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Warehouse Find!

With Toby Tobias' debut LP for Delusions Of Grandeur dropping on the 16th October we wanted to give you a little taste of what to expect with a couple of tracks plus a brilliant remix from DOG regular Franc Spangler.

Kicking things off we have the twisted machine funk of The Wonder featuring vocals from Atwell. 808 beats bringing the vintage electro vibes whilst Atwell's vocal hints at the golden era of Chicago house, adding a soulful touch to the rigid groove. Next up is Only Getting Better, diving into deeper waters with bubbling pads and pulsing bass line. Finally, we have Franc Spangler getting busy on the remix, turning in a floor focused jam which brings the vocal to the fore and a big beefy bassline to bounce to.

How do you follow up a work described in the Independent on Sunday as “the best debut album since Marquee Moon”? That’s the question facing singer-songwriter John Canning Yates, twenty years on from the critically acclaimed ‘The First Album’ by his band Ella Guru.
‘The Quiet Portraits’ will appeal to anyone who loves the beautiful melodic soundscapes woven by Brian Wilson, Burt Bacharach, and Tom Waits, while Yates’s unique vocals evoke the emotional fragility and compelling narrative of Neil Young, Paul Buchanan, Mark Linkous and Elliott Smith.
Mastered by Jason Mitchell (PJ Harvey, Robert Forster), and featuring guest contributions from pedal steel maestro BJ Cole and friend and multi-instrumentalist Andy Frizell (Kevin Ayers, Wizards of Twiddly), those dedicated followers of Ella Guru who stayed the path will find their patience very well rewarded. ‘The Quiet Portraits’ is a remarkable achievement from an unassuming, yet hugely talented artist.

It’s a welcome relief amid the rapidly changing musical landscape to find that all that has changed in John’s world is the number of musicians around him. The beautiful storytelling, the art of finding those magical musical moments that will remain with you for years to come: all of that has survived the passing of time intact.
Happiest with headphones on, working alone in the small hours from his Liverpool home, Yates has created another masterpiece.
He explains: “In the wee small hours, with loved ones safely asleep and the busy day done, there comes a hush. Within it, you can breathe and listen. Listen for the infinite possibilities. From those possibilities emerged these portraits. I have sought to find those precious moments: of love and peace in turbulent times, of truth and hope for calmer days ahead. I hope you find them too.”
Entitled ‘The Quiet Portraits,’ the new solo album from John Canning Yates tells tales of people and places, of time, family, history, belonging, forgetting and remembering.

New signing of the French label Happiness Therapy, rising Parisian producer Strandtuch unveils his debut vinyl EP "Want 2 Feel"

Drawing from an eclectic array of influences, the Parisian producer has meticulously crafted his signature style, which he aptly describes as Power House. Seamlessly fusing elements of House, Acid, Ghetto House, and Trance, his music transcends conventional genres.

His world is wide and rich, just as his live : full of energy and surprises.

"Want 2 Feel" is set to be released on March 22nd. This groundbreaking collection of tracks showcases the producer's unparalleled talent for blending nostalgic 90s sounds with innovative modern treatments. With an emphasis on dynamic tonalities, infectious melodies, and sophisticated rhythms, his new release on Happiness Therapy promises to be a must-have addition to any electronic music aficionado's collection.

Label mainstays Fouk just dropped the perfect dancefloor Bomb with ‘Mirage’ paired with a high-octane Elisa Bee remix

We all know Dutch duo Fouk from their soulful, bouncy take on house music. They’re also responsible for some of Heist’s biggest tracks like Kill Frenzy or their Lil Louis inspired 2021 release ‘Blue Steel’. On their new EP, the talented duo shows us a fresh side of their sound: the main-room hands-in-the-air-going-wild side. To top things off, Italian producer Elisa Bee made time in her busy schedule of DJ’ing and releasing for artists like Ben Sims on his Hardgroove imprint and Unknown to the Unknown to deliver a killer remix of the title track.

Fouk’s return to Heist after 3 years is a welcome one and with ‘Mirage’, they might just have given us their biggest house track in their decade spanning career. The track is built around a stuttering synth loop and a seductive female vocal chanting ‘What made you wanna…” The real star here is the bassline, which propels the track into a seriously infectious groove. Add some lush strings and moody changeovers and you’ve got yourself a full-blown dancefloor weapon. Mirage has been a staple in Dam Swindle’s sets for the past months and has been one of their set highlights ever since.

“Coffee” is one for the classic Fouk fans. It’s got lovely Rhodes, a joyous combination of whoo’s, snare-rolls and synth hits grooving on top of an infectious orchestral background loop. “Tapioca” is a hybrid latin-electronic groove that builds on punchy synths, live percussion and drunk keys to balance the energy of the track.

Elisa Bee’s remix of ‘Mirage’ is an intense percussive workout that builds on a breakbeat loop and a rave-bassline. The tempo is turned up a notch or 2 and that stutter synth and vocal of the original make this remix a wild warehouse affair.

Closing track of the EP is ‘Abalone’; A lovely bleep-house affair that still has a bit of that warehouse vibe. It’s got the perfect amount of distortion the drums while keeping things dreamy with some face-melting pads throughout the track.

As always, enjoy the music and play it loud!

Lars & Maarten

TO THE LIMIT ist eine durchdachte Zusammenstellung von 51 Songs aus den Studioalben und Live-Aufnahmen, die die Eagles zwischen 1972 und 2020 veröffentlichten. Die bekanntesten Titel der Band sind hier vertreten, darunter die Nummer-1-Hits "New Kid In Town", "One Of These Nights", "Best Of My Love", "Hotel California" und "Heartache Tonight". Mit Songs wie "Desperado", "Victim Of Love" und "In The City" enthält das Set auch viele Fan-Favoriten. Außerhalb des Studios beleuchtet TO THE LIMIT das beeindruckende Tournee-Erbe der Eagles mit mehr als einem Dutzend elektrisierender Live-Tracks. Dazu gehören Ausschnitte aus Eagles Live (1980) - darunter der Top-40-Hit "Seven Bridges Road" - sowie Songs aus Hell Freezes Over (1994), The Millennium Concert (2000), Live At The Forum '76 (2017) und Live From The Forum MMXVIII (2020).

Having built a loyal local Antwerp following off of the success of their 2019 debut self released album, ‘Forgotten Kingdom’, and growing reputation for electrifying stage performances, Kolonel Djafaar achieved worldwide recognition in 2021 for the ‘Cold Heat’ EP on Batov Records, attracting praise from Music Is My Sanctuary (“triumphant), and support from Gideon Coe on BBC 6 Radio Music, and DJs across Worldwide FM, Soho Radio, Le Mellotron, and KEXP.

The group overcame busy schedules and frequent quarantine periods to hit the studio in February 2022 to lay down four tracks. However, the creative itch persisted, leading to an intense writing session in August, deep in the heart of a tranquil forest. From noon until midnight, the band immersed themselves in the creative process, embracing the freedom to make noise without restraint.

Fueled by hearty breakfasts, unwavering focus, and the ambient clucking of chickens roaming the studio, Kolonel Djafaar crafted the majority of ‘Getaway’. This period marked a pivotal shift as a number of new band members joined just in time for the August sessions.

Membership changes, including Emiel Lauryssen joining on trumpet, alongside guitarist Philip Matthhijnssens, the band's palette has broadened and new sounds are able to break through. From psychedelic rock and soul influence of the Daptone Records’ affiliated Budos Band, surf rock (“Urban Dweller”), Morricone Spaghetti Western guitar, and Afro Cuban (“Kelmendi”), alongside the brassy Afrobeat and Ethio jazz vibes the group have been known for.

The broader dynamics of ‘Getaway’, and the band’s more cinematic and experimental approach, is particularly apparent on "Siren’s Glitch" and "Phil’s First Tear". The latter, first conceived by drummer Anton Van Hove, features the lead guitar doubling up with the bass guitar for added impact. Whilst the origins of "Convoi Exceptionnel", a brass & synths stomper of a march, trace back to a jam session during the band's Hungarian tour, another vital period of prolonged time together, capturing the organic essence of their experiences on the road.

Each track on ‘Getaway’ holds a unique connection to at least one band member, and all benefit from a collaborative approach to songwriting. "Sparking Clover'', an Ethio-inspired psych & soul groover penned by tenor saxophonist Doyin Smith, carries a poignant undertone inspired by personal loss, while psych rock leaning tracks like "Apologies in Advance" showcase the band's evolution and increasing professionalism in crafting a distinct sonic experience.

The curious cover art depicts a lone individual heading down an empty city street towards a large mysterious glowing object, evoking the common emptiness and struggle of urban life, and the search for meaning or just something better. The band envision the object to represent this album, offering a beacon to like-minded listeners. Kolonel Djafaar invite music enthusiasts on an immersive journey, to ‘Getaway’ from the daily grind of life, on an album reflecting diverse influences and marking a new chapter in their musical exploration.

FRN Dancehall might have emerged in Jamaica, but over the last few decades the popular genre's tendrils have stretched out across the globe. In Kampala, Ratigan Era is adding a distinct Ugandan twist to dancehall, fusing it with East African humor and hyper-melodic afrobeats elements imported from Ghana and Nigeria. The versatile MC grew up listening to Jamaican music like Vybz Kartel, Busy Signal and Mavado - in his hometown of Kawempe there was almost no way to avoid it - and it blurred into the background, blending with local church music, US hip-hop and radio pop. He developed this diverse range of influences into a completely unique Afro-dancehall flow that simmers between Luganda, patois, Spanish and English, reflecting the melting pot of cultures and dialects that characterizes contemporary Africa. Ratigan broke out with a memorable feature on Pallaso's Ugandan hit 'Nsaba', a track that echoed throughout the country booming from nightclubs, motorcycle loudspeakers or from convenience stores. Now he's assembled his first album "Era", a furiously inventive interweaving of rubbery vocals and memorable chants backed by futuristic beats from Hakuna Kulala's most boundary-pushing producers. Congolese producer Chrisman takes the reins on 'Gorilla Attack', providing a downtempo groove that echoes recent Jamaican chop deployments from breakthrough artists like Skillibeng and Skeng. For his part, Ratigan ducks and dives between Chrisman's gqom-inspired low end womps and corrosive synths, commanding attention with his smart, dextrous flow and tongue-twisting lyrics.The Modern Institute and Golden Teacher's Richard McMaster handles 'Top Strike Force' leaving space in his wiry, minimal beats for Ratigan to flit between anthemic repetitions and ice-cold AutoTuned wails. On stand-out track 'Badman Style', Ratigan's guttural patois is measured against a dizzy trap-dancehall hybrid beat from HHY & The Kampala Unit's Jonathan Uliel Saldanha, aka Lithium Beats, while on the surreal 'Drop it Down', Japanese mad scientist Scotch Rolex brings out Ratigan's cheeky sense of humor with toytown bleeps and laser zaps. MC Yallah collaborator Debmaster appears on 'Gan Dem', meeting Ratigan's double-time raps with soundsystem destroying rolling subs, and veteran US noisemaker Kush Aurora sprinkles magic dust on 'Cool and Deadly', galvanizing the link between global bass mutations, Jamaica and East Africa.And despite the grab-bag of producers and inspirations, "Ratigan" is a strikingly coherent listening experience that accurately snapshots Kampala's colorful froth of sounds and phrases. Ratigan's outsized personality is welcoming and captivating, providing the sights, sounds and smells of the city with a frenetic rhythm that's as intimate and local as it is far-reaching. It might just be the future we so desperately need.

BVDUB's Fumika Fades is a glorious new double pack that is again stuffed with inspired sonic detail and moving ambient soundscapes. The subtle complexity of his sound is laid bare again here with just eight long and involving pieces that ebb and flow, rise and fall, pull you in and push you out. It follows on from a busy 2022 in which Bay Area dub techno titan Brock van Wey put out several great double packs. This one comes with beautiful artwork, too, and is another great addition to the shelves from this man's ever-more spotless catalogue.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

The Edits Collection label is fast becoming essential with a third irresistible offering in a little over a year. This latest one opens with some soul drenched boogie and disco featuring a heart-aching vocal hook and snappy grooves, then gets more deep and jazzy with 'Disco Is A Feeling'. The flip side opens with the steamy 'Take U 4 A Ride' with its explosive Philly strings and busy percussive lines and '10.15' then slow it down with a more steamy and sexy late-night sound that is all big loved-up vocals and freewheeling synths. All four of these are glorious weapons to have handy.

On “The Adventures of Jefferson Keyes” , Cool Million member Frank Ryle goes solo, delivering a sumptuous debut album chock full of slick, Disco and Boogie influenced Soul and Jazz-Funk. He’s drawn on his bulging contacts book, roping in singers and musicians from Germany, Denmark, the UK and U.S.A. These include Soul man Kenny Thomas, Danish singer Gregers (who guests on the impeccable boogie jam “Busy Dreamin”) and Incognito member Sulene Fleming, whose confident vocals seemingly soar over the rich, organic Disco-Funk grooves of one of many album highlights “Lift Your Head Up” . These headline contributions are backed up by sensational playing and deft production of the one and only Boogie-Funk mastermind Rob Hardt, making “The Adventures of Jefferson Keyes” a revivalist Disco-Boogie treat.

Despite ‘Hindsight Is 50/50’ being the third album from Ghost Woman in 18 months, songwriter and multi-instrumentalist Evan Uschenko believes that this is the first album that “finally captures the true nature of the band”.

The album was recorded mostly live in three days at the analogue Kerwax studios in Brittany, France by Christophe Chavanon (The Good Damn). Uschenko states that “the first two albums were never meant to be albums: they are like pages from diaries that have long since been burned. With the introduction of Ille van Dessel as co-writer/drummer, the project feels like it has a direction”.

There is a confidence and assurance that feels built upon the 2022 eponymous debut and the follow-up ‘Anne, If’, which was only released in January 2023. This urgency to progress and keep moving forward is reflected by the band: “We prefer to keep busy. But we’re lazy too. We still feel like we could be doing a lot more.” Overall, there is a darker, denser feel compared to previous releases, but the sound and vibe of this album is more akin to what the project was supposed to be when it started in 2016, finally realising Ghost Woman’s creative vision.

‘Elusive Truth’ was the second full-length record by D.C.-area doom rock Spirit Caravan led by the all time heavy lifer Scott ‘Wino’ Weinrich (The Obsessed, St. Vitus, Shrinebuilder, Probot). Originally released in 2001 and now remastered. “On this, Spirit Caravan's second foray into the long-player format, the band has collectively slowed down the tempo, and dropped the mood into even more contemplative territory. As the grandfather of modern stoner rock, Wino has certainly dipped his guitar picks in LSD this time around. Even though the engineering and production is bone dry and bottom heavy, Wino's psychedelic guitar work -- especially his stinging, busy leads -- has been ratcheted up a few clicks, even if the overall aesthetic is darker, and the superb musicianship from the trio simplified. The listener may be reminded of Hawkwind powered by an enormous diesel engine. As a title, Elusive Truth may indicate Wino's searching nature as a musician, and his attempt to continue down the sonic path through darkness, and through light. With this album, the listener is most certainly in darker territory.”

Rayko the Spanish Disco Producer and DJ extraordinaire has been busy in his Madrid based Studio burning the midnight oil to deliver Vadillo Vice Volume two.

Four reworked funk fuelled bass heavy cuts, tried and tested by the man himself on dancefloors across the globe and due to be released on vinyl only later in the year.

Deeply rooted in the golden era of the 70s and 80s, Rayko’s influences are masterfully interpreted and transformed into modern day dancefloor bombs, and are a key signature sound of his long established label Rare Wiri (Since 2008) an outlet for his productions alongside other likeminded artists such as Daniele Baldelli, Man Parrish, Gazeebo, Ilija Rudman, Ichisan, Spirit Catcher, Mushrooms Project, Eric Duncan among many others.

Come get it! Dynamic Dallas soul singer Bobby Patterson cut some seriously sizzling sides in the mid '60s, including the James Brown rebuttal Mama's Got A New Bag Too " the pugnacious original "Knock Out Power Of Love " and the rambunctious funk of "T.C.B. Or T.Y.A."! Gems from the Jetstar label and originally unissued treasures collected on LP!

"My Thing Is Your Thing: Jetstar Strut From Bobby Patterson" by Bobby Patterson includes the following tracks: "I’m Leroy - I’ll Take Her", "Broadway Ain’t Funky No More", "I’m In Love With You", "The Knock Out Power Of Love" and more.

Skydaddy, the moniker of London based musician and bandleader Rachid Fakhre, has announced his debut EP, Pilot, releasing on the 2 February 2024. Alongside this announcement, Skydaddy has shared a new single ‘His Masterpiece’

Having spent the last few years writing and producing as one half of the acclaimed musical duo Spang Sisters, Skydaddy’s debut EP Pilot promises to be a ray of light bursting out from an increasingly busy London indie scene. Combining cello, violin, flute, piano and intricate vocal harmonies, Skydaddy cuts an utterly compelling figure, leading a fluid and interchangeable band, at its largest 7 people strong, they delicately glide through intricate passages of chamber-folk-rock, into swelling orchestral crescendos.

Released today is new single ‘His Masterpiece’ a piano driven track bristling with both a sense of hope and of melancholy. Skydaddy’s vocals sit alongside ear worm hooks from violins and flute. Following on from debut single ‘That Morning’ (also on upcoming EP Pilot) Skydaddy manages to capture a sound of yearning and nostalgia, whilst still sounding completely fresh and incredibly exciting. Offering insight on the inspiration on the track, he offers:

“Inspired by the story of Claude Lantier from Emilie Zola’s L'Œuvre (Commonly translated to ‘His Masterpiece’), the song charts the plight of an early impressionist painter in Paris whose works are unappreciated and gawked at by the Parisian artistic elite who are still tethered to the Romantic trend in painting. Lantier (whose character is based on Paul Cézanne) becomes madly obsessed in a painting which he believes to be his masterpiece and the ultimate demonstration of his talent and genius; an obsession which leads to his eventual, self-inflicted demise. The song is ultimately about alienation, bitterness and the struggle of creativity.”

Southside Movement was a Chicago funk band that was busy during the mid 70s releasing a total of three albums between 1973 and 1975 on Wand and 20th Century Records. They also collaborated with the lush tones of soul singer and fellow Chicagoan Jackie Ross on records for Chess and Brunswick that have long since been forgotten. Until now, that is, because P-VINE has put together this great reissue of the music that was only released in limited test presses back in the day, and has added to it some previously unreleased tracks. The standout here is 'You Are The One That I Need' with its tropical funky vibes.

Silver with White and Black Marbled. Cold Wave. Nantes, France. Simmering on the edge of an explosion, the songs injects dark and grave moods into an antsy and frenetic weave of relentless buzzing, trembling bass blows, hard stomping drum beats, spiralling synths, and ominously abrasive guitar riffs laced with echoing piercing strains, amid a haunting vocal interplay, layering harrowing baritone broods with dire seething cries to decry, through a resentful sea of anger and judgment, death to another. Cinematic visuals directed by Rom Snare star Yoram Varganyi as a lost soul looking for trouble or, perhaps, friendship with co-stars Dolorès and Alain Mt, on his last night out, whilst an unexpected ending leaves the viewer heartbroken and breathless. A busy urban backdrop sets the stage for an emotional experience where evocative acting and an on-point black leather-clad exterior sync perfectly with the brazen vibes of the soundtrack.

Jason Grimez is a Cincinnati-based DJ and producer. He has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimez works with some of Cincinnati's finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. The next LP, In The Infinite, is due out 12/01/2023 via Chiefdom Records. Grimez fell in love with music during the golden era of early 90's east coast hip hop - when digging for jazz and funky samples were the backbone of beats. He became comfortable scratching on a pair of 1200s and sampling records with an MPC 3000 in high school. After years of collecting music and working on his sound behind the scenes, he has compiled a huge discography of original songs. In 2015, Grimez started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. The project features a studio band of session musicians. Grimez is responsible for writing, recording, producing, mixing, and releasing the records. He gathers a group of musicians in his studio, presents a few ideas, and hits record. Due to a rotating cast of musicians and ever-changing inspirations, no two sessions are alike. "There's no set pattern," Grimez explained. "I'll invite some session players and have them jam on a few ideas. Sometimes we'll start with a drum break and add melodies over top. It's mostly improv, and I can always go back and chop it up." One common thread is the fresh, original sounds. "I like to call it Organic Groove," he shared. "I'm inspired by all kinds of music - instrumental hip-hop, soul, classic rock, jazz, you name it. When we get in the studio, all of the pieces add up to a new sound." In The Infinite features some of the best players in the Cincinnati music scene. Cameron Brown played guitar on several tracks. Brian Batchelor-Glader, an award-winning pianist, was also involved. All 12 tracks provide the perfect backdrop for hanging with a group of good friends or cruising in the car. The drums are solid, consistent, and lay an effortless foundation for all kinds of instrumentation. Jazzy trumpet lines, ethereal keyboards, choppy soul guitar licks, and much more. "Do You Remember?" (track 2) heroes a busy, poppy guitar and a head-bobbing bassline. The record scratching and tape-recorded drum tones on "Plastic Art" (track 7) feels like a hip-hop instrumental from the early aughts. From top to bottom, this record has a lot to offer. Pick up a copy of In The Infinite on vinyl or stream the album on 12/01/2023

The concert at Sonic Morgue (Berlin), opened by the song Nerissimo, was part of a series of European dates, culminating in the Berlin gig. A sort of homecoming for the duo that has made the Rome/Berlin axis a membrane continuously crossed by sounds and words in Italian, German and English. The reception given everywhere to songs like Mi Scusi, despite being sung in Italian, continues to excite. A Quiet Life, originally written for the film "A Quiet Life" directed by Claudio Cupellini, has severed some of the connection it had with the film because many now associate it with the final episode of Dark, the highly successful Netflix series. For many years Teho and Blixa have been playing live with Laura Bisceglia on cello and bells, Gabriele Coen on bass clarinet and, for the Berlin concert, the Oriel Quartett string quartet with Anna Eichholz and Kundri Schafer on violin, Robin Hong, viola, Alice Dixon, cello. The album cover image is a mixed media piece by Blixa Bargeld entitled "Aldebaran". Currently, Teho Teardo is busy on a long theatrical tour with famous Italian actor Elio Germano with two live performances of words and music: "Il Sogno di una cosa", freely inspired by Pier Paolo Pasolini"s novel of the same name, and "Il Paradiso di Dante", an original performance of acting, music and multimedia installations inspired by the XXXIII canto of the "Divine Comedy".

The heavyweight trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return with their 12th and most epic release to date, the triple LP With pats on the head, just one too few is evil one too many is good that's all it is. Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio’s decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.

The side-long opening piece finds Haino on a single snare drum in duet with O’Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored Han Bennink. On ‘Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?’, O’Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi’s percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.

For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as ‘Strings of Dubious Reputation’. Joined by O’Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino’s wonky, slack strings adds a definite ‘musique brut’ edge to this side-long performance, certainly one of the most enchantingly odd in the trio’s discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O’Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title ‘There are always things I wish to say but I can only convey them in this language August 6 August 9’. Haino’s clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio’s stamina and continuing inventiveness.

Dez Andres must have had a busy year in the studio because he has a few new joints dropping at the moment. Beretta Music has his latest and it comes in the form of a 7"to follow up his 'Back in My Space' from back in Spring. Once again here the Motor City native, former Slum Village DJ and house maestro dips into his more soulful side with some fresh breakbeat tunes that are sure to get the floor popping. Yelping vocals and some signature Andres basslines finish it in a fiery fashion. Fellow Detroit talent Brian Kage steps up with a booty-shaking remix that gets even heavier on the drums to make for another fine 7".

HEY,

after receiving so many requests as to whether the Tulpa Ovi releases could also be released on vinyl, we decided to just put ALMOST everything out on record. There will also be an exclusive song called LOSS BREDA FEAT. LYSANN ZANDER, and a damn brilliant edit by KAPOX GRAPÉN by JIMI JULES.

!!!! ALTER ALERT !!!!

Tulpa Ovi Records Bio:

My music and I in the spirit of the times? But not before and neither behind? More like in between somewhere? A side street maybe; I like these better than the busy main streets anyways, as you can still discover things. That’s exactly where I want to be.

Robag Wruhme HEY,

nachdem wir so viele Anfragen erhalten haben, ob die Tulpa Ovi Releases nicht auch als Vinyl veröffentlicht werden könnten, haben wir uns dazu entschieden, einfach FAST alles auf Platte rauszuhauen. Es wird zudem ein exklusives Lied geben, welches
 LOSS BREDA FEAT. LYSANN ZANDER heißt, und ein verdammt genialer Edit von KAPOX GRAPÉN von JIMI JULES.

!!!! ALTER ALERT !!!!

Tulpa Ovi Records Bio:

Meine Musik und ich im Geist der Zeit? Aber nicht davor und auch nicht dahinter? Eher irgendwo dazwischen? 
Eine Seitenstraße vielleicht; die mag ich sowieso lieber als die belebten Hauptstraßen, da kann man noch was entdecken. Genau da möchte ich sein."

Robag Wruhme

There has been a huge outpouring of loving tributes to Bernie Marsden since he passed away peacefully, surrounded by his family on 24th August 2023 at the age of 72 Although Bernie had always worked hard and kept busy, most recently releasing 3 chart busting solo albums since 2021 in KINGS, CHESS and TRIOS as part of his Inspirations series, only a few knew that he had just completed a brand new album. Earlier in August, Bernie had approved the artwork, sequence and audio masters for WORKING MAN. An album of Bernie Marsden original songs. The album contains 12 brand new Bernie Marsden penned tracks. Produced by Bernie Marsden and Mixed by Dave Eringa (Manic Street Preachers, The Who). The limited first pressing of the LP & CD will come with a bonus disc of 10 more new recordings

Make Your Own Meaning continues to convey its unique techno message with a new statement of intent from label head Lurka. The artist has been busy of late and continues to be on a roll with another fascinating four tracker that genuinely serves up some original sounds and rhythms. 'Trip' gets things underway with organic percussive patterns stacked up over drilling bass to make for a prickly groove. 'Airlock' is similar but darker and heavier and 'Sick Flips' keeps the nimble feel going with dancing perc, rigid synths and scratchy sound effects all coalescing over broken drum patterns. Last of all is another dense, busy and multi-layered melange of tiny percussive sounds, synths and clipped rhythms that will make any floor move.

Oceanvs Orientalis teams up with Italian artist Tooker and joins the Crosstown Rebels roster with ‘II Lupo’, including a remix from Acid Pauli.

Hailing from Istanbul, Safak Oz Kutle, also known as Oceanvs Orientalis, is a true maestro at crafting hypnotic, evolving sounds while blending a diverse mix of Turkish, Kurdish, Arabic and Armenian influences. Unfolding after a busy year of performances at venues across the globe, including a notable appearance at Crosstown Rebels’ Rebel Rave at Club Space Miami, he now combines his signature downtempo sound with the talents of Italian native Tooker, a partnership two years in the making. With their joint creation teased across their sets, both artists now unveil their first collaboration on the label with the soul-stirring, ‘II Lupo’ including a remix from Damian Lazarus’ longstanding friend Acid Pauli.

‘II Lupo’ weaves a haunting atmosphere through ethereal synth-lines, echoing wolf howls and low rumbling drum hits, transporting you to a realm of intrigue and allure. Infusing his unique touch, Acid Pauli adds an extra layer of sonic flare to the release by layering cosmic stabs and shimmering chimes, enriching the melodic experience.

The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven."

Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven."

Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

"Fast Rate" blends echoes of nostalgia with futuristic innovation, crafting a sonic landscape. In the relentless rush of life's high-speed journey, it invites introspection, courageously urging listeners to delve into the intricate web of contemporary life.
This EP is inspired by deep reflections on the meaning of life in a fast-paced world filled with thoughts and emotions. It symbolizes a futuristic journey, mirroring the human struggle to gain an external perspective in our busy lives. Random Alias prompts users to contemplate their existence, offering a musical experience that transcends mere dance rhythms.
The 5 tracker showcases a wide array of sounds, from aggressive tones to captivating and atmospheric elements unveiling a new face of the label that keeps exploring the interconnection between human and technology.
The A side roars with high bpm and furious rhythms."Keep me high" express the need of escaping ordinary life, seeking something that keeps us "high" and allows to escape and reset.
Following up "Fast Rate" spans a variety of influences, blending the allure of old-school Detroit electro with futuristic sounds achieved through bold experimentation and advanced wave modeling. This fusion results in a diverse and innovative sonic aesthetic, ranging from nostalgic '80s/'90s vibes to experimental dimensions where tones morph and evolve.
"Solo in Space" and "Restless" on the filp side deliver direct, pulsating sounds and rhythms, embracing an impactful electro-techno vision. These tracks merge both worlds, combining the energy and drive of electro with the power and tension typical of techno, resulting in a sonic journey that blurs genre boundaries.
Completing the collection is a digital bonus track, "Galactic Power," which serves as a soulful embodiment of the EP's essence. With its otherworldly alien-style pitched vocals,The track intricately crafts a cosmic palette of bright pulses and ethereal FM synthesis.
This release represents a bold and progressive vision of electro, confirming and solidifying the eclectic direction and the concept of inter genre flexibility. Music can be an ever-evolving form of art, blending elements that transport listeners to distant cosmic realms.
Time shapes people, people shape technology, technology shapes music, music shapes time.

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

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

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

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

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

Off World presents the final album in its trilogy of surreal and spacious leftfield electronics. "A stellar project headed by Sandro Perri, one of the most singular producers in contemporary music" (Boomkat), this third volume is another distinctive collection of tracks constructed from semi-improvised ensemble recordings made over the past decade with a varied cast of coconspirators. Drew Brown, Matthew Cooper, Susumu Mukai and Andrew Zukerman join Perri again on a variety of synths and machines, along with violinist Jesse Zubot (Tanya Tagaq, Fond Of Tigers). Perri also continues to add organ and piano to the mix, while Volume 3 notably features first-time Off World contributors Nicole Rampersaud on trumpet and Martin Arnold on guitar, both mainstays of Toronto's vibrant improv and out-music scenes. The Quietus calls Off World "genuinely explorative_the musical equivalent of a Dali-esque landscape" which through all sorts of genre-defying twists and turns, at times evokes "offkilter, late Miles Davis ambience". Off World 3 doubles down on that jazz-adjacent trope in certain respects, while holding fast to Pitchfork's dictum that Perri "cultivates his own genreless brand of futurism." Marked by longer tracks than previous collections, three of the album's five songs clock in around the 10-minute mark, where overtly improvised instrumental playing wends its way across alternately bubbling and woozy electronic beds. "Impulse Controller" is a languidly skewed rhumba where ambling melodic undercurrents and dubby electronic pointillism provide a dulcet promenade for Rampersaud's Miles-esque trumpet excursions. "Ludic Loop" see-saws along in a slow synthy two-step, punctuated by Perri's restrained piano chords and Arnold's fried electric guitar. "Empasse" is perhaps most reminiscent of earlier Off World collections, though again slowed and stretched, with oozing synth bass ostinatos counterposed by ambient layers of viola and violin filigree from Zubot. These three centerpiece longform tracks each highlight one of the album's instrumental improvisers, and taken together, make for the most scintillating sedate and ruminant album in the trilogy. Off World 3 sounds as sui generis as ever, but in wrapping up the series, Perri sprinkles the project's emblematic alien surrealism with decidedly anthropic elements and temporalities. This final volume in the trilogy could also be seen as a re-statement of Perri's politico-aesthetic mission, as aptly celebrated by Pitchfork and its glowing 8.0+ reviews of Perri's 2018/2019 solo albums In Another Life and Soft Landing (released between Off World 2 and the present volume): a uniquely purposeful, subtly detailed cannon of songs "busy, vibrant, and bursting with life, but that aren't ever in a rush to get anywhere."

Various Color pressing
I spent a lot of time crossing the Detroit/Windsor boarder tunnel. - My family lives half in the US and half in Canada and my father crossed daily for for work and materials. My brother and I would sit on old paint cans in the back of his work truck. long trips to home depot in the hopes that we could get a rally’s banana milkshake before heading home. - I hated that work truck, but we loved the trips, no matter how mundane. We would spend hours crossing that boarder tunnel when it was busy, our bottoms would hurt from the metal paint cans. When i was in high school i would smuggle cigarettes to sell to the Canadian kids, it was a good business. The dark tunnel in disrepair built over 90 years ago felt like a relic of the past, its leaky walls and pale yellow tiles were always crumbling around you. It was claustrophobic and uncomfortable. But the tunnel made your mind wander with thoughts of what was above you, giant cargo ships or sea monsters. It was an anxious place, the uncertainty of its structure or the dreaded boarder patrol on the other side. Would be be pulled in and searched? would the carton of camels i hid under the seat be found? - It was a special place and a special time. These sounds are about traffic and the movement and time in this strange tunnel.

Introducing a super charged split LP featuring the talents of Cameron Stallones aka Sun Araw and Spencer Clark’s duo with Jan Andersen, Tarzana.
What originally started as an Aquapelago inspired residency in the summer of 2021 quickly developed into its own thing. Truth be told, both artists always surfed their own personal waves of musical freedom, so Aquapelagos Vol.2 album became AQUA X, a split offshoot work featuring rehashed Tarzana compositions on one side and a live presentation form Cameron’s residency in the island of Tenerife around Keroxen festival’s 13th Edition. With two artists very dear to us this split LP picks up perfectly on the aquapelagic concept and twists inside out into worlds high and below creating a further testament to both’s artists oeuvres. Here’s an extract of Professor Haywards original liner notes regarding the music:
‘’The tracks on this album reflect the geo-cultural position of Californian-based musicians, Cameron Stallones, (who records here under the Sun Araw moniker), and Spencer Clark and Jan Andersen’s (performing as Tarzana) with oceanic atmospheres and structures of feeling.
Sun Araw’s dedication to producing subtle, flowing, psychotropic compositions can be read as an attunement to the oceanic sublime. Recorded within the disused Keroxen tank in Santa Cruz harbour in Tenerife, The Canary Suite is an extended piece that features a mix of electronic pulses, short synthesizer fragments and distorted guitar bursts. The textures are relatively sparse throughout, with a linear emotional contour sustained by an ongoing melodic play within a defined band of possibilities before settling into a calmer, soothing and floating mood, like an aural floatation tank.
Tarzana’s tracks artfully blend simple synthesizer tones, vocal exhortations, and an assortment of treated instrument sounds to create a pulsing, wandering and restless music. Short rhythmic ostinato fragments push and pull against bold blown pipes and horns while subtle darker colours and shades intermittently move through the soundscape to intensify the mood. This is busy and dense music but with an orderly flow and internal sense of motion that sweeps up the listener in its wake, like a sailing ship propelled through tropical seas.’’

It's rare to see Nassau, Covid and Grace Jones in the same sentence, but they were indeed part of the creative basis for DJ Vadim's brand new album, FEEL UP.

As a busy international DJ, this was nothing short of armageddon for Vadim. The skies were darkened, but rather than sink into inactivity and hibernation, DJ Vadim created within himself his own tropical music festival, an alternative universe that would share some kind of kinship with the recordings made at Compass Point Studios, orchestrated by Chris Blackwell for Grace Jones (1980-1982), James Brown, AC/DC, and many others...

It was a melting pot of world-class musicians, blending reggae, pop, soul and African rhythms and sounds... together creating one of the most influential albums of the period, and it was in this spirit that the inspiration and title of DJ Vadim's new album, FEEL UP (literally 'Feel good' / 'Have the strength, the courage'), was born.

Forty years after those sessions at Compass Point Studios, the same quest for discovery took place in Vadim's Barcelona studio. The desire for growth, self-discovery and the creation of new sounds took hold. The dubcatcher with its 80s digital sounds went out and came back with a wide variety of musical tapas.

Inhale, exhale, FEEL UP is the soundtrack you've been missing without even knowing it!

Kaninchenbau's main collaborators Sokur and The Funk District helm this latest intergalactic journey in the form of 'All Over You'. It's a superbly tasteful and deep disco joint with lush synth work and the sort of groovy drums that make every head to the floor and get down. Next to the original is a classic 'House Mix' version and then comes two epic remixes on the flip. Both are from accomplished and ever busy Razor-N-Tape producers Nenor and DJ Vas who bring a real touch of classic to their work and offer a different look than the A-side.

'New World Artifacts' is the debut album from Rouen, France-based group Unschooling, arriving following their 2021 'Random Acts of Total Control' EP and 2019's 'Defensive Designs' tape. Out October 6th via Bad Vibrations, it's a collection of lo-fi post-punk clocking in at 30 minutes, underscored with subtle pop melodies and structures but never far away from bouts of chaotic no-wave dissonance. Here, Unschooling claim loud and clear their desire to return to a sound which is less calibrated, less obvious. As they themselves write, "New World Artifacts is an ode to the unexpected, a tribute to many art rock bands who are always where you least expect them." Already heralded as one of the most exciting up-and-comers in the new school of post-punk revivalists, having spent the last couple of years playing to busy crowds and festival fields across the continent, 'New World Artifacts' might just mark them out as the best in class. The Unschooling quintet, as referred to on the album's collage artwork, is made up of Vincent Fevrier (Vocals/Guitar), Damien Tebbal (Bass), Paul Morvant (Guitar), Marc Lebreuilly (Guitar/Synth) and Thomas Fromager (Drums). Although their music might revel in discord, it is a calculated one. The musicianship is complex and meticulous, hardened by their time spent together playing on the road. For 'New World Artifacts', additional musicians were also brought in to expand the sound in new ways, including saxophonists Levi Gillis (The Dip, Beat Connection) and Emeline Morisset (Les Agamemnonz), and Kyleen King (Stephen Malkmus & The Jicks, My Morning Jacket) on strings. Pressing Info: 180g blue vinyl, limited to 300 hand-numbered copies ww, download card included.

'New World Artifacts' is the debut album from Rouen, France-based group Unschooling, arriving following their 2021 'Random Acts of Total Control' EP and 2019's 'Defensive Designs' tape. Out October 6th via Bad Vibrations, it's a collection of lo-fi post-punk clocking in at 30 minutes, underscored with subtle pop melodies and structures but never far away from bouts of chaotic no-wave dissonance. Here, Unschooling claim loud and clear their desire to return to a sound which is less calibrated, less obvious. As they themselves write, "New World Artifacts is an ode to the unexpected, a tribute to many art rock bands who are always where you least expect them." Already heralded as one of the most exciting up-and-comers in the new school of post-punk revivalists, having spent the last couple of years playing to busy crowds and festival fields across the continent, 'New World Artifacts' might just mark them out as the best in class. The Unschooling quintet, as referred to on the album's collage artwork, is made up of Vincent Fevrier (Vocals/Guitar), Damien Tebbal (Bass), Paul Morvant (Guitar), Marc Lebreuilly (Guitar/Synth) and Thomas Fromager (Drums). Although their music might revel in discord, it is a calculated one. The musicianship is complex and meticulous, hardened by their time spent together playing on the road. For 'New World Artifacts', additional musicians were also brought in to expand the sound in new ways, including saxophonists Levi Gillis (The Dip, Beat Connection) and Emeline Morisset (Les Agamemnonz), and Kyleen King (Stephen Malkmus & The Jicks, My Morning Jacket) on strings. Pressing Info: 180g blue vinyl, limited to 300 hand-numbered copies ww, download card included.

After a busy and prolific work on his acoustic-electronic project and soundtrack compositions, Mischa Blanos wears again his clubbing outfit, returning with a three track EP for his techno and live electronics awaiting crowd in the dancing arena. Linear EP evokes the ethereal experience of clubbing, where time feels like grinding to a halt as if plunging through an open door into a new world.

Taking the vantage point of the dancefloor, Mischa Blanos recalls entering this space where time doesn't play a heavy role anymore. Be it two hours or eight in a nightclub, be it day or night, dusk or dawn, one doesn't seek time traveling but time stopping, as a way to relieve the time burden in our high-speed society. We tend to perceive that time is running at a faster pace, but time itself does not pass, what passes are things and living beings. Time is neither linear nor circular, time does not flow or move, but allows us to do so. And it is here on the dance floor that this reality can be felt.

Everything is moving, vibrating and changing from the flashing lights to the loud decibel kicks and everyone is both audience and performer on the stage. They all belong to the scene. Sometimes this could mean an individual experience, being completely absorbed in dancing or a parallel space, and other times it means togetherness, feeling an integral part of the experience. In his techno dedicated Linear EP Mischa Blanos speaks about clubbing as a form of escapism, but a form that can help us to reach a better understanding of our relationship with time.

The mystery continues to deepen, as you hear whispers beckoning you out to the sea...

After refining their dark and seductive vision of alternative/gothic metal to surreal, cinematic levels with three EPs and a full-length album, The Cause of Shipwreck, behind them, the Assen-based Blackbriar continue to set their sails towards the future in 2023, signing with Nuclear Blast Records and working towards their second full-length album, again accompanied by long-time collaborator Joost van den Broek.

Formed in 2012 by Zora Cock, René Boxem, Bart Winters, and Frank Akkerman, they crafted their first single in 2014 with “Ready to Kill,” but it was 2015’s second single “Until Eternity” that truly propelled them into the scene. A sweeping track with an equally compelling and beautiful video, it continues to draw many to the act with over 18.1 million views since its debut. Taking advantage of the growing buzz surrounding the band, they independently recorded and released their first EP, Fractured Fairytales, as well as acquiring a second guitarist in Robin Koezen. This EP layed down an impressive foundation for the band’s ethereal and breathtaking sound and brought about new opportunities for the act, including tour dates in The Netherlands, Germany, Belgium, France, Switzerland, Czech Republic, Hungary, and more, where the band played alongside Epica, Halestorm, In This Moment, Delain and MaYan. To keep moving ahead with full control of their creative ideals, the band successfully crowdfunded their follow-up EP, We’d Rather Burn, and brought it to life in October 2018. This EP would be the first time the band worked alongside esteemed producer Joost van den Broek to arrange and produce the effort, and this fruitful collaboration allowed Blackbriar’s whimsical and enigmatic sound to reach new sonic heights. Released the same day as their self-made video for “I’d Rather Burn,” this EP showcased a stronger sense of dreamy atmosphere and brought listeners beautifully grim tales of witches, banshees, and sea sirens. In the time following, keyboardist Ruben Wijga (ex-Re-Vamp) took a larger role within the band and began playing shows, after being involved in the songwriting process since Fractured Fairytales.

A busy 2019 followed, the band released a haunting single in May entitled “Snow White and Rose Red.” A duet with Ulli Perhonen, their take on the Grimm’s fairytale featured striking cinematic visuals to accompany the spellbinding track. Continuing to dig deeper into fairytale realms, Blackbriar closed the year with their third EP, Our Mortal Remains. Ever-sharpening their intoxicating blend of storytelling and breathtaking musicianship, the EP brought about new live exposures for the act as well. Small, sold out tours with Epica in 2019 and 2020, as well as a sold out opening for Delain’s Apocalypse & Chill release show in Utrecht followed, with more future plans then being put on hold due to COVID-19. Championing their continued independence, which included everything from songwriting, maintaining their web presence, overseeing merch, as well as shooting and producing their own videos and photos, Blackbriar reached out to their ever-growing and loyal fanbase for assistance to make their full-length album a reality in 2020. Fans fervently heeded the call, reaching the € 25,000 goal in under 24 hours and ending with a total of € 70,000 and achieving all five stretch goals. An impressive accomplishment for an independent act, which also showcases a strong internet presence with over 214,000 YouTube subscribers and 46.1 million channel views as well as 27.6 million Spotify streams and 150,000 monthly streamers on the platform.