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Terr’s debut LP 'Consciousness As A State Of Matter’ arrives on green and orange split double-vinyl, limited to a pressing of just 400 copies, housed in a sleeve of hallucinatory artwork from designer Sebastian Ofuszak.

Across eleven tracks, Terr continues a long, fulfilling journey in electronic music with a visceral, vulnerable full-length statement inspired by tireless and timeless innovators in the history of electronic music such as Giorgio Moroder, Wendy Carlos and Phil Oakey. Achieving a delicate, wide-eyed chemistry between the catharsis of the dancefloor and the ever-renewing promise of pop, 'Consciousness As A State Of Matter’ includes and expands upon the vision of singles ‘Only For Tonight’, ‘Tale of Devotion’ and ‘Layers’.

Black vinyl pressing 2022! "Funny to think there was a time not so long ago when Stiff Richards was a name that required explanation - but not to you, of course, o punk connoisseur. This is your territory, after all. Music is your oxygen and the sound of the underground is your clarion call. You can explain the distinction between 'Know Your Product' and 'No, You're Product'. Hey, you're probably pretty good-looking too. You know your shit, either way. So no wonder you're drawn to this relative holy grail of modern garage rock - the 2017 self-titled debut album by the aforementioned Stiff Richards. Originally released on their own Stiff Records (and again by Legless in 2020), it lays down all the elements that made last year's mighty 'State of Mind' LP such an instant classic. OK, we've established you know the drill, but let's recap: scintillating Aus-punk that recalls the heroic high-speed riffs of their countrymen The Saints and Radio Birdman. It sounds like Royal Headache covering Motörhead, or maybe the other way around. It's a full-on riot in 30 minutes - the rawest of rock'n'roll bleeding into the grimiest of power chords with hooks for days. You already know you're gonna love it. Whether going full-throttle and aiming straight for the nerve receptors that get your head a-nodding and your toes a-tapping - like on sub-three-minute highlight 'Strung Out' - or sludgin' their way through groovier cuts like 'Bustin' Out', they're never less than a treat that's guaranteed to get your serotonin flowing and your speakers up to 11 (or beyond). As a certain similarly-named record label once said, if it ain't Stiff, it ain't worth a fuck. Frightfully rude, but that's rock music for you, I suppose. Get it in your ears." - Will Fitzpatrick.

An explorative sonic landscape with the beautifully eclectic sounds of drum and bass at its core, Sustance’s debut album is every bit as thought-out, polished, and innovative as we’ve come to expect from one of drum and bass’ brightest prospects.

Having grown up listening to seminal Shogun albums like Spectrasoul's 'Delay No More' and Icicle's 'Under The Ice', ‘Perceived Connections’ acts as a full circle moment for the producer, who now finds himself following in the footsteps of the artists who profoundly influenced his approach to creating music.

Written between London and Berlin across a twelve-month period, 'Perceived Connections' encapsulates both of the alluring sides of Sustance's sound. In the same fashion that the album's writing process pivoted between two capital cities, Sustance's debut album presents both deep and expressive tracks such as 'I Want You' and 'Sweet Relief', as well as showcasing heavy, sound system-destroying tunes like 'Undercurrent' and 'Ten Ton’.

“The album title comes from the Zen idea that everyone perceives the world through their own perspective. Two people can listen to a record side by side and have totally different experiences. I really liked that idea as music is inherently so subjective. Sustance

Accompanying Sustance on this LP voyage is a plethora of D&B’s hottest talent, with Pola & Bryson, Visages, Flowdan, Strategy, Duskee, T-Man, Catching Cairo & Zara Kershaw all sprinkling their own flavours across the album.

Traversing an array of sounds, styles, and genres throughout, 'Perceived Connections' is nothing short of an exceptional extended body of work from a producer whose razor-tight approach to music has seen him emerge with one of the crispest and most captivating sonic palettes in drum and bass music.

Jimmy LaValle’s The Album Leaf has spun from solo outlet to full band and back in its nearly 25 years. His acclaimed catalog spans releases for labels such as Sub Pop, City Slang, Relapse, and others. He also composes music for film and television, scoring over 20 projects (narrative features, documentaries, and TV series) since 2009. The cinematic sensibilities of The Album Leaf were present from the beginning. His 1999 debut introduced the start of a signature sound: melodic and meditative electro-organic soundscapes constructed with guitar, percussion, Rhodes, and field recordings.

His seventh full-length LP, and first since 2016, arrives in 2023 via Vancouver’s Nettwerk Records. FUTURE FALLING finds LaValle working with an array of musicians, shaping slightly darker, more spacious, and synth-driven songs with contributions from Bat For Lashes, Kimbra, and many others.
The music registers a shade darker and more synth-driven than most moments in his acclaimed catalog, a bridge between shadowy, cerebral terrain and dreamy precision pop, where softly percussive frameworks meet shimmering sound design and emotive instrumentation.
LaValle sees the construction of FUTURE FALLING as less conventional than past work. Contributions were done remotely with a “throw everything at it” mindset, making LaValle the arranger of layers from all over: drums, synths, horns, violins, voice, and more. LaValle created a pastiche of these layers and elements; in some cases even moving vocal takes to new tracks entirely. Without the in-the-room dynamics, he had more time to experiment, adding and subtracting ad infinitum.
The album opens on “PROLOGUE,” an evocative, slow-building instrumental that rides a pattern into a symphonic sea of static. Keys and horns glide atop the rhythmic pulse of “DUST COLLECTS,” setting the contemplative scene for “AFTERGLOW,” the record’s most pop-minded performance. Here Kimbra, the Grammy-winning New Zealand singer-songwriter, renders a striking recollection of past love as percussive elements shimmer and swirl.
A plaintive piano line moves throughout “Cycles 19.9” encircled by light ambient washes, both a valley between two peaks and a powerful composition in its own right. “Future Falling” follows; with origins tracing back to 2015, the track embodies the full sonic journey LaValle has taken. All the hallmarks of The Album Leaf — melodic builds, vivid sprawl, tonal shape-shifting — assemble to a blissful finish.

For the next stretch, “Cycles” begins with a uneasy Rhodes loop that builds and erupts into a wall of texture paving its way into “Give In,” where LaValle models a movement that begins subtle and measured before curving up with skyward, percussive bursts (“Stride”) and settling back down to the album’s back-half centerpiece, “Near” featuring the acclaimed English artist Natasha Khan aka Bat For Lashes. “Do you feel me near?” she sings into a mist of widescreen synths and soothing, distant drum beats as if searching through the dark.

‘Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the new Iliads series is to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This first in the series pays homage to the style of music heard in the Oblivion releases that Source Direct delivered through Bassment Phil’s Street Beats imprint between 1995 & 1996.

Forbidden Affections is a classic Deep Amen track, made with tracks like Sands Of Time and Secret Liaison very much in mind. Right from the onset where the pads are given plenty of time and space to draw you in, it is completely faithful to that mid-90’s SD style. All the trademark break switches and deep 909 sub lines are present, and the palette of sounds are all drawn from those same sources that first inspired the SD sound (as such it is Atmospheric Jungle with a strong Techno persuasion). The finishing touches come from the achingly gorgeous female vocal ad-libs that were also such a trademark of the early, more atmospheric SD tracks.

Hidden Rooms is perhaps even more authentically SD, especially with its focus on arrangement, and the way it uses the selection of samples that are once more drawn from those same Deep Techno sources. The interaction between the rolling curls and cuts of the Apache at the start, and the crisp injection of the Think breaks at the drop comes straight out of the early SD portfolio. The bass drops down super deep underneath the drum work, punctuated by exposed electro hits and well-chosen samples. It is the haunting keys nearly 4 minutes in however that give this track the authentic SD twist more than anything, calling tracks like Fabric Of Space and Made Up Sound very much to mind.

Drifting Through is the final track of the E.P. with its beautifully sharp rolling Hotpants/Worm combination. This track leaves plenty of space; dubbed out to just breaks and bass for much of the duration, with the occasional injection of an obscure electronic sample, or the sweet vocal ad- libs to hold the tune together. Further down the track there is a touch of the Jazz influence as the Rhodes chords add an extra level of harmonic warmth.

Look out for Volume II where we will be returning to the distinctive flavours of the original Mirage releases on Odysee!

Fuzz is Ty Segall (drums/vocals), Charlie Moothart (guitar/vocals)
and Roland Cosio (bass). They’re heavy rock lifers—three Californiabred dudes who have been refining their riffs and getting weird together since high school (which wasn’t that long ago, actually). If you are not already aware of Segall, well, what’s up? He’s one of garage rock’s most prolific sons. He said he was going to take it easy this year, but by the time you finish reading this, the onesheet for his next record will have already arrived in your inbox. Moothart
plays guitar in The Ty Segall Band and was also a member of The Moonhearts, which included Cosio on guitar.

Way back in the early ’00s, all three played in the Epsilons. Fuzz was formed a couple years ago as a collaboration between Segall and Moothart, but only recently did the pair have sufficient time to guide
the band out of side-project limbo and into a recording studio. Since then, they have released two singles, “This Time I Got a Reason” (Trouble In Mind) and “Sleigh Ride” (In The Red). Around the time of the latter, Cosio joined on bass.

They are not dabblers or dilettantes. Fuzz flipped through used bins,
hard drives and record collections of the world, seeking out the finest
weirdo cuts. The band’s self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing inspiration from the more esoteric reaches of heavy metal pre-history. There are Sabbath and Hendrix nods, obviously, but on “Sleigh Bells” you might also catch a whiff of UK progressive blues business like The Groundhogs, particularly when the song quits its 10/4-time intro and reboots into fullbore choogle.

Maybe you’ll even glimpse the ghost of Australian guitar legend/sharpie guru Lobby Lloyde sniffing around “Raise.”

The mood is not light. The songs project a state of perpetual paranoia
and eroding mental health. And as it should be, you know? It’s a record for the burners.

Bristol multi-instrumentalist, producer and nature freak Will Yates offers a new record from his Memotone alias, an expansive, hypothetical revue titled How Was Your Life?

Launching from terrains recognizable to fans of Will’s extensive, restless discography, How Was Your Life? packs up his penchant for baroque druid folk, homespun electronics and weightless woodwinds and explodes them into glistening, fractal star dust.

Instigated by the purchase of an antiquated Y2K era guitar synthesizer, the record was produced over the first half of 2022, in a large part a result of in-studio improvisation and carved by equipment that offered both possibilities and parameters that Will relished and explored to the nth degree. The Roland GR33 not only provided sublime guitar sounds but also empowered the guitar to convincingly mimic fretless bass, tabla and a vast percussive array, also summoning an artillery of uniquely outre atmospheres over the course of the record. The resulting concoction sounds familiar yet subtly, unshakeably otherworldly, shaping up as perhaps the most honed, energized and beatific Memotone album to date.

Paradise Drips gently lifts off with wobbly guitar, randomized sequences and unidentifiable percussive elements situating us somewhere in an unearthly realm, before Open World zaps the serotonin receptors and gushes with ecstatic warmth, it’s quietly insistent soft disco shuffle and levitational fretless driving towards a totally blissed and very soft “drop”. Forest Zone sees Memotone deep in the green, with a loose, propulsive groove and dancing flutes stumbling into a medieval ritual in the clearing halfway through, and Glow In The Dark deftly bounces between spacey ambience and an undulating no wave vamp. Carved By The Moon is a delightfully melted classical cut, while Canteen Sandwich offers the record’s most explicitly nod to modernity in the form of a nimble drum workout with samurai synths and melodic percussion that heaves towards a genuine peak. Lonehead immediately backs right off, viscerally melancholic clarinet and bubbling fx making for the records most hefty introspective moment, before Walking Backwards simmers all the way down on an wistful arpeggio, rooting back in earthly reality with charmed rhythms and jazzy tunings. Catharsis complete, Memotone is onto the next incarnation.

Will Yates has been making music as Memotone since 2010, releasing music on labels like Black Acre, Disktopia and Accidental Meetings, also releasing music as O.G. Jigg and Half Nelson. He’s worked as a producer, session musician and live performer on a broad spectrum of projects, and recently provided source sounds that made up Batu’s “Opal” on Timedance.

How Was Your Life? was written, produced and mixed by Will Yates. It was mastered by Chris Wang. Art and design by Hugo Bernier.

Foyer Red’s debut LP, Yarn the Hours Away, plays out as a collection of short stories, each with its environment and protagonist(s) meticulously crafted by the band, with lead singer, vocalist, and clarinetist Elana Riordan at the helm. Foyer Red’s debut EP, Zigzag Wombat, showcased their playfully chaotic arrangements, which bridge art-punk, math rock, and sweetly sung indie with a dash of the zoomies.

The band synthesizes their homespun take on magical realist indie rock that was centered on their EP with their varied musical influences; taking cues from the otherworldly melodies of Cate Le Bon, Yucky Duster’s jangle-filled crayon rock, and the organized chaos of Deerhoof’s iconic polyrhythms. The songs that makeup Yarn the Hours Away are fantastical, surrealist stories that hinge on contemporary, post-digital life.

The lead single “Etc” captures this dynamic perfectly. Anchored by Eric Jaso’s hypnotizing bass line, the song unfolds with off-kilter call-and-response vocals between Riordan and Kristina Moore, their stilted deliveries bouncing around the mix. The track is searching but discontent with the algorithmic and claustrophobic realities of daily life: singer/guitarist Mitch Myers throws the song for a loop singing, “gathering information / will set you free once you’ve reached / 37 percent / of the database.” While there’s paranoia and cynicism undergirding the lyrics, the song itself is a thrilling and playful listen.

The songs on Yarn the Hours Away are uniformly exciting and compelling; each track feels distinct and sometimes even in direct conflict. The peppy opener “Plumbers Unite!” belies its themes of gamification of our daily lives and delves into the science fiction and fantasy songwriting of Foyer Red’s debut EP. Centered around a relentless rhythm section, their dueling vocals never abate; Moore and Riordan’s honey-sweet but getting more frantic as the song progresses, while Myers’ erratic talk-singing culminates in one final frustrated scream. Juxtapose this with “Gorgeous,” a lovely song about Riordan and drummer Marco Ocampo’s relationship that sees the band slowing their pace into a blissful sway. Riordan coos and sighs over the track while recalling “Marco-isms”; botched colloquialisms that Ocampo uses.

“Gorgeous” shares little in common with “Pocket,” a loose lamentation on late capitalism that touches on time travel and human evolution. Moore and Riordan’s exclamations are chopped up and used as rhythm instruments, layered over the intricately frenetic guitars of Myers and Moore. Foyer Red thrives on these extremes and contradictions. Where their first release was self-recorded, this LP found them in Figure8 Studios with a deadline. “It was really liberating,” says Jaso. “We're all just kind of throwing in our own voices and challenging each other to make the songs better.”

Yarn the Hours Away comes from a lyric on the closer “Toy Wagon.” The song that first marked the time Moore and the rest of the band worked together, a promising spark of a thrilling collaboration to come. “It harkens back to all of us coming together and spending the hours together in music,” says Moore. “There are few moments where you get to relax and exhale,” adds Riordan. “It's what happened when the five of us got together and started writing. We just wrote all of these out there songs and we didn't see a reason to dial that back. Its natural form is in its chaos and layered craziness.”

Blue Vinyl

4 bangers of a kind.
The cut is successful. That's a point.

It's a Format C : at 150 BPM selecta, with long kicking intros and crazy incoming amiances. There is "too much".
At a time you like when it's clear, minimal, banging, and well done.

This is Format C : an architect of Tekno.

150 to 170 BPM that sounds 140. Peur Bleue trap !

Format C had always been a bloody pleasure to mix... With that crazy master and loud cut you will get a bloody dancefloor weapon able to fill the blanks between Hard Techno classic sound (Drumcode 01) and powerfull 160 kickers like nowadays music.
With a bit of "never too much" feeling... out of darkness and shades !

Mambo Diablo is a 1986 Grammy winner in the Tropical Latin album category. It remains as one of the most distinct Latin albums to bridge the gap between Jazz and Latin music ever.

Tito was a multi-Grammy winner, and this album features his all-star band of Bobby Rodriguez, Sonny Bravo, Jimmy Frisaura, John “Dandy” Rodriguez and even includes Jazz legend George Shearing.

The album is reissued for the first time in decades in honor of Tito’s centennial.

A self- described "semi- professional" musician since he was 14, Barna played drums for Deaf West Theatre's Los Angeles production of Spring Awakening and on the national Broadway tour for The Producers, but it took a trip to Berlin's Club Legarré, and its English-speaking open mic, to find his own voice as a songwriter and performer. His new album is a collection of stories, vulnerable and
openhearted, of his New York. In his words, "It's a character study of the bar itself.

It's a safe space, but there's alcohol, drugs, sadness, and your own demons."

Recorded in Rochester, Seán wrote late into the night as producer (producer!) and his kids slept. Moving fast, Macri Park became the center of a song cycle documenting giddiness, grief, history, and everything in- between. He enlisted friends, including Counting Crows' Adam Duritz and David Immerglück, harpist and songwriter Mikaela Davis, Danielle Ponder, and Maria Taylor, to bring his world to life.

Repeat Offender Records - was active between 2006 and 2010, recreating the '92 UK Breakbeat Rave Sound with tracks from label owners Wax & Inferno and a roster of like minded artists pushing the "Nu-Rave" sound at the time. These are label archive copies from the original press run from 2009 supplied in original printed sleeves in very limited quantities its Old New Old Skool...

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.

Hania Rani announces "On Giacometti" a tender meditation on the life and art of Alberto Giacometti and family. "On Giacometti" is a collection of beautiful recordings inspired by the renowned artist and family and features some of Rani's most profoundly delicate compositions to date. Invited by film director Susanna Fanzun, to score her forthcoming documentary on the legendary artist Alberto Giacometti, Hania Rani took herself to the Swiss mountains to compose in blissful isolation. As Rani explains eloquently below the compositions are based on improvised melodies, simple harmonies and structures and inspired by the silence of the mountains as Rani returns to her main instrument, the piano. The results are beguilingly reminiscent of her beloved debut album Esja, but with subtle extra layers of synthesiser, and on two tracks cello from friend and long-running collaborator Dobrawa Czocher.

'On Giacometti' is presented as a limited edition LP with bespoke packaging featuring Les Naturals - Chocolat (Gmund) sustainable recycled paperboard made from 100 % recovered paper with Foil Artwork by Łukasz Pałczyński. Plus Double sided printed insert and download code inside.

Hania Rani "On Giacometti":
‘When I was asked to compose a soundtrack for a movie about the family of Giacometti I didn't think twice.

Alberto Giacometti, a Swiss artist, who worked mainly as painter and sculptor has been one of my favourite artists for a long time. His individual style, aesthetics and the character of his creative process is still fascinating to me on many levels, so being able to dive even deeper into his universe, getting to know not only him but also his family was an opportunity that I couldn't miss. Little did I know how far this "yes" will take me - not only mentally and on a creative level but also physically. Thanks to the director of the documentary - Susanna Fanzun and by a stroke of luck and a couple of extra questions I decided to move for a couple of months to the Swiss mountains, not far away from the place where Giacometti was born and where the place he called home was, although he didn't live there. Susanna showed me a place close to her hometown where I could rent a studio and work on the soundtrack but also for my other projects. It was the middle of a winter, the area was full of ice and snow, just like only it can happen still in the mountains. The residency house was located in a valley surrounded by high mountains and the sun in the winter season was not coming up for too long during the day. I remember she told me about it and added "that not everyone is feeling well there, but I hope you will". I did.

Being almost separated from reality, the city and its entertainments, people rushing and everything that usually takes my attention I could fully concentrate on the music and soundtrack, spending most of the day with my own thoughts and having enough space to experiment and be free in a creative process. This soundtrack would probably be a very different thing if composed in a place that I am usually living in. I took this a chance to explore something new about myself as a composer and human being, taking the opposite direction that I would usually choose for myself.

The album "On Giacometti" includes the excerpts from the soundtrack, the most representative tracks and those which became a strong voice itself. Based a lot on improvised melodies, simple harmonies, structures and silence it reminds me of my debut album "Esja" which was partly composed and recorded in another chilly place - Iceland. All these components, both mental and physical, guided me back to my main instrument - piano, which I tried to redefine again with a language of the space that I was working in. The space is usually the key element that gives me the answer about the arrangement or character of the project. Space seems to be the first to appear and music is the invisible power which is changing its angels.’ Living surrounded by mountains makes you change the perspective and understanding of scale as Alberto Giacometti once famously wrote in a letter: It gives an impression that things that are actually far away, like mountains, are close and the other ones that are not so far away, like people, seem small, watched from a distance. You feel like touching the mountain top with your finger could be as easy as touching the tip of your nose. The snow additionally protects the whole area from the noise, each sound lands softly on the ground accompanied by echoes of immeasurable space. Each scratch or whisper is becoming an autonomic entity, opening the gate to the world of ghosts and lost spirits. It's easy to think that time stands still there, while nothing is moving and changing at the first sight. But the ubiquitous ice and snow reveal the passage of time, transforming frozen paysage into the wild stream of water - each day, hour and second. Melting and vanishing, clearing the space from white powder and noise consuming surface. Invisible process for a one night traveller, becomes painfully real for longer time settlers. Time flows with each new wave of sound coming through the river, reminding us that we are part of the cycle, which endlessly repeats itself.

Aptly titled, ‘Welcome’ is the debut album from Don Glori. A kaleidoscopic free dive into his world, featuring 8 recordings of revolving jazz, Brazilian, soul and funk inspired compositions spinning together and blurring into a genre bending slew of new music.

There is an intangible element of joy and connection sitting just outside the grasp of description or definition that can be felt throughout this album. Each song on this album captures the spirit and irrepressible energy that underpins the core of the Don Glori project.

Imperfections are captured along with the moments of transcendence. Layers of vocal harmonies oscillate next to pulsating samba rhythms while spiritual overtones permeate throughout. Congas and percussion form a holy union with the drum kit, co-piloted by Don Glori’s own bass lines.

Saxophones, horns and flutes flutter in between the musical canyons carved out by the piano and vibraphone. When you press all of these forces together you can start to feel the intangible; the intrinsic human elements existing in the creases. The sweat, excitement and willingness of each musician to dedicate their spirit and take risks on every track of this album.

It’s clear from the outset that this is an expansive body of work, from the spiritual jazz opener ‘Maiden Waters’ to the bubbling street party that is ‘Dlareme’, and ending on the unashamedly seductive ‘Commodore’. This is the kind of record that will translate equally well to both the dance floor and the lounge room rug.

Drop a needle on Psyché's debut album and you'll see visions, or rather Mediterranean visions, be they of waves of heat shimmering above dunes of sand, or of women dancing around a bonfire on a rocky plain, or of bushy cliffs overlooking emerald-green and turquoise sea. The name Psyché is of course ancient Greek for 'soul' or 'mind', signifying the band's love of psychedelic funk, but also the wide range of Mediterranean influences – from Southern Europe to the Balkan Peninsula, and from Anatolia to the Maghreb – that provide an endless source of inspiration for their hypnotic sound and minimalist style.

Psyché members Marcello Giannini (Guru, Nu Genea, Slivovitz), Andrea De Fazio (Parbleu, Nu Genea, Funkin Machine) and Paolo Petrella (Nu Genea) have been active in the Naples music scene for almost two decades, most notably during the first wave of the new Neapolitan Power movement (Slivovitz, Revenaz Quartet). Over the years they have often crossed paths and collaborated on side projects in various genres (math-rock duo Arduo and, more recently, synth-pop duo Fratelli Malibu), before working together as the rhythm section of Nu Genea's live band. Following their first tour with Nu Genea in 2018, they started Psyché with the intent of exploring more minimalist styles and making music with just a few elements.

A unique combination of psychedelia, groove and improvisation, the music of Psyché goes back to the roots of our future; it evokes visions of a mythical past, blending centuries-old music traditions and mixing them with modern genres. Like a warm Mediterranean breeze, it travels across lands, seas and eras, distilling essential rhythms and cosmic pulsations.

The album's opener "Kuma" (titled after the first ancient Greek colony on the Italian mainland, now an archeological site near Naples) is like a vibrant, magical wave. With its deliberately simple harmony and sharp guitar riffs, it travels across the Mediterranean from Italy to North Africa, first lapping gently on Greek and Turkish shores – with some compositional elements reminiscent of Italian pop legend Lucio Battisti – and then speeding up and landing on the driving, syncopated rhythms of afrobeat. While listening to it your eyes fill with images of small white houses shining in the sun, of fig trees heavy with fruit, of spice bazaars and colourful medinas, and you can almost feel the desert wind blowing in your hair.

The journey continues with two examples of Psyché's bold and elegant approach to contemporary afrobeat and cumbia fusion: "Cumbia Mahàre" and "Amma". The former combines minimal synths and exhilarating rhythmic patterns of drums, percussion, guitar and bass, drawing us into the movements of an imaginary ritual dance (the term mahàre was used in Southern Italian dialects to indicate witches). Next is the cinematic and mysterious ambiance of "Angizia" (a snake goddess worshipped by the Marsi in ancient Italy), another fascinating mixture of different sonic traditions and cultures where hip-hop/funk drums are blended with Maghreb influences, Balkan echoes, and hypnotic, Theremin-like synths that have sort of a sci-fi movie quality to them.

The title track "Psyché", with its uptempo afro-rhythms, ethereal vocalizations and refined percussion, is almost a manifesto of the band's style and confirms the freshness of their minimalism, which is not afraid of taking in the sun of lands confined between the sea and the desert. The following "Manea" (named after the Roman-Etruscan goddess of the dead) is an afro-funk number with smooth and introspective dreamy jazz touches, and with an arrangement dominated by a guitar that, dripping notes like drops of water, creates a delicate, cinematic sound. Next, we come to "Hekate" (the Greek goddess of magic, witchcraft and crossroads), a track that fuses psychedelia, spacious Latin guitars and a fast, tight groove. The album comes to a close with the exquisite melodic ballad "Kelebek", which seamlessly combines hip-hop drums and dreamy guitars, and whose warm, flowing sonorities and evocative atmospheres conjure the image of a butterfly (which is what kelebek means, in Turkish) floating over the Mediterranean and, from there, the world.

Bedouin aka Tamer Malki and Rami Abousabe are to release their long awaited and adventurous debut album Temple of Dreams on their own label Human By Default this Spring.

Over the course of the pandemic, Malki and Abousabe spent a great amount of time finalizing songs created in the past 7 years, composing, song writing, singing, and working on numerous projects including collaborations and new originals. Temple of Dreams was shaped from these sessions and captures the enigmatic sound of the versatile, forward-thinking group.

Malki explains that the album looks to “experiment and push the boundaries.” It differs from their previous work, as the album is intended to be a deep listening experience for the fans, rather than a slew of club cuts. The multi-talented artists sought to create a timeless sound in Temple of Dreams. Malki outlines that the album lies between “what we play on stages around the world and what we’re capable of writing and producing as musicians and producers. We wanted to exceed expectations and present something that you might think or feel you’ve heard before, yet it's something completely new and not what might be expected from us.”

It starts with the enchanting sounds and candle lit grooves of Rise And Fall then journeys far and wide through the Eastern string sounds of Coldman featuring Nathan Daisy, darkly alluring vocals and mystic rhythms of Voices In My Head and the hypnotic melodic leads of Crazy feat. Iveta Mukuchyan. Elsewhere the richness of Bedouin's sound makes for spellbinding listening on tracks like Hokema Feat. Delaram and Flore Chico feat. Chico Castillo with its alluring Spanish vocals. Love And Hate is a more dynamic and punchier house cut while Fill The Space is an intriguing mix of melodic magic, authentic instrumentation and smooth rolling grooves.

The musicians, singer-songwriters, and producers in Bedouin have spent the better part of a decade fine-tuning their sound, which draws as much from their Middle Eastern heritage as it does their world travels as DJs playing iconic venues across the globe. They have pioneered a distinctive and timeless sound on some of the world’s most notable labels such as Crosstown Rebels, Get Physical, All Day I Dream, and recently their own imprint—Human By Default.

Select major label releases include remixes for Black Coffee and Virgil Abloh on Ultra and Sony/Universal and as well as calling Burning Man home they have their own iconic Ibiza party, Saga, at Pacha each week of summer, and play major events such as Coachella, Tomorrowland, and Art Basel and venues like Ushuaïa, Wynn Las Vegas as well as a ground-breaking Cercle set filmed in Petra, Jordan.

This much anticipated debut album shows yet another side and the artistic development for this influential pair.

The double vinyl containing the OST of music inspired by the docu-film "I RAGAZZI DEL COLUMBUS", these tracks just want to
tell the true story of an unrepeatable Era, of clubs, DJs and the generation that gave birth to the socio-cultural revolution which, starting in Italy between 1974 and 1985, it then spread throughout Europe, all with a passion for afro / disco /
funky music, which from the "Columbus" square in Riccione then spread everywhere. Thanks to djs and clubs

Remco Beekwilder is back on both sides with his 'Moortgat EP' on EMERALD. As infamous as the EP title implies, he's bringing the balance between cold mistily remembered sounds and a heart-warming practical feel. A constant shift in mood and intensity, driven by stark drum programming using the right amount of funk to interact with the opposing fundamentals. All cuts share a lot of DNA with each other and makes you reminisce of simpler times.

Fresh out of high school, Hannah Jadagu released her debut EP, What Is Going On?, a collection of intimate bedroom pop tracks recorded entirely on an iPhone 7, which was, at the time, Jadagu's most accessible mode of production. An off-the-cuff approach to music making and instinctive ability to write unforgettable hooks belied the intensity of Jadagu's subject matter. What Is Going On? confronted some of the nation's most urgent struggles through Jadagu's compassionate perspective. What Is Going On? built on the small online fanbase Jadagu had developed by releasing music on SoundCloud for years as she realized her growing passion for songwriting. Now, Jadagu is releasing Aperture, her first LP and most ambitious work to date. Written in the years between graduating from high school in Mesquite, TX and her sophomore year of college in New York, Aperture finds Jadagu in a state of transition. "Where I grew up, everyone is Christian; even if you don't go to church, you're still practicing in some form," Jadagu says, laughing. "Moving out of my small hometown has made me reflect on how embedded Christianity is in the culture down there, and though I've been questioning my relationship to the church since high school, it's definitely a theme on this album, but so is family." As a kid, Jadagu followed her older sister - a major source of inspiration - to a local children's chorus, where she received choral training. "I hated it," Jadagu admits. "But it taught me how to harmonize, how to discover my tone, how to recognize and write melody." The aching single "Admit It" is dedicated to Jadagu's sister, whose love and impeccable taste have been a constant since Jadagu was a kid. The siblings were raised on mom's Young Money mixtapes and the Black Eyed Peas (to whom Hannah credits her love of vocoder) but it was in the sanctity of her sister's car that Jadagu discovered the indie artists who inspire her work. With Aperture, Jadagu faced the challenge of finding a co-producer capable of complementing her work without dominating it. Enter Max Robert Baby, a French songwriter and producer who captured Jadagu's attention with his take on Aperture's lead single "Say It Now." The duo worked remotely, sending stems to one another via email, before meeting in-person for the first time at Greasy Studios on the outskirts of Paris. "When I recorded my EP, it was all MIDI, but in the studio Max and I worked with a ton of analog instruments," Jadagu says. "Every track on this album, except for 'Admit It,' was written first on guitar. But the blanket of synths throughout helps me move between sensibilities. There's rock Hannah, there's hip-hop Hannah, and so on. I didn't want any of the songs to sound too alike." An aperture is defined as an opening, a hole, a gap. On a camera, it's the mechanism that light passes through, allowing a photographer to immortalize a moment in time. For Jadagu, the word perfectly encapsulates the mood of her debut album. In the years it took her to complete, she faced moments of darkness, sure, but the process of making it was ultimately a cathartic experience, one she now shares with you. Let the light in.

Tape

Fresh out of high school, Hannah Jadagu released her debut EP, What Is Going On?, a collection of intimate bedroom pop tracks recorded entirely on an iPhone 7, which was, at the time, Jadagu's most accessible mode of production. An off-the-cuff approach to music making and instinctive ability to write unforgettable hooks belied the intensity of Jadagu's subject matter. What Is Going On? confronted some of the nation's most urgent struggles through Jadagu's compassionate perspective. What Is Going On? built on the small online fanbase Jadagu had developed by releasing music on SoundCloud for years as she realized her growing passion for songwriting. Now, Jadagu is releasing Aperture, her first LP and most ambitious work to date. Written in the years between graduating from high school in Mesquite, TX and her sophomore year of college in New York, Aperture finds Jadagu in a state of transition. "Where I grew up, everyone is Christian; even if you don't go to church, you're still practicing in some form," Jadagu says, laughing. "Moving out of my small hometown has made me reflect on how embedded Christianity is in the culture down there, and though I've been questioning my relationship to the church since high school, it's definitely a theme on this album, but so is family." As a kid, Jadagu followed her older sister - a major source of inspiration - to a local children's chorus, where she received choral training. "I hated it," Jadagu admits. "But it taught me how to harmonize, how to discover my tone, how to recognize and write melody." The aching single "Admit It" is dedicated to Jadagu's sister, whose love and impeccable taste have been a constant since Jadagu was a kid. The siblings were raised on mom's Young Money mixtapes and the Black Eyed Peas (to whom Hannah credits her love of vocoder) but it was in the sanctity of her sister's car that Jadagu discovered the indie artists who inspire her work. With Aperture, Jadagu faced the challenge of finding a co-producer capable of complementing her work without dominating it. Enter Max Robert Baby, a French songwriter and producer who captured Jadagu's attention with his take on Aperture's lead single "Say It Now." The duo worked remotely, sending stems to one another via email, before meeting in-person for the first time at Greasy Studios on the outskirts of Paris. "When I recorded my EP, it was all MIDI, but in the studio Max and I worked with a ton of analog instruments," Jadagu says. "Every track on this album, except for 'Admit It,' was written first on guitar. But the blanket of synths throughout helps me move between sensibilities. There's rock Hannah, there's hip-hop Hannah, and so on. I didn't want any of the songs to sound too alike." An aperture is defined as an opening, a hole, a gap. On a camera, it's the mechanism that light passes through, allowing a photographer to immortalize a moment in time. For Jadagu, the word perfectly encapsulates the mood of her debut album. In the years it took her to complete, she faced moments of darkness, sure, but the process of making it was ultimately a cathartic experience, one she now shares with you. Let the light in.

Repress.

Rising from the dark streets of Cairo we proudly present you the first release of the new label from the land of the pyramids: THE MAGIC MOVEMENT.


On the "In Between Reality E.P." Noema invites you to an unheard psychedelic trip: Like through a reverse prism, he melts down Kraut Rock, Afro-American House drums and cosmic Jazz into forbidden sounds of frenzied dancefloor rituals. Outside traditional paths, these driving grooves and polyphonic structures take the adventure seeking dancer to Dionysian highs and places never been before.

Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...

The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.

The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!

“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.

Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.

Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.

From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.

The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...

With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.

Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

For Zylva, creating is a form of healing. In 2020, the producer, illustrator, and poet found herself struggling with her mental wellbeing: a fresh arrival in locked-down Berlin, and newly heartbroken in a city known for its harsh winters and fleeting connections, Zylva imagined a place for hope, creating her debut album "Poems from the Dark".


Drifting somewhere between avant pop, lo-fi and celestial R&B, "Poems from the Dark" sets out on an emotional journey that unfolds over the course of twelve deeply personal tracks.

After the mind blowing success of Witchcraft's Legend (2012), mastermind Magnus Pelander outdid himself once again with the band's 2016 offering Nucleus. Combining what made it's predecessor the modern classic it quickly became as well as elements of the band's earlier days makes Nucleus a melancholic, raging, fragile, melodic and at times noisy masterpiece filed somewhere between classic rock, doom and ambient music. With a renewed line-up (Rage Widerberg on drums and Tobias Anger on bass) the band sounds more hungry and powerful than ever. In combination with the thrilling, yet very down-to-earth production by Pelander, Philip Gabriel Saxin and Anton Sundell, Nucleus throws you in dreamy sonic landscapes that will mesmerize and haunt you alike. Svart Records are proud to release an official reissue of this album on black and limited green vinyl on May 19th

After the mind blowing success of Witchcraft's Legend (2012), mastermind Magnus Pelander outdid himself once again with the band's 2016 offering Nucleus. Combining what made it's predecessor the modern classic it quickly became as well as elements of the band's earlier days makes Nucleus a melancholic, raging, fragile, melodic and at times noisy masterpiece filed somewhere between classic rock, doom and ambient music. With a renewed line-up (Rage Widerberg on drums and Tobias Anger on bass) the band sounds more hungry and powerful than ever. In combination with the thrilling, yet very down-to-earth production by Pelander, Philip Gabriel Saxin and Anton Sundell, Nucleus throws you in dreamy sonic landscapes that will mesmerize and haunt you alike. Svart Records are proud to release an official reissue of this album on black and limited green vinyl on May 19th

Very Limited GREEN SKULL Vinyl.
Standing in a Greyhound Bus station, wearing a Sylvester t-shirt and huge duct-tape-covered glasses, Baltimore ’s Dan Deacon doesn't invoke the image of a composer to the other bus riders. The two suitcases he loads under the bus, which accompany him from city to city, hold the sweat-and-grime-soaked electronics that he uses to craft his raging, maxed-out party music and light show. After 12 tours and 300+ shows in little over 2 years, the gear is beaten and battered, but the show and the energy it produces is anything but.

Dan Deacon has garnered a reputation in the underground as an intense performer and classic showman. The table top full of pedals, a sine wave generator, vocoder and casio blasting through the PA, joined by a makeshift light board with various bulbs and green skull strobe light, make his all out dance-til-you-drop performance a complete experience.

But it isn't all fancy feet and bouncy beats. Deacon is a classically trained composer with a Masters degree in electro-acoustic composition. He has released 7 albums from 2003 to 2006, but those self-produced recordings do not contain the vocal-based experimental pop that he has fine-tuned in live performance. His latest full length, Spiderman of the Rings is the first album bridging the gap between party performer and genuine composer. A mixture of his live show dance anthems, intricate instrumentals and humorous monologues, Spiderman of the Rings establishes Dan Deacon as a new type of entertainer in the contemporary underground.

buen clima is the solo project of producer, composer and DJ Felipe Castro (Santiago, 1993). Under that alias, he makes a sometimes clean, sometimes dirty mix of techno, house and electro, among other styles, with a soft spot for high BPMs, big, glossy pad sounds and interlocking rhythms. With a background in classical music and free improvisation, his productions and live performances often bring into them unexpected moments of noise, unusual influences and, above all, humour.

« This EP is comprised of five tracks written between 2020 and 2022, and it's got quite a bit of contrast among them, as well as some common threads. Some are gritty and noisy, some are a bit more amiable. However, they all show signs of recurring obsessions with certain rhythms, certain synth sounds, and share a sense of fun and humour. Each is an exploration of different production and synthesis techniques.

Big Butibit Chess Master Pro v.3.5 is on the lighter side, with some big warm pads and jazzy drum sound. It's kind of a sunny ghettotech cut, if that makes any sense. The synth part has a spontaneous feel, it was recorded pretty much in one take.

>:) Is a heavier club track, made to go a little evil, a little mischievous. It's full of squelchy sounds and has a drum part that sounds like a never ending Street Fighter combo, or a bunch of beer bottles being opened one after the other.

Forma/Contenido is also on the darker side, with a droning, oppressive mass of sound that accumulates and evolves all throughout the track. It's very much inspired by the piece "I am sitting in a room" by Alvin Lucier, and is, in fact, a sort of live version of the same premise, a long feedback loop of the voice and the beat recorded and played in the studio.

Arturito is how we call R2D2 in Latin America (or at least in Chile), and it's also my father's name. We both love the original Star Wars and this is a little tribute to that. I had a lot of fun making this track, using only Ableton's Operator synth to make 90% of the sounds. It's a bouncy, evolving electro cut with a lot of quirky bleeps and bloops.

Pequeña midi is definitely the heart of the EP, a slower track made for my cat, who's sitting in my lap as I'm writing this. The rhythms and the sounds are a musical representation of how I imagine her life is like, and of her little games, running around the house. In terms of style I feel like this is what it would sound like if Yellow Magic Orchestra did a slowed down footwork track (play it at 160 BPM if you don't believe me!). »

Ain’t no stopping him now. Krystal Klear’s streak continues with Automat Kingsland. The recipe remains, perfectly seasoned to taste. The extended menu of four tracks is musical testament to the artist’s life of the last six months. Emphasizing movement at a pace that is hard to hold on to, but embraced nonetheless. Trying to transport that „lost in translation“ (and transit) sense of normal life due to constant motion to a dance floor near you. Euphoric melancholia meets rave romance, shutters open to let happiness crawl in and anxiety turns into excitement through the usual cocktail of tearjerkers and white noise risers. Recorded between Paris, New York, Dublin and London and brought to your city via Running Back. Automatic non stop existential output.

Vinyl release compiling both Nukuluk EPs on one LP. Curating their own unique sound and captivating crowds with their refreshing approach to hip-hop, electronica and indie, Nukuluk return with their new EP ‘SUPERGLUE’ on 21 April. The writing and recording process has never been executed in a conventional style for the group, a series of laptops and bedrooms manifesting the groups’ studio, aspiring to a fundamentally collaborative process as they piece their separate parts together in ever surprising ways. Respective members lead through a variety of formats, bringing a demo, a motif or concept in what can be a deeply stimulating process, ensuring the sound is ever-evolving. The EP acted as an educational vehicle that held the group together as they learned how to overcome certain challenges, and hold it together as one, hence the title SUPERGLUE. It presents a fractured journey and chaotic growth of five individuals trying to create the new together; honest vulnerable expression married with complex soundscapes, pulling from whatever genre feels natural and trying new combinations of internal collaborations in the group. The release spans genres from hip-hop to alternative rock, ambient to metal, dance music to r’n’b in what the band note as: “a kaleidoscope of sonics, songs, beats, noises and stories lurching between vulnerability and bravado, as a body of work growing in all directions at the same time.” Their latest single ‘I Just Wanna Luv U’, the follow up to the high octane ‘Covered In Gold’, marks a charged change of pace; an introspective, meditative trip-hop piece, with creeping synths, electronic drums and gruff vocals transitioning into acoustic guitars, live drums and rap verses. It tells the story of wrestling with childhood trauma, isolation and self-acceptance. Vocalist/producer Syd Nuku explores an eerie modern condition before conversing with an inner child’s trauma and memory - “be slow kid, go and take a place below the ceiling where it won’t fall”. The accompanying video was co-directed by Luke Kulukundis (Syd Nuku) and Iso Attrill, and takes reference from the likes of Michel Gondry, Charlie Kaufman and David Lynch. Nukuluk are Monika, Syd, Mateo, Louis and olivia. Entirely self made the collective successfully blend genres and styles to reach new spaces through a broad range of influences (including JPEGMAFIA, Jockstrap, SOPHIE, Wu-Lu and Yves Tumor as well as esteemed groups like Massive Attack, Portishead and Gorillaz). Formed in the midst of lockdown, the collective played their first show in July 2021 before releasing their debut EP DISASTER POP to critical acclaim in November, which subsequently led to multiple festival appearances and a 3-night sold out residency at Bermondsey Social Club in 2022. Their release campaign was littered with videos and creative visuals that were constructed by the collective and its extended family of artists - this multifaceted creative output of the group making them a unique prospect; directing and producing their own videos, exploring many avenues of creation and trying to exist in a unique contemporary DIY space. With nods across the spectrum of the music media – including The Quietus, CLASH, NME, Ransom Note, DIY, DORK, So Young and many more – Nukuluk are steadily carving out their own space in the British leftfield.

180 Gram Vinyl Following the success of the 2021 reissue of Ambient Warrior’s cult classic Dub Journey's (1995), Isle of Jura is pleased to present their unreleased second album, II. Born from the same oceanside fusion of instrumental dub, reggae, bossa nova and tango music that made Dub Journey's so distinctive and memorable, II is an equally sublime collection of eleven unheard tracks from the brilliant minds of Ronnie Lion and Andrea Terrano.

Evoking the delights of white sands, palm trees and sunsets, all set against clear waters and endless blue skies, Dub Journey’s and II document the golden moment when Ambient Warrior came together during the mid-90s to create some of the most Balearic Dub ever made. “Music is the greatest traveler, isn’t it?” says Ronnie. “It gets to places the actual artists can’t even get to really.”

The son of an orphaned Jamaican jazz trumpet player and professional boxer who enlisted in the military after stowing away on a boat to London, Ronnie grew up between Germany, Singapore and the UK before becoming a working musician in his mid-teens. A bass player by trade, he honed his skills playing in a series of soul, jazz-funk, blues, rock and reggae bands that performed throughout the UK.

By the time Ambient Warrior released Dub Journey’s, Ronnie and his business partner Ras Joseph were running the Lion Inc. recording studio and record label in Brixton, London. Having set up distribution arrangements with Roots Records (UK) and Semaphore (DEU/NL), they recorded and released a series of singles, compilations and solo albums from a who’s who of roots reggae artists, including Twinkle Brothers, Delroy Washington, Michael Prophet, Alton Ellis, Little Roy, and Ronnie’s own band The Amharic. “Lion was a regular port of call for visiting Jamaican artists,” reflects Ronnie. “When you were in London, it was on the route.”

An accomplished guitarist, producer and recording engineer from Trieste, Italy, Andrea grew up listening to Russian folk, Klezmer and the Italian harmony tradition in a Sicilian-Ukrainian family. After completing compulsory Italian military service, he moved to London to continue studying music. One night, he turned up at Lion Inc. and approached them about running audio engineering classes from the studio.

In Andrea, Ronnie found a collaborator who shared his desire to create borderless music that reflected the diversity of their backgrounds. “I wanted to do something that had no boundaries,” Ronnie explains. “If you’re working on a roots album, it has to sound a certain way, but with Ambient, especially in the nineties, it was just a license to let off. You could do whatever you wanted to do.” “It was a melting pot of influences like London itself,” adds Andrea.

Although they wrote most of II at the same time as they were recording Dub Journey’s, it took them several years to finish off the album. “Things never got done quickly,” Ronnie remembers. By the time it was complete, Roots Records had gone out of business, leaving Lion Inc. without UK distribution. Not long after, their Brixton studio flooded, bringing the label to a close.

These days, Andrea continues to work as a session guitarist, recording engineer and producer in London. Over the last two decades, he has collaborated regularly with Basement Jaxx and released several solo albums. Ronnie, on the other hand, lives on a boat equipped with an onboard studio, where he has recorded a series of oceanic dub albums off the British coast. Twenty-eight years after the release of Dub Journey’s, he recently started working on demos for a third Ambient Warrior album he hopes to record with Andrea in the not-so-distant future.

Artwork By Bradley Pinkerton.

Tom is in his purple period - and after nearly a decade of releasing delicately constructed songs that sit in the hinterland
between dance floor and home listening, he’s finally cracked the code for creating ABSOLUTE BANGERS, with all the class and lightness of touch present from his previous work.

Hidden Spheres is in turbo mode - and you’ve most likely heard these tunes without knowing it - TANZEN has been a staple in Bradley Zero’s set for the last year and has always, ALWAYS caused complete dance floor destruction. Add in the Italo flavoured Paula Tape remix and you have one of the most exciting dance floor propositions of the year.

Entering the two-digit era, Clear Memory presents this carefully curated compilation. Oscillating between Dark Acid Rain and L-Town-(Ultra)-Funk. Six surprises, six boxes of pandora, six welcoming arms, six uncanny offers.

Total Annihilation Beach is the latest collection from Caveman LSD, one of the handful of monikers of Special Guest DJ / uon / sometimes just shy. Their releases under this name have always had the character of sonic transmissions – crushed sine-waves hurtling out of a wormhole, remote pirate radio bandwidths, whale-song picked up on radar, and so on. Here, the signal seems to come from a place whose remoteness is not defined by distance, but adjacency: these are alternate reality bops.

What does it sound like? Kind of solarpunk, but dirty; not at all an artifact from a hopeless culture. Percussion at the forefront; warm timbres and tones – never have I heard this producer play with tabla and tambourine loops as they do in “Lost Hours,” the opening track of the EP. The buildup holds tension and dynamics tight, with a vocoder-smoothed moan – sampled from the caveman’s own voice, on the low – alternating between two notes; when the beat decompresses for the first time two and a half minutes in, one hears the amorphous and cavernous pads we know so well from shy. “Bottle Service Angels” picks up with another acoustic drum loop, and a clap entering 18 seconds in swings the rest of the track into your hips – there’s even an alternate percussion interlude

sandwiched in the middle. The drums are turned over by a distorted and delayed wave, almost like a cop siren, which finds an answer in the track’s final seconds: we hear them blaring, but distantly (the demo version of this track, from spring 2020, was called “ACAB Beat”).

The B side begins with a textured, heaving slab of ambience: “The Sun Will Sink Into the Ocean.” It is perhaps the sun one sees setting over “Total Annihilation Beach” – a phrase that came to shy while tripping on LSD in San Francisco, which felt to them like a post-apocalyptic haven for the rich. Seems on point. There is a machinic repetition to the track, but also sweeping curtains of sound that move like mist. But what comes at nightfall? Not cops, not raiders nor bottle service angels – nothing, actually. Just a void into which one lobs praise. “H6 Remix” adapts a Mesopotamian hymn to the divine wife of a moon deity, dated to 1400 BCE; the strings of the sampled oud playing it out are rich and trail beautifully with reverb. Caveman LSD’s gesture of remixing such a song reads sincere – the reality we inhabit is likely just as brutal as the one to which these transmissions belong; however, in both, honor exists. Love follows.

First LP from Donna Candy, the bass-vocal-drums trio trawled from the sub genres of experimental rock and busy pushing to the front of heavy music. Nu metal bass riffs, switch-pitched fuzz vocals and big, splashy drums layer over unsettling narratives and extreme loops to bring a bit of the pit to the dancefloor.

Begun as an off the cuff party band with the idea of finding a live sound that would fit between 4am trance sets, the trio soon found themselves addicted to the euphoric sludge they created. Swapping their usual guitar for a bass, JS Donny drives Donna Candy with simple riffs, split half clean and half shredded with Boris / Sunn O))) like distortion. Head-banging the whole way, they’ll switch speed or stop suddenly, bending and drawing out notes to ratchet things up for release. Nadja's vocals tear through the top layer - heavily processed and warped with weird imagery. Together there’s a feeling of what it might be like to see Sightings slowed by codeine but with Elvin Brandi on the mic.

Always set up facing each other, off stage and surrounded by the audience, Donna Candy encourage catharsis - reciprocally transforming energy between themselves and the crowd. They build a queer euphoria that pulls apart metal’s narrow dichotomy of nihilistic machismo vs. hyperfemininity, and begins to make the visceral faux-hybridity of nineties nu metal feel possible this time around. ‘Blooming’ brings us six offerings from the band on a four way split release that speaks for itself - once on board with the DC energy you’ll want to be a part of it.

São Paulo-based carnival collective and brass band combine retro horns with cumbia, baile funk, jazz, Michael Jackson & more

A Espetacular Charanga do França started as a political act, part of a recent movement which has seen the people of São Paulo reclaim their streets, turning their city into a revelation of Brazilian carnival. The group takes equal inspiration from the powerful charanga horn and percussion bands that stir the crowds at Brazilian football matches, and the expertly-arranged sounds of 60s

samba, finding that sweet spot between musicianship and music that makes you lose your shit. And they do it with humour, clear as day in their covers of Michael Jackson and pagode pop hits, and the baile funk and Balkan rhythms that sneak their way in to the tunes.

Since forming in 2013 the group have become an iconic staple of São Paulo’s revived carnival, generating crowds 15,000 strong. Though COVID-19 put a stop to them hitting the streets this year, in 2020 they made their way to carnival with over 60 brass players and 30 percussionists, declaring their bloco an anti-fascist zone, their reply to a political climate in Brazil that is suffocating human rights, culture and any hope for equality.

“I like to think that Charanga is an oasis in the middle of all the shit that we live, where you don't have to be worried about who you are, what are your preferences, whether you can be comfortable. If you want to parade with us wearing a tea towel you can, you won't be harassed. And it's also about music, it's about listening to music. We do this thing the whole year, we rehearse all year, we do too much so that people can just get crazy and not care about the music.” Thiago França

The group is the brainchild of saxophonist Thiago França, best known as a founding member of Afro-punk explorers Metá-Metá, and one of São Paulo’s most in-demand horn men, with credits on influential albums by Criolo, Elza Soares, Céu and Lucas Santtana. A

"Inner Eye" and "That Voodoo You Do" originally released in digital as "Every Dog Has Its Day vol.12" (2020)
"Nocturnal Moves" originally released in digital as "Every Dog Has Its Day vol.9" (2020)

Axis Expressionist Series:
A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works.

Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listener, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life.

Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.

Ancient A&O is a selection of unreleased tracks and dubs we like from our old DAT tapes all created during our early years between 1989 and 1993. It includes Here For A Reason, a rare unreleased track featuring Nishka. We're very pleased the great Lantern Rec are releasing the vinyl and we hope you like it, many thanks... A&O"

Acapella grails that go between classic and never been available before all on 45! Ranging between 92 and 114 bpm these are acapellas you’ve never got on 45! Essential.

repressed !

It takes a lot to achieve the status of legendary or era defining in dance music, its sands shift so quickly artists, genres and labels have often come and gone before you realise.

So it's with some pride and deserved justification that Yoshitoshi marks its 20th anniversary with celebratory remix packages of its most iconic tracks.

Already riding high in the Beatport charts with the success of the Uto Karem and Robosonic mixes of Eddie Amadors House Music, the latter of which has spent the past month in the overall top 5, the label now plans a one, two punch with the follow-up: Alcatraz seminal Giv Me Luv.

We thought long and hard about how we scheduled this 20th anniversary project, says label boss Sharam, little point launching big and then following up with a whimper so we deliberately chose Alcatraz for this difficult task.
But the challenge didnt end there; a massive record still deserves a massive remix and I think its safe to say we found the perfect woman for the job...

Step forward undisputed techno titan Nicole Moudaber who leapt at the opportunity to remix the track.
Ive got so many fond memories of Giv Me Luv, it was one of my favourite tunes from my formative clubbing days, recalls Nicole happily, so, when Yoshi mentioned the idea of me remix-ing it I just couldn't say no.

In fact I was so familiar with Alcatraz I was already awash with ideas of what I could, or should, do with it.

As I got into the mix one of those ideas just grew and grew, namely an extended breakdown that constantly builds; layering the memorable vocal to an intense pay-off and (hopeful) moment of real dancefloor drama. Nicoles humble description doesn't quite do the end result justice, which is a modern, masterful take on the classic.
Her iconic techno beats, dark twisted stabs and arrangement of that bassline drive toward the mentioned break, which will undoubtedly rival the fireworks of any impending NYE celebrations. In fact, expect this track to be THE soundtrack to many a dance floor come the all-important hand-over to 2015. And, just in case that weren't enough, Yoshi has also secured the skills of Tent Cantrelle to deliver the perfect deep house foil to Nicoles techno ferocity as Sharam concludes, We wanted a real slice of contemporary funk from the companion mix.

Yoshi is synonymous with exploring the line between deep house and techno, perhaps no more so than during its formative years, so this re-mix completes the package perfectly.