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Music from Skalpel's iconic debut for Ninja Tune, reinterpreted by top Polish producers! 

Poland's ambassadors of jazz-inspired electronics invited outstanding local producers of downtempo, dance music, hip-hop, and jazz to remix this album. The result is "Recut," the best remix album in the history of Polish phonography. A record every bit as worthy as the historic original. It’s an extraordinary tale of the past and present of Polish electronic music.


This year marks the 20th anniversary of the release of Skalpel’s debut album, which was released by the famous British label Ninja Tune in 2004. The Polish duo, Marcin Cichy and Igor Pudło, gained international acclaim by venturing into the then lesser-known territory of Eastern European jazz, updating it with electronic tools.
Pitchfork praised the album enthusiastically: „On these tracks, Skalpel smudge the line between organic and electronic effortlessly, like a landscape artist working with charcoal, creating deep nuances of light and shadow that give the work its overall depth. (…)Its rhythmic dexterity and melodic sweep are hard to deny” -
The prestigious The Wire added: "Jazz, breaks, scat shuffles and funky riffs? of the highest standard. This release deserves to see them revered far beyond Poland"

Today, looking back over two decades, this album can be confidently considered a milestone in Polish electronica and a timeless classic of downtempo, nu-jazz, and trip-hop. Thanks to this record, the band also gained worldwide recognition, and their subsequent consistently high-quality albums like "Highlight" and "Origins" continue to attract significant interest.
Skalpel’s debut with Ninja Tune undoubtedly changed the face of Polish music, redefined the perception of the Polish jazz canon, and paved the way for younger creators. "Many of them, on 'Recut,' pay tribute to the enduring legacy of Marcin Cichy and Igor Pudło.
Artists like Magiera, Emade, 1988, Kixnare, Steez, Latarnik, Envee, Pejzaż, Etnobotanika, and others are now recognized names and respected figures in the Polish music scene. Though each of the artists invited by the Wrocław duo has developed their own original style, they find common roots in the duo’s music, on the border between jazz groove, hip-hop ease, downtempo moodiness, or ambient.
The excellent interpretations showcase the incredible potential revealed by Skalpel’s debut material, which continues to inspire new discoveries. This is a record that does not age, still captivates, and continues to inspire and provoke new interpretations.


Let’s RECUT this!!

Ludwig Hart, who over two albums has established himself as our foremost innovator of classic American road rock aesthetics, has throughout 2024 released songs with a sound that is even bigger than on the artist's breakthrough album, 2021's "Paloma". The song "Less I Try" has been in constant radio rotation in Sweden, Germany and the UK, and Hart has had time to appear on national TV, embark on a major tour with two successful gigs at The Great Escape in Brighton and spend a summer playing the biggest Swedish festival stages. On his third album "Stay Young" - released on September 27 via Argle Bargle Studios - Hart showcases an increasing freedom to genre and style. From reflective, stripped-down tracks like "Ghost of You" and the title track, we're taken through the reverb-drenched garage boogie of "Run Run" to the big chorus wind-in-the-hair rock of single favorites like "Less I Try" and "Journey." On previous albums, Hart has been praised for his lyrics - personal stories about people around him growing up and their life situations. On ”Stay Young” - on the contrary - he turns inward and faces his own fears and demons. "It's been scary but necessary. The album is about my fears of getting older, fears of ending up like my dad. It's about how much I've tried to suppress things I've been through, and how they've probably shaped me into who I am. I live with ghosts that never seem to want to let go, I have my own devil on my shoulder that constantly makes itself known. I am periodically terrified of ending up in total fucking darkness. This record has helped me try to understand why."

Here, gleaming tensile techno forms clean, straight lines while scratchy acoustic guitars scuff up edges to produce

ghostly audio. Poetry is snatched from the overhead, removed from the overheard; words borrowed from the ether are

spun into dizzying new shapes, sometimes reappearing in new settings, twisted back to front, side to side. Each track a

very different room - some soundtracked by little more than metronomic kick drum and robotic voice, others deep in

layer upon layer of melody and euphoric noise - and each room unmistakably, uniquely Underworld. The only advice

from Underworld’s Rick Smith and Karl Hyde upon entering: “Please don’t shuffle.”

Strawberry Hotel features the singles ‘and the colour red’ and ‘denver luna’, as well as new release ‘Black Poppies’ - a

celestial love song, a hymn to the universe and to boundless, positive change. Ambient and beatless, Black Poppies is

a celebration of full dancefloors and the beauty of life itself.

Underworld are Rick Smith and Karl Hyde. Their peerless first album - dubnobasswithmyheadman - was released to universal acclaim in 1994. In the thirty years since that mould breaking debut, the band have established their reputation as one of the most groundbreaking and important electronic acts of all time, one that constantly pushes creative boundaries, twists genres, and refuses to stay still. In those thirty years, their music has soundtracked approximately 100,000,000 nights out, and the mornings after. In the past year alone, Underworld have played live in front of over half a million people across the globe.

Esteemed US musician Mike Viola is bringing his new album Rock Of Boston to our shores with a handful of shows in November, forming a special pick-up band with members of The Zutons and The La’s for the tour. Mike Viola is a producer, musician, songwriter and singer best known for his work with Panic! at the Disco, Andrew Bird, Dawes, Ryan Adams and Jenny Lewis. However his solo career stands on its own, starting with a number of acclaimed records as the leader of New York based cult favourite Candy Butchers and 8 critically adored solo records. His original music has been featured on soundtracks for movies such as That Thing You Do!, Walk Hard: The Dewey Cox Story and Get Him to the Greek. Rock Of Boston was recorded over the winter of 2023 on 8 track ½” tape at Barebones, Viola’s home studio in Los Angeles. Once again joined by his friends Jake Sinclair (Weezer, Sia, Panic! at the Disco) on bass and Brendon Urie (Panic! At The Disco) on drums. For UK shows Mike has roped in Sean Payne (The Zutons) and Jay Lewis (The La's, Cast) to join Jake Sinclair and himself on the road. Viola says, “I’m always writing songs, or pieces of songs, or riffs. My writing process changes every song, so I never get trapped in a method. I let the song lead me. While I was on a world tour playing guitar for Panic at The Disco, I wrote the bulk of this record on the bus between soundcheck and showtime. On the days off, I’d find a recording studio wherever we were and I’d book studio time to sneak away to lay down a few ideas. When the tour finished, Jake and Brendon came home to LA and we never stopped playing music together. We just switched from touring with Panic! to recording Rock Of Boston pretty seamlessly without a break. Maybe that’s why the riffs seem bigger on this record, we had spent all those months in hockey arenas around the world playing big music.”

“Are you ready to come into my world?” Dorothea Paas asks on Autumn Roses, the lead single from her latest album, Think of Mist, out this fall on Telephone Explosion Records. It’s an invitation extended with equal parts sincerity and slyness, delivered over a casually propulsive groove and layers of transcendent harmony. The only option is surrender.

Think of Mist is Paas’s sophomore album, following 2021’s Polaris-longlisted Anything Can’t Happen - “one of the most stirring and emotionally resonant break-up albums of recent years” (Uncut). Widely praised for its emotional resonance and lush sonic landscape, Anything showcased the talent that has made Paas a fixture of Toronto’s music scene for over a decade - both as the leader of her own band, and as a vocalist and guitarist for a constellation of groups including U.S. Girls, Jennifer Castle and Shabason & Krgovich.

For listeners of: Jessica Pratt, Fievel is Glaque, Cassandra Jenkins, Cindy Lee, The Roches, Labbi Siffre, Linda Perhacs, Stereolab, Dear Nora, Connie Converse, Julie Byrne.

“Are you ready to come into my world?” Dorothea Paas asks on Autumn Roses, the lead single from her latest album, Think of Mist, out this fall on Telephone Explosion Records. It’s an invitation extended with equal parts sincerity and slyness, delivered over a casually propulsive groove and layers of transcendent harmony. The only option is surrender.

Think of Mist is Paas’s sophomore album, following 2021’s Polaris-longlisted Anything Can’t Happen - “one of the most stirring and emotionally resonant break-up albums of recent years” (Uncut). Widely praised for its emotional resonance and lush sonic landscape, Anything showcased the talent that has made Paas a fixture of Toronto’s music scene for over a decade - both as the leader of her own band, and as a vocalist and guitarist for a constellation of groups including U.S. Girls, Jennifer Castle and Shabason & Krgovich.

For listeners of: Jessica Pratt, Fievel is Glaque, Cassandra Jenkins, Cindy Lee, The Roches, Labbi Siffre, Linda Perhacs, Stereolab, Dear Nora, Connie Converse, Julie Byrne.

kaoru inoue is a japanese veteran producer and dj since late 90’s.

he has been releasing from his own label “seeds and ground” and some other labels like
mule musiq,groovement.

the original release of this album was released in 2013 in only japan.

it’s a very own style mix of world music, field recording, ambient and electronic music.

the album is started by minimal gamelan ambient “malam”,the second track “selva” is minimal afro brazilian house which reminds us early luciano or villalobos.

third track “kamui fuchi” is electric jazz fusion house, fourth track “sphere” is like joan bibiloni in late 80’s.

on b side,”etenraku” is avant-garde tribal break beats,”she was in ecstasies”&”escape dub” are typical his style balearic slow house.

the album is closed with beautiful melancholic new age music “healing force”.

this album is a timeless masterpiece for us.

Disrupt Records makes its return to the Jungle world with the first of several releases planned for 2023. Kicking off the new year is a killer 4 track EP from Lithuania's hardware don: IJO!

IJO AKA 300 degrees is a veteran producer who's musical output has spanned broadly across the electronic spectrum over the last 30 years. In recent times he has concentrated on the sounds that he says changed his life in the mid 90's: Hardcore Jungle - made the old school way using analogue hardware equipment!

With releases on Amenology and Straight Up Breakbeat he has already began to make waves in the scene. This EP is created using his trusty Akai S1000 sampler and cements his status as one of the producers to watch in 2023, bringing you two tracks of lo fi modern Jungle filled with chopped up breakbeats, effects manipulation, haunting melodies and atmospheric vocal samples.

This release is in true Disrupt style backed with remixes from two certified OG's and absolute legends of the modern Jungle movement.

First up is one of Jungle's pioneers - Equinox! His label Scientific Wax has become the benchmark for hard edge drum work and beat manipulation. Equinox brings us a remix that might surprise a few in its subtlety, starting of on a mellow tip it grows into a monster, full of the intricate drum edits and breakbeat destruction we expect, a beautiful melody and hard hitting beats.

On the flipside we have the Lo Fi don and Green Bay Wax head honcho - Kid Lib! Bringing the fire with an absolute banger featuring dancefloor destroying amens juxtaposed with lush pads, perfectly crafted breakdowns and killer drops.

Section 25 release their 10th studio album ‘Move On’ via Nine X Nine records. Originally formed in Lancashire in 1977 they are best known for their work with iconic Manchester label Factory Records. Fusing elements of post-punk, electro and synth-pop their sound is unmistakable and influential. ‘Move On’ has optimism at its core. It is a reflection of the past and a meditation on the present. Emotionally engaging with the here and now by understanding what has passed. Section 25 have built a lasting legacy as one of Britain’s most important bands in electronic music. Younger audiences may be familiar with their work through it being extensively sampled, including by Kanye West. The band were also namechecked in LCD Soundsystem’s breakout single ‘Losing My Edge’.

New hard hitting 45 by infamous cinematic fantasy funk supergroup Pigalle Connection.

Produced by Paris' own keyboard wizard Guillaume Métenier and Mocambo's Björn Wagner, heavy clavinet and breakbeat drums lead the imaginary chase soundtrack "Flics Sur Le Péripherique" through massive horn attacks, mysterious string themes and ethereal synth lines, evoking plenty colourful scenes over a relentless beat. A slice of funk that is equally suited for the breakin' floor as it is for b-movie dreams.

The flip side "Transit" contrast the a-side's frantic action with an almost dubby downtempo crime jazz groove full of suspended tension and cold chilled anticpation.

Featuring Guillaume Métenier on clavinet, moog, piano & hammond B3; Björn Wagner on guitar, bass, percussion, hammered dulcimer & glockenspiel; the Mocambo horns section and John Reed on drums.

Confidence Man’s third studio album, "3AM (LA LA LA)" released via CHAOS/Polydor Records/I OH YOU Records, sees the delinquent party starters popify 90's UK rave sounds like no one before. Inspired by a recent move to London, meeting their idols KLF, and becoming immersed in the queer club scene, Confidence Man have taken the ideas of hedonism, ecstasy and losing yourself to the music and distilled them into pure a-grade euphoria. The record spans the electronic spectrum from breakbeat and trance, to left-field Underworld size techno and the “let’s 'ave it” punk energy of legacy artists like The Prodigy. “3AM (LA LA LA)” follows their hugely successful second album “TILT”, which featured breakout single and festival crowd favourite ‘Holiday’. Staunchly defying trends and bringing Janet, Sugar, Reggie and Clarence along for a helluva good time, "3AM (LA LA LA)" feels bigger, bolder and in some ways brutal, but like, in a hot way. "3AM (LA LA LA)" is a welcome escape from the dull wasteland of modern mediocrity, bringing the weird and wonderful world of Confidence Man to the masses.

Set for release at the height of the season it’s dedicated to, ‘Music For Autumn Lovers’ by Adam Scrimshire is an eight track album of lush, mostly acoustic based, minimal instrumentals eliciting a mixture of feelings for this special time of year.

Four tracks originally released on an EP in 2022 are joined by new compositions ‘Hawthorn’, ‘Hazel’, ‘Willow’ and ‘Blackthorn’. Gently finger-picked acoustic guitars cosy up alongside pianos, synthesisers, strings and horns; filtered through an autumnal hue of susurrous production and effects. In turns comforting, melancholic and evolutionary; it feels like an album that can be kept being made and remade forever, like a season in itself.

Both a relentless creator and inspiring champion of new music; South London based Scrimshire has been recording, producing and DJing since the mid 2000s. Amongst his credits, he was featured by the Guardian as one of three producers behind the new wave of UK soul, alongside Inflo (Michael Kiwanuka, Sault, Lil Simz) and Swindle (Joel Culpepper, Greentea Peng, Kojey Radical). His bold 2023 album ‘Paroxysm’ was a response to the absurdity of the breakdown in the UK government, picking up an Album of the Week award on Huey Morgan’s BBC 6 Music show, and 2021’s beautiful ‘Nothing Feels Like Everything’ received an Album of the Year nomination at the Gilles Peterson Worldwide Awards. Scrimshire also somehow finds the time to support a wealth of talent on his label Albert’s Favourites, formed with Dave Koor and Jonny Drop, where they have recently released albums by And Is Phi, Huw Marc Bennet, Inês Loubet, Irini Arabatzi, Jonny Drop & Andrew Ashong, and Qwalia.

Radio Support: Gilles Peterson (BBC Radio 6 Music), Tom Ravenscroft/Deb Grant – New Music Fix (BBC Radio 6 Music), Huey Morgan (BBC Radio 6 Music) Guy Garvey (BBC Radio 6 Music)

Red Laser continue their prolific purple patch, unpacking four more slabs of red lit Manctolo from a host of box jammers, old and new.

Frank Butters wastes no time at all, 'The Call Of The Wild' engaging photon tubes with a highly kinetic array of crystalline synth shards, thunderous bass and hyperactive sfx. Without geeking out too much, special mention has to go out to the synthesis on display here - Butters advancing up the levels of sonic shamanism as he conjures up never-before-heard patches of interstellar cosmic NRG...

Bob Swans' 'Bodyform4U' unites the robots with a universal message of togetherness. Its multiple layers of shuddering arpeggios and star-aligned synths working in unison to quell any fears and send us off into a space age utopia. One that'll work as well soundtracking the end of the session as it will as the dancefloor's filling up; its subtle anthemic qualities sure to rouse the spirits of even the most dehumanized cyborgs.

New signing Lone Saxon drops 'Hypersleep' which utilises rich piano chords and a hefty breakbeat, switching up the vibe but keeping things super uplifting. This one reminds us of that innocent period when you could get on the megabus for 50p and score three for a tenner on the dancefloor. An evocative vocal refrain adds a moment of thoughtful introspection in between the e-rushes and arm-raising for another moment of interactive harmony.

Finally, 'Webo' sees Franz Scala (with a little help from Il Bosco) return to source, delivering a bona fide slice of maximum balls out MANCTALO chug. With tension-wrought chord progressions, delicious layers of lead melodies and a soaring vocal, there's few that can resist the charms of this late night electro-disco hyper anthem.

All aboard the starship !

RL x

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

After winning three leading Belgian music awards with Humo's Rock Rally, De Nieuwe Lichting and Sound Track, girl band BLUAI is expanding its horizons. On their debut album Save It For Later, the trio leaves for a road trip through the sonorous areas populated by the likes of Big Thief, Pinegrove, Haim, and Alabama Shakes.
Save It For Later is a record not unlike a Polaroid picture. Belgian songwriter Catherine Smet captures the memories of her youth in lyrics with a perfume of Americana, country pop, and indie folk. The stories areset in her native Flanders, but close your eyes, and galloping horses on a ranch in Mississippi form the backdrop of BLUAI's debut album.

Catherine Smet (vocals, guitar), Mo Govaerts (drums), and Caitlin Talbut (bass) joined forces with producer Willem Ardui (blackwave.) for this record. BLUAI's instrumentation was expanded with banjo, twelve-string guitar, and lap steel. Engineer Tobie Speleman received 'Nashville tuning' as a briefing. BLUAI thus shifts the focus from indie rock to Americana and breaks open the band's frame of reference, with influences ranging from Maggie Rogers to Alabama Shakes to The Japanese House.

Save It For Later is the creation of a group that came together two years after the formation of BLUAI, found a common drive, and is now cruising at full speed. BLUAI is here to stay.

The Boysnoize Records catalogue contains more than a decade of milestones in the life of Angeleno DJ and producer PILO. His signatures—a focus on sound design, and a digital crunch evocative of hardware rather than software—are present from the very beginning, but the evolution of Pilo’s skill and sophistication is clear as he stretches from electro to experimental to techno and back again in a slowly oscillating gradient. Yet despite his dozen or so releases in just as many years, G.L.A.M. (dropping November 8th, 2024 from BNR) is Pilo’s first proper album. That the record embraces the cyclical nature of time is apropos; the artist’s journey towards self-actualized mastery always ends with a new beginning.



Over the eight tracks of G.L.A.M., Pilo reaches deep into the dream that first ignited the passion that has driven him since. For a chosen few internet-connected American teens in the aughts, the sounds of European electro (and electroclash) trickled down their ethernet cables and instilled a fantasy of exotic, sartorial, sexually-fluid hedonism that felt a world away from the hard-edged masculinity of the hip-hop and skate cultures dominant at home. Pilo opens G.L.A.M. expressing this idealized fantasy with the track “Superstar DJ,” channeling the tongue-in-cheek self-celebritizing of Miss Kitten and The Hacker’s seminal work. “I’m a superstar, come meet me at the bar,” hiss Pilo’s heavily effected vocals, over a bassline of chopped mentasm synths driven by a swift, club-ready rhythm. The fingerprint of 2000’s electro a la International Deejay Gigolo Records is recognizably present, yet Pilo is too adept, too confident in his studio abilities to let his tracks rely on the retro. A great joy of this album is the future-facing richness of its production, always nodding to its spiritual guide of the past, while constantly breaking new sonic ground.



G.L.A.M. continues with “Girls Rule The World,” its vicious, droning bassline and sticky, titular hook making it the perfect electroclash soundtrack for a revenge plot on an ex-boyfriend. “What you Want” offers an instrumental exercise in “synthesizers are the new guitars,” and Pilo’s FX chops really shine as he warps and distorts his sounds into an undiscovered dimension existing somewhere between both. “Loverboy” enters the more melodic, Legowelt-inspired realm of electro, pushing above and beyond the foundation of analogue minimalism with flourishes of impressive sound design to construct something both climactic and cathartic. Scopa lends her perfect coldwave sprechgesang to titular track “G.L.A.M.,” with Pilo’s vocal processing offering surprises throughout and his FX chains wielded as instruments unto themselves.



On the track “A Slow Thinning Halo,” Pilo might be conjuring the haunting vocal chops and chiptune simplicity of early Crystal Castles, but the whiplash snap of his drums and sizzling production are all his own. “Spend the Night” is G.L.A.M.’s least nostalgic—and most unashamedly pop—offering, with the mic being passed between Sana and DEEVIOUS (previously featured on Pilo and Boys Noize’s 2023 track “Pvssy.”) DEEVIOUS’ sultry singing rides atop the bassline as it hypnotically struts across the floor, while Pilo’s skillful arrangement, deft rhythm programming, and atmospheric control elevate the songcraft into full-spectrum worldbuilding.



As the penultimate track, the contemporaneity of “Spend the Night” serves as transition away from the album’s previous, past-leaning exercises, allowing Pilo to step fully into the future with “One Last Embrace.” The closing track still references aughts sounds, but it borrows so widely and prolifically that Pilo’s reassemblage can only be described as singular. Here, Pilo pushes his engineering into psychoacoustic territory, as the eerie, beautiful melancholy of “One Last Embrace” explodes into a thrashing bassline that warbles like a drowning memory, struggling against the sinking weight of time. Pilo allows it to survive for 16 electrifying, gut-wrenching bars before letting go. In G.L.A.M., as in Pilo’s career, as in life, every ending can only be a new beginning.

"We could go so far as to say that it is the human condition to be grotesque, since the human animal is the one that does not fit in, the freak of nature who has no place in the natural order and is capable of re-combining nature's products into hideous new forms." So reckoned Mark Fisher in 'The Weird And The Eerie', which chronicled the means by which the uncanny can enter the everyday. Mwg Drwg, the second album from South Wales psychic seers Obey Cobra, is an album that dwells in exactly this kind of headspace, where the otherworldly meets the kitchen sink. Always a band who've sought out new dimensions to explore via their trademark warped post-punk, electronic and industrial influences, Obey Cobra have crafted surreal new shapes here. Taking influences as diverse as Diane Arbus, David Lynch and Sonic Youth, they balance out heaviosity and grace on the likes of the majestically discordant 'Ten Of Wands' Elsewhere, on the title track, the band sculpt a Jesus Lizard-esque rhythmic pulse, eerie vocal abstraction and the crepuscular downtempo atmosphere of Massive Attack's Mezzanine into a uniquely haunting dreamscape. Mwg Drwg is where the weird and eerie are amplified to intimidating proportions It's where grotesquely and beauty happily cohabit. It's an aural exorcism of William Friedkin proportions that demands your immediate attention.

While fighting through label limbo and placing his budding film career on freeze, Antwan “Big Boi” Patton spent a couple years readying the artillery for his solo close-up. Sir Lucious Left Foot: The Son of Chico Dusty is both a testament to the maturation of Big Boi and a tribute to his late father; underneath, it’s a speakeasy at breakneck speed, sittin’ on 32s. Where many other formidable MCs would be eaten alive, Big Boi shapeshifts across every mood and landscape with his trademark tenacity. He’s an effortless showboat who can portray sleaze with ease, but he’s a true class act who’s got nothing left to prove, yet will never let it show. Flanked by his known co-conspirators and many more, Big Boi blesses the senses the way only an East Point playboy can; it’s an intergenerational time warp, and another funky ride in HD. The final product is a natural progression of his Organized Noize lineage, sent across dimensions to return with an assemblage of time-tested potent Black grooves, then pressure-cooked in the kitchen of thefinest booty club in Georgia.

Fracatso was born during a spontaneous weekend break away from home of four good friends, emerging from the collective desire to record together in total freedom. This remarkable album that will delight you as it did us, is made of two distinct sessions recorded in Laura Lippie's Lyon apartment, composed on site using various acoustic and electronic instruments by Lippie, Iueke, Lowjack and Zaltan, fueled by wine, laughter and song and an honest need for aimless creation and poetical collaboration .

During an impromptu meeting in Amsterdam, Zaltan played to Gilb'R these unrevised original recordings lead by the powerful and whimsical words and voice of Lippie, and the known talent of the band creating bucolic arrangements in unformatted musical identities. Gilb'R instantly proposed to release the sessions on Versatile Records on the spot! And hear you have it , Fracatso lives.

Louis De Roo already knows a thing or two about what life can throw at a person, yet this young Belgian songwriter is still very much on the threshold of a promising international musical career. Fall 2024 sees the release of his debut album ‘Troubled Waters’ as Isaac Roux. His debut and breakthrough single White Rose (which is not on the album) became an alternative hit in Belgium and the Netherlands, with follow-up singles Colours and Autumn Love opening doors in Germany (radioeins), France (Radio Néo) and Austria (FM4) and to trendy streaming playlists. Roux’s combination of warm indie folk and alternative rock works even better on stage, never failing to leave a crowd open-mouthed, like during a live session on German national radio (Deutschlandfunk Kultur). Impressing crowds at the Rock Werchter and Pukkelpop festivals in his home country, he did the same in the Netherlands and Germany (playing Reeperbahn three times), and supporting Dotan on his European tour in places like London, Paris and Vienna. Every song, and the album as a whole, gives the listener a glimpse into the life of De Roo, who hasn’t always had it easy, hoping that his music can give people in similar situations something to hold on to. “To win, to lose, to dream and to hope, they’re just some of the things that have shaped me into the person that I am today”, De Roo says. “And through my stories I hope to provide a little bit of a moral compass for people who, like me, haven’t always been treated nicely by life.”

Mysterious, multifaceted collective i Häxa have unveiled their epic self-titled, full length debut; a ground-breaking conceptual double album shaped by a collision of ancient gods and bleeding-edge technology_ Released as four distinct Parts over the course of the year, `i Häxa' now comes together as a singular vision that weaves together genre-defiant soundscapes, abstract cinema and ancient meteorological mythologies from singer-songwriter and visual artist Rebecca Need-Menear (also of electronic alt-rock duo Anavae) and forward-thinking producer Peter Miles (Architects, Dodie, Fizz). i Häxa is a ritualistic dissection of the world as we know it, a forceful separation of the monotony of modernity from the rites and rituals that for centuries formed the foundations for who we are, how we came to be and where we claim to belong. Disjointed fragments of time collide. Two sides, one of logic and one of chaos, seeking unity and balance through an expression of freedom. This is i Häxa. Whilst the album is composed of four distinct movements, each consisting of four distinct tracks themselves; pulling them apart into easily digestible, standalone singles isn't an easy feat and, as is now clear from the project's sprawling cyclic nature, was never the intention. In an age of fast fun and instant gratification, the ties that bind these works together are intended to transcend tracklisting. With aural, visual and lyrical themes freely intertwining, i Häxa is something to be consumed whole; just as it will, in time, consume you. Charting an existential journey to the very depths of what makes us who we are, with every dark corner illuminated in glitched out, discordant glory; i Häxa is a project years in the making that draws simultaneously from rituals for old gods and the modern day deification of data. i Häxa is both heartwarming and horrifying; i Häxa is ancient history and hyper-real; i Häxa is everybody and no one at all. Check out if you like Radiohead, Julie Christmas, Agnes Obel, Bjork, Fever Ray, Massive Attack, Dead Can Dance, Emma Ruth Rundle, Jenny Hval, Cult of Luna, Eivor, Zola Jesus, Marissa Nadler, Soft Moon

"Pet Sematary" is UNDERTAKERS' first release since the compilation "Dictatorial Democracy", issued in 2020 via Time To Kill Records. "Dictatorial Democracy" features a few brand new songs, old classics from the band's back catalogue and a couple of acclaimed cover songs: "Fascist Pig", originally by Suicidal Tendencies, and "Ripetutamente" by Neapolitan band 99 Posse. The most controversial and underdog italian band combo since 1993 The New Wave Of Black Heavy Metal Oi! has its undisputed progenitor, the legendary Paul Di'Anno. Plakkaggio pay a tribute to the Founding Father by regenerating the furthest thing from their musical proposition: Pull Me Under by Dream Theater, to definitively break down genre fences, celebrating the return of Mike Portn'Oi!

Mac DeMarco's breakthrough sophomore album, Salad Days - released on April Fools', 2014 - garnered widespread critical acclaim, landing on over 30 Year End lists. It was the album that catapulted DeMarco from "loveable slacker" to "mature songwriter with a gaptoothed grin," all at the tender age of 23. DeMarco's demos for Salad Days, originally included in an expanded edition of the album only available on Captured Tracks Mail Order site, peel back the curtain of said artist, who, up until then, may have been more known for his raucous live shows than his genuine talent as a songwriter and craftsman. This collection of demos and sketches as well as previously unreleased instrumental demos offer a rare insight into Mac's world and process.

1st in a series of compilations collecting the ultimate funk & soul tracks from the legendary TK DISCO catalog that have been instrumental is shaping the sound of hip-hop. 10 tracks from the vaults highlighting grooves that have been sampled by DRAKE, DR. DRE, KANYE, MADLIB. PETE ROCK, and more.

For fans of The Stray Cats, Brian Setzer, Swing and Big Band! The Brian Setzer Orchestra (sometimes known by its initials BSO) is a swing and jump blues band formed in 1992 by Stray Cats frontman Brian Setzer. In 1994 they released their debut album which was followed up in 1996 with Guitar Slinger. In 1998, for their breakout album The Dirty Boogie, the group covered Louis Prima's "Jump, Jive an' Wail", which originally appeared on Prima's 1957 album The Wildest!. The BSO's follow up single, appearing on the album Vavoom!, was "Gettin' in the Mood." Now get Guitar Slinger from the Brian Setzer Orchestra for the first time on vinyl since 1996. Remastered on 180g vinyl in an amazing limited- edition color. There are only 700 of the Silver Melt. Guitar Slinger is the second release from the Brian Setzer Orchestra and where the band really started to come together. The album leads off with "The House Is Rockin'" and features the Brian Setzer/Joe Strummer (The Clash) penned tracks "Ghost Radio" and "Sammy Davis City". There are 12 tracks in all, and it clocks in at just over 43 minutes. This is the first in a series of three reissues coming from Deko Entertainment with The Dirty Boogie scheduled to also hit by the end of 2024, with Vavoom! to follow in early 2025.

Ltd White Vinyl, DL card. 1992's 'Untitled' brought the band's third album that re-cemented the duo once again as the progenitors of the "lo-fi" genre. This breakthrough set transitioned "The Trux" into a never ending all-inclusive rotating cast of musicians. Continuing Fire Records' series of classic remastered albums from Royal Trux, 'Untitled' is released on white vinyl and features updated monochrome and silver artwork. As unpredictable as ever, Neil Hagerty and Jennifer Herrema shook off the next level layering and noise of 'Twin Infinitives' to embrace the history of rock 'n' roll in all its deformed grandeur. Utilizing their ever present mind set of macro-inclusivity, they allowed the subconscious "radio stations" of their lives to infiltrate, lead, and dictate. Culling from their collective minds and memories twisted tunes that touched them. After the blood rush of their much-hailed avant-garde masterpiece 'Twin Infinitives' (1988), this eight-song opus added to the lo-fi genre that originated on 'Twin Infinitives'. On 'Untitled' Hagerty uses his 5-string blues roots and hails rock's twisted potential, while Herrema slurs and snarls in ecstasy. They sound like they're locked in a fourth-floor boudoir at the Chelsea Hotel; bottles clink, an album clicks on its run-out groove, the band plays on. In the mix are the characters and casualties of the 90s, a roll call of swaggering misfits. These aren't superficial sketches, the Trux cut much deeper than that_ "'Junkie Nurse' isn't just about addiction; it's about the twisted hope that even the most broken people can somehow mend others, even when they're falling apart themselves." Jennifer Herrema, Royal Trux. With 'Untitled' Royal Trux justifiably increased their coterie of convicted followers, becoming the cult heroes for a transgressive generation, and the Rosetta Stone for male/female duos (ie:The White Stripes, The Kills etc... ) over the years inspiring everyone from The Silver Jews (David Berman) & Sonic Youth through to melodic blue-eyed soulsters like Hot Chip - "I urge and encourage you to enter the harmolodic multiverse of their music." Alexis Taylor, Hot Chip. "Royal Trux were nothing if not fearless." Pitchfork.

Repress!

This year, get ready for KONK! with the ultimate collection The Magic Force Of Konk 1981-1988. This white hot Limited Edition 3xLP set is a lovingly composed Deluxe retrospective, showcasing the Definitive Sounds Of A New York Jazz Punk Afro Funk Disco Machine.
The Magic Force Of Konk 1981-1988 is a testament to the bands artistic staying power, the music sounding as fresh now as it did then, from the crossover funk grooves of the ‘Planet Rock’ inspired ‘Konk Party’, to the innovative punk funk synth bass of club hit ‘Your Life’, the bands influence indisputably lives on in this specially created deluxe collection. This beautifully designed package is a feast for the senses, looking as good as it sounds and sure to please fans of Liquid Liquid, ESG, Pigbag, James Chance, Soul Sonic Force, LCD Soundsystem, to name but a few, or simply those intrigued by those tales of wild nightlife that have become synonymous with the vitality of 1980’s downtown New York City.

Repress!

For number 93 in the Brazil45 series, we present two favourites from the Harmony Cats. A female vocal quintet (who later became a trio) from São Paulo. They formed in 1976 and were most prolific in the disco period.

'Harmony Cats' Theme' from 1976 is probably the group best known track outside of Brazil. Owing a lot to Rhythm Heritage's version of 'Barretta's Theme (Keep Your Eye On The Sparrow)’ it's wonderfully spacey breakbeat and percussive production with lush, floaty vocals makes it a real crossover classic record.

'Seja Como Nos (De Pe No Chao)' is instantly recognisable. Tucked away on the b-side of their 1979 single 'Tem Dinheiro Nisso' on Young Records, it is a beast of a cover version of The Jacksons' classic ' Shake Your Body (Down To The Ground)'. Nothing subtle or sophisticated here. Just a song of pure disco joy, enhanced with awesome Brazilian production and the Cats' trademark vocal arrangements. A get-of-jail-free card for any DJ that finds themselves stuck with an empty dance-floor, but also one that will put smiles on the faces of the more discerning leftfield club crowds.

- Next installment in BRAZIL45 Series.
- Features cover of The Jacksons ‘Shake Your Body (Down To The Ground)’.
- 2 tracks of pure disco joy.

The second release on Objekt’s newly established Kapsela imprint arrives in the form of Chicken Garaage, a solo 2-track EP by Objekt that explores the fertile terrain around 00s breakbeat and garage. The A-side, Chicken Garaage, is a playful and poignant nod to the pioneering proto-dubstep explorations of the early 2000s, as the genre was first beginning to crystallise, by the likes of Horsepower Productions, DJ Abstract and Benny Ill. First sketched out on tour in Melbourne while eating takeaway chicken karaage, it’s the first outcome of an experiment with a new workflow to produce music with an accelerated approach and more immediacy and expressivity; encouragingly, it has the lowest final version number (55) of any Objekt track in recent memory. B-side “Worm Dance” leans into Hertz’s headsier inclinations – constructed mostly from field recordings made at a lake house outside of Berlin in 2022, it channels mid-00s T++ into a moody, elastic breakbeat roller.

The vinyl comes with a free lossless download.

Mastered by Kassian Troyer at Dubplates & Mastering

Artwork by Brodie Kaman

Back in 2022, James Burnham aka Burnski started a White sub-series of his much-hyped Instinct label and the first one sold out as quick as a flash. Now he is finally back with a follow-up that will likely do the same. This limited one-sided 12" slab of sonic filth features just one tune, but what a tune it is. '02' is a house cut with elements of garage percussion, old-school dirty bass, and even some trance-infused chords that chime with what's going on in the dance world right now. Some return horns at the breakdown really send it into overdrive and it's not hard seeing this one blow the roof off many a club this summer.

Seth Troxler’s Slacker 85 imprint prepares to expand its repertoire of ne’er do wells and inspired outsiders, with two new singles shining a flashlight on talent at the characteristically esoteric producers on the fringes of Troxler’s always increasing circles.

American-Ecuadorian sound engineer and musician Andre Salmon has already left his fingerprints on underground dance music’s global scene, developing the current iteration of Inner City with Kevin Saunderson, as well as collaborating with house icons Paul Johnson and K’Alexi Shelby. Having already made a fixture of his supremely effective ‘Heartless’ mashup of Saint Etienne’s classic ‘Only Love Can Break Your Heart’, Slacker now welcomes Salmon to the family to exercise his studio technique and ‘sacred resonance’ deepness. The result is ‘La Mano de Dios’, a voluminous dance on the edge of house and techno, as smooth and impressive as the jets descending above the Terrace at DC10.

From Detroit to the East Coast, TB-203 delivers a contrasting energy on ‘Movin’. A fresh alias of NYC DJ, producer & label owner Tommy Bones, this bubbling, raw acid workout finds fresh heat at the intersection of jackin’ hip house and latin freestyle, driven by loose and lively vocals from DannyP. Underscoring Slacker 85’s commitment to party over posture, ‘Movin’ has been tried and tested to deliver on its old-school promise.

Just under a year after their acclaimed self-titled debut, dreampop duo deary release a brand new six-track EP – Aurelia – via Sonic Cathedral on November 1. It includes the singles ‘The Moth’, ‘Selene’ and ‘The Drift’ and features Slowdive drummer Simon Scott playing on three songs. It will be available on three different vinyl variants, a CD with three bonus tracks and digitally. It’s a stunning record, which displays a new-found maturity in terms of production as well as musically and lyrically. The band – singer Rebecca ‘Dottie’ Cockram and guitarist/producer Ben Easton – have had to grow up in public since the release of their debut single at the start of 2023, supporting legends such as Slowdive and Cranes and TikTok sensations like Wisp along the way. An aurelian is a rare old term for a lepidopterist – someone who studies and collects moths – derived from the Latin aurelia, meaning chrysalis. The perfect title for an EP which is based around the theme of metamorphosis and change. “It leans on the natural world, the human body, the earth and sky as well as human emotion,” says Ben of how the EP represents physical and metaphysical growth. “Change can be daunting but equally exciting, which is something we’ve come to learn.” “While writing the EP, I found a letter I had written to myself when I was 22,” adds Dottie. “I was fresh out of university and had moved back in with my parents as Covid was in full force. I was uninspired and lost and reaching out to my future self for some hope. It was a physical representation of what can happen in a few years; how much can change and how you never know what’s coming next. “I found it interesting that – at the age of 26 – here I was looking back to my younger self for hope or just some comfort in the fact that things will and do move on. It was important to me to bring both of these versions of myself into the new songs.” “Personally, I had noticed a change in myself; a new level of social anxiety, a strange disassociation to things that once brought me joy as well as negative repetitions in my daily life,” reveals Ben. “I began the year sober which allowed me to finish the writing process as a letter of care to my own mental health. There are motifs throughout the EP – for example the riffs in ‘The Moth’ and ‘The Drift’ being reminiscent of each other – which are like musical reflections of these repeated cycles.” It’s musically where the change deary have undergone is most obvious. ‘The Moth’ mixes howling guitars atop a strident breakbeat making it more Curve than Cocteaus; ‘Selene’ is a slow-building wall of noise; ‘The Drift’ combines a perfect pop melody with an incredible sense of urgency. These three singles are balanced by the brief but beautiful ‘Where You Are’ which leads into the Portishead-style trip-hop of ‘Dream Of Me’. The title track has been a staple of their live sets for about a year as ‘Can’t Sleep Tonight’, but its mix of The Cure circa Disintegration and Mezzanine Massive Attack has grown and evolved so much that they renamed it ‘Aurelia’ as the embodiment of the change they have been through. “We’ve allowed deary to naturally grow over the past year, we didn’t want to force it to take a certain shape or sound,” explains Dottie of the duo’s slow and steady approach. “A lot of the last EP was written by sending ideas back and forth over WhatsApp, but this time we were able to sit in the same room and I think that really shows. We know each other a lot better now as we have experienced this journey together and that benefits the writing process as we are more open with each other and can be vulnerable.” “Aurelia definitely feels a lot more collaborative, more personal and more fully realised than the first EP,” concludes Ben. “It feels like a real document of what has been a very important time in both of our lives. Ironically, the band has changed and matured even more since the recording, so we’re both excited to document the next stage

Highly polished, cinematic “hypernoise” melded with industrial metal /rock. Follow up to 2019’s industrial noise classic, The Origin Of My Depression. Uboa’s fifth album Impossible Light almost never made it out of the dark. From its initial conception in 2018, this record went to hell and back, dragging its immensity and too-big-to-hold emotion through the torturous process of translation to sound and returned triumphantly as a full-bodied record in a distinct new style. Impossible Light begins where Uboa’s 2019 breakout album The Origin Of My Depression left off—and ends somewhere entirely different. The Origin stunned with its methodical use of doom, harsh noise, and ambient soundscapes while documenting a raw, unhindered account of Xandra Metcalfe’s experiences with her transition and her struggles with mental health. Over time The Origin steadily grew a cult-like following which developed into a full-fledged internet community focused around noise, neurodiversity and transness. While Uboa’s signature style of highly polished, cinematic “hypernoise” is front and center in Impossible Light, there is also a daring departure into the genres of industrial metal / rock, setting it apart from any other Uboa release thus far and distinguishing it from other contemporary noise records. Metcalfe kept the lyrical content of this record as a time capsule of the catastrophic ups and downs and rapidly changing environments within herself and in the world from 2018-2023. Key collaborators include Blood Of A Pomegranate, Otay:onii, Charlie Looker and Haela Hunt-Hendrix of Liturgy. Impossible Light dives fearlessly into queer sexuality, trans embodiment, grief for those who couldn’t make it, solidarity for those facing unimaginable discrimination, the toxic spread of transphobic hatred and misinformation, and the ultimate hope of recovery from trauma and mental anguish. This is a record about the light at the end of the tunnel and the power it takes to keep moving towards it

Feiern Sie die Weihnachtszeit mit der beliebten Weihnachtssammlung von Sufjan Stevens, ,Silver & Gold: Songs for Christmas, Vols. 6-10", die jetzt zum ersten Mal seit ihrer ursprünglichen Veröffentlichung 2012 wieder auf Vinyl im Handel erhältlich ist. Dieses umfangreiche Set enthält fast drei Stunden festliche Musik, darunter 18 Eigenkompositionen und kreative Interpretationen von Weihnachtsklassikern. Die 6-LP-Kollektion (vier Einzel-LPs und eine Doppel-LP) im Schuber zeigt Stevens' einzigartige Herangehensweise an Weihnachtsmusik, die Folk, Indie-Rock und experimentelle Klänge miteinander verbindet. Von intimen Weihnachtsliedern bis hin zu ausgedehnten Orchesterarrangements zeigt ,Silver & Gold" Stevens' künstlerische Vielseitigkeit und seinen kollaborativen Geist, was es zu einer unverzichtbaren Ergänzung jeder Weihnachtsmusiksammlung macht.

2024 Reissue

The syndicate manifests its sonic potential in full glory. Giving rise to this collection of colossal heavyweights, Sentry demonstrates its spotless record of selecting certified heavyweights for the discography once again, twenty-fold. Stepping into the ring are some of the scene's most prolific artists alongside a plethora of promising, choice newcomers.

Boasting more than an hour of supercharged sound system pressure with names like Caspa, Truth, Bukez Finezt, Nomine and Youngsta himself on the controls - the subsequent inferno proves to be an authoritative display of quality bass music, that is sure to reach roaring stacks of speakers all around the globe for years to come."

"Vintage flavours transmute into fiery low-end excursions in 'Sun Ra' as Onhell reigns with fire and brimstone and makes way for what's to come. Rolling on, Taso lays waste with dimly lit half-time flows as we enter the smoke-filled mansion of Argo's meticulously crafted 'Since Then' - a prime cut of hip-hop infused breakbeats and bass.

Abstrakt Sonance & Substance set the heater into overdrive and blunts aflame as we proceed into the shelling of 207's 'Gypsy Dub' - then promptly being crunched to bits by 'Crocodile' - encapsulating Dayzero's cold-blooded dance floor armaments. Brace yourself for battle as we step to the drums of Caspa's tribal warfare, full-frontal assault engineered for the club.

Unrestrained power surges propelling us onwards in Coltcut & Ourman's decidedly high-grade collaboration as listeners march through Khiva's haunting sound system belter 'Teeth' and a zealous dosage of Dubstep as envisioned by Truth. Led through eerie alleys and pressure-ridden environments with LSN on the buttons, the onslaught proceeds with the relentlessly driving 'R U Broke' in Mr. K's signature style.

Opus merciless injects straight fury in an auditory form in the spiked 'Lime Pickle' - Bukez Finezt keeping pace with a murderous Cembalo-ridden thug anthem, lunacy! Minimal instrumentation to its fullest effect, Sukh Knight's 'Modulate' keeps it spicy - as does the claustrophobic sub-bass chiming by Leftlow. Thanom ignites what's left of the residual air in 'Tumble It' - dangerous goods.

The subsequent time bomb armed by A:Grade & Feonix, cast into the abyss that is Nomine's space-bending 'Judas' - big speaker business. The clock strikes its final hour - Youngsta & Cimm finish off the survivors with a no-holds-barred showdown, the 'Last Judgement' executing its massive verdict.

For the remixes of her "tarde" single, nina kraviz enlisted an all star remixers team and worked on a psy version herself as well. Nina recorded "tarde" in her bedroom 3 years ago and wanted the song to keep the same intimate feeling as when she recorded it. The result is a dark love song about love so strong, it could almost break you.

For the remixes of her "tarde" single, nina kraviz enlisted an all star remixers team and worked on a psy version herself as well. Nina recorded "tarde" in her bedroom 3 years ago and wanted the song to keep the same intimate feeling as when she recorded it. The result is a dark love song about love so strong, it could almost break you.

With his Premise EP, Felix Fleer unites long-held ideas into a cohesive and deeply personal collection, offering a unique blend of intricate textures and fragile harmonies that reward attentive listeners with its meticulous attention to detail. The title track “Premise“ opens the A- side with an infectious garage groove and Fleer’s signature brand of detuned vintage polysynths, building up to a bright crescendo that reveals a rhythmically captivating vocal hook. “Know U” features a piercing drum groove, occasionally interrupted by abstract Buchla glitches and a reduced RnB vocal chop paired with ethereal, almost organ-like layers of pads to culminate in a stripped-down moment for the bass line to take center stage. The main theme of “Thinkage” is a classic break paired with a layered pattern of abstract, percussive vocal chops. This rhythmic pulse is accompanied by a wild harmony of constantly warping and evolving pads and drawn-out bass sounds. Opening the B-side, “Real Love” is the darkest tune on the EP. Its unstable chords and intricate, unpredictable textures induce a constant sense of unease, held together by a subtle techno groove. “Rush” contrasts this with a euphoric chord progression reminiscent of early post-dubstep anthems. The EP closes with “Drift,” a final climax that revisits previous themes, offering a powerful and uplifting resolution.

based songwriter Henrik Appel returns with third album Shadows. Ranging from freewheeling garage rock to intimate moments, and adding touches of jazz, Shadows is inspired by the likes of Bob Dylan’s Blond on Blonde and The Fall’s Hex Enduction Hour and another step of his continued evolution as a songwriter and artist.

For as long as he’s been a solo artist, Henrik Appel has been in a constant state of evolution. His first album, 2018’s Burning Bodies, was a meticulous construction project, one that came togeth-er over a five-year period and that saw him chronicle, with searing honesty, the slow death of a relationship, with its nine songs written according to a stringent set of self-imposed rules, intend-ed to keep the songwriting minimalist and bare-bones in nature.

His 2021 follow-up, Humanity, represented a remarkable progression of its own. It was born out of a break-up of a different kind, this time with his former bandmates in Stockholm outfit Lion’s Den; piecing together aspects of the vision he’d had in mind for the band’s never-realised second al-bum, he built from them his own sophomore LP, one that took the classic feel of Burning Bodies and imbued it with adventurous new influences, as he began to carve out a genuinely singular sound.

Now, three years on from Humanity, Appel has made another ambitious left turn. Neither of his first two albums were made in complete isolation; on both, he enlisted the production services of Stockholm underground legend Martin ‘Konie’ Ehrencrona, and also collaborated on his lyrics with his partner, Emma Lind. Now, on this thrilling reinvention of a third record, Appel has turned away from perfectionism, placing chief importance instead on making a raw, human record.

Back in stock! As hip-hop’s online footprint began rapidly expanding in the early 2010s, acclaimed Los Angeles emcee Blu was a rising star who commanded attention. Just a few years removed from the breakthrough success of Below The Heavens and an appearance on the XXL Freshmen list, the talented wordsmith was navigating the major label system, dropping self-produced mixtapes, and working with artists like The Roots, Miguel, Flying Lotus, 9th Wonder, and more. In 2011, the mysterious album Jesus turned up on Bandcamp, uploaded by an artist calling himself “b.” Soon discovered to be the latest project from Blu, the unpolished but deeply soulful collection quickly made waves on blogs and social media. Just weeks later, Jesus improbably became one of Blu’s first official solo releases, and it remains a lo-fi masterpiece, with mesmerizing production by Alchemist, Madlib, Knxwledge, Hezekiah, and Blu himself. Now, this classic is receiving a long-overdue vinyl reissue, complete with the Jesus-era bonus track “Arrow & The Sparrow” featuring Jimetta Rose.