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Global pointing Brazilian jazz trio releases their new album Agôra, that sparkles with electric funk and Herbie-esque eclecticism. It features a myriad of guest vocalists and musicians including Brazilians Xênia França and Zé Leônidas, Jembaa Groove's Ghanaian singer Eric Owusu and South African artists Bongani Givethanks & Mpho Nkuzo

Re-wiring the concept of 'fusion' for 2023, Agôra is Brazilian trio Caixa Cubo's resurgent new record with the title referring to 'now', based upon the intuitive and fluid nature of the trio's method, and this inspired recording. With shoots to black music culture, from Brazil to Brooklyn, Ghana and South Africa, Agôra is the group's ninth album yet is their first where they've invited guests, mainly singers, onto each track and follows their last, Angela from 2020, released on Heavenly Records, which won a BBC 6 Music Album of the Year (Huey Morgan's selection) granting them much deserved international recognition.

The core musical elements of Caixa Cubo are Henrique Gomide (keys), João Fideles (drums) and Noa Stroeter (bass), all from São Paulo, Brazil and where they met as teenagers and would continue their friendship and musical bond at the Royal Conservatory in The Hague, Netherlands. Now all in their mid thirties, João and Noa live back in the city where it all started but Henrique has settled in Cologne, Germany where the recording of Agôra took place, over the course of 3 days, at the home cum studio of Chris 'Dusty' Doepke, their friend and owner of the label they signed to, Jazz & Milk.

In line with all their creations where flow and energy provide the magic, allowing what the moment provides, the album shines not only for its virtuosity but for its minimalism, the depth of space, and for the first time, the ability to figure in and outside of the jazz fold, as the trio decided, for the first time, to bring in singers and add a new aesthetic to their sound.

"Agôra is a wake-up call to reality, a reminder that the infinite possibilities of technological progress should not disconnect us from the earth, from eye-to-eye relationships, and from moments lived in person" the band are keen to point out. "And that we must not be consumed by greed, for all we truly possess.... is the NOW."

Turning hope and metaphor into music, the debut single Sábado, an electrified future- jazz-fizz reflects perfectly the spontaneity that permeated the entire recording of the album. "When we got to the studio, we had no idea what we were going to record. We started playing a groove, kind of inspired by Gilberto Gil's 80s albums, and our drummer João started singing this funny song 'Sábado Barrigudão' (Big Belly Saturday) alongside the bass groove and that was that". Inspired by their city of birth, São Paulo, it features long time collaborator and vocalist Zé Leônidas, with cuicas, tamborim, agogo and shakers providing the most obvious Brazilian affect from the album.

Dreams is the band's first foray into R'n'B melding the group's simple and sporadic instrumentation of drums, keys and bass into a Jill Scott inspired song that could have been born in Brooklyn yet sung by Brazilian singer and Grammy nominated Xênia França and Zé Leônidas in both English and Portuguese. Xênia recently performed online for hip-to-it website Colors and it's her latest collaboration with Caixa Cubo, having first met in 2009 for a series of live performances.

South African artists Bongani Givethanks & Mpho Nkuzo come to the record with a wholly different approach on Ndiyakhangela, providing spoken word and vocal refrains on top of an Afro-Brazilian percussion jam with a delivery and verse in Xhosa, Zula and Ndebele. Asase is the album opener and features vocals of Eric Owusu who is part of highlife pioneer Pat Thomas's live band and most recently, co-leader of Jembaa Groove, an Afro-soul band from Berlin. It's a synth wig out with djembe grooves and offers a brand new take on Afro-soul-jazz.

Other contributions come from Cologne based jazz singer Rebekka Ziegler (Oblique Sunshine), São Paulo based guitarist Eduardo Camargo (Caio & Eric) and trumpet player Matthias Schriefl on Kismeti, a gorgeous and rolling number that ebbs and flows, exemplifying the group's effortless ability to craft a sound energised by a belief in one-self and the idea of having faith without the need to look at each other for verification.

As drummer and percussionist João Fideles perfectly surmised upon arriving for the recording session, "What drums do you have? Whatever you have, I'll use it". Agôra is testament to nearly 20 years of camaraderie, friendship and most importantly, trust.

After more than 4 years of silence YARN Records returns with a 3 track Ep called "orange & Blue" by the German trio Wareika

On April 7th electronic luminary Nathan Fake presents the new longplayer ‘Crystal Vision’ on his own Cambria Instruments imprint, which features collaborations with Clark and Wizard Apprentice.

This is music for music’s sake – recorded without angles, agendas and themes – so Fake was free to simply continue honing his craft and express himself non-literally. Aptly titled, there’s a clarity of execution and ambition, and a peak effectiveness to the record that just sounds right.

Continuing to set a personal bar higher and topping his own best, the mark of master craftsperson is everywhere, but that doesn’t mean it’s polished; There’s plenty of rawness evident, with spiky sonics keeping ears on high alert – full of endorphin-flooded rave energy.

Following a short, scene-setting ‘Arrival’ – a simple major chord arpeggio played on a Jupiter 6 which sounds like curtains opening at dawn, things begin apace with ‘The Grass’, which hurtles like a precision-tuned bullet train through Arctic tundra. The undulating effect of compression is emphasised by the classic techno trope where 2 rhythms jar yet interlock, creating an exquisitely disorientating strobe-like flutter. On the track’s guest, Fake comments, “I fell in love with Wizard Apprentice's ‘I Am Invisible’ and felt our musical styles were similar. Their vocals are smooth and clear and sharp at the same time. They’re like a calm within the storm.”

Inspired by Italo disco but sounding wholly alien and futuristic, ‘Vimana’’s fizzing buzzsaw arpeggiated bassline, popping snares and bright whirling melody are equally an electro trance melange, with an effervescent major chord Arp that kicks in midway.

Reminiscent of what used to be called ‘funky techno’ but with sparklier sounds, ‘Boss Core’ blinds like sunshine bouncing off ice. Using his trusty Boss DR550 drum machine, and inspired by Autechre's ‘Vose In’, the track peaks by reaching that melancholic/euphoric axis for which he is loved.

With chugging slow breakbeats not a million miles from Board Of Canada or trip hop, ‘Crystal Vision’ rolls along, with the melody opening up, revealing more hidden notes as it progresses, building into a fractal, kaleidoscopic mosaic.

An emotional outpouring with serotonin surging through the circuitry, classic breakbeats and layers of lazers, ‘Bibled’ has all the hallmarks of a classic. This is a bonafide festival-set closing, hugging-your-mates, moment – or, with its guitar solo, “a power ballad” – as Nathan calls it.

A minimalistic moment of calm midway through the album, ‘CMD’’s gently comforting dreamscape is conjured with FM stacked and detuned sine waves which are left to breathe, whilst the chunky Chicagoan house jack of ‘Hawk’ brings to mind classic Relief records, but even more detuned and wibbly, and laden with synths.

As the title suggests, ‘Amen 96’ is in Fake’s own words, “me having a go at jungle. I grew up listening to it, and I remember as a teenager it sounded like the most intense and otherworldly music ever. It still does. This track is an experiment to see how my melodic style works against amen breaks”. Closer to the braindance end of the spectrum than ‘proper’ jungle (and all the more interesting for it), Fake channels the spirit of Squarepusher but makes it his own, brimming with melodious twinkle.

A collaboration with Nathan’s close friend and genuine musical hero Clark. ‘Outsider’ finds this dream team alchemising pure gold that’s bigger than the sum of their parts. Skittering, intense, far-reaching end epic, the pair close proceedings on a grandly dramatic note. In 2020 Nathan released the album ‘Blizzards’, which was described by The Quietus as “his best work”, and “his best LP yet” yet by Resident Advisor. The equally well received ‘Blizzards Remixes’ EP which featured Afrodeutsche and Irene Dresel followed in 2021, as did a nationwide UK tour.

An in-demand remixer, Fake has added his magic to tracks by Radiohead, Clark, Perc, Jon Hopkins, GoGo Penguin, Dominik Eulberg, Christian Löffler and Damian Lazarus, working for labels including Ninja Tune, Domino, Warp, Blue Note and Kompakt.

Free-roaming French techno talent Angioma lands on Lady Tazz's Mind Medizin with a new single that comes remixed by the legendary Kaiser, Fixon and Toru Ikemoto.

Angioma does it all from peak time and hypnotic techno to jacking house, all with his own signature exotic twist. He is currently Berlin-based and has released on Made of Concrete, but also co-runs with BLANKA the Room Trax label and Room Lab, contemporary local art and networking space. With increasingly high-profile sets in clubs like Egg London and Anomalie Berlin, Angioma is an ever more crucial part of the modern techno landscape.

The brilliant 'Unusual Suspect' is darkly seductive with its high-pressure techno rhythms and silky synth lines. Pulsing keys bring late-night hypnosis, and the icy hi-hats draw you in further to this shadowy and tunnelling groove. It's a warm, Mills-inspired sound that is stylish and dynamic.

The A Side also features a heart stopping Detroit infused remix courtesy of Mexican based Fixon (part of the Illegal Alien crew). On the flip and Gianluca Caiati aka Kaiser has been tearing up the techno scene for 15 years. His superb remix pairs things back but the pummeling, rubbery drums remain the focal point as whip-snapping snares lash about up top, incendiary hi-hat pressure grows, and the sleek synths intensify the trip. Finally, Japanese Techno hero Toru Ikemeto delivers an off-kilter slice of driving take on the original.

Sidney Charles welcomes M-High to his leading Heavy House Society imprint and the Dutchman drops a classy four track EP of exceptional high quality laden with groove style and panache.

M-High is known to many within the Minimal and Deep scene through his releases on prominent labels such as Locus, META, Rutilance, Politics of Dancing PIV and more. These releases have been supported by a who’s who including Archie Hamilton, Chris Stussy, Phil Weeks, Jamie Jones, Sam Divine and many others. This support coupled with always fire releases and his highly impressive record selection in his sets has seen him being booked at in demand venues and festivals including Fabric London, BPM Costa Rica, Mint Warehouse Leeds, Thuishaven Amsterdam, Defected Croatia and more, and now Sidney Charles welcomes him to his Heavy House Society imprint and once again the young talented Dutchman does not disappoint.

His ‘Up The Attic EP’ is a luxurious blend of house ranging from the more jackin’ warehouse style of ‘Jackstion’, to the sensuous bassline roller ‘Let J Say’. He then takes you on a powerful deeper journey with ‘That Reminds Me’ and he rounds off the EP with the lofty and effervescent title track ‘Up The Attic’, making this an essential must have for those who like their music, intelligent, understated yet highly danceable and chic.

One of techno's most joyous experimentators delivers two intriguing uptempo tracks. Instead of hitting hard and heavy 'In Aggregate' and 'Carob' float delicately, with explosive detail blooming freely and high above what feels rather like a bass-ladden undercurrent than a persistent kick drum foundation.
Both tracks expand on Stefan Goldmann's extensive polyrhythmic research and integrate tonal and metric functions within the same units of sound. Somewhat radically, the central sound of 'Carob' is all
in one: beat, bassline and single-note melody. By contrast, 'In Aggregate' unfolds lush layers of exuberant percussion, countered by rounded drops of bass and an occasional vocal snippet ricocheting off of claustrophobia-inducing walls of glass.
As future-forward as they are organic, these offerings come with appropriately idiosyncratic artwork by Jorinde Voigt.

Before MF DOOM donned his mask and became one of the most prolific MC-producers of modern Hip-Hop, he was a member of KMD, an early ‘90s rap group whose work still goes criminally under-appreciated to this day.

Following their 1991 debut album, Mr. Hood, the former trio shed one member leaving only two remaining – Subroc and his brother, Zev Love X (better known today as MF DOOM). Originally scheduled for release in 1994, their sophomore album Black Bastards showed clear progression from their debut. It was a truly amazing record, both sonically and lyrically, full of youthful creativity and tinged with the stresses of growing up as Black men in urban America. Songs like the lead single “What A N*gga Know”, the slippery, bass-driven “Get U Now”, and the album’s title track explore Black consciousness viewed through young-but-experienced eyes. Musically alternating between bouncy and raw – many times both, concurrently – the tracks gave the MC’s the springboard they needed to express themselves clearly.

Sadly, Subroc would face a sudden and untimely death in 1993, just as the duo were finishing the album. Grief-stricken, his brother Zev Love X – now the sole remaining member of the group – was determined to carry the legacy of KMD onward, but Elektra Records unceremoniously shelved the project in the eleventh hour, due to controversy surrounding the album’s provocative cover art. Following the fallout with Elektra, Zev tried for years to release the album on other labels, but he was continually met with dead ends. Struggling through the pain of losing his brother, coupled with the inability to release their final project together, a discouraged Zev Love X quietly withdrew from the scene and began quietly plotting his revenge on an industry that had broken him spiritually. Thus, in order to understand the true origin story of the super-villain, MF DOOM, one must recognize and appreciate the evolution of his former group, KMD, and the backstory of their pivotal album, Black Bastards.

Inner Zone’s latest project marks the launch of their brand new eponymous label - the first EP in what’s set to be a run of self-released work. Kicking things off in style, Neurolink arrives with supercharged energy thanks to sizzling breaks, wonky rave chords and blissed-out vocal samples. Next up, My Mind is a winding journey through signal-firing, synapse-stimulating percussion - this time the breaks are faster, more vortex-like. Fragmented vocals and a nostalgia-tinged melody combine to create the gloomy euphoria of the third track, Dark Night. The Final track, Crystal Cut, is spell-casting - a heady potion of ethereal chimes, paired with a delicate melody, guides us into a state of hypnosis. Inner Zone’s latest release offers a contemporary re-imagining of the much-loved sound of breaksy, rave-hued, 90s dance floors.

Grey Vinyl

Lobster Theremin continue a string of euphoric, rave ready techno and trance cuts with a release from Germany’s Rove Ranger that’s hard, fast and effective. Straight off the back of his latest release on ravey UK imprint 10 Pills Mate, and his incredible track ‘Stutenlove’ on Lobster’s PLUR Compilation Volume 1. Rove Ranger is the dancefloor gift that keeps on giving. ‘

Opener ‘1998’ conjures up earlier release Rave Memories, with loopy, psychedelic, thundering 140+ techno, hurtling us from acid car ride into full flight across a sunset-burnt sky. Hefty percussive techno with an old skool sound, waves or rave drift over pacey heat and compelling kicks. Then we arrive at ‘101010’. 100% warehouse body music on this driving title track. Organic, clinking, clattering shell percussion clops over a dark, endless beat. True Berlin warehouse spirit channelled into the machine.

The uplifting ‘In My Mind’ is a proper chunky club pumper, blending lush vocals, squelchy bass lines and housier elements. The peak of euphoria and a nostalgic trip back to 90’s fusion dance music. Rounding out the EP on a eurorave tip, ‘Schaltkreis’ launches down a swirling, mesmerising wormhole. Pulling together urgent trance-synth stabs, racing pulse drumwork and crushed production taking us headlong into the abyss

Artwork insert, in PVC outer sleeve.

Awanto3 (also known for his work with Aardvarck and Kid Sublime on Rednose Distrikt) returns to Rush Hour with "Party" Volume 1. Moody and rolling MPC work outs with live accompaniment from a solid cast (Jos De Haas (New Cool Collective) on percussion and Stefan Schmid (Zuco 103) on keys). Broken Beat heads look out .... this really smacks. TIP!

Backstory: Party was born in a small village located in Wallonia during a period of house-sitting for a family on holiday. Initially my mother was asked to take care of the chickens, goat, dog and donkey but eventually I decided to take care of them to relieve my mother. This week turned out to be a small nightmare, because I think the house was being possessed by a spirit that I had to deal with night and day. The vibe of the house was so grimy, due to the fact that there were calendars with all kinds of weapons and dark oak furniture, interspersed with a huge flatscreen and blinds at the ready to be rolled out when the sun started to go down (by request of the paranoid owner). This setting affected my sketches; a dark side that was looking for contra light weight. After I took care of the animals, I had an energy to escape to my MPC to make the basis for a possible new album. When I got back in Amsterdam, I started to work out some of the sketches I’ve made in the ghost house together with Stefan and Jos in Studio K at Sloterdijk.

E-control and Electrodefender , two mates and fans of the old arcade classics gamemachines decided to produce a vinyl split ep together.

For this, e-control provided two of his unreleased electro tracks from 2001 and electrodefender 3 of his recent tracks that he arranged and recorded in the years 2021-2022.

The EP is strictly limited to 150 copies in black vinyl and has a playing time of 30 minutes. Rootsy oldschoolelectro in the style of the early 80s into the early 90s.

The A side of the label is numbered with a stamp and there are two stickers of the two music makers on the cover.

2023 Repress

"I Hate Models makes his debut on Monnom Black bringing his trademark sound and style, anthemic ebm, acid, rave, techno killers. Absolutely Essential!"

*Vinyl Only*

Spirits From An Urban Jungle – A group consisting of JMJ & Richie (Moving Shadow/Good Looking) and Tekniq (Moving Shadow/Formation) who released two EPs on Whitehouse Records in 1994 and a recent, quickly sold out, EP on Vinyl Fanatiks sister label – Amen brother.

Their first release on Whitehouse was repressed by Vinyl Fanatiks in 2020 on red vinyl and sold out. This is a limited run on blue vinyl and is some deeper, Bukem styled tracks that pre-dated the ‘intelligent’ drum & bass sound that went stratospheric the following year.

Rolling in da shadows…

The Cult brings on board a legend. From DMC scratch champion in the late eighties to the missing link between Detroit and Amsterdam in the nineties. Dutch producer Orlando Voorn needs little introduction and with seminal hits like his dancefloor destroying KMS smash ‘Fix’ under his belt, it is no surprise that the ever-innovative producer is as in demand today as he ever was. Having worked alongside techno originators such as Juan Atkins and honed his production skills under an incredible number of monikers over the years, we bring the multi-talented producer into the Cult. Here he produces an EP of techno brimming with the musicality and inventiveness that is regularly stamped all over his productions.

Opener ‘Between the Surface’ rolls along effortlessly with its Detroit house leanings, loose jazz drums and buoyant walking bass line driving the groove onwards. Hitting hard, ‘Dazed’ is up next with its jackin’ DX style bass and deep evolving arpeggios, that hark back to the glory days of early house music. Finally, ‘Immortal’ ventures into deeper territory for a twisted journey of discordant synths, electro bleeps and haunting synth melodies. His debut on Rhythm Cult is rich with ideas and showcases the creativity that has made Voorn a force to be reckoned for nearly three decades in the game. Joining the dots between Amsterdam and Detroit this new EP brings fresh inspiration with every listen.

Andrea opened this sophomore album Due In Color mostly during 2020 and 2021. You may reverb that those times were slightly crazy due to the small matter of a pandemic which is what lead the artists to explore a world of more hazy and experimental jazz sounds. That in turn inspired him to use more acoustic sounds in his music and so this is a record that turns its back on dark and booming club spaces and heads instead towards blooming fields of expansive downtempo, textured ambient and dreamy soundscapes.

Metro is one of the most recognized underground rap producers. He has already collaborated with Guilty Simpson, Wildchild, MED, Oh No, Rakaa, DJ Babu and Percee P to name just a few.

The album "Blunted Fusion" 2LP is his most refined album. This time without guests - only sophisticated samples, cuts and fat beats.

Plus amazing graphics designed by SewerX. This is the most beautifully released album in the 21-year history of JuNouMi Records.

Miles Away Records are extremely proud to introduce our latest single by the incredible Howard Lemon Singers. You Are Somebody and For The Children are two blinding tracks cherry-picked from the incredibility rare 1977 album Seasons released on the legendary TK Records subsidiary Gospel Roots.
Both sides of this 45 are oozing with positivity and good sentiment, a fine example of the harmony between sacred and secular sounds, and the experimentation taking place, during the late 1970s as gospel artists were modernizing the soundtrack, and lyrical content of gospel music..
You Are Somebody is a gorgeous modern soul heater. Accomplished vocalist Esther Smith's sublime voice delivers her vocal lines with such confidence and assurance that the words seem to strut over the funky basslines and drumming support. Flip it over and For The Children is a more mid-tempo burner, but don't let this fool you - it's "stop-you-in-your-tracks" good. Smith's vocals once again shine brightly and are delightfully accompanied by the Nile Rodgers-esque 'wacka-wacka' guitar of Lester Snell throughout. Musicianship is of the highest quality as Howard Lemon, group leader, called upon some of the best musicians from STAX Records – Willie Hall and the aforementioned Lester Snell were key components of such groups as the Isaac Hayes Movement and the Bar Kays.
These two nuggets are presented here for the first time on a 45 and complete in our customary teal green labels and sleeve. Remastered and cut by Timmion.

In the mid-70s, Bob Shad’s cult New York Jazz label Mainstream Records turned to the burgeoning underground Disco scene and released a handful of great singles produced by the likes of Tommy Stewart, Jimmy Roach or Bert DeCoteaux. Featuring artists from the early Disco hotbed including South Side Coalition, Chocolate Syrup and Three Ounces of Love, these singles, proving Shad's great flair, accompanied the rise of the New York club and block party culture that was going to revolutionise the musical landscape a few years later. Most of the singles are officially reissued here on vinyl for the first time, with Three Ounces of Love's "Disco Man" full mix previously unissued on vinyl. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring and artwork by Thomas C. Bradley

Funk and Soul in the early 70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter and Salsoul: Early Disco was taking off and Its sound was earthier and more urban, mixing the nascent Disco beat with strong funk and soul elements. New York was at the epicentre of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog.

Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky '(Don't You Wanna) Get Down Get Down' in 1975 and Prophecy's 'What Ever's Your Sign' a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful 'A Hundred Pounds of Pain' and the superb mid-tempo instrumental 'Nothing Between Us' by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ('No Rebate on Love') whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single 'Disco Man,' whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled 'Three Ounces of Love.'

​Other highlights on 'Mainstream Disco Funk' include The Grand Jury's 'Music is Fun To Me' with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb 'Gonna Have a Good Time (part 1 & 2) which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early Disco.

​The style would keep getting more commercial over the years and reach overkill in the late 70s but the block party scene which more than embraced this breakbeat-filled genre would soon morph into hip hop in the second half of the 70s with the help of a few key industry figures such as Sylvia Robinson (Sugar Hill Records). By that time, Bob Shad had ceased releasing records and relocated in Los Angeles but he left behind a small treasure trove of superb obscure singles which are now making their LP debut on 'Mainstream Disco Funk' for the delight of all funk and disco lovers.

Official Reissue of the 1992's “A Tone Colour Of Onirico” classic! Back to Life is proud to presents another gem produced by Emanuele Luzzi, under the Oneiric name.
This is one of the release that made the history of House and Techno scene worldwide.

Three choice cuts from the back catalogue of Isomise, oscillating between house and techno with a deeply psychedelic edge.

Originally released on separate EPs throughout 1995 via the short lived but influential London based Flagbearer Records. The A side Intersection blends UK rave with a nascent tech house groove and hypnotic vocal while the B side is reserved for two expansive acid techno trips.

Elements. is back with its third release signed by Crihan. 'Recurring Figures' finds Alin right in his element, showcasing three purely minimal tracks rich in detail and deeply engrossing textures reminiscent of the golden ages of (organic) minimal circa 2010.

A-side's 'Periodic Arrangement' kickstarts the EP in distinctive, contemplative tones. Drum samples meticulously syncopated amongst a canopy of modulated noises, bass bleeps and dramatic piano chords - they keep the groove moving amidst cinematic soundscapes reminiscent of dark fantasy scenarios.

Flip-side's 'Regular Intervals' (B1) moves closer to micro-house realms. There's plenty of swing and playful sampling while maintaining the same cinematic deepness introduced before. 'Again & Again' (B2) sits perfectly as the EP's closing track, merging swingy, dance-focused drum arrangements with dramatic atmospheres and picturesque tones.

Time to welcome Session Victim back to Delusions Of Grandeur following some heavyweight releases on Toytonics and Rhythm Section International. The German duo show absolutely no signs of slowing down continuing to impress with their unique sound which combines organic live elements, fat, floor-filling beats and a deep, musical approach. Here on The Intangibles EP we’re treated to three original tracks spanning high energy jazz disco meets techno, soulful uplifting house and downtempo blunted beats.

Opener Motivation features spoken word from Ras Stimulant backed by urgent looping Rhodes stabs and an uptempo disco groove. An instant Session Victim dance-floor shaker if ever there was one, the energy cranked up to the maximum without losing sight of that all important groove.

Next up we have Dromedary Twist which keeps up the pace but goes deeper on the jazzy organ chords and lays down a heavy syncopated bass- line which ensures the funk factor remains present and correct.

Rounding out the EP in fine style, Green Run drops the BPM’s as we head into lazy, hazy, blissed-out jazzed-up beats territory. Lush strings and layers of analogue synths come together on this simple yet enchanting little tune which compliments the other tracks perfectly and will appeal to fans of SV’s more home-listening output from their 2020 LP Needledrop.

Eric Clapton’s eponymous first solo album, originally released in August 1970, represents one of rock history’s most successful reinventions. After emerging as one of the seminal guitar heroes of the ’60s, the English superstar decisively re-established his musical priorities with Eric Clapton. The album marked Clapton’s transition from flashy instrumental icon to well-rounded recording artist, downplaying sonic pyrotechnics in favour of a song-focused ensemble approach that would lay the groundwork for his massively successful solo career. For the occasion, he surrounded himself with a new cast of American musicians, tapping into a rootsy musical foundation that provided an inspired framework for his talents. This Anniversary Deluxe Edition presents Eric Clapton – Eric Clapton in three separate mixes –

The Eric Clapton Mix, The Delany Bramlett Mix and The Tom Dowd Mix (The UK Version). The Eric Clapton mix is being released in full for the first time. This anniversary collection also includes some singles, alternate versions and session outtakes.

EN
Belgian musician and visual artist Youniss announces his second album which is dubbed ‘White Space’.
The record deals with his own personal ‘panic attack’ instilled by the aftermath of the Black Lives Matter movement in 2020. The first single ‘Arms Bent Back’ is out now on Bandcamp and all digital platforms.
The record is set for release on March 8 on the Belgian label VIERNULVIER RECORDS.


FR
Le musicien et artiste visuel belge Youniss annonce son deuxième album intitulé «White Space». Le disque traite de sa propre attaque de panique amorcée par les séquelles du mouvement Black Lives Matter en 2020.
Le premier single «Arms Bent Back» est maintenant disponible sur Bandcamp et toutes les plateformes digitales.
L’album sortira le 8 mars sur le label belge VIERNULVIER RECORDS.


NL
De Belgische muzikant en visual artist Youniss kondigt zijn tweede album 'White Space' aan. Op de plaat onderzoekt hij zijn zwarte identiteit na gevoelens die Black Lives Matter in 2020 bij hem teweeg brachten.
De eerste single 'Arms Bent Back' is nu uit op Bandcamp en alle digitale platformen.
De plaat komt op 8 maart uit op VIERNULVIER RECORDS, het label van het Gentse Kunstencentrum VIERNULVIER.