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A side is from Mr Rêve, a tune orginally produced on his own label with the hand of Will Apocalypse... legendary track.... With its crazy outro... ambient hidden second tune.

After this full side of emotion comes the Venin 6Tem 01 B-side : Ash is the Ash... a dark tune with a long clap call intro, really good as a DJ tool... and then the tune opens on a banging downtempo Industrial new-wave feeling...

Both tunes are 130/140 BPM and both are bloody weapons to play... One side per track with a Simon The Exchange cut... You ask me if it sounds good ?

A devil project really...

ENJOY !

In 2013 Tristan dreamt George Harrison and Tom Petty were on motorcycles circling one of those huge roundabouts in Canberra. Their long hair was blowing as they sang "You Can't Hide in Time". The Small Intestines play spare room rock'n'roll with a penchant for three-piece harmonies. They formed in Melbourne, Australia in 2016 while Matt and Rob were taking some downtime from Chook Race and Tristan was on the tail-end of his solo project, Peach Happening. Their debut album 'Hide in Time' will be released on September 29, 2023. For fans of The Go-Betweens and The Bats and any genuine big-hearted knockabout indie jangle with sweet singalong group vocals and simple pared-down arrangements. Tristan Peach - guitar, vocals - Matt Liveriadis - drums, vocals - Rob Remedios - bass, vocals

Flora Yin Wong’s ravishing interiority finds lucid expression on an absorbing second album for Modern Love, manifesting her instrumental storytelling in a syncretic bind of supernatural themes with hyperrealist, concrète sound design.

Through ten parts, Flora crystallises the ennui that followed an uncanny, disorienting trip to East and Southeast Asia. “On an unexpected stopover in Hong Kong after five years away, my friends took me to a Bazi reader one night - something I was curious about, but much of a ritual for them - ” Flora recalls. “My father told me that when I was born, he had obtained an auspicious reading that since stayed like a guiding talisman with me. It was almost past midnight but people were still lined up, rather shaken and visibly upset, to see the old man. He had kind eyes and asked me why I was there and I said I was at a crossroads. He asked me my time and date of birth, and told me to pick one of his four little white canary birds as a vessel for divination.”

This was the final stretch of an ultimately aimless few months across the continent, including a 20 year overdue return with her father to his adoptive family in his hometown Kuala Lumpur - for many reasons, ended up as a strange and uncanny trip. She spent solitude in a haunted house during the quiet snowfall of Kyoto, where she might have offended some spirit... and nights in mountain temples with South Korean monks, and an equally strange feeling return to the Island of the Gods.

“It culminated in what felt like a final disillusionment with Asia - sudden deaths and a breakdown in beliefs - somewhere I never really have or will be able to connect with. The process of the reading summoned a final blow to my gut - an overwhelming sense of rootlessness, and understanding that all there is is emptiness and entropy. No birth-divined protection, just a measurement of the night sky based off nothing and everything.”

Heavy with a sense of nightmarish dissociation and grief, Flora read about Giuseppe Tartini’s ‘Violin Sonata in G Minor’, aka the Devil’s Trill Sonata, a notoriously tricky c.18th composition which attempted to transcribe music heard in a dream, which the composer felt he could never fully bring into reality. It’s this soporific motif that binds and underpins ’Cold Reading’, finding Flora chasing the dragon of fleeting fantasy through passages of etched melancholy, pinched with hypnagogic jerks that linger in the memory.

From her use of the ‘Devil’s Trill’ Sonata in ‘All My Dreams are Nightmares’ through evocations of subtropical humidity in the Bryn Jones-esque, resonant hand-played percussion of ‘Konna’ and ‘Banjar’, to a breathtaking dreampop denouement ‘Nectar Dripping’ and the Enya-like lush of ‘Beautiful Crisis’, Flora blooms her ideas with an openended ambiguity so often missing from so called Ambient music, ushering the listener into a soundworld that disturbs and displaces, just as much as it calms.

2023 Repress

Official re-mastered limited edition reissue of the mega-rare Blow Up records release of the Italo masterpiece Pink Footpath by Loui$. Originally released in 1985, this gem has become one of the most highly sought after Italo Disco tracks around. On the A side is Magic Dance which is good, but it's the instrumental version of the track Pink Footpath that really gets the disco DJs drooling. With its killer analogue bassline, dreamy soft synths and balearic guitar riffs, it's easy to see why it became such an anthem at the early Ibiza parties as well as a late night favourite in Chicago and New York.

Giorgio Gordano and Giorgio Dolce originally produced ''KKK'' back in 1983, and the track was taken into the hearts of the blossoming Balearic scene hovering around DJ Alfredo at Amnesia. It's as gentle and sweet natured as Italo disco can be, and of course it makes perfect sense that Best Records would dig it out of the archives and give it the shiny new reissue it deserves. The ''Club Mix'' of ''KKK'' is a feast of simple, charming programmed melodies and crisp drum machine rhythms with the innocence of the early 80s in its heart. The ''Dub Mix'' and ''Bonus Beats'' on the flip are handy for the technical DJs out there, but the ''Club Mix'' is where it's at for the lovers.

Following much love for his EPs, remixes and club sets, the virtuosic DJ/producer Simo Cell’s debut album 'Cuspide des Sirènes' doesn’t disappoint. In fact, it takes things to a whole new level.

With a fantastical menagerie of anthropomorphism, sounds create characters and tools; the mermaid-like Sirens, the mind controlling Octopus and the Magic Conch Shell:

“Have you heard of the legend of 'Cuspide des Sirènes'? This is not a simple tale, but an incredible tapestry woven over many years and through countless wondrous adventures. I will recount the legend as it was recorded in the ancient scrolls.

The album’s story explores the themes of magic, enchantment, charm, and allure, but also personal fears. The protagonist (me) embarks on a quest to find the hidden lake and confront his own demons, in order to understand and master his own power.

The protagonist is armed with a powerful conch shell. As he embarks on his journey, he will encounter Sirens who will teach him various chants. These melodies hold unique powers and grant the main character the strength to confront and overcome any danger that may arise.” Simo Cell

Musically, the LP is a continuation of Simo’s journey that began with the ‘YES.DJ’ EP, with a synthesized/modernized take on noughties hip hop, bass music, trap, ghetto house and ghetto tech – but here he broadens the scope, massively.

Exploring new pathways through magical landscapes, via infused melodies, emo and pop, the sensations are bright and addictive, like a sugar and endorphin cocktail. There’s a screen sheen and video game quality too, sounding like the high-octane score to an action flick from the year 3000, with unimaginably wild SFX.

'Cuspide des Sirènes' is the kind of record to stop someone in their tracks, to ask “what IS this?”, provoking bass face, perplexion, fascination and manic glee, all at once. Not so much organised chaos as intricately-crafted-borderline-unhingement, the album is slightly bonkers, in a very good way. There’s a boundless sense of childlike, unencumbered imagination at play, and an abundance of fun, but there are moments of serious-deep-beat-science for the heads, and introspective passages too.

There’s a lot going on, with detail, layers, flourishes, arrangement, melodies and myriad fresh sounds – but it’s never too much; just a really engrossing listen – the kind that that ruins ones appetite for prosaic, vanilla dance music, rendering such 2D pursuits boring and obsolete.

Ideally, the album is meant to be experienced as a seamless narrative from start to finish, so leave any inhibitions or preconceptions at the door, and let the pied piper of electronic futurism lead you way down the rabbit hole.

Die Drum ’n‘ Bass Pioniere Chase & Status melden sich am 27.Oktober 2023 mit einem neuen Album zurück! Auf „2 RUFF, Vol.1“ veröffentlicht das Duo zehn neue Tracks, darunter Kollaborationen mit einigen der angesagtesten britischen Newcomer*innen (u. a. Arrdee, Flowdan und Takura). Chase & Status bleiben ihrem unverwechselbaren Drum ‘n‘ Bass Sound treu und erschaffen eine energiegeladene Klangwelt, die stark aus der britischen Clubkultur beeinflusst wird. Trotz oder genau wegen dieser Underground Attitüde
kann das Duo große Erfolge vorweisen, ihr Album „No More Idols“ (2011) wurde in Großbritannien mit Doppelplatin ausgezeichnet.

Auf dem Mixtape ist auch die vorab veröffentliche Single „Baddadan“ enthalten, die sich über den Sommer 2023 zum Drum ’n‘ Bass Festivalhit des Jahres entwickelte. Hier treffen über 15Jahre an ausverkauften Headline Shows auf die Underground-Energie britischer Raves.

Malian and French pair Siraba unveil their much-anticipated self-titled debut LP on Damian Lazarus’ Secret Teachings label, a 10-track odyssey fusing Mali’s rich musical traditions with cutting-edge electronic music.

Malian hunter Boubacar Samake and Damien Vandesande, one half of the French electronic band dOP, have won plenty of plaudits for the early singles taken from their debut album as duo Siraba. Those singles, spanning across the summer months, have found the pair bring the traditional sound of the Wassoulou - a river valley of West Africa - to the electronic world after 20 years of friendship. The music comes with an important underlying message of love and respect and results in spellbinding tracks that move heart, body and soul, finding a perfect home on Secret Teachings - a left-of-centre alternative label to Lazarus’ celebrated and often more club- focused Crosstown Rebels. With the arrival of the full album, the pair exhibit and showcase the emotional breadth and depth of their music, with detailed explorations of organic textures and native sounds merged with future-focused ideas and concepts.

The title track opens with an atmospheric mix of spoken words and spine-tingling chords that bring rich Afro flavours, while ‘Dounoiia’ is a languid groove made from hand drums and pixelated synth leads that cast a fine spell. The slow-blooming ‘Bani’ brings rich Malian blues and melancholic horns, while ‘Komafly’ is a rich mix of acoustic strings and broken beats that transports you to a hot and dusty landscape. A vital component of the sounds of the Wassoulou, the indigenous stringed instrument the Ngoni features again on the rousing ‘Nanse’ as spiritual vocals sung in Bambara rouse the soul.

‘Djandjo’ is another rich infusion of Malian culture with simmering electronics to make for something both ancient sounding yet futuristic, and the hypnotic ‘Ngana Fôlly’ with its rich bass is a song ‘dedicated to those who fight for the well-being of their families, for unity... a song for the people who also fight a great disease, between life and death’. The sublime ‘Toro’ is a wavy groove perfect for sundown - a deep and inviting sound rich in soulful vocals and dreamy melodies, while ‘Tolonawoulile’ is driven by the intense strumming of the Ngoni with busy hand claps and hurried drums and last of all ‘Fo Te Mokobana’ sinks into a heart-warming slow groove with sweeping strings and Malian percussion all overlaid with impassioned vocals.

A rich listening experience, Siraba’s debut album is an immersive journey and absorbing dive into the minds of two artists breaking new grounds while spotlighting native traditions and musical techniques spanning hundreds of years.

"Acts of Light" ist eine Fuge, die aus neun langsamen, hypnotischen Klageliedern besteht. Auf ihrem dritten Album lehnen sich Woods' Experimentalismus und Klangforschungen an die Intimität und Zärtlichkeit dieser intuitiven Komposition an. Nach ihren Erkundungen von Gefühlen und Körperlichkeit durch Klang, die in ihrer 2021 erschienenen EP "Feral Hymns" gipfelten, ist "Acts of Light" ein beunruhigendes, persönliches Angebot an Wildnis, Verlust, Abwesenheit, Mysterien und höchste Liebe. Verletzlichkeit, Erhabenheit und Offenheit, hervorgerufen durch Drone, Noise, Synthesizer, Kontrabass, Field Recordings und sakralen Chorgesang, bilden das private Ritual. "Acts of Light" ist ein klangvolles, reichhaltiges und gewichtiges Lamento, das sowohl unterirdisch als auch abgründig ist, während gleichzeitig seine detaillierten Ranken verborgene Formen erwecken, die bei jedem Hören aus dem Schatten hervortreten. Texturaler Staub und gesprenkeltes Licht bewegen sich hier langsam und ausladend durch einen klanglichen und sensorischen Übergangsritus, bei dem Woods' bewegende Kompositionen uns das Gefühl vermitteln, mit dem ganzen Körper empfangen zu werden. Geschrieben, aufgenommen, gemischt und produziert über einen Zeitraum von zwei Jahren zwischen der Westküste Irlands und Dublin, nahm Woods die Chorsänger des Palestrina-Chores in der Pro Cathedral Dublin auf, zusammen mit den Stimmen des Galway City Chamber Choir. Die Streicher wurden von Jo Berger Myhre in Oslo aufgenommen, während die Feldaufnahmen nomadisch auf ihren Reisen durch den Nordwesten Spaniens entstanden.

Futurebae ist ein genrefluides Feuerwerk, based in Berlin, die ihr Debütalbum „BLA (Berlin Love Affair) bei uns releasen wird. Futurebae mischt die Genres zu einem sehr eigenen Mix: Einflüsse aus den 80s, gepaart mit Pop, Rave & Rap.

Inhaltlich ist das Album ein Konzeptalbum über das Selbstfinden im Berliner Großstadttrubel, zwischen Hedonismus und Depression, zwischen Freiheit und dem Wunsch nach Bindung, zwischen kompromissloser Party und schlechtem Gewissen. Futurebae vereint Party und Haltung. Nicht zuletzt ging ihr 2022er Track „Männer lol“, released am internationalen Frauenkampftag, viral.

Futurebae ist in der deutschen Szene bereits ein großer Geheimtipp: Nach Kooperationen mit Tropikel Ltd., Dilla, Dissy und Mine ist sie unter anderem gerade mit Nico KIZ im Studio. In diesem Jahr war futurebae bereits mit Provinz, Roy Bianco & Die Abbrunzati Boys, Blond und Fatoni auf Tour. Auch die großen Festivalslots ließen nicht lange auf sich warten, so spielte futurebae bereits auf dem Dockville, Deichbrand, Not Afraid Festival (in WIEN) und Modular, und spielt dieses Jahr u.a. noch auf dem Lollapalooza, Vogelball, Dilla Festival, Pangea und Singoldsand Festival. Im November geht Futurebae auf ihre erste Headlinertour

Polish artist Satl is one of the most diverse and prolific artists to break through in the Drum & Bass realm in the last decade. After a multitude of music on Amsterdam label The North Quarter he is now set to release his most ambitious and eclectic project: Gloom.

This is a project that sees a more mature artist, one that has developed and refined his sound. In what is a clear departure from his previous material, Satl has managed to craft his own exciting take on dark electronic music taking influences from UK Bass music, Techno and beyond.

“I never wanted to be boxed in to one style/genre, but I think I just wasn’t brave enough as an artist to really push this agenda forward until now,” Satl explains. “I think this collection represents where I am at the moment, a ‘new me’, and I’m definitely planning to stay here for a little while, while always looking to the future.”

Gloom has been a mostly solitary creative undertaking for Satl, who explored the boundaries of his Waldorf Blofeld, Elektron Digitakt, FL Studio, Reason, VCV Rack and a handful of plugins over the course of about two years. The album is entirely produced by him and sees just a handful of vocal collaborators: Tru Thought’s own Rhi, New York’s Frank Carter III and L.A.-based vocalist Saigo.

A coming-of-age project, Gloom is the end product of Satl honing his craft and exploring the limits of his own creativity.

Following on from the warm reception to Hell Yeah and Music Conception reissuing Calm's cult Before album, the labels have come together once more to offer up a reissue of the Japanese master's highly sought-after long player Moonage Electric Ensemble. The hard-to-find original has been given an all-new mixdown from original stem files and then re-mastered by Calm himself, and the double LP will also come with a bonus 12" featuring his very own Daydream Dubs plus an obi-strip and original artwork by FJD.

The blissful yet soul-stirring Moonage Electric Ensemble, which landed first in 1999, was Kiyotaka Fukagawa's stunning sophomore album and the one that kept the bar high following his debut Shadow of the Earth. It investigated all new worlds of future jazz, ambient and downtempo and has since become a cult classic that often fetches three figures on secondhand markets. He has released over 18 albums since including Before which was reissued in 2022, though Moonage Electric Ensemble remains a favourite with those who enjoy the most accomplished and innovative sounds from the first wave of chillout.

This escapist charmer opens with the suspensory synths and piano keys of 'Unseen Small Steps' featuring spoken words from Dan Gamble, then 'Light Year' has gently tumbling rhythms and shimming synth moving about the soothing mix. 'Noon At The Moon' brings gorgeously fizzing future jazz drums and mellifluous piano playing full of subtle joy, and 'The Other Side Of The Moon' then layers up melancholic chords and chunkier rhythms that are detailed with gorgeous persuasive details and mystic flutes. 'Tsukiyo' is a new age charmer with paddy hand drums and romantic interplay between sax and trumpet, 'Between Worlds' is an ambient interlude with distant winds blowing and intimate whispers from Gamble before closer 'Authentic Love Song' rides on dusty trip hop breaks as lazy piano chords melt the heart and Gamble serves up another aloof monologue.

This is another welcome reissue of a sublime album that is not only one of Calm's finest but also a true gem in the wider world of downtempo music.

repress !

Erster 12" Teaser aus Howie Bs erstem Album seit fünf Jahren. "Frankie's City" ist ein reduzierter Tech-House-Track mit Big Beat-Anleihen und der düsteren Atmosphäre der John Carpenter-Soundtracks (siehe Howies DJ-Sets im Fabric), co-produziert von Joe Hirst (Produzent von Bloc Party, Roll Deep). Die Flipside dagegen ist ein 8-minütiges Epos moderner, stringbasierter Klassik.

Entombed between the approaching war machine, Berlin's squat metal underground and the corrosive electronics broadcast from the Hague's bunker network, Chaosy's "Bad Magic" marks his first on the label, with tracks pulled together from equipment left behind in Ukraine and resurrected in makeshift studios while on the road.

Across the LP's eight tracks, the record dials into this modern day horror and occult activity from throughout the ages, flipping between cave dwelling techno, breakbeat, gnarled Ukrainian rap and wails found between the gaps in the machine. A full blown sonic assault into the belly of the beast.

Prisoners Of Love And Hate' is an offering to community, to desires that imprison and liberate, to people in all their divinity and ugliness. Apostille - aka Night School Records’ captain Michael Kasparis - presents is third album with a bang, a bursting ball of NRG, empathy and bristling living.
Like its predecessor 'Choose Life', 'Prisoners…' was recorded at Full Ashram Celestial Garden in Glasgow with Lewis Cook (Free Love) through 2022. A nine song treatise on pop music, trauma, ecstasy and the mundanities between the extremes, Kasparis takes on classic 80s synth pop, 90s house music, 00s trance, wistful balladry, 70s power pop. The thread that runs through the album is a boundless energy, an openness to the moment, to living
the pains and joys equally, open armed.

This is a place of no judgement, of possibility, challenge and comfort. The nine songs on 'Prisoners…' can be read as separate ruminations on the feelings and desires that imprison our experience. Through it all the narrator struggles against them, transported and fooled by love and longing, peering through the bars of anguish, flailing in a cell of emotions. 'Saturday Night, Still Breathing' breaks the album open with an invigorating scream and pounds into the night with a nod to Whigfield, Kasparis’ punk roots and house music. Over a thumping 909 kick and bassline, Kasparis pens a love letter to being with people, the collective energy of hearts in a room, thrumming together, making it through together. Written as private ritual magic, manifesting community during a time of isolation, it’s as if the party is the most important thing in the world. 'Rely On Me' imagines 80s Mute synth pop, Erasure fronted by Bruce Springsteen, romance doomed and forever perfect in the mind. 'Spit Pit' completes the opening triptych of fast paced rollercoasters, an ode to childhood forged out of change and discomfort told with a bold, epic production by Lewis Cook, AFX breakbeats, 160BPM kicks and a commanding vocal performance.

On 'People Make This City', Kasparis eases off the gas, lets the mist blowing in from the Clyde River blow over his version of Glasgow. A wistful ballad about small town gossip and coming through anger to leaving it all behind, it provides some shadow to the bright light of the vibrancy of the album. 'Natural Angel' owes much to 70s and 80s power pop, guitar melodrama, Thin Lizzy and Rick Springfield through the prism of co-dependence in relationships. It’s a theme that’s picked up in slow burner 'Nothing But Perfect', a hazy synth soul-inflected song about building your own mythology, constructing a dream to hide in, to hold on to. The most surprising track of the album, 'Summer of ’03' re-imagines the trance music of early noughties Europe into a lament for an eternal summer or as a fan once put it, “Meat Loaf with a donk on it.” A recognition that all ecstasy has tragedy laced within it, it’s a theme that is sewn throughout the LP and continued on the final song 'Feel Good (You Can Make Me)'. Referencing Shalamar’s 1982 mega hit by way of N-Trance’s piano riffs, the epic closer is riddled with heartbreak, vulnerability and power. It’s a testament to the new confidence in Kasparis’s songwriting, sure, but also to the enduring power of people to come together in mutual dependence and love. If ecstasy is always laced with tragedy, then 'Prisoners of Love and Hate' can always reach out between the bars to meet in the middle, the eternal now.

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.