens. Er drückt soziale Komplexität, vielschichtige mündlicher Überlieferungen, Gemeinschaftsdynamik und die spirituelle Dimension der Existenz aus", sagt Abdellah. "Die Weitergabe dieses Reichtums von Generation zu Generation durch Üben und Zuhören ist auch ein Akt des Widerstands, ein Weg, Wissen und Sensibilitäten zu bewahren, die die herrschenden Erzählungen lange Zeit zu marginalisieren oder zu vereinfachen versucht haben.

- 140G schwarzes Biovinyl inkl. vierseitigem Booklet und Downloadkarte