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Eli 'Paperboy' Reed pays homage to country legend Merle Haggard by
putting a soulful spin on some classic tunes

Recorded in Brooklyn with longtime collaborator Vince Chiarito (Black Pumas, Charles Bradley), Reed taps into all the heartache of Haggard's iconic catalog and channels it into explosive, high-octane performances that blur the lines of genre, geography, and race to reveal the common, distinctly American threads tying hem all together.

Stunning debut release from RAFRAM aka Irdial legend Ramjac Corporation and the Toronto legend (& honorary Glaswegian) Raf Reza.
300 copies only, full printed sleeves plus riso insert.

Orphic Apparition is a new label born out of a transatlantic meeting of minds. Facilitated by a long, hedonistic party in one of present-day London’s ‘meanwhile use’ venues Grow Tottenham, Canadian producer Raf Reza and British acid house luminary Paul Chivers spent a precious day in the studio to record a 3 hour straight to DAT session before Reza's return to Canada. The result of this spontaneous yet intuitive collaboration blurs the lines between Chiver’s long-standing Ramjac Corporation alias and Reza’s genre-spanning approach to dub, breaks and house styles. Part of the early 90s rave scene and an important member of the blueprint-setting Irdial label, Ramjac locks heads with the self-professed ‘lazy music guy from Toronto’ to adapt their studio session into five separate mixdowns.

‘In The Grow’ begins with a bouncy, cut-up sounding Errorsmith-esque rhythm, the recurring fright night melody that distinguishes the record coming in all quick and powerful. The A2 ‘Rotten Mix’ offers a more traditional house approach in its composition, with dub FX and a nice DJ friendly outro. On the final uptempo choice the pair opt for a head-scrambling electro take. Choose your fighter! The ‘Swampy Dub’ on the flip really dismantles everything we’ve heard prior, slo-mo drums allowing a much different DJ experience and altering the freaky synthetic propulsion into an almost modern classical sound. A little like Paul Dresher’s eternal ‘Channels Passing’ (tip). Combined with the other edits this version almost becomes a totally different track. The final ‘Rootless Dub’ gives its clues in the title, removing all the tough drum sounds and allowing for an ambient decompression.

Orphic Apparition will return soon.

Very limited vinyl pressing, 500 copies in a gatefold sleeve, a printed inner housing white and marbling effect vinyl with full download included. CD in a 4 panel digipack with a 4 page booklet. New Heavy Sounds is very proud to bring you Moongazer, the 2nd album by the 4 piece stoner rock powerhouse from Italy, TENEBRA. The band had already made waves on the scene with their debut album ‘Gen Nero’ before delivering ‘What We Do is Sacred’ their debut EP for New Heavy Sounds last year, 3 killer tracks that were but a taster of things to come. Moongazer takes the story a stage further with 9 slabs of crushing fuzzed up grooves, fuelled by 70’s proto metal, hard rock, punk, psych-blues and noise, loaded with great riffs and melody and topped off by gutsy soulful vocals. Musically, you could say that TENEBRA occupy similar musical terrain to bands such as Graveyard, Witchcraft, Kadaver and other bands of that ilk, but TENEBRA are very much their own beast. They have all the chops of course, but are musically less slavish, often adding a twist that keeps the songs fresh and now. There’s also very little reliance on Sabbath-isms (apart from one cheeky nod) and though occult rock is also part of the vibe, the music steers well clear of the cliches. In fact the band bring a clutch of left field influences into their melting pot as well, from June of 44 and Love Battery to the Misfits and the psych grunge of Screaming Trees. Of the 4 members, Claudio (bass), Emilio (guitar) and Mesca (drums) came from the hardcore and post-hardcore squat scene that gathered around Bologna, whereas their formidable vocalist Silvia (the youngest of the crew) is immersed in the underground rock of the '60s and' 70s. When you hear her sing you’ll know where she’s coming from as she has one helluva rock voice, laced with whiskey, smoke, grit, late nights and a whole lotta soul. Think Maggie Bell meets Betty Davis with a smattering of Gillan, and you'll be in the right ballpark. So what you get with ‘Moongazer’ is a band revelling in the spirit of 70’s rock rather than recreating it. ‘Heavy Crusher’ lulls you with its dreamy intro, but it’s not long before the riffs hit with Silvia in full effect. This pretty much sets the tone for the record, coiling proto metal riffs, executed with gusto and joie de vivre. And as with every track on this album, Silvia belts it out like she absolutely means it man. ‘Cracked Path’ continues the journey and ups the heavy fuzz a notch or 2. First heard on ‘What We Do Is Sacred’ (full length album version). ‘Black Lace’ is a brooding beast, epic and melodic, almost a ballad, with a heap of soul lurking within, courtesy of Silvia’s mighty voice. ‘Carry My Load’ keeps the brooding vibe going till the loping off kilter killer riffs kick in. This is definitely Silvia at her most Gillan-esque. ‘Winds Of Change’ does just that, dial things down to bluesy, almost psych feel, with dreamy solos and a hooky guitar break. ‘Stranded’ is a full on stoner rocker as is ‘Space Child’ with its short homage to the dark lords, there’s even a a sax solo. Never one’s to just play it straight these guys. ‘Dark And Distant Sky’ is pure proto metal, a la Bloodrock or Grand Funk, it truly rips, and once again, it’s construction veers it away from anything approaching what you’d expect. ‘Moon Maiden’ is the album’s closer, featuring Gary Lee Conner (no less) of the aforementioned grunge legends Screaming Trees, guesting on guitar. It’s a fitting and epic closer, by turns hard ‘n’ heavy, psychedelic and chock full of great ideas. MOONGAZER is without doubt an accomplished sophomore release that deserves to be heard and appreciated, purely because, though it may appear to reside in the world of stoner, it is so much more.

UFC is proud to presents R.I.P. Bestiaʼs second outing on the label. Starting out with “Resurgence of Rave Echoes” R.I.P. Bestia delivers an influenced rave breakbeat track with chopped vocals, big bass, acid and piano raves that take you to a new future rave dimension. "Anarchic Alien Fuel" takes over a trance breakbeat influenced with a heavy ambient pad and cyberdelic vocals. Finally “Extraterrestrial Shamanic Ceremonial Rite” rounds up the EP with a tribal and breaks drums, epic synths, an hypnotic vocals that will keep you in the shamanic rite going from start to finish.

Back in 2017, Moderat announced that they’d be taking an extended break following a final concert in front of 17.000 people in their hometown of Berlin. And now they return. MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor (2016’s III). Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload—issues that have become particularly pronounced over the past two years. The ten songs on MORE D4TA are rooted in collaboration, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities.
But no matter how far the band ventures into music’s outer realms, they always wind up back in their own unique soundworld, a place where emotive pop and fluttering electronic soundscapes walk hand in hand. Many of its lyrics are rooted in Ring’s frequent trips to Berlin’s Gemäldegalerie museum (often with his infant daughter in tow), where he’d seek refuge in the great paintings of the past while worrying about the future.
What they make isn’t necessarily dance music, but it is something that shines brightest in the dark of night, the group’s rich melodies and Ring’s ethereal vocals emitting a warm, almost bioluminescent glow. After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft.

Deluxe Edition / LP+Poster

Back in 2017, Moderat announced that they’d be taking an extended break following a final concert in front of 17.000 people in their hometown of Berlin. And now they return. MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor (2016’s III). Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload—issues that have become particularly pronounced over the past two years. The ten songs on MORE D4TA are rooted in collaboration, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities.
But no matter how far the band ventures into music’s outer realms, they always wind up back in their own unique soundworld, a place where emotive pop and fluttering electronic soundscapes walk hand in hand. Many of its lyrics are rooted in Ring’s frequent trips to Berlin’s Gemäldegalerie museum (often with his infant daughter in tow), where he’d seek refuge in the great paintings of the past while worrying about the future.
What they make isn’t necessarily dance music, but it is something that shines brightest in the dark of night, the group’s rich melodies and Ring’s ethereal vocals emitting a warm, almost bioluminescent glow. After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft.

Sofa Movements Records, a Slovak-Irish label, returns with its second Various Artists compilation named DVA (meaning "two"). Four countries, twelve producers. House, Deep House, LoFi House, Techno, Minimal. Filters, vocals, synths, raw beats and everything danceable from 115 to 127 bpm. Keep your eyes and ears peeled for this one!

Heist welcomes, late 80’s DMC World DJ Championship contender, Techno veteran, and house royalty Orlando Voorn to the label
with his ‘Heist Mastercuts’ EP.

Orlando Voorn is a man who needs little introduction. He’s played a pivotal role in the development of the electronic music scene in the Netherlands, as well as in the USA where he now lives. With countless aliases, he has released everything from old school hiphop to sample heavy breaks, to banging Detroit techno to soulful house music. His recent outings as ‘Frequency’ on Clone, as well as his latest EP on our sublabel Transient Nature, are proof that even after 30+ years, the man is still very much on top of his game.

The Heist Mastercuts EP sees Orlando dig deep in his archive for some of his undercover hits from the nineties that have been remastered for
this EP. On top of that, he delivers a new track in the form of soulful house bomb “Be with you.”

“Be with you” starts off with a hazy groove and distant pads. The steady beat and funky electronic chops set a steady foundation for a rush-inducing string sample that works together with looping diva vocals for maximum dancefloor excitement. No heavy drumrolls, FX or other tools necessary here: It’s clever sampling and Orlando’s soulful touch that make this track tick.

Next up is the vinyl only track “Love Feelings” – originally released in ’96 on Urban Sounds of Amsterdam-. Think 130+ BPM vintage house grooves with hazy pads and you’ll get an idea of what’s coming. Love Feelings is an up-tempo dreamhouse track that, even though it’s almost 25 years old, still ticks all the boxes of a contemporary festival groover.

On the B-side you’ll find 2 versions of “Tenderness”: The original mix and the Late nite dub, both originally released on Clubstitute records back in ’95. The original has a 90’s garage groove with male vocal chops, old school house keys and strings. The late night dub is exactly that: a dreamy ethereal deephouse groove with warm synth hits, introverted percussion some very on point sax loops.

The Heist Mastercuts EP is the first EP of Orlando Voorn on Heist Recordings but considering the connection we’ve built with him over the last year and having heard the music he’s shared with us, we’re sure you’ll see much more of him on Heist in the future.


Yours sincerely,

Maarten & Lars

Comprising Marco Simioni, Mattero Mazreku, and Francesco Pio Nitti, Qualia are a group of Italian producers who have never met in person. Due to the covid pandemic, they had to colaborate in the cloud, yet the results are impressively coherent.

Having previously released records on Detroit Underground and fellow Utrecht label 030303 between them, they arrive on U-Trax in April 2022 with their eponymous EP of four deep tracks taking influence from a range of genres, including acid-techno, ambient, noise, and beyond.

Leading the release, 'Perception' brings beautiful strings, funky 808 drums and acid tones for a deep and moving opener. The track clearly reveals the inspiration Qualia got for this release from the early Gescom releases. Stretched across the A2 is the ambient bliss of 'VV Cephei A', which brings Boards of Canada-esque drones and tones.
On the flip, the title track 'Qualia' brings a headsy dose of braindance to the mix, recalling the early experiments of Aphex Twin with merciless 303 squelches and distant reverberations. Closing track 'Until I Break Apart' leads with dark, moody strings before a pounding kick introduces a stark tempo shift before deep ambient atmospheres engulf the final minutes.

“Nice EP. Need a proper listen in a dark room with only the speakers and me ;)”
Minus Magnus — Mhost Likely

“Beautiful Ambient soundscapes!”
IDA — Ectotherm, Boiler Room Glasgow

“Excellent release from U-Trax. Perception and Until I break apart are my fav's.”
Drox — Nightimedrama, Crobot Muzik, Analog Cabin, Southern Outpost

“Interview & Premiere”
— Parkett Channel

“The best part is “VV Cephei A”, where a floral intro leads to colliding drone pulses.”
— Terminal 313

Hand stamped limited press and as always vinyl only, Hut Vibez Records returns, Jase is back with a dreamy trip of lush minimal electronic on the new 12'', The full A side Metanoia is a stomper for anytime of the day or night and a joy on the ears with big kicks, catchy riffs & a neat bass.....B sides, Law of Nature takes a minimal 90s approach with a tight groove to keep you well locked in, and second track of the B side Nubigavant is a bassy, heavy breaks track, high above the clouds, with bass, dirty breaks and trippy vocals perfect for late mornings, the music speaks for itself & will put you in a good place.

LNDFK (aka Linda Feki) presents her ground-breaking debut album, "Kuni" on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify's "Pollen" and "Fresh Finds."

"Kuni" is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album.

"Kuni" opens with "Hana-bi," an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi's stunning soundtrack, as well as Kitano's paintings which appear in the film. "Hana-bi" expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. "Takeshi" acts as an extension and to "Hana-bi," albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout "Kuni") – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda's sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song's rich texture. "Kuni" truly hits its stride with the next song, "Smoke – a moon or a button" (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again.

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): "Don't Know I'm Dead or Not (feat. Chester Watson)" – track #4 – and "How Do We Know We're Alive (feat. Pink Siifu)" – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with "Kuni's" message and sonic palette, acting as testaments to LNDFK's willingness to explore and experiment.

Meanwhile, "Ku" – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, "Sin City," and its female assassin protagonist Miho, "Ku" is a musical interpretation of Miho's story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character's vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla's rhythmic syncopation, and Thundercat's instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington).

Mixed in throughout "Kuni" are a series of instrumental pieces that function as something akin to an interlude. The aforementioned intro, "Hana-bi," and the album closer "se mi stacco da te, mi strappo tutto:" act as bookends, while "Om" indicates the half-way mark, and "Ktm" sees Jason Lindner add his sound the album. These tracks are the ambient foundation of "Kuni," representing the thematic duality of the work. Clocking in at only 24 minutes, "Kuni" packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess.

Appearing on "Hana-bi" and "Ktm," renowned international artists Asa-Chang and Jason Lindner add an additional perspective to "Kuni": Asa-Chang on "Hana-bi," and Jason Lindner on "Ktm." Asa-Chang - famously of the Japanese avant-garde group Asa-Chang & Junray - provides vocals and percussion to an alternate version of the instrumental opener, while the acclaimed keyboardist Jason Lindner offers his synth expertise on "Ktm." These features highlight the spirit of collaboration found in LNDFK's music, always willing to try out new ways of working.

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility.

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Most recently she toured Italy, and performed at Primavera Sound Festival 2019 in Barcelona.

"Kuni," is due out on NYC label Bastard Jazz Recordings in February, 2022, while the vinyl LP will follow shortly after.

A Sagittarium returns to Rekids this May with ‘Strange Brew EP’

Following his ‘Mazes & Monoliths’ EP on Rekids in 2021, as well as releases on Running Back, Hypercolour, Idle Hands, and Craigie Knowes, the Elastic Dreams boss returns to Radio Slave’s label for another standout three-track EP of colourful and psychedelic cuts.

Leading the release is ‘The Mind Blanks At The Glare’, which sees the Bristolian utilise low-slung breakbeats, bouncing basslines, and fluttering synths for a chugging start to the EP. ‘Don’t Look In The Freezer’ follows with dubbed-out FX and stomping low end, before ‘Cosmic Trigger’ brings hypnotic bass together with trippy, twinkling arps and dreamy pads for a gentle final.

Taken from, Hard Up, the acclaimed 10th studio album from the Melbourne Soul / Funk trailblazers, "Nothing I Wanna Know About" is a crisp funk number with Kylie Auldist delivering her reliably storming vocals plus an absolutely killer percussion breakdown.

Motown styled soul swinger "Bad Line" makes its first viyl appearance on the flip after being released on the expanded Deluxe digital edition of Hard Up in late 2021.

This black vinyl 7" is packaged in a specially designed printed Bamboos logo sleeve.

Both tracks have been supported by Craig Charles on BBC.

The album received great media support across Europe and the UK with glowing reviews in print such as Rockerilla (4 page feature), Rumore, Blow Up (ITA) Stadtkinder, Na Dann (GER), Soul Bag (FRA), Jazzism (4 page feature) (HOL). Radio support from FIP, France Inter, C-Lab Radio, Radio Galere, RDWA, Radio Krimi, Canal B, Radio Capital(FRA),

Radio Popolare, Radio Citta Fujiko, Contatto Radio, Radio Regione 100, Radio Start, Radio Per Passione, Radio Base, RKO (ITA), Radio 3, Saltamontes,Sateli 3 & Sonideros, EITB, Enlace Funk, Onda Local Andalucia, Radio Catalunya (SPA), Deutschlandfunk Kultur, Ego FM, Byte FM, UKW, Radio X (GER)

Tony Rolando's debut »Breakin' Is A Memory« could be your soundtrack. This worldbuilding album of electronic music leaves room for the listener to make big personal connections through subtly complex music resembling a sonic mobile which, as it spins, reveals new forms and colors. This is a collection of very human music with a deceptive simplicity and relaxed intensity. RIYL early OPN, Alessandro Cortini, Caterina Barbieri, Tangerine Dream.

These is cleverly assembled music that you want to flip over and play again, like Rolando's recent cassette on Imprec's Cassauna label. As with all Imprec vinyl releases, great care has been taken to ensure that this is a high quality pressing with low noise floor and loads of sonic detail.

On "Breakin' is a Memory" Tony Rolando invites the listener on tiny adventures questing insignificant treasures. Minimal percussion only suggests rhythm, allowing your mind to wander the crystalline lattices Tony weaves from handfuls of simple arpeggios. Soft analog bass frequencies make your travels more comfortable and the Strega instrument, a recurring recognizable character, is there to lead when you are too lost. The pace of "Breakin' is a Memory" oscillates from restless roadway motion to meditative exploration. The record closes with a celebratory decimation of the graphic memories of these tiny adventures. Play it again to rekindle them.

For more than a decade, Tony Rolando has composed electricity into musical instruments at Make Noise. When he collaborated with Alessandro Cortini in 2019 to create the Strega instrument, the experience rekindled Tony's love of composing and recording music. In 2021 he released "Old Cool Echoes" with IMPORTANT Records/ Cassauna. A third release of music composed entirely for the Shared System instrument he designed will follow later this year.

Leyla McCalla finds inspiration from her past and present. Whether it is her Haitian heritage or her adopted home of New Orleans, she - a bilingual multi-instrumentalist and alumna of Grammy award-winning African-American string band, the Carolina Chocolate Drops - has risen to produce a distinctive sound that reflects the union of her roots and experience.McCalla has produced a multi-disciplinary music, dance and theatre work, Breaking the Thermometer to Hide the Fever, which follows her personal journey as she uncovers the history of Radio Haiti, the first radio station in Haiti to report news in Haitian Kreyol - the voice of the people. Through this juxtaposition of voices - the personal and political, the anecdotal and the journalistic - McCalla gives expression to the enduring spirit of Haiti's marginalized poor in the face of several centuries of political oppression. Performances of the theatre work are currently scheduled in New Orleans and Philadelphia with more to be announced in soon.The process of creating Breaking the Thermometer to Hide the Fever included listening to countless archival recordings of interviews by Radio Haiti's journalists, and McCalla specifically wrote "Fort Dimanche" after listening to a testimonial interview that Michele Montas - the prominent former journalist and station director at Radio Haiti - had conducted with a survivor of Duvalier's political prison. In the interview, the man outlined his living conditions, the daily terror and torture that these political prisoners were subjected to and the events that led to his arrest.This album is a soundtrack of sorts to the theatre piece, featuring the songs that Leyla McCalla wrote and performs in this work.

‘Wax Limousine’ is the third solo album from London’s Wesley Gonzalez. Set for release on 18th March via Moshi Moshi Records, the record is the follow up to last year’s critically acclaimed ‘Appalling Human’ and finds the indie stalwart delivering his most personal album to date, via a collection of 12 irresistible pop songs. The announcement arrives alongside the title track, which received its first play from Marc Riley on 6Music and its accompanying video, the second to be revealed from the record following ‘Greater Expectations’, released earlier this year. In support of the release, Gonzalez heads out on tour this November, headlining Electrowerkz on 25th and supporting Young Knives across the country (full dates below).

With its truly eclectic range of musical influences drawing on Gonzalez’s ever developing sonic palette, the album’s uplifting sound juxtaposes its themes, documenting the end of a long-term relationship and the overwhelming experience of dealing with a family member’s cancer diagnosis and subsequent treatment. ‘Wax Limousine’ navigates these hurdles with a razor-sharp wit and often brutally perceptive self-awareness, nowhere more so than on the new single. Inspired by both 'Faithless' by Scritti Politti and Aretha Franklin, it is Gonzalez’s version of an 80’s gospel song and, as he explains, written at a crucial point over the last 12 months

“This was written right after the breakup and cancer diagnosis. It was that early stage of a breakup where you can't really understand what went wrong for you or for your ex. There was resentment for the extreme change I had suddenly found myself in, and I was asking what it really was I did wrong. The title Wax Limousine came from old phrases like "as useless as an ashtray on a motorbike". I was trying to express how useless I felt within every situation that had just arrived at my doorstep.”

Wesley Gonzalez first made a name for himself as the leader of Let's Wrestle, whose tuneful and eccentric punk earned critical accolades and a devoted audience with three albums, including 2011’s Steve Albini produced ‘Nursing Home’. Gonzalez wasted little time forging his own path and quickly assembled a live band for his solo work, expanding upon the guitar-driven music of his former band, with an interesting concoction of classic 70’s pop, soul, and indie rock. Gonzalez released his debut solo record ‘Excellent Musician’ in 2017, then the follow up ‘Appalling Human’ in June 2020 through Moshi Moshi Records.

French label Aldente presents their new soul tropical single. On flute, you'll find Jazzamar from the Brazilian Electronic Jazz Nu Tropic associated with french beatmaker Lord Funk under the name Tropical Combo.

The A side entitled "Jungle Fever" talks by himself, a warm time in the African forest we are between "An Elephant Called Slowly" and "The Chackachas".

The B side "Incredible Bongo Flute" is an uptempo track as a tribute to the classic "Apache" with hot bongos, congas & flute. Put the needle on the record and this soul tune will make you think about the pressure on a cypher with B.Boys. Join the battle and make a break!

Das vierte Album von Stephen McBean’s Nebenprojekt von Black Mountain. Die Bandbesetzung wechselt stetig und beinhaltet Mitglieder von Redd Kross, Melvins, Godspeed You Black Emperor, Dead Meadow und Brian Jonestown Massacre.

Das vierte Album von Stephen McBean’s Nebenprojekt von Black Mountain. Die Bandbesetzung wechselt stetig und beinhaltet Mitglieder von Redd Kross, Melvins, Godspeed You Black Emperor, Dead Meadow und Brian Jonestown Massacre.

Proprietary rhythm: Vector Rituals sees techno polymath Stefan Goldmann constructing polymetric rites of percussion. Synthesized from the ground up, timbral characteristics, metric properties, dynamic expression and microrhythmic phrasing are shaped by the interactions of layered control voltage functions. The result is an assembly of abstract dances ranging from the intricate to the powerful.
Near-humanoid behaviour emerges from liquid patterns, laid out and brought to life by the freewheeling encounter of modular waveforms and snappy envelopes. Sounds evoke metallic textures
– ringing, scraping – and group into virtual shapes from tiny spikes to vast surfaces.
Some of the parametric relationships employed are as loose as to imply chance drifts. Others lock in with strict regularity as found in the 13 vs. 17 polymeter pattern of opening track 'Nayba'. By contrast,
in the strictly repetitive yet highly asymmetrical sequence of 'Yukagir' each metric step has its own uniquely irregular duration. The center piece of this collection is 'Ayon' with multiple autonomous and
highly agile timelines. Its constituent layers break away in radial fashion and fall back together at widely spaced points of congregation.
All compositions herein present powerful proof of the unlimited capacity of electronic music to yield new principles of organisation and to solidify their expression into clear-cut gestalt.

Protean producer Jaymie Silk returns to Shall Not Fade with an intensely club-driven LP. On "The Rise & Fall Of Jaymie Silk & Rave Culture" a range of vocal samples tell a story over assertive rhythms that switch rapidly so that hard-hitting acid becomes breaks before melting into sleazy, low-end bass techno. Strap in!

It"s not easy to anticipate how any release from the Paris-based Jaymie Silk will sound. A self-proclaimed musical nomad and a real jack-of-all-trades, his artistic identity is defined by its undefinability. With this release - a follow-up from "The Legend of Jack Johnson" EP released on Shall Not Fade last year - Jaymie references the kaleidoscope of sounds which inspired him to make music in the first place.

Sampling an iconic Malcolm X speech, the force of which is bolstered by giant synth swells and clattering percussion, "Freedom For Everybody" places the album in the context of diaspora and resistance - themes that run ever-present through Jaymie's music. With "The Heat", he pays tribute to late '80s dance music, with a classic Lyn Collins drum break sample and diva-esque vocals. The hard-hitting acid-tinged techno of "Start Swinging" sees the album at its most assertive before "Bad B" takes things camper with deep bass pulses and
pitched-shifted vocals which affirm "I'm a bad bitch, yeah you heard about me". "Cats Love Drums" offers another direction completely with polyrhythmic percussion and real meow's before the two closing tracks leave a taste of sentimentality, with a major-key vocal melody and a giddy 150BPM pulse ("Waiting For The Day") and an intimate slow burner ("Take Time To Breathe").

The Rise & Fall Of Jaymie Silk & Rave Culture LP drops 6th May via Shall Not Fade.

Breez Evahflowin' is back on the scene and here he teams up with Big Deep of 2 Hungry Bros. to form Deep Breez. This first release reveals their passion for comics and Breez' career in illustration over an energetic Latin-infused Boom Bap beat, while the flip brings you a New York City True School Dream Team of Breez (Stronghold), P.so the Earthtone King (AOK Collective), Jise One (The Arsonists) and DJ Static over Deep's breakdance-ready production.
Both tracks are part the "Bring Out Your Dead" EP coming out on HiPNOTT Records.

Originally released in 2017 on the band's own label Artificial Plastic and now being reissued by Fuzz Club Records, 'Damage And Joy' is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998's 'Munki', 'Damage And Joy' was the band's first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain's 1999 break-up and 2007 reunion. Co-produced by Youth (Killing Joke) and featuring the lead singles 'Amputation' and 'All Things Pass', 'Damage & Joy' also featured guest appearances from Scottish singer-songwriter Isobel Campbell ('The Two of Us', 'Song For A Secret') and American alt-pop star Sky Ferreira ('Black And Blues'). 'Damage And Joy' is now being given a deluxe, expanded vinyl reissue. The double LP is reissued on both black and coloured 180g vinyl with remastered audio by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher), a heavy tip-on-printed gatefold sleeve, printed inner-sleeves and a 16-page booklet, plus bonus tracks and an alternative track-order. Included in this reissue and available on vinyl for the very first time is 'Ono Yoko' (originally only available on the Japanese CD version of the album), as well as alternative versions of 'The Two Of Us' featuring Sky Ferreira and 'Black And Blues' featuring Isobel Campbell.

Originally released in 2017 on the band's own label Artificial Plastic and now being reissued by Fuzz Club Records, 'Damage And Joy' is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998's 'Munki', 'Damage And Joy' was the band's first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain's 1999 break-up and 2007 reunion. Co-produced by Youth (Killing Joke) and featuring the lead singles 'Amputation' and 'All Things Pass', 'Damage & Joy' also featured guest appearances from Scottish singer-songwriter Isobel Campbell ('The Two of Us', 'Song For A Secret') and American alt-pop star Sky Ferreira ('Black And Blues'). 'Damage And Joy' is now being given a deluxe, expanded vinyl reissue. The double LP is reissued on both black and coloured 180g vinyl with remastered audio by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher), a heavy tip-on-printed gatefold sleeve, printed inner-sleeves and a 16-page booklet, plus bonus tracks and an alternative track-order. Included in this reissue and available on vinyl for the very first time is 'Ono Yoko' (originally only available on the Japanese CD version of the album), as well as alternative versions of 'The Two Of Us' featuring Sky Ferreira and 'Black And Blues' featuring Isobel Campbell.

The first release on the brand new DigBig Records comes from prolific Swedish composer, producer and DJ Joey FDH. In Level 7, Joey steps away from the harder electro beats she's known for and goes inward to explore the depths and corners of her own shadow through four slow burners. The EP rides a soft yet sinister groove with two acidic workouts on the A side - the beautifully atmospheric Acid Girl and the cosmic-dreamy eponymous Level 7. B side morphs effortlessly onto heavier but just as funky vibes with Shadow Play that slaps in the face with infectious breaks and the hypnotically thumping Shift Shaper. Spending over a decade in Berlin honing her signature dark sound, Joey FDH has recently returned to her homeland to find new inspiration in the forests and mo

Intimacy is manifested in every moment of Radiator, the debut album from Philadelphia’s Sadurn. This feeling of closeness, of being able to lend your every sense to one’s confessions of internal conflict, is due in large part to the circumstances under which this album was created.

Much of the world fell apart in 2020, but Sadurn tucked themselves away in a Pocono’s cabin, creating and recording what would become their first full-length. Within the confines of their close quarters, passing animals as the only auditory witness to a make- shift recording studio created by moving furniture, Sadurn created an album that will break your heart and then slowly piece it back together.

For King & Country's fourth studio project, 'What Are We Waiting For?',
asks a pivotal question in a post-pandemic world
Brothers Joel and Luke Smallbone provide the answer across 13 original tracks
that confront relevant issues and confirm the duo's commitment to community,
diversity and family. Set against a sonic backdrop painted by the Platinum-selling
group's lush, vivid pop, the collection features cameos from tourmate Dante
Bowe, Kirk Franklin and Tori Kelly and includes barrier- breaking single "Relate,"
awe-inspiring "Love Me Like I Am" and unifying No. 1 hit "Together."

Back in 1998, RZA had already cemented his status as Wu-Tang Clan's man behind the boards, producing the entirety of the group's respective solo albums - When it came to his own breakout moment, the producer opted to introduce the world to Bobby Digital, a cartoonish, hedonistic mad-rapping alter ego and grew so fond of the character that he released another album under the moniker before finally delivering 2003's Birth of a Prince as the RZA.

Now it seems Bobby Digital is back in the picture and potentially set to square up with his host New album RZA vs. Bobby Digital features the hard- hitting single, Saturday Afternoon Kung Fu Theater. According to a press release, DJ Scratch handles production on the album. "Giving Scratch the reins as a producer and me taking the reins as an MC, that's what frees me up creatively and lets me play more with lyrical gags and lyrical flows because I don't have to be focused on everything", RZA explained in a statement.

The impressive new LP from Cypress Hill, Back In Black, is the group's
10th studio album - They are arguably one of the most successful hiphop groups of all time, celebrating 30 years of non-stop touring
They are the biggest-selling Latin hip-hop group in the world and the first hip-hop
group to have sold multi- platinum albums, having sold over 30 million albums
worldwide.Cypress Hill are considered to be among the main progenitors of West
Coast and 1990s hip-hop, and the group has received critical acclaimed for their
first five albums. As well as this, all of the group members advocate for and are
very vocal about the medicinal and recreational use of cannabis in the United
States. In 2019, Cypress Hill became the first hip-hop group to have a star on the
Hollywood Walk of Fame.

Cypress Hill will join heavy metal giants Slipknot on the 2022 Knotfest Roadshow
(April 2022 tour).

An American soul vocal group that would go on to shape the sound of pop music much farther beyond their imaginations, The Ponderosa Twins Plus One featured two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and a lone album for Cleveland's Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, "Bound" has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal. Numero is proud to present the first official American repressing of the original 1971 release, with fresh remasters from the original analog tapes, two previously unissued bonus tracks, and a replica tip on sleeve, making this an album you're bound to fall in love with.

Pink Clear Vinyl
Nottingham based artist Cyclonix launch new journey Little Red Hand and kicks off its schedule with heavy 3 track "Metal Bass" EP from him. Label aim is to champion the sounds of modern electronic fusion music on the broken beat and future jazz spectrum taking in hints of house, techno and breakbeat culture. Music that will stand the test of time - like the handprint in the logo - one of the oldest forms of human expression. POWERED BY ART-AUD

"Every 4,044 years comet Calanhi enters the inner solar system, returning from its long and silent voyage through the Oort cloud. As it approaches perihelion, billions on Earth gaze into the night sky, transfixed by the celestial spectacle of their lifetime. While solar winds tear at the comet's surface, deep inside the glowing ball of ice, ancient machinery springs to life..." Over the past five years Daniel Lodig and Martin Sovinz aka /DL/MS/ have been continually commuting through the electro singularity, constructing their unique brand of fragile bass music from extradimensional sound salvage, and spreading their frequency patterns via the subspace channels of Frustrated Funk, Pomelo, and TRUST. 'Calanhi' is the Viennese duo's debut album - 12 tracks that combine the eternally fresh aesthetics of Detroit-style electro with a relentless curiosity for rhythmic and harmonic experimentation. Seismic club thumpers like 'Invisible Bits', 'Mountains', and 'Trusted Funk' alternate with moody ambient interludes, boldly constructed beat inventions, and blissfully melodic acid breaks. Two collaborations further switch up the flow: Nigerian artist G.Rizo (Hezekina Pollutina, Deejay Gigolo) drops her cryptic rhymes on 'Divide & Conquer', and Spanish singer Xx Isis xX provides vocals for 'Accelerated Frequency'. Mastered by Keith Tenniswood aka Radiocative Man. Sleeves designed by dextro_org. Vinyl version ships with postcard and Bandcamp download code.

Anfisa Letyago has established herself as one of techno's key players. An intrepid selector with a positive attitude, and an infectious smile, the Napoli based starlet has been making seismic waves within the industry for several years. Her own imprint - N:S:DA has been a home for her own dark-brooding style of techno, but it welcomes a brand new project to kick off 2022, with the first of 3 remix packs featuring a host of very special artists and artwork designed exclusively by Sergio Fermariello.

DJ Rush, a master of hard techno and wicked percussive elements, he's committed himself to the art of rhythm and drums. A Chi-town hero whose music transcends continental boundaries now takes his hand to "Rising Sun". Staunch and unrelenting, the barrage of bass drums keeps momentum at a hauntingly steady pace through the entirety of the track. A true drum-machine wizard who said "It was a pleasure to put my stamp on Anfisa's release. I felt her vibe and wanted to keep the traditional feel to the song but give it that Rush bump".

Adiel has graced the stages of some of the industry's most accredited venues, Panorama Bar, Dekmantel, DC10 and Concrete. She continues to bring her unique take on techno and doesn't disappoint with her kaleidoscopic iteration of "Orizzonte". Renowned for her ability to manipulate crowds with her mind-bending DJ sets and mosaic-like track selection, Adiel twists the original mix into a living techno organism of sorts, evolving and shifting through a deep palette of atmospheric sounds and vocal cuts. "It was a lot of fun to remix 'Orizzonte', it's maybe one of my best remixes and I am really happy about it" - adds Adiel.

Boston 168 leads us deep into an acid laboratory for this reinterpretation of "Gravity", masters of sound design and reformation of classic drum machines like the Roland 909, 808 and 707, the psychedelic and twisting nature of this Italian duo's tracks is unmatched. Currently residing in one of techno's capital party cities - Tbilisi, the pair hold down a residency at the legendary Khidi. "Gravity is the track that inspired us the most with its deep vocal, so we merged this with our cosmic sound" add the duo.

Very few producers have rode the pinnacles of techno as it unfolds through the decades, Chris Liebing is one such figurehead. Revered for his energetic, seize-the-moment style of DJing and music production Liebing is forever finding new ways to innovate within the booth. "Remixing 'Not There' was a huge pleasure, and the production process was very organic. I tried to take it in a little less melodic direction by just hinting it in the break". Says Chris Liebing.

This Germanic trailblazer continues to ignite dancefloors internationally between running his label CLR and juggling family life. Liebing steps up to the plate with his own take on "Not There" to conclude the pack. Instantly drawing your attention with his trademark grit laden kick drums and sweeping dubbed-out vocal shots, along with a hypnotic and body-jolting start to a literal Pandora's box of remix material.

"Someone like Anfisa, with such a high spirit and a smile that lights up any room deserves to have that same representation to her music. Good music will always put a smile on your face" adds DJ Rush.

Storming into 2022 with a flurry of high-octane remixed from a stellar array of artists, Anfisa Letyago continues to solidify her position as one of techno's most talked about names. An intrepid selector with a positive attitude regarding all things art and dancefloor related, she's been making seismic waves within the industry for a few years. Letyago launched her own imprint - N:S:DA last year, originally a celebration of her own dark-brooding style of techno, the label has entered a metamorphosis of sorts, welcoming in a host of established producers to remix the labels first two remix EP's.

Kompakt head-honcho and German techno extraordinaire Michael Mayer opens up the floodgates of this remix project with an alluring interpretation of "Nisida". Decades of industry experience have finely tuned Mayer's taste making to an impeccable standard, his extensive knowledge of dancefloors and deep cuts serves as an excellent explanation for his undeniable ability in the studio. Ethereal vocal snapshots from the original mix are weaved intricately amongst the machine-orchestra of arpeggiated synths and stalwart drum loops. "My aim for this remix was to crystallize this yearning sentiment in Anfisa's whispers by adding more warmth and drama to the track" adds Michael.

The Italian-born, multi-faceted DJ Tennis steps into the arena with his unique take on the original mix of "Nisida". Elegant pads flourish through the mix, carrying listeners weightlessly into warping basslines and razor-sharp drum work. The droning synths seem to induce hypnosis, circling and swaying around the driving kick and scattered hi-hats. A production powerhouse since the early nineties, DJ Tennis continues to juggle event promotion, running a label and booking agency. A hugely talented all-rounder.

1979 draws the EP to a close with a swirling techno edit of "Orizzonte", tastefully minimal and precisely crafted with compelling sound design from the analog synth wizard. Classically trained with a deep penchant for attending illegal raves in his youth, 1979 has been making waves with a flurry of breakout hits in recent years. The arrangement climbs through cycles of high-pitched tones and rolling mid-range bass, taking listeners on a sonic journey steeped in warmth with classic drum machine hits. "'Orizzonte' caught me in many ways, and I decided to use the beautiful space-arpeggios and the shoegaze pads made by Anfisa to create my own version of the track" he adds. The perfect track for highway driving and rocking dancefloors.

Closing out another breakthrough year, Anfisa Letyago has established herself as one of techno's most talked about names. An intrepid selector with a positive attitude regarding all things art and dancefloor related, the Russian born starlet has been making seismic waves within the industry for a number of years. Past releases have been featured on revered labels such as Carl Cox's Intec, Nervous Records, Hotflush and Rekids. Letyago returns now with a brand new project primed and ready for her own imprint - N:S:DA. Originally a celebration of her own dark-brooding style of techno, the label has entered a metamorphosis of sorts, welcoming in a host of established producers to remix the labels first releases.

The unapologetically raw house sound of DJ Seinfeld opens up the third and final remix EP, putting his own spin on Letyago's deep cut 'Insidia'. Cavernous synthlines occupy the track's main body, reminiscent of late seventies golden-era Chicago house. The remix is laced with hard hitting percussion and bubbling sound fx, a supercharged production primed for widespread club usage. Seinfeld welcomes us into the project with his trademark, rough and gloriously danceable sound palette.

Letyago follows suit by revisiting 'Nisida', reshaping the track into an electro-acid workout adorned with sharply tuned drums and heavily-treated shimmering vocals. The euphoria-inducing breakdown at the center point of the arrangement unfolds weightlessly, building into an energetic barrage of low-end frequencies. Letyago's ability to raise and release tensions within a track is truly exceptional, a technique she has perfected over several years of DJing, witnessing at first hand the importance of building up to moments of high intensity on the dancefloor for maximum impact.

Drum and bass royalty, Calibre offers his dark and brooding interpretation of 'Don't Hide'. The original track has been wickedly morphed into an after-dark roller fit for extensive basement usage. Commanding and minimal, Calibre's remix has been executed with devastating precision, perfectly balanced space-age pads glide seamlessly across the disjointed rattle of breakbeats and white-noise imbued hi-hats. A painter, fine artist, multi-instrumentalist, writer and producer, this multifaceted Belfast producer never ceases to disappoint.

Closet Yi concludes the compilation with a slow burning techno metamorphosis of Letyago's 'Listen'. Subterranean and primal, the track unfurls from its ambient beginnings into a low-end focused four-to-the-floor rhythm steeped in misty reverb and distant chords. Based in Seoul, South Korea, Yi has played at some of the most respected underground clubs in the capital, including Cakeshop, Faust, Pistil, Contra and more. A welcome addition to the remix project and a seductive end to this shadowy collection of tracks.

New York-based duo Bottler, Pat Butler and Phil Shore, are the vanguard of their own distinctly eclectic sound. Raw, emotive, bold and highly creative, the duo has successfully carved out their own path with a series of EPs that represent the broad scope of their production prowess. Over the last five years Bottler have been working on their debut album, ‘Journey Work’, a milestone achievement that marks a pivotal moment in their music career. The LP is a distillation of the duo’s multifaceted upbringing, blending a variety of styles together bound together by an overarching attitude and approach that embraces creative freedom and self-acceptance.



Pat and Phil are childhood friends whose bond is akin to that of blood relatives. Their parents are best friends and they grew up side by side, developing their deep love for music together; sharing discoveries and inspirations, learning to play and perform, and nurturing their creativity together. Now formally ordained as Bottler, they channel their eclectic tastes into a sound that encapsulates the love and trust that forms the foundation of the friendship. The duo blends a myriad of styles to create songs that emanate warmth, joy, sorrow, pain and the full spectrum of human emotion.



The album title, like their music, is open to interpretation. The duo reveals themes related to chronicling life’s many ups and downs, the deep preparation that must be taken ahead of a spiritual ceremony or psychedelic experience, and, simply, the journey taken during the conception and creation of an album. A quote from Walt Whitman also partly inspired the title; “every leaf of grass is no less than the journey work of the stars”. However, the intention behind the title is to allow for ambiguity, giving the listener an opportunity to write their own narrative.



Across 11 cuts Bottler illustrate their distinct take on electronic music, weaving in elements of indie, pop, rock, house and techno with confidence and panache. ‘Journey Work’ starts at ‘Home’, a song that is fizzing with positive energy, Pat’s vocals welcoming the listener to the start of this meandering audio adventure.

‘Chrysalis’ opens with delicate piano keys that guide us into a bombastic bassline and energising drum beats. As it progresses, scintillating layers of synth and strings are added, creating a highly affecting, uplifting atmosphere.



‘Melatonin’ follows up next, merging heartfelt vocal delivery with a sombre instrumental, and a stirring guitar riff. A glorious demonstration of Bottler’s songwriting capabilities, which are also evident on ‘Vinyl’, an uptempo dance number with an unbelievably catchy chorus. Here we see the duo channel their experience of playing in multi-member bands, as the breaks and arrangement feel perfectly suited to a festival-sized crowd.



On ‘Tacoma’, Pat and Phil channel their appreciation of house and techno into a haunting cut that utilises reverse strings and extended vocal refrains to chilling effect. A heady club track for the twilight hours. ‘Meds’ incorporates muted singing, mystical pad work and a mesmerising riff to produce a captivating slice of uncomplicated dance music.



This is followed by ‘Hot Water’, which feels like a trip to a Californian beach, circa 1965. The vocals drift over a bouncing bassline with a complementary guitar riff. ‘Mako’ features Samurai Velvet singing about fireflies and afterlife in a wonderfully heartrending manner, Bottler’s instrumental keeping things simple, yet highly effective.



We head back underground with ‘Weed’, a dense, gloomy cut with inspired use of chopped up vocal clips, stuttered throughout, alongside a mean bassline. ‘You’re Old’ is the soundtrack to an explosion of festival euphoria, dancing shoulder to shoulder with your best friends, forgetting all your troubles and living in the moment. An anthemic song that transposes Bottler’s idiosyncratic style onto the pop blueprint. Finally, ‘Cicada Rhythm’ closes the LP with a pensive, yet joyful feeling. A chunky bassline is juxtaposed with Pat’s angelic vocals cascading over the top. A hint of tribalism comes through, as we approach the end of the Journey Work…



Five years in the making, fuelled by the desire to express their deep love for music of all varieties, Journey Work is symbolic of the long road it takes to accept oneself and be comfortable expressing one’s truth. Diverse, dynamic and daring with a rawness and honesty that is rare to find, the album marks a triumphant debut for Bottler and one that crystalises their unique identity.

Martin Matiske's superb new six-track EP Circle Of Enlightenment on LDI Records is based around the concept of one-mindedness and togetherness. This German artist was fascinated with mixing records as early as his 10th birthday and had his first release on the legendary International Deejay Gigolo Records aged just 15. In the 20 years since he has released a selection of records on labels like Moustache Records and Bordello A Parigi. His timeless sound comes with a vintage touch and always fuses electro, italo and techno in fresh new ways. This new EP aims to describe the direct connection between human beings and the universe. Martin says: "Human beings are aliens always looking for answers to questions like why are we here and what life is about? We know the answer but won't accept it. We are made up of the elements of space and are directly connected to the universe. Each person contains the energy of the universe and is connected with everything that surrounds it. We are one! We are here because we are here! Our mission is to be!" The EP opens with 'Memory', and Martin explains that "Remembering is the ability to do things right but most of the time it causes pain." The track is a slick and icy electro workout with gorgeous retro-future pads bringing a cosmic sense of soul while the corrugated bass keeps busy below. 'Breakout' describes breaking out of normal thought and reaching a state of "no-mind." It is a playful and dynamic electro cut with characterful bass and synth stabs like shooting stars as shimmering arps ride up and down the scale. 'Lost In Space' deals with the idea that human beings on earth are just as lost in space as aliens. It's an interplanetary electro trip with glistening synths shining bright next to more twisted, tortured bass. 'Microbot' is about miniature robots that make our lives easier and ride on a punchy bassline, with neck-snapping snares and pads that circle around like spacecraft during battle. It is another lush electro workout that leads into 'Stars' and pays homage to the importance of these twinkling rays of light. It's a widescreen track with withering leads, cyborg vocals, and a real sense of hope as the snappy drums march into an unknown future. Last of all, 'Solaris' pays tribute to the life-giving force of the sun with another super crisp electro groove, slithering arps and conversational pads that make both a physical and emotional impact. Circle Of Enlightenment is a brilliantly adventurous and storytelling new EP from the ever-excellent Martin Matiske.

New album from South London producer, multi-instrumentalist and vocalist Wu-Lu.

Leader of the punk-rap awakening, Wu-Lu pulls inspiration from personal hardship and the underrepresented on his latest for Warp entitled 'LOGGERHEAD'. Miles Romans-Hopcraft based his artistic moniker on the Amharic word for water, “wu-ha”. True to his fluid sound and nature, he decided to change it to something that felt more liquid. He ended up with Wu-Lu, a name he has been using since 2015. His first record GINGA opened the floodgates to a career that would take him to various places, people, and genres. From breaking bones at skateparks as a teenager, to DJing as one of the original members of Touching Bass, and eventually getting signed to Warp in 2021.

As an artist, Wu-Lu seems concerned with feeling and communicating the full spectrum of human emotion. Throughout his varied discography, he touches on disparate themes and sounds, straddling a divide between blissed-out beats and grungy guitar dirges, and often mixing both into one amorphous, unclassifiable sound of his own.

On ‘'LOGGERHEAD'’, Wu-Lu hones his unique sound. On ‘Take Stage’, a despondent spoken word intro opens with sombre strings and underlying bows dragged delicately across them. Then the lights flicker to life on ‘Night Pill’, and the mosh pit with them - the bassline approaches like a hungry shark and the guitars snarl with a homemade 90s grunge energy. This grunge drawl and punk spirit is peppered with dry old-school drum sounds of classic hip-hop, with laid-back beat-oriented tracks are spread amongst those with intermittent growls, scratches, and shrieks. Sonic elements are constantly rearranged and juxtaposed throughout the album, like on ‘South’ where the fluctuating pitch of squealing guitars and screaming vocals is contrasted with the steady flow of Lex Amor.

Listening through the album you are constantly greeted with about-turns, and through the element of surprise and deft use of contrast 'LOGGERHEAD' sits at an exciting point in Wu-Lu’s genre-defying artistry.