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Debut 12" from the new label RE-DISCO-VER. A new series from SOULSIMMER & ALVARO who have been delivering sundry melodies at their intimate and private gatherings for some time. Check out these 4 simmered and extended adaptations aimed to peak your interest. Limited color vinyl. Paper sleeves.

*People Like Us, the project of artist Vicki Bennet returns to Discrepant with a special vinyl release of "COPIA". This album marks the first new musical material since "The Mirror" in 2018, delving into the profound realms of existential collage and sampling, celebrating these forms as expressions of timeless connectivity.
* The title "COPIA," meaning 'abundance' and 'copy,' reflects the essence of collage and sampling - art created not in isolation, but as a connective thread through time and space, linking ideas across generations in a seamless tapestry.
* By reconfiguring preexisting sounds and images, Bennet highlights the non-dual nature of creation — where distinctions between past, present, and future possibilities blur, revealing a shared foundation beneath. The album marks a return to not just solo works but collaborations with notable artists.
* Drawing from the new People Like Us live AV performance, "The Library of Babel," sampling and edited sound collage, electronic music, combined with Ergo Phizmiz's lyrics and melodies, "COPIA" weaves and recombines a timeless blend of diverse elements that transcends traditional musical boundaries. This creative process unfolded through the exchange of multitracks across both water and ether. Collaborating with the voices, instruments and editing timelines of Matmos, Hearty White, Gwilly Edmondez, Lotte Bowater, Buttress O’Kneel, Douglas Benford, Irene Moon, Jon Leidecker, and Matt Warwick, the work evolved exquisite corpse-style.

“Bennett has proven herself an alchemist of popular music, able to push her source material into fresh and engaging places. Where some artists hack existing instruments and technologies to create their new sounds, Bennet has circuit-bent the songs themselves.” - Spenser Tomson, The Wire Magazine

FOLLOW UP TO THE CRITICALLY ACCLAIMED 2023 ALBUM ‘RPB’ (UTR151):

- #4 MOJO FOLK ALBUMS OF THE YEAR+ FOLK ALBUM OF THE MONTH:
“ IT MELTS TRAD TECHNIQUES AND MINECRAFT BURBLE INTO ‘A MASSIVE, MULTI-PLAYER ONLINE DREAM’ . INCOMPREHENSIBLE/IRRESISTIBLE’

‘ME LOST ME’S RPG (UPSET THE RHYTHM) IS AN EXCITING, IMAGINATIVE ALBUM EXPLORING THE LINKS BETWEEN TRADITIONAL INFLUENCES AND ELECTRONICS IN FERTILE WAYS.’ THE GUARDIAN - FOLK ALBUMS OF THE MONTH.

'FROM NEWCASTLE, VIA UPSET THE RHYTHM, JAYNE DENT EXPLORES FOLK ART AND FUTURISM TO SPELLBINDING EFFECT' THE QUIETUS

FULL PAGE REVIEW IN WIRE MAGAZINE:"ME LOST ME'S NEW ALBUM RPG IS FILLED WITH STORIES OF ADVENTURE AND SELF-DISCOVERY IN VERDANT NATURAL LANDSCAPES, SUNG WITH FEELING AND CLARITY"

Me Lost Me - the project of Newcastle-based artist Jayne Dent - delights in experimenting with songwriting, creating a beguiling mix of soaring vocals and atmospheric electronics that playfully push the boundaries of genre.

On Me Lost Me’s fourth full-length, This Material Moment - arriving on Upset the Rhythm on 27th June - she has created an “emotionally raw” album, her most honest and vulnerable yet.

Concerned with physicality, interpretations, and, yes, materiality, This Material Moment is an album akin to rummaging through a box of long-forgotten trinkets. With each song, Me Lost Me extracts something from the box and asks us to consider it from every angle. "This is an album which uses words as a material, a playful tool for experimentation, full of metaphor, abstraction and analogies.” Jayne says, “it has softness and anger, humour, hope and despair, intensity of feeling in all directions expressed as textures, objects, places."

With the release of This Material Moment Me Lost Me puts into practice the automatic writing techniques she developed during a workshop with Julia Holter, and in the process has spun her music in different directions that draws on poetry, psalms and using mesostic poems and phonetic translations to generate words. “Despite the chance-based writing strategies throughout, it feels like the most emotionally raw album I've ever made,” she says, likening the process to a Rorschah test which revealed things to her she wasn’t expecting to express. “I wanted to hide in stories, but I saw things plainly when I tried to write.” Having finished the writing process, Jayne realised that she had an unexpectedly personal album on her hands, into which her feelings of burnout and overwhelm had crept unconsciously. “Several of the songs for me express a kind of inner conflict, where you’re trying to keep hope and desire and beauty and art near to your heart, to live a meaningful life, but finding that increasingly hard to hold onto in a world that’s so fucked up.”

Whilst Jayne Dent’s music as Me Lost Me has previously presented time stretching back and forwards in opposition (noticeably on 2023’s album RPG), on This Material Moment she does away with linearity altogether, evoking rather than narrating, and presenting feelings, happenings and moods with no clear beginning or end point - “like experiencing a vista, trying to capture a moment that is unfolding all at once”. Instead, each track on This Material Moment exists entirely in media res, adjacent to past and future, and instead sprawling across the endless now.

This Material Moment was written and arranged solo, but played with a core band of John Pope on electric/double bass, Faye MacCalman on clarinet, and now with the addition of Ewan Mackenzie (Dextro/Pigs x7) on drums - bringing in live drums and electric bass for the first time. The album was recorded by Sam Grant at Blank Studios in Newcastle, who also worked on RPG.

Dense, deep, drifting in the universe between dream, memory and reality.
Thought-provoking impulses with a philosophical background add an empathetic component to the power of the narrators' words in a charismatic way.
The common thread running through the four tracks like a warm red ribbon is a homage to the freedom of the individual.
A utopian sound clip that tells of acceptance and departure.

In a flurry of angular beats and space age synth licks, Livity Sound welcomes Willis Anne to the fold under the guise of a new alias, FOREIGNER. Operating within the thriving scene around his current base Naarm, Anne brings a live, jammed-out focus to machine-rooted electronic performance that translates into his productions. All four tracks on this new EP crackle with improvised energy, whether it manifests in the dramatic synth shapes on 'Last Peoples' or tangled up in the beat exploration on 'Visible'. At its core, the EP makes its mark thanks to the clarity of Anne's ideas as he swerves the temptation to over-work the sound, ringing true with the immediate, spacious approach of Livity Sound's many-sided catalogue.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

Released in 2018, the Original Blunted Breaks Vol.1 compilation was a landmark release in the future jungle revival, collating the sounds of the rapidly emerging underground in long player format and extending the reach of the modern productions beyond the clubs and hardcore vinyl enthusiasts, to the likes of BBC Radio 6, with guest Dead Man’s Chest mix and album feature on Tom Ravenscroft’s show.

In the ensuing years, contemporary jungle music has continued to gain in popularity with a rapidly expanding global influence and reaching younger audiences who’ve adopted it as the sound of now.

In 2025, Western Lore continues its role as a modern tastemaker in both jungle music and the wider electronica scene with Blunted Breaks Vol.3, a 12 track long player featuring a selection of deep and textural future jungle workouts from the freshest rising talent & now established stalwarts of jungle music.

Released on triple heavyweight (180g) black vinyl, shrink-wrapped in full art sleeves & digital.

Posatronix, a prominent figure from Detroit, is well-known for his contributions to the electronic music scene and is a vital part of the AUX88 universe. His track "Shake It" has become a classic and a staple on dance floors both locally and globally. The song features infectious beats that perfectly capture the essence of Detroit's techno heritage while infusing it with Posatronix's unique flair. With its driving rhythm and catchy hooks, "Shake It" invites listeners to lose themselves on the dance floor, making it an enduring anthem for party-goers around the world. This track showcases Posatronix's exceptional production skills and solidifies his status as a key player in shaping the sound of modern electronic music.

“Electric Park” by Mathias is a five-track tech-house project that blends history, whimsy, and Detroit’s rich musical legacy. Inspired by the vibrant past of Electric Park, an iconic Detroit amusement park, the music captures the joyful energy of rides and attractions while offering a modern sonic twist. Upbeat and whimsical, the tracks reflect the birthplace of Techno and celebrate the city’s innovative spirit. Mathias invites listeners to both revel in the present and connect to the past through pulsating beats and playful rhythms, highlighting how music bridges history and culture in meaningful, electrifying ways.

Desirée Falessi’s Existential Instinct EP marks the 30th release on EYA Records, and we are celebrating this milestone with her distinct blend of intensity and introspection. Built on pulsating rhythms and haunting atmospheres, the record transforms raw rave energy into hypnotic, transcendent moments. The result is a deeply personal and forward-thinking collection that reflects Falessi’s unique style and influences

The Night/Tainted Love, is the latest 45 release from BDQ featuring Sarah Orpen on vocals, and is taken from the forthcoming album The Ultimate BDQ, for this single we decided to go big or go home, both of these tunes are our absolute favourites, and were so much fun to record.

The Night is an all time banger and an absolute floor filler, the Frankie Valli version is a brilliant tune, so we thought why not bring this album project to a close with a female vocal version, and Sarah as usual knocked it out of the park with her slamming vocal take on this fabulous classic.

Tainted Love is a tune that we all agreed would be fun to record, and we weren’t wrong its no mean feat to approach a tune of this magnitude with the full respect it deserves, the bass line thunders along driving the tune like an express train in a hurry to deliver the goods, and yet again Sarah was well up to the task, this tune fits a lot of punch into its 2 minutes 18 seconds, we hope you enjoy it as much as we do

Albums are usually released and then a couple of single releases are taken from the album, however we decided to flip this usual way of doing things on its head, we have released almost all of the tunes on 45 first, and now we are busy compiling them into the album, which i have to say is sounding great.

This release brings this covers project to a close with a bang, the album will bring all of them together as one with some updated mixes with subtle changes to the 45s.

A small package that delivers a serious wallop, “Try No More” by Glitterin is guaranteed to provide some heat on dancefloors this Summer. From the juddering throb of the opening kicks to the ricocheting rhythms, the track fixes itself directly under the mirrorball from the outset. Produced by Jason Core, this is late night lover affair material that is brimming with energy. When the firework melody bursts, it ignites. Sharp and warm synth stabs are left smouldering by the driving and impassioned voice of Sandry Sanz. A tale of unrequited love unfolds between the cymbal crashes and spiralling synthines, lines that grow ever bolder through Tony David’s emotive guitar solo. The flip is dedicated to Core’s instrumentation with the range of analogue sounds and synthesizer intensity coming to the fore. Intricate patterns and counter melodies are woven, key shifts and pulsating percussion imbibe this dub mix with all the spirit of the original. Fierce and fiery from beginning to end.

• ONE OF THE PIONEERS OF THE DISCO ERA IN 1974
• HAD THE BIGGEST SELLING SINGLE IN 1974, SELLING OVER 11 MILLION COPIES
WORLDWIDE OF ‘ROCK YOUR BABY’
• THIS EXCLUSIVE COMPILATION OF HIS GREATEST HITS CONTAINS THE
EXTENDED ALBUM VERSION OF HIS BIGGEST SELLING SONG
• FEATURES ALL OF HIS INTERNATIONAL CHART HITS FROM 1974-1978,
INCLUDING ‘I CAN’T LEAVE YOU ALONE’ AND ’YOU CAN HAVE IT ALL‘

Fronted by brothers Peter O'Doherty and Reg Mombassa , Dog Trumpet have been playing, writing and recording their music since the early 90s. Reg and Pete were founding members of iconic Australian band Mental As Anything, who hit the charts around the world with “Live It Up”. The band made a mark with their left field mix of music, art, video and humour and leading eventually to ARIA awards and induction into the Hall of Fame in 2009.

Dog Trumpet’s new album Live Forever is the result of 2 years in the studio.

For this, their ninth album , the song writing brothers Peter and Reg have brought Peter’s multi instrumentalist son Declan in on drums, production and mixing duties, enhancing and expanding their sonic palette.

At times psychedelic and ethereal, the album weaves together Dog Trumpet’s signature acoustic and electric guitar and bass driven sound with melodic drums, synthesisers, mandolin, saxophone and added backing vocals by their touring bass player Bernie Hayes.

Pioneering British electronic musician Mark Van Hoen is set to release his latest solo album, The Eternal Present, on 23 May 2025 via Dell'Orso, a remarkable collection of tracks spanning nearly three decades of recordings from 1998 to 2024.
The Eternal Present embodies its philosophical title, inspired by Joseph Campbell's concept that "Eternity isn't some later time... Eternity is that dimension of here and now that all thinking in temporal terms cuts off." The album explores music as the ultimate expression of existing in the present moment, transcending time and creating a sonic experience that is simultaneously "spectral, ghostly, melodic, harmonic, and decayed."
An influential contemporary of Aphex Twin, Autechre, LFO and Boards of Canada, Van Hoen is best known for his solo work as Locust in the mid-'90s, which helped push post-rave electronic music into newly challenging realms. His extensive discography spans releases on influential labels including R&S, Touch, and Editions Mego. Van Hoen has worked on numerous collaborations throughout his career, including with Nick Holton and Neil Halstead of Slowdive under the moniker Black Hearted Brother—their album Stars Are Our Home was released in 2013.
The Eternal Present continues the lineage of Van Hoen's most significant works, with artwork by Ian Anderson (Designers Republic) reflecting the album's "eternal present" concept with a mysterious visual approach, allowing listeners to form their own imaginary landscapes. The mastering by Stefan Betke (Pole) enhances this document of the evolution of the artist over the years as he continues to hone his signature sound. Using a host of instruments including analogue synthesisers and employing various recording approaches, Van Hoen's equipment changed dramatically over the years—from early DSP processing used on his first solo record on Apollo ‘Playing With Time’ to various synthesisers, modular systems, tape machines, and digital workstations—contributing to the album's rich sonic diversity.
Throughout The Eternal Present, ideas are woven together through spoken word quotations and abstract vocals featuring notable collaborations from Rachel Goswell on the Slowdive cover "Shine" (from 1998), Megan Mitchell (Cruel Diagonals) on "Somewhere", and session vocalists Clare Dove and Dorothy Takev on "No-One Leave" and "It's Not You (In A Way)" respectively. The use of cleverly assembled vocal samples from an "undisclosed but very famous female vocalist" on "Multiplex" (2016) and the indistinct vocalisations on the Cabaret Voltaire-influenced "Only Me" (2017), constantly challenges and disorientates the listener through fluctuating, ever-changing musical elements.
The album was recorded across multiple locations including Somerset, London, Los Angeles, and New York—even beginning compositions during flights and in airport lounges—reflecting Van Hoen's changing personal circumstances, environments, and situations throughout the years.
Of Indian-Jamaican descent, Van Hoen was born and raised in England, absorbing diverse musical influences from his neighbors—African-Jamaican on one side and Punjabi Indian on the other. "Each family played their own music frequently, and I absorbed it." His musical foundations include Brian Eno, Kraftwerk, OMD, Tangerine Dream, Japan, Cabaret Voltaire, and Cocteau Twins, later finding inspiration in My Bloody Valentine, LFO, and '90s producers Robert Leiner and CJ Bolland.
These eclectic influences are evident on The Eternal Present, which contains snapshots of different periods in his life, with changing circumstances across decades creating a variety of textures and sounds. As Mark explains: "It holds the same sonic signature as many of my solo releases and early Locust albums. It's a natural development that has taken place in the last few decades. It's even related to the earliest music I made as a teenager, although perhaps more sophisticated."
“What a remarkably affecting, majestically broad and captivating work it is..what strikes you most is the album’s myriad diversity. Outstanding” (Electronic Sound)

“Whether channelling mid- 70’s Eno, early Aphex Twin or Neu! his vivid sounds shimmer with emotional weight” (Mojo 4*)

"Musically, Van Hoen belongs to a distinguished family tree. Originally influenced by the likes of Brian Eno and Tangerine Dream, and later presaging both Autechre's glitch and Boards of Canada's pastoral IDM." (Pitchfork)

Chicago DJ/producer SEAN SMITH brings 3 classic dance floor weapons. The A-side contains an edit of disco funk classic "DANCE ON THE FUNK" alongside a dub version, while the B-side offers an edit of 90's jazz house track "GOOD BEAT." Proper weapons for today's dance floors. White label 12" in paper sleeve

Comb is back on I Travel to You with two reworked disco gems. Both have been refreshed beyond edits, extended, and pressed loud on a 12-inch. Don’t Wait has been stripped back and rebuilt to give space to an addictive vocal, suitable for a Paradise Garage dancefloor. Spotlight shines brightly on the B side with an up-tempo hit aimed at the good people moving, they are the perfect audience for this song!

SHEEFY McFLY came out of a new bag and put the band back together for this one — "Beach House on Mars." Straight up rocks out, with Sheefy wildin' over some rock-type, new thrash, alternative Detroit ishhh… guitars screaming, mics catchin' fire. All dropped on Detroit's own rock/metal label, Rusted Metal. And you already know — if it's SHEEFY, a Detroit anthem is already baked in.

2025 Repress

Forest Drive West returns to Livity Sound with the 'Dualism' EP, a tour de force of stripped dub aesthetics and swirling psychedelic rhythms.

One of the finest breakthrough UK producers of recent years, in a short space of time Forest Drive West has created an enviable catalogue across labels such as Livity Sound, Rupture, Echocord, Whities and Mantis. This new EP marks some of his best work to date.

The final track on the EP, 'Scorpion', features Melbourne based percussionist Lucky Pereira whose frenetic but tightly locked drums add a fizzing energy to Forest Drive West's deep atmospheric rhythm track.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

British sci-fi romantic comedy Timestalker is written and directed by Alice Lowe who also stars in the film alongside Aneurin Barnard, Tanya Reynolds, Kate Dickie, Jacob Anderson and Nick Frost.
The album features the film’s original music composed by Toydrum (Prevenge, Slow Horses, Platform 7, Three Pines, Deep Water, The Banishing).

"I Became Birds feels like emo once again flipping the switch on its eternal energy source." - PITCHFORK // "One of the most arresting and interesting rock albums in recent memory." - SPIN // "Composed of self-deprecating wails, crashing guitar riffs, and a flicker of lyrical hope that almost feels naive _ in other words, the perfect foundation for classic emo catharsis." - STEREOGUM //// With I Became Birds, Florida's Home Is Where push their unique blend of whirlwind hardcore aggression and warm, open-hearted folksy melancholy to even further heights. Frontperson Brandon MacDonald's Dylan-esque eccentricities are on full display here, from the occasional blast of harmonica (like on early standout "Long Distance Conjoined Twins" or the disaffected, despondency-soaked closer "The Old Country") to their knack for abstractly evocative neurosis-as-poetry. But far from being a copycat act, Home Is Where's wearily raw-throated aesthetic and dynamically vivid compositions feel idiosyncratic and vital. The bittersweet folk melodies seep deeply into the band's DNA, adding an element of accessibility and immediate nostalgia to otherwise churning and angular song structures and sonic assaults. Vocals range from an intimate, gentle, and disarming croon to a full-bodied expectoration of the soul, oftentimes in the same song (like "Sewn Together from the Membrane of the Great Sea Cucumber," which splits the difference between mournful, gothic post-punk and staccato-heeled screamo with aplomb). A devastating rhythm section and nimble, versatile, yet powerful guitar work assist with the record's genre-bending, which ranges from maniacal chemical mixtures to gymnastic flips, twists, and turns. And yet, even amid the din, Home Is Where find ample time for hooks-- the oddball effervescence of lead single "Scientific Classification of Stingrays" and the shimmering, propulsive, delightfully off-kilter late-album stunner "Assisted Harakiri" are more than proof of that. Ultimately, I Became Birds shows Home Is Where hitting an early high-water mark. A brisk record-- six songs in roughly 17 minutes-- it never takes a dip in enthusiasm and inventiveness. Home Is Where's inexhaustible creativity and restless energy is bound to serve them well, and I Became Birds is all the proof anyone needs.

A1 - Sequence Array
Exquisitely filtered breaks open Sequence Array as Aural Imbalance opens the EP with a glorious intro capped off with a tight 808 bassline solo before the dependable, rapturous crunch of amens thrash their way into the mix. Programmed with dextrous skill allowing the crisp subtleties of the breaks to breathe among the layers upon layers of floral ambience, this one is an amen journey to remember.

A2 - In Formation
A more understated affair takes the stage as In Formation is introduced by airy pads and light DJ-friendly filtered breaks in the backdrop before a punchy yet delicate break pattern - high on the juddering snares and low on the kicks - ushers us along through plinky melodies and mood-elevating synthwork, completing a journey of reflective solitude from the master of ambient atmospherics.

AA1 - Voices From Neptune
Light keys and excitable, shimmering waves of ambience kick off the elegantly composed Voices from Neptune, setting a sumptuous tone before the uniquely constructed breakbeats commence. Kicks and energetic hi hats & snares are soon joined with a light Hot Pants break, crisp and complimentary in the mix as low pass melodies bask in the soothing swathes of exquisite synthwork.

AA2 - Decoded Message
Closing out the EP, Aural Imbalance sets free his Decoded Message, opening with a quietly suspense-fuelled intro flecked with light hi hats before a yearning, mournful melody intersects with a tapestry of ambient pads and effects. Swirling with an array of subtle jangling melodies to form a kaleidoscope of spine-tingling mood music, the compositions capped-off with old-school breakbeats riddled with analogue charm and earthy bass.

Words by Chris Hayes (Spatial / Red Mist)

Gary Beck returns to Mutual Rytm as he unveils a selection of impactful cuts across his debut 12'' on the label, 'Upside Criminal'.

Bek Audio boss and Glasgow techno mainstay Gary Beck has long been a key figure in the scene with a unique sound that has shaped a vast discography. One of the genre's best, with appearances across iconic institutions and collaborations with legendary talents, he is a definitive talent. Returning to SHDW's Mutual Rytm imprint, his new EP lands following his recent appearance on the label's 'Federation Of Rytm III' VA, with the tracks on the package proving as go-to favourites for the label boss over recent months.

''Mutual Rytm has been nothing short of inspirational to me over the last years. I've been playing almost
everything from the label, as the tracks really suited what I was selecting in my DJ sets. The high-quality output really got my juices going to create something for the label, and I was delighted when Marco liked what I sent. This EP signals exactly where I am musically. I'm an absolute sucker for tracks with relentless groovy energy and little breaks, so it felt like a perfect fit. Tracks from the EP have been an absolute joy to play in my sets recently,
and I'm so excited to deliver this EP on my current favourite label, Mutual Rytm.'' - Gary Beck.

The powerful 'Upside Criminal' kicks off with hammering drums and pounding hits that create an inescapable wall of sound that will dominate dance floors of any size. There is more loopy energy to 'Sambana' with its ever more jagged synth stabs and fizzing drum textures while 'Pepper Track' is a futuristic techno workout with rattling snares and mutant synth details peeling off the straight-up groove. 'Rejected' is built around trapped vocal fragments that swirl about the mix to a disorientating effect as the high-speed drums and sheet metal synths race onwards, 'while
Ghost' closes out with a subtle sense of uplifting celebration from the synths that rise up through rusty, rickety techno grooves. Digital Bonus 'Variation 6.1' offers another searing and funky techno stomp, once again providing an extra gem for digital purchasers.

In 2006, Danger Mouse is King Midas of the music world. He has an uncanny knack for creating jagged, dense, frenzied beats and odd, eerie, vivid soundscapes that never compromise the music's natural flow. Meanwhile, rapper and singer Cee-Lo, a veteran of Atlanta's Dirty South scene, has never been one to be constrained by hip-hop conventions, and is a willing partner in adventure. The result is an intrepid psychedelic blend of pop, hip-hop, soul, and rock that consistently challenges and delights. It's no wonder that "Crazy," with its modest riff, irresistible hook, and disarming opening line ("I remember when, I remember, I remember when I lost my mind") became a worldwide Internet sensation a full six months before the official release of St. Elsewhere. But that relatively simple soul-pop gem is the tamest track on this wide-ranging, often dark and introspective collaboration. (In fact, the duo considers Gnarls Barkley to be a wholly new creation, as opposed to a collaboration of existing artists.) "Everybody is somebody, but nobody wants to be themselves," Cee-Lo croons on "Who Cares?" He and Danger Mouse try very hard not to be their old selves as they creatively and confidently break down boundaries, but the brilliant cores of their musical personae Cee-Lo's eccentric spiritual soul man and Danger's bold sonic explorer remain. Marc Greilsamer.

Though they may not have intended to do so, Naptown's trinity, also known as 81355 (pronounced BLESS), rang out as revolutionaries with their 2021 debut record This Time I'll be of Use. When Oreo Jones, Sirius Blvck, and Sedcairn come together, genre evaporates into enthralling poeticism and sonic hypnosis. Their sophomore LP Bad Dogs, releasing July 11th on Joyful Noise Recordings, acts as an expansive continuation of 81355's signature sound: an angelic, gritty, enthralling urban hymnal for the disillusioned mind. The history of 81355 stretches far back into the history of Naptown's creative scene. Jones and Blvck struck a match as one of Indy's most influential hip-hop collectives, Ghost Gun Summer, before they brought on Sedcairn (Moose Adamson) in 2020. Before Adamson infused 81355 with his melodic soundscapes, he produced Grampall Jookabox, an underground indie meets jangle pop project. Though they may be known primarily for their musical notoriety, the members of 81355 are steadfast in their commitment to uplifting their community with collective creative expansion. Sean (Oreo Jones), alongside his partner Jane Sun Kim, produces and curates Chreece, the largest Midwestern Hip-Hop festival hosted in the heart of Naptown. Niq (Sirius Blvck) is pivotal in the empowerment and advancement of Indy Hunger Network, a local non profit that addresses food insecurity across Indianapolis. Moose (Sedcairn) is a key contributor to Joyful Noise, an Indy based independent label cutting records for artists of all genres. For the first time, the project's live band is part of the production, with Sharlene Birdsong on bass guitar, Dimitri Morris on guitar, and Pat Okerson on drums. The Bad Dogs listening experience also seeps into visual realms: a short film titled Sleep Study will be released in tandem. Sleep Study_soundtracked, written, and produced by 81355, who also star in the film alongside friends and fellow artists from the community_features afrofuturistic sci-fi undertones that explore the toxifying implications of algorithmic control, postmodern brain rot, and late-stage capitalism. As the texturally emotive punctum of its cover art (painted by Stockholm based artist Julia de Ruvo) conveys, the heart of Bad Dogs draws its perseverance from the wild reservation dogs pulsing through the rust-hued indigenous lands of New Mexico and beyond. They are untethered in their roaming, sacred in their fierce communal belonging, yet undefined by a physical place. A vital essence mirrored by 81355: boundaryless, primal creative cultivation that defies what some may attempt to categorize as hip hop or progressive rap.

Primera referencia en formato 2 x 12" del sello Español X Erie.
Con artistas referentes del techno internacional como Steve Redhead, Eric Sneo, Axel Karakasis, Gary Beck, Filterheadz, Oscar Escapa y el comandante del sello
Horacio Cruz.

Una edición muy cuidada, con portada especial, llena de sonidos enérgicos que nos transportan a la época dorada del techno más pistero.

Incluye una remezcla del track "Despiertos" a cargo de Gary Beck y cerrando en la D1, una pista con ritmos rotos y melodías profundas a cargo de Horacio Cruz.

Un doble vinilo imprescindible para djs y coleccionistas del género.

# 1st official vinyl reissue in over 30 years # sourced from tape # 8 page color bboklet with large-format hotos and full liner notes # band members' stories told at last // Universe was a Welsh rock band formed in the late 1960s, marrying progressive and blues musical elements with a powerful sound. Guitarist Steve Finn, bassist John Healen, and drummer Rob Reynolds formed the nucleus of the band, initially playing under the name Deep Blue Centre, then Spoonfull, rehearsing a set that included covers and originals influenced by acts like Cream, John Mayall, and Jimi Hendrix. By 1970, they had become Universe, the name reflecting the expansive ambition of their evolving music. Universe became known for their stellar live performances, playing countless gigs across Wales and well beyond. They shared stages with acts such as Jethro Tull, Yes, and Graham Bond, while also enduring a character-building but arduous tour of Hamburg and Norway. The constant touring polished their sound and inspired original material such as "Twilight Winter" and "A Woman's Shape." In 1971, the band recorded an album and a single, both self-titled, in Norway; these recordings later became prized finds among collectors. Though Universe's time was brief, their music endures as a fascinating chapter of the underground rock scene in Wales. With Steve Finn's ongoing solo work and the reissue of their recordings, Universe holds a unique place in early '70s rock history.

Domenique Dumont’s fourth album, Deux Paradis, arrives like the three that came before it – with an air of mystery and wonder. This is dance music for inner worlds – rituals, revelations and reveries.
Deux Paradis is a ten-track song cycle that leads the listener through the rhythm of a day, the bloom and fade of a relationship, or even the stages of a life.

It begins with a song about waking up – the candy-striped dub of “Enchantia” – and traces the sun’s arc with the pixelated reggae of “La Vie Va” and the sensuous rush of “Amants Ennemis”. As night falls, the songs take on a twilight quality in the
shimmering pop of “The Order of Invisible Things” and the seductive pulse of “Visages Visages” (a subtle nod to the Desireless classic). There’s also the baroque swoon of “Deux Paradis” and the soft exotica of “Visiteur de la Nuit”. Bolder and richer than before, it’s vintage Domenique Dumont – timeless and romantic, yet laced with an unplaceable sense of longing, like in an Éric Rohmer film. After the instrumental film score People On Sunday (Leaf, 2020) – composed solo by Arturs Liepins – singer Anete Stuce returns to Domenique Dumont, bringing her inimitable joie de vivre. Deux Paradis completes a trilogy of releases alongside Comme Ça (2015) and Miniatures De Auto Rhythm (2018) on the Antinote label.

Deux Paradis was composed, arranged and between 2022 and the end of 2024 in studios in Riga and Paris, and on the Estonian island of Hiiumaa.

The debut album from Addy Weitzman, ‘Light Months Will Fly Over Us’ explores new-wave, romantic pop and art rock with elegance and ambition, drawing from Weitzman’s scattered network of collaborators, as well as a “frighteningly vast” personal archive of compositions. Sequenced by Seth Troxler and released on his Slacker 85 label, it represents a pivot in musical direction for the imprint, and a showcase for the songwriting craft Weitzman honed as a member of cult electro duo Footprintz, and Montreal synth-pop projects The Beat Escape and Dawn to Dawn.

The title Light Months Will Fly Over Us is derived from a line in a poem by the Russian writer Anna Ahkmatova. Weitzman was immediately struck by its “hopefulness, its mystery… it gives the feeling of being suspended, hanging in a dream-like state”. This interpretation has been translated to the album, rich in memorable songwriting that nonetheless invites the listener to lean in further. Delicately mixed by engineer Pierre Guerineau, known for his work alongside Marie Davidson, each of the eight tracks gently interrogates life’s greater mysteries; fear, love and salvation, each defining and revealing the human soul.

Opener ‘End of The Line’ invites us into an immediately lush space of lounge lizard existentialism, soft brass and piano helping Weitzman introduce “where the journey begins and the fantasy dies”. Across orchestral arrangements arranged by Adam Wilcox, whose sensitive, ambitious compositions are weaved throughout the album, ‘Beyond The Speed of Life’ brings to mind the laments of Scott Walker. Navigating vulnerability via grandeur, Weitzman’s earnest vocals flourish in wide-eyed call-and-response with the object of a transcendent love affair.

Alongside collaborator, Richard Lamb, the next chapter of the LP plunges into contrasting machine-driven moods; the wry, bubbling ‘Entertainment Is All I Wanted (And I Found It)’ is imbued with the playfulness and experimentation of 80s electronic pioneers such as Fad Gadget, while the tougher, icier ‘Stranger To Your Kind’ shifts in a more instrumental direction, recalling Weitzman’s dancefloor experience, as well as contemporaries such as Matthew Dear.

Album centerpiece and striking first single ‘Running & Returning’ is the first of a suite of three tracks in collaboration with Weitzman’s The Beat Escape and Dawn to Dawn bandmate, Patrick Boivin. Blending lush saxophones and angular guitars with a wistful melodic touch and lyrics, its irresistible art-rock rhythm provides the foundation for one of Weitzman’s most involving vocal performances.

It’s followed by an anthem for existential absurdity: ‘Ice Cream Candle’ provides a driving acceptance that “the more and more you learn, the less you understand”; Weitzman submits to this uncertainty with equal grace on ‘No Man’s Land’, as baroque invocations of “words swept through the fields” and meeting “where the water lilies grow” give way to a blistering guitar solo, humbly riding hypnotic percussion.

For the compassionate finale of Light Months Will Fly Over Us, Weitzman narrates the experience of ‘Gabrielle’, a woman slipping between rooms between shuttered blinds in the towering city, “where cigarettes and roses fill the air.”

As lyrically delicate as it is musically ambitious, Light Months Will Fly Over Us is a sublime debut album, enriched with care, love and much-needed enchantment.

Born and raised in small Texas towns, the members of Good Looks met and began playing together in Austin. Songwriter Tyler Jordan grew up in a South Texas coastal town dominated by the petrochemical industry, his childhood steeped in the tension between nature and industry, exploitation abundantly present and the wealth gap on full display. His father's church, described by Tyler as "cult-like in its intensity," was homebase and where he learned to sing. Tyler eventually met lead guitarist Jake Ames in the late-night song-swap circles of the Kerrville Folk Festival campground (where they would also meet Buck Meek and Adrienne Lenker pre-Big Thief). They shared their mutual love of the Texas hill country canon (Blaze Foley, Townes Van Zandt, and Willie Nelson), a love of cheap diner food, thrift store baseball caps, and a healthy dose of harmless shit-talking. They began playing in bands together, backing up other songwriters and taking turns in the spotlight. They sought out producer Dan Duszynski (Loma, RF Shannon, Jess Williamson) to engineer their debut album. What would form was Good Looks, a blue-collar political indie-rock band with healthy doses of Replacements swagger and shimmering, desert rock riffs not unlike The War On Drugs.

When Elvis joined the Army in 1958, Ricky Nelson was the young man who, it was predicted, would fill the King’s blue suede shoes. He went on to become a country-rock pioneer, but everybody still remembered his pop hits. Ricky Nelson's teenage celebrity typecast him for life, but these recordings from his heyday reveal a solid musician who matured and grew over time. It’s also fair to say that his later music opened the door for the Eagles, featuring ex-Stone Canyon Band bass player Randy Meisner, to pass through. It was more than a sympathy vote that saw Nelson posthumously inducted into the Rock and Roll Hall of Fame in 1987.

Signing with FatCat Records in 2022, and having released four singles to date, Nottingham-based Midnight Rodeo have now delivered their debut album, “Chaos Era”.

Extensive, relentless touring (sold-out hometown shows,The Great Escape, Dot To Dot, and Kendall Calling) created a tight-knit family, their pleasure in playing as an ensemble is instantly evident on the album. When asked about this they’ll explain, “We want people to tap into why we are always smiling on stage.”

The songs are collaborative efforts. Their different musical backgrounds result in a genre criss-crossing and totally unique creative collisions. Bassist Harry says, “What we do is Dada-istic. The drums play hooks, the bass plays parts usually taken by brass, the guitar’s playing West Coast psyche over disco rhythms.”

Written over a prolonged period of time, the songs on the album can be viewed as a kind of coming-of-age “suite”, as the unit of 20-somethings wrestle with subjects such as relationships, shifting social dynamics, changing hopes and dreams. The LP’s title refers to tumultuous personal events they’ve helped each other through. Reinforcing their bonding. With no pointed political agenda, the album is about “escape”. “We want people to dance”, they say.

The band recorded the album with Samana’s Franklin Mockett. Making full use of the acclaimed duo’s residential studio, located deep in the Welsh countryside, during an Indian summer heatwave. The aim was to remove all distractions, and, with Mockett’s assistance, capture the group as live, and as analogue, as possible. For 10 days, in sometimes 16 hour sessions, music, incense, and whiskey flowed, while vintage amp valves glowed.

Just like the band’s live performances, “Chaos Era” is packed with a palpable joy. The exhilaration of creation in each others company. Its punchy production is most definitely meant to be played loud.