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The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

'Triage' offers a rare look inside of the songwriter. This album finds Rodney Crowell introspectively looking for answers and for healing, resulting in what he has called his most personal record yet. This new collection of songs was written during the great political, environmental and economic upheaval that has marked recent years. The noise of that chaos encouraged Crowell to look inward for solace and answers. The result is this series of songs that contend with these themes, but approaches them from a place of healing, love and solution. That they are being released while we find ourselves walking through a global pandemic, is a gift of perfect timing.

Limited edition 6-panel digipack or 180g vinyl 2LP set in deluxe gatefold
sleeve with iconic pictures by jazz photographer Francis Wolff. Originally
released as ‘Groovin’ at Smalls’ Paradise Vols.1 and 2 (Blue Note BLP-1585
& BLP -1586).
Jimmy Smith’s unparalleled skills with the Hammond helped to popularize the
electric organ as a jazz and blues instrument, and he recorded prolifically during his long career. A perennial poll winner since the late ‘50s, Smith redefined
the instrument.
His new sound utilized the first three draw bars and the percussion feature of
the Hammond B-3. Recorded live in 1957 at the Smalls’ Paradise club in New
York, this LP showcases Smith in a trio format backed by guitar and drums.
“On Groovin’ at Smalls’ Paradise, Smith is in his element in a club setting. This
is the Smith album to get.”

Exclusive vocal c/w instrumental mixes of Betty Lou Landreth’s ‘I Can’t Stop’ on this lead-single for the forthcoming Backatcha re-release of Betty Lou Landreth's in-demand 1979 album, "Betty Lou” (cat# BK037 – to be announced). Expanded to a double album, it features the original studio recordings along with bonus material and alternative takes. The late Betty Lou Landreth had already paid her singing dues long before she walked into Studio A at Detroit’s Superdisc, touring with the USO and performing with R&B and Jazz players on the live circuit.

‘I Can’t Stop’ producers Joel Palmer and Charlie Gabriel recruited some of Motor City’s top fellow musicians for the session, including Gabriel’s longtime friend and housemate, trumpeter Marcus Belgrave, arranger Travis Biggs, drummer J.C. Heard, Motown Funk Brothers’ pianist Joe Hunter and trumpeters Herbie Wilson and John Wilson, keys player Emmanuel Riggins, bassist Hubie Crawford, the Body sisters and many more.

"We just got together to cook up a gumbo. Detroit, New Orleans, funk, jazz, torch, country and some great, great musicians to bring the flavours together."

Joel Palmer, 2021.

Hitting number two in the UK album chart and with over a billion streams, in Dissimulation KSI creates space for both his public persona and the personal: big hit features with the likes of Rick Ross and Lil Baby (Down Like That) and AJ Tracey (Tides) sit alongside more intimate, honest tracks. No stranger to defying expectations, Dissimulation received critical acclaim. Clash labelled it “an excellent body of work”; “he’s absolutely smashed it” proclaimed Metro.

It’s no surprise that KSI has been seen on the cover of The Sunday Times Magazine and Music Week; The Observer Magazine, Viper and Notion. Other labels and artists want a piece of the KSI pie too: just look to the success of his features on S1mba’s Loose and Nathan Dawe’s BRIT nominated Lighter. 



With his second album on the horizon, a 2021 tour which sold out in seconds, the launch of his own label and a single with Craig David (Really Love), Anne-Marie (Don’t Play) and YUNGBLUD (Patience), KSI is proving that music is very much his domain. 



KSI brings with him the unrelenting work ethic and infectious energy which YouTube instilled in him. Despite his debut’s success, he’s certain Dissimulation just scratched the surface: the next record, he’s clear, will showcase his artistry’s further progression again. Given FAULT Magazine described KSI as “one of 2019’s biggest success stories - “an emergent hip-hop star” said The i - all eyes will be on his follow up. KSI’s task - writes The Observer - is “not just to make “YouTube rap” but the real thing”. Their verdict? “Mission accomplished.”

Schmer brought these two together to battle it out for Schmer019: Snazelle vs Loveland : Get this special 6 track maxi EP of pure techno and YOU will be the winner.




Brooklyn based techno producer and Snazzy Fx boss. Much of the hardware Dan uses in his productions and live sets was designed and built by him. His focus as an artist is on electronic music as a vehicle for achieving transcendent states. This comes out in his sets as a respect for both the funky and hypnotic aspects of dance music. As a DJ and live act, Dan has performed throughout Europe and is a regular fixture in NYC.

2018 saw Dan release the "Exposure to a Steady Stream Ep" on Jacktone records. Fact Magazine included the track " Broken Saucers" in their best of September round-up.

In early 2019 Nina Kraviz and Dan released their collaboration "u ludei est pravo"on the trip compilation "Happy New Year! We Wish You Happiness".

In August, Schmer released his newest EP, "Swarm Draze".


Jasen Loveland is a mercurial force about whom little is known with any certainty. Much of Loveland’s life and exploits are shrouded in an opaque and often contradictory mythology that includes many other characters who may or may not be Loveland himself. Born sometime around 1950, Loveland seems to have been operational within the dance music community for decades, allegedly interning for Giorgio Moroder in Munich after finishing a medical degree in the 1970s. It is rumored he was the individual who did the actual synth programming on “I Feel Love”, however this was never confirmed. Documentation of Loveland’s past was further obscured by a “studio fire” while operating out of Chicago in the mid-1990s that destroyed all of Loveland’s memorabilia from the past, except for a handful of lo-resolution, poorly-scanned photographs Loveland (an early user of Hyperreal.org and the #mw.raves listserv) had emailed to a friend. Fortunately, Loveland was able to save his two favorite synthesizers, a battered Roland TB-303 and it’s demented sibbling, the MC-202, but the rest of Loveland’s equipment, and the documentation of his past, was lost in the blaze, leaving Loveland homeless for several months. Regardless of the veracity of his tales, Loveland’s music speaks for itself; the intense, maniacial vibes that pervade the ouvre are undeniably suited for the most far-out, dancefloor head trips, thus making it only a matter of time before he joined the Interdimensional Transmissions family.



Most recently, Loveland has been presenting DJ-style musical performances under the name “Loveland & Friends”, which has become an umbrella term for all projects related to his work, including JL-303, DJ Curtis Chipp, Chip Curtis, MIDI Master, Remote Perception, The Limit, Acid Musik Department, The Gaze, Ace of Fades, East German Chemistry, The Universal Vision, Clonus, Gamma Polaris, R.O.M. and DJ Kline, and Da House Band. Many of these, such as the DJ Kline project (with Prof. Dr. Alice B. Kline, a self-described “unremarkable scientist” and researcher at CERN), seem to be collaborations or ghost productions, although even this is not clear. In fact, the only confirmed Loveland collaborations are LW Productions (with Clay Wilson) and Pervocet (with Patrick Russell), the latter presented as a 12” by Interdimensional Transmissions, Detroit.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca
Records to become the first Artist signed to the new Geffen Records label.
• Always ready to embrace new sounds and experiment with different musical genres, Donna
Summer’s 1991 album “MISTAKEN IDENTITY”, was released on Atlantic Records and produced by
Keith Diamond, who was brought in to inject a more street style, which was prevalent at that time.
• Keith Diamond had produced highly successful singles and albums for Billy Ocean, Michael Bolton,
Mick Jagger, Sheena Easton, Don Johnson and James Ingram; the latter having been heavily
involved with Donna’s 1982 album ‘Donna Summer’.
• The album includes the singles ‘Work That Magic’ and ‘When Love Cries’, as well as the tracks ‘Cry
Of A Waking Heart’ and ‘Heaven’s Just A Whisper Away’, which showed how her amazing vocals
could make very good contemporary songs sound great.
• This special edition revisits the original album on 180g Yellow Colour vinyl.

Acid Dad is an American alternative-rock band composed of singer-guitarists, Vaughn Hunt and Sean Fahey, and drummer, Trevor Mustoe. Vaughn first started recording the band in his Bushwick, NY basement releasing singles “Brain Body” and their first EP “Let’s Plan a Robbery.” Appearing live in the New York City rock scene in 2016, Acid Dad quickly moved to a world stage with their self-titled debut album, released by Greenway Records in 2018. During 2020, the band spent their time building a new studio space in Queens, NY, while continuing to independently produce all their own music, art and even building their own guitars. With a new space and vision, the band produced their second LP, “Take It From The Dead,” set to be co-released in June 2021 by Brooklyn’s Greenway Records and psych powerhouse LEVITATION’s label, The Reverberation Appreciation Society. “Take It From The Dead” features an array of different influences ranging from 90’s neo-psych, modern post-punk and 70’s rock-n-roll. Acid Dad has crafted a record that sounds new, yet feels nostalgic. In contrast to their earlier work, they make use of slower tempos and expand their sound to include songs that are both more intricate and more hypnotic. To accompany the new record, the band spent the last year collaborating with video artist Webb Hunt, producing psych and glitch art videos that form a visual counterpart to the dreamy distortions of their sound. Take It From The Dead is out June 11th via Greenway Records / The Reverberation Appreciation Society on Deluxe LP & CD.

Cryovac Recordings recognizes and recruits artists with individualism and creativity to add to its list of collaborators. Cryovac has evolved into a project that is brought to life by craftsmen, musicians and visual artists that give their time and effort for a common cause. Cryovac aims to weave a thread between the varying sonic approaches that describe a direction techno must go. A. García tends the cryovac from conception to press; combining with Mike Kretsch to create a unique minimal sound. Mr. Joshooa has the tools and know how to describe his personality as his work. He swims the Detroit techno-sphere wearing many hats, and is always pushing techno forward by any means necessary. Cryovac is a vehicle for the rebel spirit; we hope you listen to it.
The Cat Lover E.P. starts with Mr. Joshooa taking his time weaving a slow funky grind. “Horse Hockey’ is the name of this 4/4 two step that gallops and bangs its way through cinematic synth rises, heroic harmony, and crunchy to smooth samples. Mr. Joshooa's mischievousness is on full display with his second jam “fuck around”. Tumbling samples form a bop that is maneuvered playfully through a hectic arrangement. Side 2 is a. garcia and Mike Kretsch’s domain. Their first effort minimally clicks and rings into a soulful melody; popping rhythm holds your body to terra firma so your mind can “spacetravel”. B2 ,”meerkat”, opens with a raw kick on top of marmic synth evolving into a dramatic techno drive turning and shaking along a desolate road

Blue Vinyl

“Montreal’s genre-defying post-rock combo BIG|BRAVE could very well be the most noteworthy recent heavy curiosity to come out of the city in recent years.” - NOISEY

“…combines elements of Björk, Neurosis and Sunn O))) into a cohesive whole; but this whole is an ever evolving and challenging sonic mass.
- THE QUIETUS

Minimalism and instinct, structure/freedom and meticulous timing form the cornerstones of their precise, rhythmical sound.
Lyrically, the album explores the weight of race and gender, endurance and navigating other people’s behaviours, observation and protest. The band further comment “this album involves what it means navigating the outside world in a racialized body and what it does to the psyche as a whole while finding individual worth within this reality.”
This time featuring the core trio Robin Wattie, Mathieu Ball and Tasy Hudson, for their most collaborative record they’ve made so far. The band elaborate “having cut our teeth in very different musical backgrounds respectively, our intuitions vary, which has an interesting effect on our individual approaches and ears.”
For this record, BIG | BRAVE once again made the trek down to Rhode Island to record with Seth Manchester at Machines with Magnets. They remark “we fully trust his instinct as an engineer and his creative output, getting to experiment with textures, concepts, layers, and with pretty much every single recorded sound, the process of making records with Seth is an absolute journey and pleasure.”
With the initial seeds planted in 2012, with no other goal than simply experimenting with the instruments in their possession, Robin Wattie and Mathieu Ball started writing subtle ambient/minimalistic folk songs together. When long time friend Louis Alexandre Beauregard joined on drums, the goal still remained to play as tranquil as possible. After an incident where Wattie’s acoustic guitar broke, and having borrowed a friend’s electric as a replacement, larger amps that Ball had in storage from previous bands started to get incorporated to the outfit. Now with amplitude as a compositional tool, BB never lost interest in the power of minimalism and fragility. It became clear that loud volume would become just as effective as the lowest possible ones and the juxtaposition of both would become something BB still uses as their main MO to this day.
After self-releasing Feral Verdure in 2014, the band had the opportunity to open for Thee Silver Mt Zion in Montreal QC. After which, Efrim Manuel Menuck found something meaningful in the members and the band and invited them to open on future shows with Mt Zion and with Godspeed! You Black Emperor.
In 2015, the band entered the studio with Menuck and recorded “Au De La”. With no home for the record, they decided to take a chance in writing to Southern Lord. As luck would have it, Greg Anderson happened upon their email among hundreds and responded. Since then, the band has had a home with Southern Lord Records. (Along with Au De La, Southern Lord has released Ardor in 2017, A Gaze Among Them in 2019 and VITAL in 2021).
After Beauregard’s departure in 2018, the band traveled down to Rhode Island with Loel Campbell on drums to make a first record with Seth Manchester at Machines with Magnets. After the album’s release, with Campbell unable to tour, Tasy Hudson joined the ranks and the band spent most of the year touring their 2019 album “A Gaze Among Them”.
In 2020, the core trio of Ball, Wattie and Hudson once again made the trek down to Machines with Magnets to record their 5th LP “VITAL”.
Since their inception, the band has had many honours and privileges of touring a number of times in North America and Europe with bands such as Sunn O))), MY DISCO, The Body, Thou, Primitive Man and Thee Silver Mt Zion.

The Jamaican reggae group The Wailing Souls was formed in 1965. They released their debut album Wild Suspense through Island Records in 1979, after their singles releases through Channel One became popular. Wild Suspense became a roots reggae stemple, renowned for its staggering musicianship. The album contains a mix of Studio One do-overs (such as “Row Fisherman” and “Feel the Spirit”), a handful of self-productions with added horns (“Bredda Gravalicious”, “Very Well”) and tunes by Rudolph “Garth” Dennis (“Slow Coach”) and George “Buddy” Hayes (“Wild Suspense”). Wild Suspense, overall, contains a reflective and thoughtful body of music, with beautiful harmony singing and majestic instrumentation.

Thirty years after his disappearance, Miles Davis, both the man and his character, is still a subject for debate and controversy. And haven’t we heard that before with all artists? But when it comes to the importance of his contribution to music in the 20th century there is only unanimity.

Everyone says, sure, he was the greatest trumpeter. Other opinions are that he left the world of jazz behind him in 1965. It’s also said he was the catalyst of every decade from 1949 to 1989; that he revolutionised jazz, and brought it out of the ghetto; that he buried jazz; that he was the most important musician of his century... Each of those statements has its share of truth. Whichever way

you look at him, he remains a major figure in jazz and in 20th century music overall. Miles surpassed (or at least equalled) the importance of both Louis Armstrong and Duke Ellington for the simple reason that he addressed not only the jazz world but all worlds of music, and that he created (among other things) a fusion of the spheres people knew as jazz, blues, rock and pop, and spoke to every audience, either in turn or collectively.

There was a dinner at the White House during which a perfectly respectable lady, married to a politician no doubt, asked Miles what he did for a living. With some annoyance Miles replied, “Well I’ve changed music five or six times, so I guess that’s what I’ve done ... now tell me what have you done of any importance, other than be white? [...] You tell me what your claim to fame is.” The provocative tone in Miles’ words lifted the veil over his refusal to be hassled, his revulsion against America’s treatment of Black people, and Miles’ awareness of his own importance in the world of music. Even when speaking, Miles maintained the art of synthesis.

In the beginning – this was 1944 – there was a concert in St Louis, Missouri where Miles heard Charlie Parker and Dizzy Gillespie for the first time. “Man, that shit was terrible, I mean Dizzy Gillespie, Charlie ‘Yardbird' Parker, Buddy Anderson, Gene Ammons, Lucky Thompson and Art Blakey, all together in one band [...] that shit was all up in my body and that’s what I wanted to hear [...] and me up there playing with them.1” Miles was 18, he’d been playing trumpet for years and now he knew that this was what he wanted to play, and nothing else: to play with Bird! A year later he’d turned 19 and he was in New York, where he learned it all, up there alongside Bird and Dizzy.

Originally conceived as a medium for Chicago-based multi-media artist/activist Damon Locks's sample-based sound collage work, Black Monument Ensemble (BME) has evolved from a solo mission into a vibrant collective of artists, musicians, singers, and dancers making work with common goals of joy, compassion, and intention. A genuinely multi-generational collective, ages of BME members range from 9 to 52 years old; members include instrumentalists and fellow IARC recording artists Angel Bat Dawid and Ben LaMar Gay. Their debut album Where Future Unfolds was released in 2019 by International Anthem glowing praise; landing at #3 on Bandcamp's "Best Albums of the Year," #25 on WIRE Magazine's "Best Albums of 2019," and being repeatedly dubbed "The Best Album of 2019" by BBC/Worldwide radio titan Gilles Peterson. Locks & BME's new album NOW was created in the final throes of Summer 2020, following months of pandemic-induced fear & isolation, the explosion of social unrest, struggle & violence in the streets, and as the certain presence of a new reality had fully settled in. Set up safely in the garden behind Chicago's Experimental Sound Studio, the music was recorded in only a few takes, capturing the first times members of BME had ever played or sang the tunes. For Locks, the impetus was more about getting together to commune and make art than it was about producing an album. In his words: "It was about offering a new thought. It was about resisting the darkness. It was about expressing possibility. It was about asking the question, 'Since the future has unfolded and taken a new and dangerous shape... what happens NOW?'"

CRIMSON/BLACK COLORED

Indie Retail Exclusive Crimson & Black color vinyl Originally conceived as a medium for Chicago-based multi-media artist/activist Damon Locks's sample-based sound collage work, Black Monument Ensemble (BME) has evolved from a solo mission into a vibrant collective of artists, musicians, singers, and dancers making work with common goals of joy, compassion, and intention. A genuinely multi-generational collective, ages of BME members range from 9 to 52 years old; members include instrumentalists and fellow IARC recording artists Angel Bat Dawid and Ben LaMar Gay. Their debut album Where Future Unfolds was released in 2019 by International Anthem glowing praise; landing at #3 on Bandcamp's "Best Albums of the Year," #25 on WIRE Magazine's "Best Albums of 2019," and being repeatedly dubbed "The Best Album of 2019" by BBC/Worldwide radio titan Gilles Peterson. Locks & BME's new album NOW was created in the final throes of Summer 2020, following months of pandemic-induced fear & isolation, the explosion of social unrest, struggle & violence in the streets, and as the certain presence of a new reality had fully settled in. Set up safely in the garden behind Chicago's Experimental Sound Studio, the music was recorded in only a few takes, capturing the first times members of BME had ever played or sang the tunes. For Locks, the impetus was more about getting together to commune and make art than it was about producing an album. In his words: "It was about offering a new thought. It was about resisting the darkness. It was about expressing possibility. It was about asking the question, 'Since the future has unfolded and taken a new and dangerous shape... what happens NOW?'"

If you don't yet know, Flexi is a record store and music label based in Italy and run by Simone and Lorenzo.

Over the years, Flexi have gained both the respect and recognition of the music scene, earned by almost forty years of experience in the world of music and with the support of many DJs, artists and fans

Finally Flexi Cuts returns with a brand new release pressed on a “raw transparent" vinyl called “Velvet Series” no 2 – six quality tracks from six superb artists for an electronic journey that makes you fly over “velvet”.

Selection of the works wasn't easy; the tracks were chosen tryin' to maintain a high quality level, such as the oldest (v. series part 1) which have been so appreciated out there.

The A side opening is by Bologna-based Brine, with “YR Body” that provides a Juno-ish bassline with a catchy vocal and a jazzy mood.

Then we have “Benerice" from Daughters and Sons (aka the master Luca Fronza) who throws us into a beautiful Detroit-inspired analog jam.

This side ends with our very own Sicily man Manuold with fresh Italo-House vibes absolutely made for the dance floor.

On the B side, welcome back the veterans Tengrams (formerly the Piatto brothers from N.O.I.A Records) with the outstanding "Rapid Eye Movement"… travelling across retro-future influences and 808 patterns… under a dystopian-sci-fi movie theme.

B2 track is by the Calma duo who plays with a few elements to build a neverending techno climax...did you recognise the sample?

The last track is a sort of relaxing downtempo sunset closure complete with bells, from the California producer Gloved Hands, a name that speaks for itself.

LTD 100 copies / Printed Sleeve

A real brain destruction, so hard that it turns mental.
A side begins with a long bugcore electric spiking electro... A fakir track !

The second tune is experimental as well, destruction of jungle, of breakcore, of noises... Spiky too ! Fakir too !

The flip opens with a speedcore destructured tunee, keep your breath and drown into this mental distrurbance !

The finish, Zenkout... is a crunchy speedcore tune, shaking your body with a non-stop fatal kick.

A superb EP again from Les Neiges Noires De Laponie !

Ex-Voto is the first page in a new story, where French techno artist Nao Nhil looks inwards to find pools of sonic hypnosis. Taking inspiration from both techno and ambient music, Nao Nhil explores the outer reaches of contemporary, dancefloor expression, striking a delicate balance between body and mind. Contrasts between percussive roughness and slick execution, or between brooding darkness and beams of radiance, colour the sound and hold your gaze. The pristine techno construction of "Ex-Voto" tunnels deep into Nao Nhil's core, unearthing the roots from which the laser-cut drone of "Primal Atom" and the stepping kaleidoscope of "Psylle" were born.

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

Off the back of his debut album as Trance Wax in November, Belfast producer Ejeca returns with his new project of mixtapes of all original material spanning across his musical influences. The first instalment of the mixtape series comes in the shape of 45 minutes of hi-nrg hardcore and rave. The first run of cassette tapes sold out over a weekend and this new edition includes on body printing and fluo pink cassette tape. Limited run of 100 tapes.

Phobophobes new album Modern Medicine follows the band’s critically acclaimed debut album Miniature World, released 2018 via Ra Ra Rok Records, which received the accolade of being 6Music’s ‘Album of the Day’ following heavy support from Lauren Laverne, Steve Lamacq and Iggy Pop. Press coverage was a who’s who of tastemakers clambering to define their undefinable sound ….”dark and dreamy” (DIY), “gothic” (Clash), “unique warped pop” (Best Fit); and live the band were invited to tour with Killing Joke including a date at London’s Roundhouse, and a headline slot at the Rise Stage at Green Man Festival.

All songs on Modern Medicine were written and arranged by Phobophobes** except ‘Hallow Body Boy’ which was written and arranged by Phobophobes and Jessica Winter. The album was produced by Phobophobes and recorded at El mirador Studios, Andalusia, Spain during the summer of 2018, mixed by Dave Emery at ‘Assault and Battery,’ and mastered by Nick Watson at Fluid Mastering.

**Phobophobes current line-up consists of original members Jamie Bardolph Taylor (guitar, vocals), Jack Hussey (guitar) and Chris Olivares Chandler (keyboard, vocals), alongside new members Daisy Smith (bass) & Lisa Martin (drums). Due to recent line-up changes the latter two musicians do not feature on Modern Medicine, instead credits include Nathan Ridley (drums/backing vocals) and Elliott Nash (lap steel/baritone guitar/keyboards/percussion), with additional appearances from Christo Mccracken (guitar/effects), Gamaliel Traynor (cello/violin) and Jessica Winter (keyboards on ‘Holly Body Boy’).

Perila (Aleksandra Zakharenko) left her native Russia six years ago, landing in Berlin. Finding her place almost immediately - first at Berlin Community Radio and through that amongst a group of like-minded creative individuals (including her current flatmates Special Guest DJ and exael) - she started a regular practice of working on an expressionistic "sonic diary" of field recordings and electronic sound research for her own pleasure. When the opportunity arose to create her own podcast series, WET (or Weird Erotic Tension) was born. Upon hearing her evocative and atmospheric music layered with friends Nat Marcus and Inger Wold Lund's erotic spoken word poetry, Sferic Records asked to release it, and Perila - a project name originally used for her BCR show - truly came to be. Aleksandra, who was raised in St. Petersburg, has been involved in music since childhood thanks to her melomaniac father. She's been both drummer and singer in local bands in Russia, and is also the co-founder of radio.syg.ma - one of the first online stations in Russian focusing on experimental sounds - but Perila is something else entirely. You could loosely describe it as ambient, but her soundworld is so specific and transportative, filled with detail and movement, it's more akin to hauntological musique concrète, touched by song. Her fascination with voice and language - she studied English literature at university - is still evident, although that's now her voice, her texts, her crooning you can hear on the Everything Is Already There cassette (Boomkat Editions, 2020), her processed breaths on the Meta Door L cassette (Paralaxe Editions, 2020). The Wire Magazine got it right when they said about Irer Dent that, "Sensuality is presented as a secret pass to a higher consciousness." For her debut album, How Much Time it is Between You and Me?, released via Smalltown Supersound on June 11th, Aleksandra takes inspiration from the concept of time, which she felt keenly during the pandemic. Recorded primarily in September 2020 in a rural village in France - her only travel during the first year of the pandemic period - surrounded by mountains but otherwise alone with no internet, her perception of time there differed immensely. She describes the trip as, "an immersive experience into self," viewed through a "silence prism" where everyday sounds usually ignored felt amplified. While her work has always dealt in intimacy - be it the private thrills of WET or the audible closeness of our surroundings - the organic response and consistent feedback she gets for Perila made Aleksandra recognize a longing, a need for it in today's world. Intent on creating work based in honesty and tenderness, Perila's practice also explores how we feel music and emotion throughout the body and how sound can help to release it. How does the sound enter a body and travel through it? Where does movement start? How do you reach and unblock emotional clusters with the help of sound and deep listening of the body responses? Aleksandra likes to describe her music and performances as trips - thick narratives drifting along sound to get closer to self. Let Perila guide you through this journey.

A few months ago, Dj Schwa & Name Does Not Matter rumbled through the timbers with their latest EP on RFR Records. For all of you, who like to get physical, we are now offering two Tracks of the digital EP including two brand-new Remixes on Vinyl.

Follow the “Ape King” and jump into the frying acid pan! Straight forward stomping on the beat section, pretty classic when it comes to the bassline. And whilst the 303 is continuously marching towards our cortex, shit kicks in with a nonchalant melody part. Wait, are the old Djax Up days back?

London’s Posthuman is delivering the perfect Remix for “Ape King” qua musical self-definition. His analogue machine park powers the Original with an even deeper drilling bass line, reduces the melody to its essence and nonchalantly sets the groove between classic Chicago and UK Hardcore influences.

“Obsolete” is a true feast for lovers of classic Electro. And despite of the title, all its ingredients are perfectly well balanced. Sounds like Aril Brikha, Nitzer Ebb and Clarence G. (RIP) joined forces in the studio and filtered the essence of one of our favorite genres.

We stay in London. Jerome Hill lays hands on “Obsolete” and proves from the very first second that there is absolutely no space for compromise. This is all about straight Techno and the feeling of being exposed to a stroboscope in a dark basement while the first rays of sunlight are already penetrating through the crack of the door.

Polifonic Records is the melodic balance between antagonistic vibrations, spirits and energies that inhabit the land of Puglia since the dawn of time.
An harmonic exploration into colorful, vibrant sunrise atmospheres and emotional, introspective sunset sensations. One Body. Many Souls.
PF002 // ‘Sequential Circuit’ EP marks the comeback of Hiver duo. The title track displays the melodic and ethereal sound Hiver have been shaping during the years.
‘Clouds the mind’ follows with a sleazy bass-line alongside hazy pads blending into atmospheric textures.
Giving a great addition to the originals, Adiel contributes with vibrant rhythms and sharp synths.
Marco Shuttle up the tempo on the other side with his clever use of percussive elements and floatings sounds.

French House legend​ - Boston Bun (Ed Banger / Circa ‘99)​ is set to release his debut album - ​‘There’s A Nightclub Inside My Head’ ​this coming April. Containing ​8 unreleased tracks​, ​‘Whenever You’re Ready’​ and the Annie Mac favourite ‘Nobody But You’, the album conceptualised during last year's lockdown & provides an introspective space for the producer and his listeners to enjoy.

‘Sometimes it’s great to take a break, sometimes it’s not. If you were on planet Earth during the year of 2020, you know what I’m talking about. I took that time to visit the nightclub inside my head. The last one open, actually. The booth, the sound system, the stairs, the bar, the smell, the noise of my left shoe on the sticky floor, everything was exactly how I left it. It got me a bit emotional to be honest, so I started thinking about the right soundtrack that could fit in that space. And here it is. I hope you’ll enjoy the night.’ - Boston Bun

‘There’s A Nightclub Inside My Head’ ​is for everyone, anyone who needs a moment to reflect, dance or simply be present with themselves. A chance to be transported to your own secure space, to interpret and visualise the music however you wish.

The track is already on the ‘Filoxiny’ album so Skinshape extended the mix and backed it with a dub version for the flip. Skinshape is the project of British musician William Dorey. The sound has roots in many genres but in particular 1960s Funk, Soul, Reggae, Psychedelic Rock, Afrobeat and Folk. Aside from the Skinshape project Dorey was bassist for the band Palace from 2014-2017 and also runs a reggae label called Horus Records based in North London. About I Didn’t Know from Dorey himself: “This is the most 'pop' song I've possibly ever made, and possibly the most 'modern' sounding. It is about being in a difficult relationship and not knowing how to deal with it and making mistakes as a result. I wrote and recorded most of the song around the drum pattern, and created some (terrible sounding) digital orchestral parts temporarily whilst I created the body of the song. I recorded the strings and horns in the last part of the recording process before doing the final mixes. The horns were recorded separately with the help of my long-time friend (since school) and master arranger Jon Moody (of the group Franc Moody).”

VEYL is pleased to welcome Harlem to the label for a new seven track album titled ‘Bait’. The Stockholm-based duo of Martin Thomasson and Johan Skugge bring a vast history of production behind them, operating since the early aughts and known for their work in dub and minimal techno. ‚Bait’ ventures into new territory for the project, delivering infectious strains of body music, new beat, industrial and beyond coupled with soul-stirring vocals which quickly dig beneath the skin. The release is about everyday manipulation, soft power and persuasion. We exist in a world in which corporate management techniques are deployed in our everyday lives, nudging each other for short-term gain, slowly hallowing out any lasting trust while ultimately all being crushed by a hyper-capitalist system. From the opening synths of the title track to the ominous ending notes of ‘Night Vision’, we also uncover funky grooves and diabolical floor shakers which remind us of something from the past but exist perfectly in this corrupted new world. As is customary, the striking cover art was photographed by Tomaso Lisca, and it’s a fitting piece for the record, depicting a tantalizing well-oiled machine, all while something menacing lurks under the hood.

In the space of five short years (and as many albums) at the end of the 20th century, Add N To X caused havoc with their unique retro-futurist electronic music. Add N To X’s musical intensity proved too much for the group who split up in 2002. Their album On The Wires of Our Nerves, complete with its classic cover image, recorded on Soul Jazz
Records’ then new offshoot label Satellite Records, launched them into the spotlight and included two NME Singles of the Week ‘Black Regent’ and ‘King Wasp’. Over twenty years since it was first released and long out of print the album 'On The Wires of Our Nerves’ stands up one of the most forward-looking electronic albums of then
and now. This classic album is released in a very limited one-off pressing silver coloured vinyl edition as a Record Store Day exclusive title.

« The pioneer of Dusselcore is back! »

Maddie Chavez

« Once upon a time Tera Octe’s debut album »

Eduardo Nash

« New Big Room »

Zach Tippit

« On loop at the office »

Chad Ferguson


Mastering by legendary Arjan Rietvink (Qlimax, Armin Van Buuren, Headhunterz…)

Design by Coquelin & Cloarec

It’s not easy to summarize any band whose career has stretched over two decades. In the case of Growing, though, it’s all in the name: since 2001, the core duo of Kevin Doria and Joe DeNardo have been making vibrating, explorative experimental music that is in a forever state of evolution. In that time, they have amassed a hard-to-define and influential body of work, and Diptych sees the band operating at the height of their “big amp ambient” powers.

Diptych is a masterclass in slowly undulating ambient drift, and quite possibly the definitive headphone album of the year. Guitars that sound like organs pointed at the heavens are cut with subtly damaged electronic moves, the end result being a record that is at once ecstatic, transportive and gritty.

Ambient and new age music have become part of the larger indie vocabulary. Things were different over twenty years ago in the Olympia, Washington punk community where Doria and DeNardo got their start. Both veterans of aggressive music by the time the band began, Growing emerged like a rainbow at the other end of the heavy music tunnel: loud as ever, but with a sonic and aesthetic position that ran counter to punk rock norms.

Created over the past year and a half, Diptych extrapolates on Growing’s formative drone-based work, showing a unit in full control of a language that they have built and reconfigured over time. The music here continues to be an intuitive outgrowth of a friendship that started in late-90s Olympia and still bears fruit today—even as each member lives in a different city.

Death Waltz Recording Co. is thrilled to bring you BenDavid Grabinski's directorial debut Happily on vinyl. Happily is a dark, twisted romantic comedy full of surprises (and one dead body). It's the kind of film you do not want to read reviews on as you should go in with no spoilers and fresh eyes.

Spot varnish gatefold sleeve with liner notes by writer/director BenDavid Grabinski & composer Joseph Trapanese and featuring a download of the entire score, plus nine bonus cuts not on the physical format.

BenDavid Grabinski (Are You Afraid Of The Dark?) pulled in a stellar cast, including Joel McHale, Natalie Morales, Kerry Bishe & Natalie Zea, who are having fun with his script full of intriguing turns and snappy dialogue.

Joseph Trapanese's score (Tron: Legacy, Straight Outta Compton) is a moody, mysterious piece of work, full of space, quiet, contemplative moments but with an unnerving sense of dread below the surface that gives just the right amount of unease whilst listening.

Composed by Joseph Trapenese
Artwork by We Buy Your Kids
Manufactured in the Czech Republic

Over the last three decades, singer, songwriter guitarist and composer Gary Louris has built a deeply compelling body of music whose artists and integrity has won the loyalty of an international audience and the respect of both critics and his peers. Best known for his seminal work with The Jayhawks, he is one of the most acclaimed musicians to come out of Minnesota's teeming rock scene. Along the way, Louris has produced records by various artists, contributed songs to Grammy Award-winning albums by Tedeschi/Trucks Band and The Dixie Chicks; and recored with acts as diverse as the Black Crowes, Uncle Tupelo, Lucinda Williams, Nickel Creek, Tift Merritt and more. Jump For Joy is Gary's long awaited 2nd solo album and follow up to the 2008 release of Vagabonds. Along

Tape / Cassette
Canaan Balsam is an electronic composer and musician based in Edinburgh. He uses field recordings, found sounds, hardware and a range of software to create immersive soundscapes. His work explores the dead space between ambient and new age music; the liminal zone between the harshness of industrial and the beatific serenity of devotional music.
Responding to the context where ever-expanding modes of communication seem only to blur the line between connectivity and solitude, Canaan often returns to the theme of loneliness in his work - how it can grow and metasta- size, until it becomes incommunicable, resistant to empathy; an alien host overtaking the body. Cruise Utopia was recorded over the last 3 years and it's his first solo work.
Balsam has collaborated with several contemporary artists including Cosima Cobley Carr and Calvin Z Laing, as well as experimental musician Dan Mutsch, and has performed in an iteration of Damo Suzuki's Sound Carriers. Canaan's sound work has featured at the Radiophrenia Festival at CCA in Glasgow. His audiovisual work has been exhibited at the Embassy Gallery in Edinburgh. He is also part of the Scottish sound art and collective Optic Nerve.

HIDE are an electronic duo based in Chicago. The pair create dark and heavy sample - based compositions using a combination of self - sourced field recordings and various pop culture and media references. Their music is textured, minimal, and powerful, giving raw vulnerability an opportunity to unfurl. Their work is honest, confrontational, powerful and thought - provoking.

HIDE's third album, Interior Terror further abandons traditional concepts of song structure in favor of splintered rhythms and fevered, immediate release. Expanding on previous themes of autonomy and empowerment, Interior Terror addresses and questions the corporeal and immaterial body in a physical and metaphysical sense. Turning to the dread inside, reflecting on the world around us,

HIDE gives voice to the power of destruction as a c atalyst for hope, and to the collective experiences of those who've come before us as a wellspring of our own power. Raw vocal delivery of mantra - like prose issued forth yields a raging, plaintive wail that lulls, mocks, questions, proclaims and decries. A dearth of collected field recordings give way to more fluid arrangements while retaining a scathing urgency. The result is minimal, spacious, and jarring; a distant knocking grown into the pulse of a hypnotic dirge, drones emerge from shards of decomposed sound, bending, seething their way through your body.

"Do Not Bow down" is a self - directed spell for fire and regeneration. “Nightmare” explodes, unrelenting; conflating time and space to the beat of repeated blows to the head. A reflection on perpetual suffering, generational traumas and the transformative action of release. Title track “Interior Terror” belies a new brand of body horror informed by the systemic enforcement of a contemporary Western gender binary, touching on experiences of dysphoria and disassociation . “Fear” answers the question 'Where do cops come from

HIDE are an electronic duo based in Chicago. The pair create dark and heavy sample - based compositions using a combination of self - sourced field recordings and various pop culture and media references. Their music is textured, minimal, and powerful, giving raw vulnerability an opportunity to unfurl. Their work is honest, confrontational, powerful and thought - provoking.

HIDE's third album, Interior Terror further abandons traditional concepts of song structure in favor of splintered rhythms and fevered, immediate release. Expanding on previous themes of autonomy and empowerment, Interior Terror addresses and questions the corporeal and immaterial body in a physical and metaphysical sense. Turning to the dread inside, reflecting on the world around us,

HIDE gives voice to the power of destruction as a c atalyst for hope, and to the collective experiences of those who've come before us as a wellspring of our own power. Raw vocal delivery of mantra - like prose issued forth yields a raging, plaintive wail that lulls, mocks, questions, proclaims and decries. A dearth of collected field recordings give way to more fluid arrangements while retaining a scathing urgency. The result is minimal, spacious, and jarring; a distant knocking grown into the pulse of a hypnotic dirge, drones emerge from shards of decomposed sound, bending, seething their way through your body.

"Do Not Bow down" is a self - directed spell for fire and regeneration. “Nightmare” explodes, unrelenting; conflating time and space to the beat of repeated blows to the head. A reflection on perpetual suffering, generational traumas and the transformative action of release. Title track “Interior Terror” belies a new brand of body horror informed by the systemic enforcement of a contemporary Western gender binary, touching on experiences of dysphoria and disassociation . “Fear” answers the question 'Where do cops come from

The trio of fiddle player Erlend Apneseth with guitarist Stephan Meidell and drummer Oyvind Hegg-Lunde follows up their Nordic Prize-nominated album of 2019, ‘Salika, Molika’, with a remarkable suite of tunes inspired by the rhythms and physicality of the human body in motion.
Originally commissioned by FRIKAR Dance Company to accompany the performance of a new work, ‘Skaut’, dealing with the covering of the body in different cultures, the music of ‘Lokk’ takes the trio further than ever before into completely fresh areas of electro-acoustic improvisation.
The sounds of their original instruments are integrated with electronic beats and treated textures to form a kind of enhanced digital-folk style whose influences stretch from traditional south Asian ragas to contemporary dance culture from around the globe.
The result is intense, and intensely rhythmic, music where the normally separate realms of the cerebral and the corporeal can appear to fuse into one irresistible groove.
As the trio rocks on - in a dream of perfect interplay between instruments and players, soloists and ensemble - deep, trembling sub-bass intersects with ethereal ambient soundscapes. Elsewhere, the twittering of birdsong - from both real bird-calls and the uncanny imitation of them by Apneseth’s Hardanger fiddle - meets archival recordings of Norwegian herdswomen.
“Our musical idea for this project was to unite different extremes, connections that felt “forbidden” in one form or another”, says Stephan Meidell. “For example, by using the sampled recording of traditional herd-calling, blended together with aesthetics from more contemporary music styles. This exploration has led us further into a rhythmic and danceable landscape than in previous releases. We also wanted to use this opportunity to deliberately make more dance-related music. As regards the original commission, were pretty free to do what we wanted, but there was one specific dance in mind, ‘Valdresspringar’, for which Erlend wrote the melody. It’s a traditional, asymmetrical dance and has a very particular form. The melody is on the track called ‘Springar’, which we then messed around with.”
This “messing around with” element is key to the sound of ‘Lokk’, whose playful experimentation over the nine separate tracks creates a beguiling, constantly surprising sense of adventure and intrigue that both draws the listener in, and then keeps them on their toes as to where the next stage of the journey will take them. It also becomes inescapably obvious that this is a group of three equals.
The contributions of Stephan Meidell and Oyvind Hegg-Lunde, as musicians, co-composers and producers, appear every bit as important as that of Erlend Apneseth, who performs superbly throughout. “Even though the trio carries Erlend’s name, it’s a band in every sense of the word”, says Stephan Meidell. “We make the music together, where everyone brings their ideas and we build on each other’s input and output. This is not our “coming out” as a band, but the group is sometimes interpreted as having a hierarchical structure, as a soloist and accompaniment.”
As is evident from the trio’s live performances, where each member seamlessly integrates the acoustic and the electronic elements in their respective sounds through constant monitoring and tweaking, Apneseth, Meidell and Hegg-Lunde are also pioneers,
creating real-time effects that in the past were only available through post-production or the intervention of a sympathetic engineer and a truck-load of kit. ‘Lokk’ translates this fleet-footed improvisational approach, and the players’ lightning-speed reaction times, back into the environment of the recording studio, where the music composed for the original FRIKAR dance piece was further embellished and adapted. Played live, it will continue to change again, as improvised music always does.