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Horo proudly presents the long-awaited fourth studio album, Forces of Consciousness, by Ancestral Voices.

Following Liams first venture, 'Night of Visions,' a diary of a physical and life-changing journey to South America, he took a trip into seismic, dark, and heavy frequencies with his second LP, 'Divination,' which plunges into the notion of ritual. The third LP delved into the cosmic, devising custom tuning systems for the meditative 'Navagraha'.

Liam continues this conceptual approach that threads his work together with Forces of Consciousness - an exploratory dive into metaphysics, how consciousness creates reality, and how sound exists to bind and sustain our thoughtforms in harmony.

"I am fascinated by the intricate workings and unexplained phenomena beyond the physical. This has become a journey as I seek to understand the interconnectedness of all things. The threads that bind us to this experience.

Everything is consciousness; all things in existence are inherently conscious, including living and non-living entities. Consciousness is not merely a product of our brains and bodies but a fundamental universal aspect.

Consciousness creates reality; our consciousness shapes our perception of the world. Our thoughts and beliefs play a significant role in shaping the reality we experience.

While intangible thoughts cannot be measured physically, they shape our reality tremendously. Our thoughts significantly impact the world around us.

We are waveforms, and everything around us is sound. Sound plays a vital role in maintaining balance, whether the sound of a chirping bird, the whistles of dunes, or the resonance of the Earth.

As a collective, we make up chords that continuously merge and try to find a harmonious balance that sustains our consciousness. In essence, thought forms coexist to create harmonic structures, a lattice of electrical current that manifests as the lives we live every day."

The patterns change with the observer.
Matter is a limitation of consciousness.
That which was first was the immeasurable.
The harmonies remain.

DJ Cat comes through on Scruniversal here as the young label continues to go from strength to strength early in its existence. This time he serves up some re-edits and reworks of old and rare records from Scru's friends' collections. Up first is 'Roots & Culture' which is a languid funk workout with Prince style vocals bring some libidinous vibes up top while sci-fi synths and raw claps and perc all flesh out the groove. 'Possibelle' then cuts loose on a much more laid back and steamy summer vibe with the sort of chords that have you laying back in the park and staring up at a cloudless sky.

Making a comeback to Kontakt, Thomas P. Heckmann unveils the latest chapter under his Metric System moniker. The release showcases a fresh composition with distinctive chords and reveals a hypnotic, unreleased gem from the TPH vault. Vril has crafted a sublime, bass-heavy treatment of 'Soul 440,' drawing inspiration from the distinctive soul of minimal Detroit house.

Making a comeback to Kontakt, Thomas P. Heckmann unveils the latest chapter under his Metric System moniker. The release showcases a fresh composition with distinctive chords and reveals a hypnotic, unreleased gem from the TPH vault. Vril has crafted a sublime, bass-heavy treatment of 'Soul 440,' drawing inspiration from the distinctive soul of minimal Detroit house.

Making a comeback to Kontakt, Thomas P. Heckmann unveils the latest chapter under his Metric System moniker. The release showcases a fresh composition with distinctive chords and reveals a hypnotic, unreleased gem from the TPH vault. Vril has crafted a sublime, bass-heavy treatment of 'Soul 440,' drawing inspiration from the distinctive soul of minimal Detroit house.

This collaboration between Spanish producer Nueen and Manc vocalist / rapper Iceboy Violet - who has previously sprinkled their magic dust across Hyperdub releases from aya and Loraine James - traces the arc of a four year relationship, memorialising its highs and documenting its lows, processing, reflecting, and then ending with the ecstatic spark of new love. It’s a magical, intimate and heartfelt album, sometimes anguished but often enchanting. Nueen's music responds with foggy, but richly detailed, production. Smudgy drill-laced beats contrast with curdled, spiralling chords, at times drawing out a malevolent ambience. ‘You Said You'd Hold My Hand Through The Fire’ is an immensely affecting and lucid album, powerfully wrought, ultimately hopeful.

Black Truffle is pleased to announce Resonant Trees, the first vinyl release from French composer-performer Léo Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes.

Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord (tuned to a just intonation scheme of his own devising) and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins Resonant Tree I alone, slowly sounding out a series of arpeggiated chords that emphasise the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesiser, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars.

On Resonant Tree II, a similar structure and ensemble (without the flutes) are used with quite different results. We again hear only the harpsichord at first, but this time playing a series of flowing melodic lines, each of which is repeated several times. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as ‘space and a sound that one could grasp in one’s hand.’ As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa’s classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

A home, a house, has countless frequencies. Each room, each corner feels different. Swings differently. And as you grow older, you realize which corner is yours. But yeah, it takes time…

It certainly marks the end of an era when the house one called home as a kid no longer exists. This home, it was the starting point of so many journeys. Of one big, ongoing journey. And so it feels good, soothing, reassuring to at least return to a spot nearby – to that (proverbial) hill from where you can see it. Feel the vibe that made you.

Andi Haberl’s debut solo album as Sun is sort of dedicated to that house. It’s a journey leading to that hill overlooking everything that made him. It’s not about nostalgia, not about actually returning to a specific place. Instead, it’s about finding a personal frequency, an overlapping of sounds and samples, an open space that mirrors and extends whatever frequencies felt right at different points in time.

“To me, the results feel like Gold Panda/Four Tet meets Steve Reich meets Krautrock meets film scores. I just really wanted to create moods that touch me – and ideally others, too.”

Talking about his first solo album, Haberl recalls many stages: early compositions that ended up on Alien Ensemble’s albums, early DIY/home studio/multi-instrumentalist inspirations (Le Millipede), new technologies that came and went, even a set of wildly convincing arrangements (done with Cico Beck’s crucial input) that ultimately became stepping stones for yet another round of DIY takes. “It was a long, recurring process, and the songs went through so many different versions,” he says, talking about phases of growth (“I added more and more equipment over time”) and pruning, “cleaning up my music a bit.” Tending towards instruments that open up space, and slowly falling in love with sampling, he certainly didn’t rush things once it was time for interior design decisions ;)

“During this whole process I got to learn so much about my own taste, how I prefer to listen to the pieces, which musical elements really matter to me… and what my own voice is. For example, that acoustic elements are most important to me: the banjo, piano, drums, my voice, glockenspiel, trumpet, melodica. Anything that opens up some space.”

Every journey begins with a search: “Missing” with its plucked chords opens like a sunrise over pastoral plains, gently leading the way towards the intricate, playful explosion that occurs once a certain amount of energy (“Sun”) hits dirt and other surfaces: things grow, clot and curdle into new shapes, like new buds; layers of sound move forward, drenched in Spring’s new light. Relying on samples to ask for precipitation (“Rain On Me”), robotic “Low” goes from barren to bass-heavy after its midway shift in pace, full of loops plucked from the shade.

Towards the album’s midpoint, things are suddenly reversed: “Cluster” has that backwards pull, you can’t tell what’s what, yet everything is perfectly locked in, as the pace increases once again. And before the title song shimmers with densified cheering (to eventually stand tall like early Lymbyc Systym), “Beside Me” swipes you off your feet with its booming bass drum. The beat returns once again (“Daydream”), full of searching voices underneath, and at “Dawnday,” we can finally catch a melancholy view of the house. Voices hum. It’s the score moment of the album. Everything makes sense now. A happy end of sorts?

“I want to take people on a journey. A personal journey, too, because when my parents split up and sold the house I grew up in, I felt a bit like the ground had fallen out from under my feet. But I have dedicated the album title and the accompanying piece to this house… so I can keep it in good memory.”

“I Can See Our House From Here” has been a long time coming. It’s been a long journey. Homeward-bound. Leading to a place that’s really Haberl’s – his sound. His frequencies.

Known as a long-time member of The Notwist and various other bands/projects (Alien Ensemble, AMEO, jersey, Ditty etc.), Berlin-based drummer/composer Andi Haberl has also worked with My Brightest Diamond, Till Brönner, Owen Pallet, and Kurt Rosenwinkel, to name a few. “I Can See Our House From Here” is his first solo offering.

Limited White VInyl Version
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery, Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for an imperfect Summer.

Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery, Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for an imperfect Summer.

Piezo’s Ansia imprint returns for its 8th outing ‘Imago’, inviting Berlin’s Unity Vega for a split EP of uptempo dancefloor explorations that mine that fertile space between footwork, drum’n’bass, dancehall and experimental contemporary club sonics.

Unity Vega leads the charge with ‘No Body No Mind’ - a waterlogged darkside skanker that sits somewhere between the half-stepping jungle of the UVB-76 crew and the kind of oddball dancehall deconstructions often peddled by Ansia's extended circles. 
Appearing again on the flip, Vega ups his pace on ‘Set Em’ - a nervy footwork roller that pits gully hip-hop vocal chops against rising bell chords and washes of delayed noise. Think Rashad dubbed out by Kevin Martin and you’re in the right ballpark.

Label head Piezo’s contributions continue along similar lines, albeit in his own unmistakable style. ‘Toughts, Heavy’ also finds the midpoint between d’n’b and dembow, this time marrying a gurgling acid bassline with a euphoric-turned-paranoiac trance lead. 
Up next, ‘Nel Frigo Ah’ strips things back to the raw, banging basics: a looping vocal call pinned down by a frenetic crescendoing drum workout.

To close, Japanese legend Foodman delivers a pots-and-pans rework of ‘Thoughts, Heavy’ - a true curveball tool for the adventurous DJs amongst us.

Perfect Bite LP unites dreamy, atmospheric sounds, driving electronic elements over ashoegaze wall of
sound, creating a sonic journey that is simultaneously beautiful andthought-provoking, leading listeners
through an exploration of the human experience.The 12 track album is marked by ethereal, echoing
guitar and synth chords andotherworldly vocals, which create a dreamlike foundation

Boogie and funk don Tim Tucker hails from Northern Cali and is half of the Love Cryme duo. He has been digging in his vaults to offer up two songs for this limited new vinyl release on Trusechool and they have both been reworked by Knoe1. First up is the brilliantly blissed-out boogie and retro synth work of 'U Cant Run' complete with a sultry vocal that soon gets under the skin. 'Disco Lights' (Knoe1 rework) then keeps it deep and smoochy with jumbled disco percussion and noodling jazz chords all topped off with some superb synth work. Two real gems here, then, on a mad-limited 7".

Tangential Music is pleased to present the new album from veteran Spanish DJ and producer, Dj Toner (aka Antonio Herrera). Alongside his co-writer/arranger Daniel Molina and with guests that include the legendary Blue Note Records innovator Erik Truffaz and Grammy winning flautist and saxophonist Jorge Pardo, he has created a 10 track collection of slow-burning instrumentals that straddle the worlds of hip hop, jazz and electronica.

With a personal, precision tooled approach to his craft, the Andalusian has offered up an album of finely modelled downbeat moods.

At first glance, ‘Out Side’ is made up of recognisably superior hip hop instrumentals but if you listen carefully, and with patience, one can hear a craftsman at work. A wooden box is just a box until you look closer. The hidden joints, the perfect lining up of the grain, the years of artisanal graft and laser-focussed attention to detail that go into making something that has nothing present, that doesn’t deserve to be there. This is how Dj Toner operates.

The two singles that preempt the album’s release reveal different sides of his craft. ‘Camina’ struts with tough intentions. Soundtrack-y in an exploitation police drama manner, the get-out-of-my-way drum break and tension-filled chords suggest the bad cop, Erik Truffaz’s piercing lyrical trumpet lines, the good. The Afro-jazz horns led second release ‘Surprise’ is an altogether more playful, sunbaked affair. Sensual and slow-burning, there’s still an edge but it’s too hot to quarrel.

Dj Toner’s minimalist attitude to creation is shared with his co-composer Molina - an individual’s contribution may be cut to the bone, leaving just its aura or tone. The echo of a piano, a single blast of tuneful wind from a flute, a perfectly positioned drum hit.

Since the Wu-Tang Clan’s RZA began applying his beatmaking prowess to movie soundtracks, the hip hop instrumental has been acknowledged as something to listen to, as much as being used as a DJ tool or backing for an MC. Dj Toner’s instrumentals can, therefore, be seen as soundtracks. Soundtracks to his life and craft, vignettes of his environment in both the urban sprawl and the wider and slower spaces of “el campo”.

The sweet-tempered jazz-blues of ‘La Rimosa’ is a gentle welcome to the album. A simple, laid back groove with the most romantic of piano hooks that one could imagine Common dropping rhymes on. You’re kept on your toes with the odd purposeful moment of discordant interruption but the tender heart of the composition is never far away.

‘O’Beat’ hints at John Coltrane with the sparse but full-sounding upright bass before a head-snap break leads into a curious piano groove, a vintage organ swirls into a psychedelic fractal, whilst the bluesy female vocal snippets add the spice, that zing in the Granadan gazpacho.

The flamenco guitar driven ‘Flama’ is an excellent example of intricate sample placement and musicality. Old school (school yard) scratch interludes, sweet piano hooks, a minimalist but knife sharp flute contribution from Jorge Pardo, and the crunchiest of drums taking us for an intriguing walk round the corner.

We’ve mentioned them before but it’s on ‘Sweetband’ that we can feel that Wu-Tang dread hanging off its shoulders. A brooding orchestral number with powerful horns and a cavernous piano hit. The title of the piece is in stark contrast to the dark shadows of the tune.

Erik Truffaz returns in fine form on the super lethargic jazz-funk-hop of ‘The Day’. His instantly identifiable muted trumpet sound paints dazzling colours over the more earthy tones of the filtered down keys as a rubbery upright bass keeps the forward momentum. Dj Toner’s ‘Blessed Are The Weird People’ album, was rated in Jazz Magazine as one of the 20 jazz albums of 2021, so he isn’t some dilettante when it comes to playing with the complex hues of jazz but he does like to strip it to its bare essentials.

‘Fanega’ sees a gorgeous flute contribution from Jorge Pardo. An eerie boom-bap groove with sprinkles of electronic pulses and washed out chords is the canvas on which the award-winning multi-instrumentalist evokes the heat shimmer of the savannah.


‘Esperanza’ translates as ‘hope’ in English and this lovely slow, swinging jazzy groove really does provoke feelings of positivity and belief. Sublime vibraphone and another stunning trumpet offering from Erik Truffaz, take us on a journey of warm days and possibilities, the shuffling drums and sweet chord patterns are nicely finished off by a tranquil horn chorus towards its unhurried end.

‘Under Beat’ ends on a beefy boom-bap groove with a liquid funk bassline, elegant synth strings and old school scratching. Again, there’s that undisputable soundtrack edge, action and motion, the smell of the city.

There you have it, 10 tracks that go beyond the surface, deep into the dedicated craft of Dj Toner. Decades of experience and collaboration purified and refined into beat-heavy emotions, listen closely or crank it up, it’s down to you!

The wait is over and the underground viennese label Leap Records serves a brand new international VA vinyl record and celebrates its 10th release. On board are Federsen, Anton Kubikov, Mantsche and co-chef Alexander Wirth.
Side A is opened by viennese dub techno producer Mantsche. He released a 4-track EP on Leap Records in 2021 and is known for his timeless and reggae-influenced records. Ras Tawny accompanies him vocally.
In addition, the internationally renowned artist Federsen, based in San Francisco, is featured on the A side. Federsen is a household name for everyone in the scene and
with his analogue equipment and wide music knowledge he brings the Maurizio flavor back to the present.
Side B represents Anton Kubikov. His music career started in 1994 and Anton Kubikov has many vinyl releases to date, for example on the labels Tracks, Trapez,
Salo and many others. At this time Anton Kubikov shares the beauty of dub techno chords, accompanied with a crisp and juicy bass drum.
The last track is a mix of the co-founder of the well-known Innsbruck club Tante Emma Alexander Wirth and Mantsche. In this case, the Alpine Innsbruck and Vienna
meet and the result is a mix of sunrise dub house with soulful vocals and the extra vibe of the Round one to five series, which has its origins in the 90s.

Operating from the depths of London’s musical underground since the late ‘90s, Infinity Plus One has been quietly toiling away, letting his music do the talking for the past two and a half decades. Cyphon Recordings draft in the veteran producer for a rare four-track EP of Detroit-infused, future-facing house and techno laced with the compelling lyricism of JaronX.

The Rebellion EP sees Infinity Plus One in some of his finest form to date. Leading the charge, ‘Context is Broken’ opens with JaronX’s poignant and passionate lyric on the state of global media, where sensationalism sells more copies than facts. From there, you dive headfirst into a hit of heavy-duty, contorted house. Crisp hats, punchy kicks and echoing stabs are interspersed with twisted electronics and JaronX’s arresting vocals. A sub-rattling bassline hits you square in the chest taking this neural club cut to the next level.

‘Say The Truth’ follows. A glitching, syncopated roller, woven with an entrancing monologue that is modulated and layered into tripped-out harmonies that echo around your brain.

On the flip side, ‘Identity Keeps Changing’ is a morphing techno weapon, where voices and synthesisers oscillate through different forms with every new turn. Rave-infused synth lines, breakbeats and a warped bassline channel that ‘90s warehouse flavour for a kinetic dose of dancefloor bedlam.

Rounding off the EP, the surging chords of ‘Utopia’ ping between your ears. A pulse that rides the kick drum, as dizzying arps and heavenly strings are layered into the mix to form a transfixing, gravity-defying techno immersion.

Fusing lyricism with the depth and dynamism of house and techno’s roots, Infinity Plus One hardwires meaning within his music. Visceral and thought-provoking, it’s a welcome respite in a sea of conformity.

ZamZam 95 is a link with the enigmatic French producer Hiss Is Bliss. We’ve been fans since the very first drop on their 777Hz label and these two sides drive straight to the heart of the dub techno galaxy.

Little is known about Hiss Is Bliss beyond the fact that they hail from France, are steeped in esotericism, and create tunes as masterfully grounded in roots reggae as they are in techno and related strands of electronic music. Their releases are utterly free of hype, beautifully crafted 10” vinyl plates that let the singers and tracks speak for themselves.

At the risk of being cheeky, “Nope” is absolute dub techno bliss. The 808 kick propels the track relentlessly forward, saturated washes of color streak the night sky, while syncopated hi hats and warm, soulful chords bring life- dare we say funk- to a style too often stiff and clinical, too in thrall to the past to truly step forward. Matching Hiss is Bliss in mystery, Ras Lys’ vocal brings a Dread perspective on music and the sometimes shady business of music, a grounded contrast to the deep inner space explored by the tune itself. The B-side version “Abbadia” splits musical atoms through the desk, focusing squarely on the stripped 4/4 elements and gloriously distorted pads that echo and cycle like tides in a darkly shimmering sea.

Freedom is deeply rooted in the working-class rock of the 70's and 80's, giving us a sound like no other. With meaningful lyrics, power chords and mighty choruses, they're inevitably creating a soundtrack to the journey of life itself. Nicke Andersson once described Freedom as a "bargain basement Springsteen" - a band making music meant to follow you through thick and thin, far into those never-ending summer nights.
Since Freedom first started in 2019, they've established themselves as an amazing live act, filling clubs throughout Sweden with both energy and audience. In 2022 they were honorably chosen to play at the official release party of The Helicopters at the notorious Hamburger Börs in Stockholm.

The band recently added two new members to the crew: Ola Göransson (Heavy Feather, Stacie Collins) and Matte Gustafsson (In Solitude, Siena Root, Heavy Feather). Their combined experience of heavy roots-rock and sense of stage presence, makes Freedom one of Swedens strongest live bands - guaranteed.
Their self-titled debut album from 2021 became a great topic of conversation, leaving a permanent mark in the rock-world of Sweden. Finally, it's time for the awaited second album to be released - once again produced by Martin "Konie" Ehrencrona (Viagra Boys, Håkan Hellström and Les Big Byrd).

Following the release of Eric Chenaux's last album Say Laura (2022), The Guardian wrote "the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist." With Uncut describing his songcraft "as delicate and lovely as a rare orchid" and Record Collector praising the album's "sublime alien balladry" such are the accolades that have accrued throughout Chenaux's unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux's solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux's own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux's previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux's spartan home studio in rural France, Driver's harmonically warped organ and Melanson's electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux's signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing "This Ain't Life" that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux's tunes have the uncanny ability to sound like jazz standards; songs you feel you've heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind.

AAA Audiophile 200g 45rpm Triple Disc LP!
Sourced from First Generation Analogue Recordings without Any Digital Corruption!
2xHD Mastering on Nagra Equipment by René Laflamme!

Sound Restoration by George Klabin & Fran Gala!

Cut All Analogue at Bernie Grundman Mastering on Tube Cutting Equipment!

There have been many guitar gods, but there's never been an electric bassist as deified as Jaco Pastorius. – Michael J. Agovino

This live album by Jaco Pastorius and the Word-of-Mouth Big Band, featuring harmonica virtuoso Toots Thielemans as special guest, was recorded in analog 24 tracks by the Record Plant mobile truck at Avery Fisher Hall in NYC on June 27, 1982, as part of George Wein's Kool Jazz Festival. This Deluxe 45rpm 200g edition is the first one to be mastered from the original 2 track master tapes that were found some 30 years later (the previous digital download versions were released from a digital remix of the 24 tracks). What we have here is the direct copy of the original pure analogue 2 track mix.

The brightest star in the electric bass firmament, Jaco Pastorius burst onto the national scene in 1976 with his audacious self-titled album on Columbia Records, featuring a line-up of top jazz musicians. With his extraordinary fretless electric bass playing as the centerpiece, Jaco Pastorius created an immediate sensation with the public and the media. His signature approach employed Latin-influenced funk, lyrical solos on fretless bass, bass chords, and innovative use of harmonics. In Jaco's work with Weather Report and beyond, the self-described "greatest bass player in the world" (an assessment shared with virtually the entire music world) established a new identity and role for his instrument and became the torch-bearer for a new way of playing both technically and conceptually. But behind it all was an ever present R&B and Latin-influenced groove and a screaming rock-'n'-roll attitude that he refined and incorporated into sophisticated jazz harmonic structures.

In addition to his extraordinary virtuosity, Jaco was also developing into an accomplished and sophisticated composer and arranger and those talents are gloriously on display on this album. The 3-time Grammy Award nominee was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honored (and the only electric bassist). His legacy as a bass innovator continues to this day, more than 30 years after his untimely death in 1987.

An’archives presents the latest album by Japanese free saxophonist and vocalist Harutaka Mochizuki, Doppelgänger ga boku wo. Since the early 2000s, Harutaka has quietly, yet steadily, released a string of solo and collaborative releases that have allowed multiple perspectives on one of the most singular voices in modern music. In collaboration, he seems to prefer the duo format, and digging through his discography, you’ll find releases where he pairs with Tomoyuki Aoki (of Up-Tight), Michel Henritzi, and Hideaki Kondo. But Harutaka’s solo performances, with their lyricism and physicality, are where the magic truly happens.

If earlier albums, like Solo Document 2004 (Bishop, 2005) and Pas (no label, 2014), were raw documentations of solo alto saxophone performances, in recent years, Harutaka’s solo albums have become more complex, more mystifying. Most significantly, they’ve become more personal; there are few musicians extant whose albums feel quite so much like diaristic interventions, and Harutaka’s music now is deeply moving in its intimacy. Developing that thread of revelation, Doppelgänger ga boku wo offers a still richer exploration of many facets of Harutaka’s artistry.

The two double-tracked alto saxophone performances here feel consummate, with Harutaka shadowing himself, exploring the possibilities of the multiple self: Doppelgänger is me, indeed. The playing here is rich with affect, but still exploratory, voiced with rigour and intent. Two short pieces for keyboard and voice (about Giacometti and Genêt, respectively) are fragile miniatures, with clusters of chords, and passing phrases, wrapping around Harutaka’s untutored but lovely singing.

The ‘karaoke’ performance that closes the album, of “Woman ‘W no higeki’ yori”, speaks to the iterative aspects of Harutaka’s music. A cover of the Hiroki Yakushimaru song, the theme to Shinichirō Sawai’s 1984 film W’s Tragedy, he’s returned to this song several times, and here, his delivery perfectly captures the spirit of what Michel Henritzi, in his typically beautiful liner notes, evocatively details as “one of those sad love songs that accompany lonely sake drinkers in smoky night bars, sharing their spleen.”

Gorgeous, human, heartrending - Doppelgänger ga boku wo is Harutaka Mochizuki in element and in spirit.

Roland Leesker has kept the legendary Get Physical label right at the forefront of the scene in his years at the helm. His music has been a small but vital part of that: he doesn't release often, but when he does it is timeless house music that always makes its mark. As well as a steady stream of singles, he also curated and mixed the crucial 20 x Get Physical compilation back in 2022. He has collaborated with greats of the scene like DJ Pierre, Roland Clark and Terrence Parker and will soon serve up his latest sonic statement with new full-length 'Searching For Peace' which will arrive in August following two more singles after this one.

The brilliant 'Respect' is a spritely and serene deep techno journey. The shimmering chords echo early Detroit techno and the supple drums are packed with warmth and bounce. Together they make for a cut that subtly uplifts as it unfolds in an engaging fashion over seven fantastic minutes.

Remixer Robert Hood is one of the foundational figures of techno. The Motor City innovator works under his own name and as Floorplan and has mastered the art of seductive loops, whether making stripped-back minimal or gospel-laced house. Here, he flips 'Respect' into a thumping and emotionally intense cut with faster drums than the original but just as much machine soul and a little extra texture in the percussion.

Largely recognized as their breakthrough album, Khanate was confident enough by the two-song, forty-minute Capture & Release (2005) to peel back its layers of thick mossy droneand reveal the minimalist underpinnings, a change either interpreted as maturity or an implied threat. "It's a grim, avant-garde exercise in tension and paranoia. Dense, leaden drones fill up the spaces between O'Malley's sparse, deeply sustained guitar chords. Vocalist Alan Dubin's anguished vocals seem to convey the tortures of the damned as if there were not a shred of hope left for existence in this world. Capture & Release is not dissimilar to black metal in how it so violently conveys such a bleak and ultra-nihilistic world outlook. But while the standard tempo on a black metal album typically strays into the triple digits in terms of beats per minute, Khanate's plodding pace keeps the BPM soundly within the single-digit range." (Tiny Mix Tapes).

Since 2011, the Berlin born and raised producer and DJ Mørbeck has been delivering numerous acclaimed Techno releases via Vault Series and his own Code Is Law imprint as well as making his mark on the global club scene as a DJ. Fast forward to 2023 and we see Mørbeck inaugurate his house guise, Midnight In A Toyshop, aimed to showcase his passion for House productions in a lighter shade, whilst still retaining his signature rawness.

Setting the tone to open the EP is ‘100’s & 1000’s’, laying down warbling pad sequences and crunchy saturated drums in combination with a bouncy bass line and hypnotic vocal hooks throughout. The aptly titled ‘90’s Memento’ follows, encapsulating a classic House sound with bright, mesmeric chords, rumbling subs, processed vocal lines and a bumpy drum machine workout.

On the flip-side title-track ‘Dreams For Sale’ shifts focus to Trance tinged staccato melodies, cinematic atmospherics, acid licks and a heavily swung rhythm before ‘Every Night’ rounds out the EP on a classic Deep House tip via ethereal pads, robust percussion, circling synth lines and a vacillating low-end drive.

030/313 – Berlin/Detroit, the fundamental techno union. Now Carhartt WIP, whose roots can be traced to Detroit, Michigan, join forces with Tresor for a collaboration that celebrates the enduring spirit of two music metropolises. Referencing the early 90s compilations like “Tresor II – A Techno Alliance”, they present a 12” mini compilation with exclusive material from both cities.
The compilation opens with “I.D.L.E.”, a lost Model 500 track, of essential funk that touches the techno soul of The Motorcity, with trippy melodies and cosmic drilling traversing electrified Mojo freeways. It’s followed by another true Detroiter: Ectomorph’s “Searching (Live At Globus)”, a first extract from their live set at Globus in 2021, which BMG and Erika played on borrowed equipment after Erika’s case was lost on a flight. The A-Side stays in Detroit and finishes with “Your Body”, an exclusive track by AMX, also known as The AM, one of Detroit’s freshest funk techno sensations. She carries on the mentorship mindset by having learned from two of the greatest: D.I.E. and Scan 7. “Your Body” is a classic techno feel swinger, where subtle chords meet drum machine funk in the spirit of early Detroit techno.
DJ Stingray 313 opens the B-Side with a bang. Precisely hacked techno, full of dark funk and that special industrial jack, that the man in the mask has made his own. A total “Dynamic Instability”. Magic & furious. The thrill continues with “Metal Goat”, by JakoJako, one of Berlin’s brightest synth sensations. She provides an introspective grower that slowly evolves into a fast-paced techno grinder, laden with micro shifts and magic twists. The final tune comes from Erik Jabari, a newcomer from the 030 zone, emerging from the Hard Wax peers with haunting modular synth techno–a feverish minimalistic trip of motorized kicks. DJ Pete performed as spiritual guidance on this one. It’s floor proven. An overall cachet of “030313” - the small compilation with a huge techno heart.

Largely recognized as their breakthrough album, Khanate was confident enough by the two-song, forty-minute Capture & Release (2005) to peel back its layers of thick mossy droneand reveal the minimalist underpinnings, a change either interpreted as maturity or an implied threat. “It’s a grim, avant-garde exercise in tension and paranoia. Dense, leaden drones fill up the spaces between O’Malley’s sparse, deeply sustained guitar chords. Vocalist Alan Dubin’s anguished vocals seem to convey the tortures of the damned as if there were not a shred of hope left for existence in this world. Capture & Release is not dissimilar to black metal in how it so violently conveys such a bleak and ultra-nihilistic world outlook. But while the standard tempo on a black metal album typically strays into the triple digits in terms of beats per minute, Khanate’s plodding pace keeps the BPM soundly within the singledigit range.” (Tiny Mix Tapes).

Largely recognized as their breakthrough album, Khanate was confident enough by the two-song, forty-minute Capture & Release (2005) to peel back its layers of thick mossy droneand reveal the minimalist underpinnings, a change either interpreted as maturity or an implied threat. “It’s a grim, avant-garde exercise in tension and paranoia. Dense, leaden drones fill up the spaces between O’Malley’s sparse, deeply sustained guitar chords. Vocalist Alan Dubin’s anguished vocals seem to convey the tortures of the damned as if there were not a shred of hope left for existence in this world. Capture & Release is not dissimilar to black metal in how it so violently conveys such a bleak and ultra-nihilistic world outlook. But while the standard tempo on a black metal album typically strays into the triple digits in terms of beats per minute, Khanate’s plodding pace keeps the BPM soundly within the singledigit range.” (Tiny Mix Tapes).

Black/White Swirl Vinyl, limited to 200 copies. Hannover based band RESOLUTIONS is back with their sophomore album "Monster Mirror" out May 24th, 2024 via End Hits Records, marking their 10th year as a band and the newest addition to the End Hits Records roster. Starting in 2013 and after releasing their demo, several 7"s and 2016's "Weightless" album while playing hundreds of shows across Europe, RESOLUTIONS return with 10 catchy songs combining elements of alternative and melodic punk rock bands from the 90s and 2000s. Growing through discomfort while aiming on keeping their sound true to songs and records they love, the five piece band created 10 highly energetic songs that formed a uniquely sounding album with lyrics focussing on the aspect of self-reflection and the lacking urge of constant 24/7 self-optimization in the world's current living pace. This very same discomfort pushed RESOLUTIONS to step out of their to date comfort zone of the genre's almost stereotypical trusty three chords and gruffy vocals to perform on a clean but powerful recording which was done by Alex Sickel at Tiny Pond Studios, who worked with the band already on their first LP - "Weightless".? "Monster Mirror" calls for fans of bands with somewhat dark and (over-) thoughtful lyrics, yet accessible and driving melodies like HOT WATER MUSIC, ALKALINE TRIO and JIMMY EAT WORLD.

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

Following the resounding success of Rythm by Nature's first release by Nail, the imprint's second outing, "Deep Cuts", builds upon the previous momentum and introduces label owner SaPu for his first solo EP. "Deep Cuts" features three groove-drenched original works and a foot-stomping remix from Berlin-based groove master and sound wizard Tripmastaz.

Drawing from his 15+ years of experience in the scene, "Deep Cuts" displays SaPu's impeccable production skills and evident passion for deeper house grooves and hypnotic rhythms — the ideal music for extended dancing marathons. The EP's first track, 'Roll Out' (A1), is a classic, tech-house-infused banger: funky bass, filtered samples, and snappy percussion elements. Tripmastaz's version, 'Don't Let Joe Change the Name Dub' (A2), adds new layers of depth to the original, infusing it with dubby, sample-based elements and warm chords. SaPu's inclination for old-school grooves shines through on 'Clappin Iron' (B1), delivering Detroit tribal vibes punctuated by stabby synths and rolling basslines. Closing off the EP, 'Keep it Trill' (B2) provides a relatively stripped-down approach, allowing SaPu to demonstrate his innate skill in dubby sample manipulation.

Jonas Landwehr & Felix Fleer, the minds behind R-Imprint, are back with their youngest brainchild ‘Serial Sound’. They are starting the new label off with an expertly crafted five track EP ranging from emotive 4 to the floor anthems, over ideosyncratically spaced out IDM experimentation, to cutting edge UK-infused club weapons. ‘Secrets’ is opening the A-Side with a raw vocal performance by LAINE, fused with an infectious groove, building up to a euphoric climax of layered poly-synths, sample flipping and abstract textures. ‘Blinded’ is carrying this vibe over into a more toolish format while maintaining an intricate narrative arch. ’Water Seven’ rounds off the A-Side with a more dreamy excursion into ambient territory. ‘Windows’ opens the B-Side with a catchy theme of pulsing modulated chords supported by subtle, micro- percussive textures. Aeon is closing off the record with an aggressive, synthetic rhythm, featuring syncopated vocal slices, contrasted with enthralling pad sounds. With this release the duo has opened up their sound into a more mature & eclectic direction, while staying true to their signature brand of contemplative harmonies and detailed textural layering.

A1. Renowned producer, Bodeler, showcases his mastery in the minimal genre with his first contribution to the MBK collection. Combining intricate rhythms with subtle variations, he crafts a hypnotic sonic journey that expresses his signature techie groove while still capturing the essence of minimalism.

A2. Franco Cinelli, another accomplished Argentinian DJ and producer, lends his unique touch to Bodeler’s minimal masterpiece in an exceptional remix. Cinelli’s interpretation provides us with an immersive experience, with every beat and sound thoughtfully placed to convey a distinct musical narrative. With this submission, Side A displays the seamless synergy between two influential figures in the global minimal scene.

B1. Flip to the B-side and you will find an incredibly soulful composition from Nicola Brusegan and Camilo Gil. These two join forces to create a sublime deep house track that transcends boundaries, featuring a familiar sample of an iconic hip hop group from Brooklyn’s past. Lush chords, pulsating basslines, and ethereal textures create the ideal dance floor tune.

B2. ’Take A Groove’ is paired with a remix that has quickly worked its way through clubs around the world. Jorge Caiado shares his perspective of dance floor atmospheres, demonstrating his ability to craft a remix that stands as an artistic statement in its own right. When the acid hits, you’ll know why this track is creating such a buzz!

Soul Clap’s House of EFUNK label record label celebrates the 10th anniversary of their party of the same name that’s been ongoing each year at Movement Festival since 2014. The EFUNK party is commemorated with a 4-track house compilation that showcases some of the city’s finest talent. DJ Minx’s late night soulful house affair 'Sweet' bubbles with her seductive vocals set against percolating rhythms, romantic chords, and funky trumpets. Marcellus Pittman’s '888 In The Groove' is a chugging instrumental house jam that is surrounded in swirling synth arpeggios and cosmic pads centered by a hefty kick and meaty bass line. Mike (Agent X) Clark’s 'Where You Get That Funk From' pays reimagines the bright funk of Parliament-Funkadelic inside of a brooding and dank deep house beat with a loping bass line. On sillygirlcarmen’s 'Good Times' she delivers an angelic vocal performance with an uplifting message on her minimal but classic Detroit house sounding track.

Temples of Jura is proud to present ‘The Great Beyond’, the ninth studio album from Ilija Rudman. The concept of the album is the afterlife with words from Nikola Tesla, Slavoj Zizek, Jim Morrison, JF Kennedy, Charles De Gaulle, WH Auden, Azar Nafisi and Eleanor Roosevelt woven together to tell the story of ‘The Great Beyond’ and what may lie ahead for us all. The voice itself was created by Ai (let’s call him ERIC) and is set beautifully to music that has a timeless cinematic quality. Ilija only uses pure Analogue equipment in the creation of his music, resulting in a rich tapestry of basses, drums, chords and lead sounds. He’s been a prolific producer for over 20 years now with a discography that runs deep with more than 100 Vinyl EP releases and 8 studio albums, but we feel he’s reached the pinnacle with this concept album. We’ll leave the final word to ERIC “You gain strength, courage and confidence by every experience in which you really stop to look fear in the face.”

Syncrophone Presents the Very First Vinyl Release From Aleqs Notal’s Label : Industrial Light. This Premiere Sees Notal Partnering Up With Long Time Friend and Fellow Producer Modern House Quintet. Throughout Four Tracks &Ndash; Two From Each Musician &Ndash; This Release Dives Into Several Sub-Genres of Electronic Music and Provides Four Compelling Songs. on the A1 Side, Message From the P Opens Up the Record With a Classical Notal’s Signature Sounds : Ron-Trent-Ish Pad and Organ Samples, Supported by Additional Snares and Several Lines of Hi-Hats. This Delicate House Track, With Its Acid Line Chord Core Is Perfect to Open Up a Set. A2 Drinking Workers Sees Notal Weave His Hi-Hats Patterns Around a Typical Detroit-House Bass Line. Architected and Thought Like Scratches (Due to His Hip-Hop Background), Hi-Hats Set the Tone and Enhance the Track as a Back-and-Forth Game With the Bass, Contributing to the Overall Depth of the Song. Once Again, Notal Shows His Creativity About Blending Different Sub-Genres Into a Single Track. on the Flip Side, Modern House Quintet Presents Two Very Different Tracks (Although Both Are Clearly Made for the Floors). B1 Nadrezacalenis Associates Several Layers of Shakers and Subtle Hi-Hats &Ndash; Combined With Percussion &Ndash; in Order to Emphasize the Lush Rhodes Chords And, Later, the Entrancing Vibraphone Notes. Last but Not Least, B2 Dioskouron Is Clearly a Track for a Peak Time Moment. With Its Detroit-Techno Atmosphere, Its Tr-909 Drums Pattern, Its Textures (The Discreet, Yet There, Pad) and Its Pace, DJs Can Rely on This Great Addition for an Ideal 3 Am Set to See Heads Nod and Bodies Swing. as for All the Previous I.l Releases, Artwork Is Made by Jn/wl. ...

Freedom is deeply rooted in the working-class rock of the 70's and 80's, giving us a sound like no other. With meaningful lyrics, power chords and mighty choruses, they're inevitably creating a soundtrack to the journey of life itself. Nicke Andersson once described Freedom as a "bargain basement Springsteen" - a band making music meant to follow you through thick and thin, far into those never-ending summer nights.
Since Freedom first started in 2019, they've established themselves as an amazing live act, filling clubs throughout Sweden with both energy and audience. In 2022 they were honorably chosen to play at the official release party of The Helicopters at the notorious Hamburger Börs in Stockholm.

The band recently added two new members to the crew: Ola Göransson (Heavy Feather, Stacie Collins) and Matte Gustafsson (In Solitude, Siena Root, Heavy Feather). Their combined experience of heavy roots-rock and sense of stage presence, makes Freedom one of Swedens strongest live bands - guaranteed.
Their self-titled debut album from 2021 became a great topic of conversation, leaving a permanent mark in the rock-world of Sweden. Finally, it's time for the awaited second album to be released - once again produced by Martin "Konie" Ehrencrona (Viagra Boys, Håkan Hellström and Les Big Byrd).

New Jersey's Lightheaded are clearly students of pop in all of its variety, drawing as much from 60s Brill Building song writers as they do from later 60s folk/pop developments and 80s DIY pop. The striking thing is how seamlessly they're able to meld these influences, and the distinctive voice that they've crafted this early in their career. Their new album "Combustible Gems" follows-up their well-regarded "Good Good Great!" EP in fine fashion, striking all the right Phil Spector/Goffin & King chords while rooting the album firmly in the NOW. Singles like "Moments Notice" and "Bright Happy Girls" possess a timeless pop charm, brimming with jangle, drama and infectious energy.

Theo Parrish has green-lit a couple of back catalogue reissues from his Sound Signature label this month and this one originally came back in 2010 and found him on production duties and Bilal Love on the vocals. The Melloghettomental EP is an archetype Parrish offering - dusty, lo-fi beatdown and house fusions with muted but meaningful chords and aching vocal hooks. You get all that on blissed-out opener 'Can't Keep Running Away', superbly soulful live bass work on 'U Bring Me Up' and heavier, more griding grooves but still sublime vocals on 'Why Wait'. The title cut is an off-grid mix of sci-fi melodies and diffuse chords, shimmering drums and low slub bass. Sublime.

Greenhouse Recordings label head and long-time master of deep house Andrew Macari steps up to his own imprint with a bunch of fine originals. The opener is a deep tech cut with steely drums that are tight and compelling and offset by smooth chords. Manuel Sahagun then steps up to remix and brings a touch of jazz to his chords which swirl around over heavyweight bass rumbles. 'U Got Me' is then a house sound that harks back to the DIY heyday of Nottingham with its bumping drums and lush chord work and 'When I Want' closes out with more fresh synths and an alluring female vocal.

2024 reissue

Toothpick aka Swirl People step out with their newly entitled label Lost In The Swirls, which they have distilled to the more simple name L.I.T.S. Records. The Belgium-based project is an alias of Dimitri & Raoul and they bring fresh house sounds here even though this is a reissue of some classic 90s material. The title track has lush and bright summer pads over driving, tight kick drums. The opener 'May The Funk Be With You' has a classic UK flavour to it with woodpecker-like hits and dusty drum loops under some smart chord work. Last but not least is 'Naked Speedway' which has a warm bassline meandering below expansive chords that bring an early morning vibe. Good stuff.

-This is MIA's first single since the hit song "Love Me Right".
-"Love Me Right" has sold 3000 physical copies and garnered over 5 million online streams to date.
-MIA a.k.a. Honey Deux, is known as the Queen of Miami Boogie.
-Crime Of Passion music video release with street date.
-Pressed on black vinyl. Paper inner sleeve in blank die-cut jacket.
MIA is back with her first single since “Love Me Right”. Her 2020 Gil Masuda-produced hit song has sold 3000 7” copies and garnered over 5 million online streams so far. It has become a bonafide funk anthem by top DJs in the West Coast and earned her an invitation to play at Funk Freaks parties and Hittin’ Switches festival. The song even made its way into the intro of a Silk Sonic Radio episode.
Side A’s “Crime of Passion” reveals a sultry story around compassion. The song’s deep bass and groove pick up where “Love Me Right” left off. The up-tempo 80s-tinged boogie of producer Gil Masuda provides the backdrop for the Miami-born singer’s unmistakably silky voice. “Am I your shining diamond, baby, kryptonite?” It’s a line sure to lure you to the dance floor.
Side B’s “Love Bug” is a chill roller skating jam with lush Rhodes chords and warm synth tones that will appeal to anyone who’s ever been in love.

Repress.

One of Stockholm’s finest exports, Elfenberg arrive at Bordello with four slices of synthesizer goodness. The duo open with “Forever Alone”. A cruising arpeggiator steers its way through glistening snares, rolling kicks and classic italo vocals. Night falls in the jungle “Conga Coronation”. The treetops bristle with birdsong, thickets of bongos, toms and rain sticks lead a path to dawning melodies. A wonderfully textured percussive piece, the track is intricately carved and demonstrates the diversity and depth of Elfenberg. The disco dipped futurism of “Sphere Of Missing Out” follows. Echoes of “Conga Coronation” rhythms are countered by beaming synth bars and vocoder lyrics with the Swedish pair pushing for the floor. “Cosmic Tribune” is the curtain close. Astral chords, spiralling key shifts and incising drums coalesce in this space inspired finale. A truly stunning debut from this talented partnership.

New Krystal Klear on Running Back. No re-inventing of the wheel here. Sometimes it is what it is. But let‘s hear it from the artist himself:

“ No notes or real inspiration behind this EP. Rb128 consists of four tracks that I made to keep gigs coming and the calendar full - In a time where artists are being forced to DJ like maniacs to keep the electricity running to make more quickfire records (except for Gerd who loves it).

These pure dance tracks try to mix the cocktail between the trendy trance that people like now and the good house records they liked yesterday.

Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music (Gerd does a high kick and claps his hands)! Love is all we need.

Short:

New Running Back by the ever-reliable Krystal Klear.

Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“

SND & RTN brings it home on this new 12" for Lempuyang that explores their signature techno depths. 'Palantir' opens with fathoms-deep dub and ice-cold synths that snake their way over the face of the track, while 'Hyperdrive' has rumbling chords and smeared pads that keep you on the ocean floor and 'Dub Conjurer' allows in a little more light from the surface with delicate shards piercing the murk. 'Tales From The Outer Rim' shuts down with a nice gentle rhythm that undulates beneath rippling pad work and works well as perfect early evening warm up.

Our 20th celebration year continues with a very special comeback! It’s exactly ten years now since the last Ben La Desh release on our label, his sublime “Stellar Talk EP” hit big waves and together with the “Midnight Rendez-Vous EP” from 2012 he cemented himself in the lo-fi deep space house scene as an artist to look out for, no one produced deep house like he did back then. After a longer break from releasing music he is back and we think stronger as ever, with analogue gear and well curated sampling and live field recording we present you his “Fine Rise EP”.

The opener “Heel Goed” is an amazing track with that distinctive 909 beat and DX bass driven “La Desh” flavour and a truly wonderful vocal sample from a 90s TV commercial, hilariously funny and brilliant at the same time! We can’t wait to see the faces of people, especially on the Dutch dancefloors, when they try to figure out and discover what the ladies are talking about! Second A side track is the super funky “Lift Adrift” that flanges itself to outer space, etherical with chopped break beats and various percussive and rhythmic Pearl Syncussion layers running through effect pedals, Lift Adrift!

On the other side we start out with the deep title track “Fine Rise”. Here Ben treats us again to his trademark spaced out effects driven sound and on top a killer bass line and synth lead melody, reminiscent of the golden age of (good) trance music. Followed by the break beat gem that is “Asanti”, cautiously cut up breaks and layered machine drums with bubbly Syncussion sounds, rain drops falling down on different surfaces recorded in a garden in the French Drôme and processed African Kalimba. Did we already say Etherical? It is!
Closing out this great new record is the ambient piece “Expanding Signal”, an analogue tune that consists of field recordings and deep dubby chords, a building Juno pulse, swooshes and again a profound DX bassline, think of “Sun Electric” or “The Orb”.

Enjoy this one and play it loud on the dance floors or silently in your bedroom, it works everywhere as far as we are concerned!

All tracks mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

Alex Andrikopolous AKA Lex (Athens) released his brilliant debut album Waving in 2022 on Leng and he now returns with an EP combining fine remixes of tracks from Waving alongside two new previously unheard cuts.

The remixes are undeniably special. Fittingly, the EP begins with the first of these, a sensationally sun-soaked revision of one of Andrikopolous’s most Balearic moments – previous single ‘Punta Allen’ – by former Nuphonic fusionists and FAR label founders Faze Action. The Lee brothers’ take is one of those sunset-friendly workouts that wraps glistening guitar licks, steel pan style motifs, Lex’s gorgeous lead lines, hazy electric piano solos and life-affirming keyboard riffs around rolling nu-disco beats and a new rubbery bassline courtesy of Robin Lee himself. It has the feel of a pool-side anthem in the making.

Just as potent is the typically quirky and hard-to-pigeonhole revision of ‘Prezend’ by Manchester maverick Ruf Dug. Here he offers up a genuinely revolutionary rework, re-imaging the track as a sparse-but-colourful fusion of vintage acid house bass, saucer-eyed piano riffs, dubbed-out synth sounds, jacking lo-fi drum machine beats and squelchy TB-303 tweaks. While fresh and undeniably contemporary, the remix has an alluringly nostalgic, retro-futurist vibe.

Clustered around these two top-notch revisions is a pair of previously unreleased Lex originals. He joins forces with regular collaborator Locke once more on ‘Libre De Amor’, an infectious chunk of, low-slung dub disco marked out by weighty bass, jammed-out electric piano motifs, spacey pads, intergalactic effects and mazy synth solos. Dotted with additional percussion hits and echoing female vocal snippets, it’s one of the pair’s most potent dancefloor workouts of recent times.

To round off a rock-solid EP, the Athens-based veteran blurs the boundaries between stripped-back, late-80s house nostalgia and nu-disco. ‘Super Awake’ boasts cowbell-sporting Chicago house beats and acid house inspired bass, on to which he’s layered all manner of colourful synth sounds, jangly piano stabs and spacey electronics. Throw in some typically immersive chords and progressively more psychedelic TB-303 motifs, and you have a genuinely triumphant conclusion to a formidably floor-focused EP.

Warehouse Find! - Test Pressing!

It seems like ages since we last had Roberto Rodriguez on the label with his excellent Be Somebody back in 2008, so we're plenty happy to welcome him back for a long overdue follow up. Roberto clearly hasn't just been sitting on his arse the last 4 years however, having established the Serenades label which released his own LP Dawn last year, as well as putting out the killer Thinking Of You release on Fina plus numerous remixes for rock solid labels such as Let's Play House, On The Prowl, Moodmusic and 2020 Vision. Those familiar with Roberto's productions and credentials will know he has a fine ear for disco and 90's house born out of years collecting records and DJing in the best clubs in his native Helsinki.
Kicking off with Dance Like Nobody's Watching, we see Roberto tread confidently into pure, unadulterated retro house territory with NJ organ stabs, swinging 909 drum groove and choice vocal hits.
Oxymoron keeps things a little deeper with tracky filtering chords and driving drums resulting in a garage-influenced feel with bucket loads of raw attitude.
Finally we have The Black Madonna on board for a remix of the title track. The Chicago producer impressed us recently with her brilliant disco-infused tracks on Stripped & Chewed and Home Taping labels and thought her the perfect choice to contribute to the release. Here she delivers a lesson in stripped back Chicago warehouse vibes keeping everything to a bare minimum for maximum club bump. Kick, claps and piano stabs form the basic groove as she confidently develops the arrangement slowly and surely.

Warehouse Find!

Jimpster serves up the first single entitled Crave from ahead of his forthcoming Silent Stars LP complete with remixes from Atjazz and Flabaire.In its original form Crave, which features the vocals from hotly-tipped Londoner Florence Rawlings, is an emotionally charged electronic torch song guaranteed to get inside your head from the very first listen. The spacey chords and punctuating string stabs bring hints of the 80's to mind whilst Florence's gentle vocal floats in the air like a fresh sea breeze. In addition to the mesmerizing original we present two brilliant and contrasting remixes from one of the UK's legendary producers Atjazz as well as Paris' rising star Flabaire whose D.KO Records has been dropping gem after gem since 2013. Atjazz spins Crave into outerspace with a fat, driving groove and twisted sonics making for an incredibly deep and forward-looking slice of aural gold. In contrast, Flabaire looks back to the early 00's for his classic soulful house rework which calls to mind the sounds of Spinna and vintage Naked Music. Closing the release we have another original track entitled Where You Are featuring Berlin based US native Khalil Anthony. Here we find Jimpster doing what he does best, creating a sublime late night club track with his deft musical touch making this one that will stand out in the crowd.

Warehouse Find! Test Pressing!

Simbad makes a welcome return to Freerange following last year’s brilliant Take My Hand EP featuring South African vocalist Brian Temba. Now based predominantly in Cape Town, the French Londoner producer and DJ is one of the most prolific artists in the scene having notched up countless EP’s, remixes and production work for labels like Apron, G.A.M.M. Faces, Hyperdub, Atjazz, BBE & Brownswood. His association with Gilles Peterson and Worldwide runs deep, hosting regular shows on WWFM as well as traversing the globe delivering his unique and eclectic sets from Africa
to Asia and beyond.

Peaceful Revolution is one of those special house tracks which transcends boundaries, encapsulating an outernational sound in a way that Simbad excels in. Featuring South African upcoming producer Zito Mowa & vocalist Lwandile Zulu who brings a raw and impassioned energy to the deep and soulful mood, this tune was recorded in support of the troubled events from the past few months (Black Lives Matter movement).

Next up we have a track entitled Let Go which could quite easily be the lead track of the EP if they weren’t all as good as each other! This is late night emotive house music at its most sublime. Drop this at the right time and watch the floor come together in collective bliss.

Flip over for SMBD’s Shaolin Dub remix of Peaceful Revolution which pushes the original to the outer limits of the audio spectrum. Sub-sonic low end rumbles sitting in contrast to the ghost like whispers, glitches and industrial noises that pierce the ethereal pads.

Closing out this special release we find the unassumingly titled Soulful Jam, a low-slung groove which sees Simbad going heavy on fizzing analogue synths with a serene synth solo takin centre stage amongst the lush chords.

SticklerPhonics explores a world of brass 'n' skin on debut album Technicolor Ghost Parade featurin drummer Scott Amendola, trombonist Danny Lubin-Laden and tenor saxophonist Raffi Garabedian. The trio revels "in a situation where there's no bass and no chords," Amendola says. "Our sound is ever evolving and there's a feeling we can go anywhere." Technicolor Ghost Parade plunges into the unmediated terrain that opens up in the absence of the usual guidelines, the trio revels "in a situation where there's no bass and no chords." The band is a volatile combo that draws on a vast continuum of jazz practices, from traditional jazz polyphony and ambient soundscapes to funk and free jazz. The trio can generate fierce grooves and render through-composed pieces with the textural acuity of a chamber ensemble. The canny use of electronics expands their sonic palette to the horizon.

Soul Ex Machina is proud to announce its first vinyl release, featuring a hot three-tracker from Prague based producer with Slovak origins - EchoBoy. His background in digital reggae, as a former half of the Riddim Tuffa duo has clearly left its mark on the foundation of his current production. Delving in contemporary sounds from the deeper side of dubstep, infused with strong roots and dub influences, while keeping a steadfast focus on the current production standards. The EP is a testament to EchoBoy's skill as a producer, demonstrating his ability to weave together diverse elements into a cohesive result that is both innovative and deeply satisfying. The three tracks on "Roots of Dub EP" showcase his unique approach to his influences.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her." Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson"s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus. But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment." While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha. Over the past decade, she"s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson"s 2016 breakout single "Work." Additionally, she"s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there"s no sound Wilson can"t adapt to and sprinkle her cyan-colored magic over.

Chris Whitley was an artist with his feet planted in two very different worlds. On one side was a guitarist/ songwriter who grew up with the Delta and Chicago blues of Robert Johnson, Muddy Waters and Howlin’ Wolf, with some Bob Dylan thrown in. But at the same time, he was hanging out with NYC Lower East Side avant-gardeists like Arto Lindsey and Michael Beinhorn during his early ‘80s formative years. And it is precisely that tension between tradition and experimentation that makes his music so interesting and unique among “roots rock” artists. That tension is palpable on 1995’s Din of Ecstasy, his second record; Whitley abandons the acoustic blues-rock of his Living with the Law debut in favor of an album, that at first listen, owes a lot to the early-‘90s grunge movement. But Din of Ecstasy is hardly a johnny-come-lately to that sound; those are some truly weird tunings and chords being played by Whitley. It’s almost like he’s reinventing grunge in his own fashion, soaking it in blues and seasoning it with dissonance and feedback. Add some dark, druggy lyrics to the mix and Din of Ecstasy takes its place as one of the decade’s most adventurous albums, a cult classic way overdue for a vinyl release. Limited edition “clear smoke” vinyl, nestled inside a printed inner sleeve. Don’t sleep on this one

As we continue the five part journey to say goodbye to the Telomere Plastic series we have Telomere 020.3 now available for preorder!
This five tracker VA, features producers, Hiroyuki Kato, Six Dreams, Ty Senrna Sherman C & Konerytmi!

We begin off the record with ‘Black from Hiroyuki Kato. This long play is over 9 minutes and is a beautifully structured deep & house tune. Perfect for your summer day time sets!

Next on the A2 we have ‘Static Es’ by Six Dreams, This moody minimal breakbeat tune is filled with heavy bass & lush chords, the perfect track to slow things down for a few minutes during your sets!

On the B1 we have Ty Senrna who delivers a whacky groover! This acidic tech tune will work wonders and bring the spooky & trippy energy to the dance floor!

B2 is a tripped out phat acidic break beat tune from the mighty Sherman C. With some tripped out vocals & classic Sherman breaks & bass, this one will get the dance floor rockin’ full speed!

Lastly, we close out the release with a classic tune from Konerytmi. As expected we are gifted with his signature electro & bass beats!

Very limited black copies with a few colored copies available via the Wex bandcamp, be quick!

2025 Repress

Following the success of last years Babe Roots EP, Echocord revisits the package with reworks from Forest Drive West, Mike Schommer, Felix K, DB1 and Babe Roots themself.

London’s DB1 leads the package with his take on ‘Work Hard’, a mostly beatless interpretation fuelled by oscillating white noise, winding dub chords and snippets of the original’s dub reggae vocals. Hidden Hawai’s Felix K then ups the energy levels with a high-octane take on ‘Sufferation Time’, driven by upfront, shuffled and distorted drums and unfaltering, tension building dub swells.

The hotly tipped Forest Drive West steps up next to remix ‘Jah Nuh Dead’, a typically classy reimagining from the Livity Sound artist, stipping things back to ethereal pads, off-kilter percussion and sporadic echoes of the original composition. Former Deepchord member Mike Schommer’s take on ‘Bless Me’ follows, the pioneer of contemporary dub techno delivers a cinematic rework employing sweeping voices, glitched out electronics and resonant swells alongside the bouncy dub reggae groove of the original.

Lastly Babe Roots revisit one of their own compositions, ‘Sufferation Time’, delivering a more refined feel this time round with more impetus on drums and dark, hypnotic synths to contrast the original’s more vocal focused feel.

Embarking on our musical journey with Wiremu, originally from New Zealand and now based in Leeds, we set sail with his EP, "The Subtle Hustle." Beyond a personal passion, Wiremu's dedication to music production serves as a tribute to his Maori heritage, infusing his compositions with profound cultural depth. "The Subtle Hustle," the opening track, forges a dynamic tone with deep bass, punchy percussion, and house-infused Rhodes chords. Minimal references and synthetic rips seamlessly fuse, creating a captivating dance track. "Beat-Up Town," the second track on the A side, is a dance floor blockbuster with bouncy bass, accompanied by an 808 kick drum. Keyboard work integrates chords into a dynamic groove, making it stand out among dance tracks. "Key Notes Frequency Quotes," opening the B side, introduces lead hi-hats contributing to a great dynamic. Vocal inserts layer over ripped synthesizer parts, creating a house vibe filled with energy and style. Closing the record, 'Have You Written On The Wall?' takes us on a journey through running percussion and minimalistic elements, skilfully compressing space and stretching time, accompanied by atmospheric backing.

The fourth full-length record from Atlanta’s Microwave is a trip. It all begins with the misty synth strikes and cosmic transmission warbles of “Portals,” before hazy, dripping-wet guitar chords settle in. The song, an adaptation of the traditional Christian hymn “Softly and Tenderly,” is true to its new name, as liminal and fleeting as it is gripping and emotional. It’s an enormous, gentle, enveloping introduction to what will be explored: life and death, happiness and freedom, the real and unreal. This is Let’s Start Degeneracy, the long-awaited new album from Microwave, releasing on April 26 via Pure Noise. It's an emo record, but perhaps only categorically speaking. It contains multitudes: ambient, pop, R&B, punk, and experimental sounds float in and out of one another as the record moves through scenes, experiences, and feelings, all of them rippling with a purity of intention and translation that mark the best artistic works of “psychedelia.” Vocalist/guitarist/producer Nathan Hardy, bassist Tyler Hill, and drummer Timothy Pittard have created something that resembles a concept record, but it’s the sort of concept that’s impossible to contain in just one phrase or word or sound. The record’s title, taken from a conservative politician’s take on drugs in 1970, captures this liberated spirit. There are no rules, and there is nothing to be ashamed of. “It’s about letting go of attachments and behaviors that aren’t serving you, and trying to shake off your programming and not be motivated by fear and guilt and shame,” says Hardy.

Black Truffle is pleased to announce The Mountains Pass, a major new work from Olivia Block. A key player in Chicago’s vibrant experimental music scene since the late 1990s, Block has developed an extensive body of work grounded in a personalised, at times emotive approach to the studio-based practices of the musique concrète tradition, while also encompassing improvisation, orchestral pieces, sound installations, and a sustained engagement with the piano. On The Mountains Pass, recorded by Greg Norman at Steve Albini’s Electrical Audio and meticulously edited and constructed over the course of three years, Block pushes into new terrain, introducing her singing voice and drums played by Jon Mueller into flowing assemblages that move seamlessly from ruminative organ tones and fragmented piano airs to explosions of sizzling synths and thundering percussion. Like many of Block’s past works, which include, for example, a sculptural installation using the sound of oyster beds, The Mountains Pass draws inspiration from nature and the animal world. Time spent in a particular mountain range in Northern New Mexico informs this suite of pieces, whose lyrics and titles refer particularly to animal life in the area. Beginning with bursts of white noise and delicate synthetic pops and squeaks, opener ‘Northward’ very soon reveals the special direction the album will take, as lyrical piano lines are joined by Block’s fragile voice, singing words written from the perspective of f2754, an endangered Mexican gray wolf who wandered more than five hundred miles from Arizona to New Mexico in 2022. The fragment of song quickly breaks off, leaving us with a ghostly electronic hum. ‘The Hermit’s Peak’ follows, one of two epic pieces at the album’s core. Beginning with chiming, almost harpsichord-like tones, it moves through episodes of spacious, ruminative piano, Jon Mueller’s sparkling cymbals, stuttering cut-up piano sounds, and a climax of keening organ and trumpet tones (performed by Thomas Madeja). Continuing the exploration of vintage keyboard and synth tones heard on Block’s Innocent Passage in the Territorial Sea (Room 40, 2021), the music sometimes suggests the great outer-limits works of 70s Italian prog figures like Franco Battiato or Arturo Stalteri in the languorous drift of synthesizer, organ, and piano tones and the meticulous yet organic flow of its construction. ‘Violet-Green’ opens the second side with another epic journey, its lyrical content concerning ‘a mysterious bird die-off and a forest fire’. Block’s crystalline voice and rich piano chords at times call up the restrained chamber songs of Janet Sherbourne, but fragmented and threaded through passages of woozy pitch-bent keyboards, hypnotic distant thuds, tinkling bells, and searing distorted synth tones. On ‘f2754’, the freedom of the roaming wolf surges through dense layers of rapid keyboard attacks and long organ tones over a propulsive drum performance straight out of Animal Magnetism-era Arnold Dreyblatt. This distinctive sound world is then reencountered in a darkened mirror image in the uneasy, metallic shimmer of the closing ‘Ungulates’, named in reference to a heard of elk roaming through the mountains. Like Battiato’s Clic or Gastr del Sol’s Upgrade & Afterlife, The Mountains Pass inhabits the underexplored terrain where the beauty of song coexists with a radical formal openness, illuminating the deep musicality and warmth that have been present in Block’s work all along.

About 20 years ago, Carlos Giffoni quickly made a name for himself both as a noise guitarist and a laptop noisician upon arriving in New York (via Florida and Venezuela). His expertly curated annual No Fun Festival, as well as his No Fun label, further solidified him as a key figure in the international noise scene. The festival's success proved the formula for experimental and improvised music fests could work with the noise underground as well, but it also capitalized on the faster rate of connections being made between geographically disparate artists as a result of the (still relatively nascent) internet. Back then Carlos would play his laptop like a pinball machine, in contrast to the static stage presence of most laptop performers, and his solo music, like many others' at that time, expressed a less dark and dour vision of the implications of harsh noise. By the close of the 2000s, he had stopped doing the festival, switched gears musically to playing the lighter No Fun Acid sets, and moved to LA. Now he has re-emerged in a big way with Dream Walker, his first full-length since 2018's Vain (and only his second since 2010). Inspired by the masterful performances and diffusions he heard at the February 2023 GRM electronic music festival in Paris, particularly sets by old friends Lasse Marhaug, Jim O'Rourke, and Eiko Ishibashi, he began conceptualizing new music of his own in response, turning to synthesizers and other hardware to produce a work more firmly in the tradition of European electronic music than anything else he's done. Intended as a late night listen that evokes the edge of consciousness, with Carlos getting as close as possible to a trance state during the actual recording and mixing, each of the eleven tracks transition into one another rather than being standalone discrete pieces, forming two side-long suites that proceed like stages of a dream. Unabashedly tonal and repetitive, the glistening opener "Now Dream," the droning "Sleep Walker," and the closing triptych of "Lost in Descanso," "Sunrise," and "The Hidden Path" occupy a power electronics-ambient nexus that feels spiritually close to the Mego label. Elsewhere, "Ticking Clock" is reminiscent of Stereolab's non-easy listening vintage electronic side, while the two-part arpeggiated "Euphoria" recalls early Oneohtrix Point Never (which Carlos released on No Fun). The contrast between "One Breath"'s crackling opening and its remarkably fluid and soaring sustained synthesized chords is a distillation of the album's lingering tension between electronics' ability to project mechanical rupture as well as the organic and the infinite _or "walking between dreams," as Carlos himself puts it. Produced by Lasse Marhaug (who also mastered Carlos' first solo album, Welcome Home, back in 2005), released by Stephen O'Malley (who I remember DJing at the No Fun fest), with cover art and photos by personal friends, Carlos considers the album a family affair. But Dream Walker most of all heralds a maturation of the artist, and stands as a record that exists out of pure desire, rather than obligation or force of habit; a statement of reconnecting with music not by merely revisiting it, but by building on what's come before, both in his own work and in the music he loves. -Alan Licht, New York, December 2023

nit is the genius underdog of the current French chanson scene. After playing along with Sébastien Tellier or Juliette Armanet (a huge success in France), after remixing Phoenix, Myd, Dita Von Teese, Cola Boyy, Tony Allen or Jane Birkin, here he comes with his debut album. The balearic sound is always a big nit influence, feel good electronics & lush acoustic chords.

Spotted by French label Record Makers (Sébastien Tellier, Kavinsky, AIR, Cola Boyy) with his 2017 “Dessous de plage” first EP, nit has since grown from funky DIY library music to a lush and complex groovy sound. The magic of this debut album “Big Bang Puzzle” is a keen sense of composition and an innate affinity for 90’s European electronica.
It’s a playful album, the work of an artist at the peak of his craft, determined to twist styles and references (Daft Punk, Ennio Morricone, Robert Miles, Vangelis...) in order to give them a new form.

“Big Bang Puzzle” is a tangle of psychedelic and cartoon-esque pieces, an abstract modernist painting of sounds inspired by vintage pop music. The cover, created by Swiss artist Flora Mottini, offers a first glimpse of his brand new universe.

But it’s also by collaborating with French iconic design studio H5 that nit suddenly enters the French Touch genealogy. nit takes the shape of an n that grows legs and arms to become a cheeky cartoon character traveling through a real space-time continuum. Parisian H5 studio has been involved since the end of the ‘90s in the design of strong visual concepts for French Touch’s elite (Etienne de Crécy, AIR, Mirwais). French music at its best from which nit is a direct descendant. And one who expands and opens even further: pop, italo-disco, trip-hop impulses, Morriconian cavalcades, lo-fi aesthetics, Caribbean music. Producer and mixer Lucien Krampf (Oklou, Ascendant Vierge, Casual Gabberz, CRYSTALLMESS) was the person in charge of mixing this ambitious record.

nit is both a question and an answer, and a musical enigma that pushes us to explore the far reaches of our imagination…

Feines Tier is entering its 60s together with Lithuanian lad Liudas Lazauskas aka Roe Deers and his „Landscape“ EP. We’re not exactly sure if those titular landscapes are to be understood literally, figuratively, metaphorically or all at once, nevertheless they are fascinating and a marvel to take in. Where and how do we start? With an (un)healthy dose of acid of course! „I’m very sorry (Acid)“ takes care of that, with the tune delivering everything the title promises, experience report included. Better make sure set and setting are right for this one! After that we’re taking a thrilling „Helicopter“ ride to „Glory“ and try not to loose our „Shoes“. Ok, that was a little cheap, I’m Very Sorry (Acid)! (Sorry again!) Anyway, to speak in strictly musical terms, „Helicopter“ is a banger. And „Glory“ is just beautiful with its gorgeous addictive swirling arps, while „Shoes“ keeps it cool tempo-wise and also mood-wise, creeping through some dark back-alleys with moody breakbeat drums and brooding synth chords. The penultimate „Silent Stories“ picks up the pace again a little bit, but gets even more grubby, hypnotic and seductive vocals included, before we get another face-melter with the closer „Sash“, which goes hard on the electric bass in your face, pitched-down vocals and some cowbells for good measure. Thank you Roe Deers for guiding us through these Landscapes for our 60th, the fresh air makes us feel like teenagers again.

Surface Noise, a brand new LP of well-turned guitar pop, complete with roaring chords and propulsive rhythms behind Dunlap's clever and cultured lyrics. Austin, Texas quartet Gentlemen Rogues celebrate aggressive guitar pop anthems _ bearing the influences of The Replacements, Superdrag, Jawbreaker, and similar visionaries _ and have been gaining momentum and increased attention. Since their debut in 2011, the band _ Danny Dunlap (guitar/vocals), Josh Power (drums), John Christoffel (guitar), and Dave Hawkins (bass, vocals) _ have honed their hooks over numerous singles, EPs, and the 2022 full-length collection, A History of Fatalism. Gentlemen Rogues have supported diverse acts like the Lemonheads, Smoking Popes, the Dandy Warhols, Mrs Magician, and Riverboat Gamblers on stages across the U.S. and the UK. In 2021 Gentlemen Rogues opened for both indie-punk icons Superchunk and Bob Mould, who personally selected the band to provide sole support on the Texas leg of his Distortion and Blue Hearts tour. Little Steve Van Zandt, Springsteen's steady side-kick, has been strong supporter, Pressed on Transparent Electric Blue vinyl! Includes hand-numbered obi-strip and download card.

One of the longest-serving and most consistently intriguing artists within the fold of Phantasy, U returns to the label with another two-track trip of sonic mystery and erratic magic, ‘Parade/Watchers’.

Presented on limited-pressing 12” vinyl with a sleeve riso printed by U with London's Error Press.

With the texture and earthy promise of a psychedelic mulch, ‘Parade’ presents a glorious timelapse of acid-inflected minimalism. Unfolding defiantly at nearly fifteen minutes, U’s driving but subtle composition transports from guttural, electronic uncertainty to a wide-eyed denouement in one illusionary transition.

With inverse effect but no less power, ‘Watchers’ unexpectedly drops listeners into a rough wash of digital hardcore, spinning it’s initial warehouse chords into a collage of decay and regrowth, a nephilim-scaled journey and arguably U’s most ambitious production to date.

Reissue of early Japanese house outing by Junichi Soma, Shuji Wada and Katsuya Sayo. Comes with insert with liner notes.

All musical movements require a spark to set them alight; in the case of Japanese house music, that spark was provided by the forward-thinking resident DJs of The Bank in Roppongi, Tokyo. In 1989, to celebrate the ground-breaking club’s first birthday, the venue released a 12” EP featuring first-time productions from three of its DJs, Junichi Soma, Shuji Wada and Strong Katsuya AKS Katsuya Sayo.

Widely considered to be one of the first ever EP of house music produced in Japan, 1st Unit was never officially released. Instead, 500 of the 1000 copies pressed were given away at The Bank’s first birthday party, with the rest initially being sold not in local record stores, but rather the venue’s own in-house shop. Three decades on, the 12” is finally set to get its first worldwide release via Rush Hour’s Store JPN Series.

The record has its roots in The Bank’s willingness to give its ever-changing roster of DJs a free hand to play what they liked – at the time a rarity in Tokyo nightclubs, whose musical offerings usually revolved around strictly defined playlists. At The Bank in 1989, it was not only common to hear European body music and the kind of post-disco New York productions associated with Larry Levan’s sets at the Paradise Garage, but also acid house – something not offered at the time by other clubs in the city.

This cutting-edge blend of sounds, combined with the venue’s unique decor (it was modeled on the inside of a London bank, complete with a cashier’s window to take entrance fees), made The Bank a go-to spot for young party-goers, celebrities and forward-thinking Japanese musicians (Ryuichi Sakamoto was reportedly a weekly visitor).

When it came to celebrating the club’s birthday by cutting a unique record, it made sense for The Bank’s owners to turn to three of their most exciting resident DJs, who were assisted by Heigo Tani and Jun Ebi. The collective name, 1st Unit, was chosen to reflect the fact that all three resident DJs were debutants with no previous studio experience.

As this reissue proves, the music remains timeless, magical, and authentic to the sound of American house productions of the period – albeit with occasional twists,. Katsuya Sano’s EP opener, ‘I Need Love’, sounds like a twist on Larry Heard productions of the period – all jacking TR-909 drums, undulating analogue bass, dreamy JUNO synthesizer chords and evocative vocal samples.

The influence of Chicago acid house is also evident on Junichi Souma’s ‘Ubnormal Life’, whose unusual title contains what he says was an intentional misspelling. Driven forwards by restless drum machine handclaps, sweet chords and rising and falling melodic motifs, the track is an energetic and uplifting treat.

Perhaps the most influential of the three tracks at the time – within Japan at least – was Shuji Wada’s similarly misspelled ‘Endless Load’. Deeper and more melodic with a more expansive arrangement, the track’s combination of marimba-style lead lines, tribal drum patterns, dreamy chords and jazz-funk influenced bass offered a loose blueprint for the more successful and better-known Japanese deep house tracks that followed.

San Diego based psychedelic blues trio Radio Moscow's fifth studio album, "New Beginnings", reissued on vinyl on April 19th via Svart Records Formed in 2003, the power trio led by Stratocaster genius Parker Griggs carved their own sonic niche fusing crunching, heavy Black Sabbath -style chords with fiery "Hendrixian" solos and a raw intensity that is addictive and captivating. From the self-titled debut back in 2007, which was produced by Black Keys' Dan Auerbach, over to "Live! In California" from 2016, RADIO MOSCOW proved to be a direct descendant from the golden age of rock 'n' roll

Scottish Techno wizard Astro joins PIFF Records on their landmark tenth release, with 5 cosmic and groovy belters.

Having recently found success with his own Neptune Discs imprint and regularly performing up and down the country, Astro has firmly established himself as one to watch in the techno sphere.
Opening with the title track, Astro combines a relentless bassline with dubbed-out chords and spacey leads. Echoing space-age soundscapes and futuristic sounds of 70s kosmische musik and 90s techno, Astro makes good on the aesthetic promised by his artist name.

Astro brings down the tempo for the hypnotic Cloned Substance. A mesmerising hat pattern combines with delay-drenched leads and a bouncy bassline to create a track intent on capturing the listener in a state of trance.

Thunderstorm adheres to the tried-and-tested Astro combination of a thick bassline, spacey stabs, and continuously evolving drums. As to be expected, the results are spectacular. Irresistible grooves and rich soundscapes are the order of the day as Astro delivers once again.

A haunting and proggy FM-lead acts as the foundation for Pluto, underpinned by a sub-heavy kick and tranquil chords. The meditative ebb and flow of various elements masterfully expresses the solitude of the track’s namesake.

Planetary Blitz closes the EP as a digital bonus track. Expanding on the spaced-out motifs of the previous track (as reflected in the track title), Astro substitutes chord stabs and warm basslines for a driving blend of punchy kicks and a subtle glittery guitar.

finally repressed !

ARCHIELONG LP album consists of 8 intensely rolled tracks dating between 2012-2020. The release unfolds on 4 discs of 180gr, with gatefold covers, coated in Sani Stranskiʼs artwork.

Throughout ARCHIELONG LP, we are absorbed by what typically characterizes his narrative: a peculiar style of story in constant development. Structure and flow are a hallmark feature of his selections, adding one more trippy, eerie minimal style on top of the other, creating a rich and quirky haunted sphere.

A – The opening track, I HEAR VOICES THROUGH THE PIPE sets the scene for whatʼs to come, stirring the imagination with its dreamy, cinematic, organic sounds in disguise. The track provides a guidebook to distilling story, emotion and image into sonic form.

B – EXCESS ALL AREAS – hypnotizes the dancers with endless, reverberating grooves and a punchy 4/4 beat, introducing the audience to his gloomy world of emotions.

C – LA MANIA – lights up some dark pitched atmosphere around you and makes you feel like you are on the mythical La Mania club dancefloor in complete harmony, surrounded by strange and beautiful trippers. The song is like a painting, with frames that evoke flashbacks.

D – NEW LIFE – is a perfect minimalist setup of a percussion loop, throbbing chords and a sinewy walking bass, and itʼs almost intimidatingly heady. Its militant kick and incessant hi-hats propel the beat – definitely a dancefloor highlight.

E – MELODROM – percolates with Latin percussion and shuffling snares, which commingle with an array of voices and whispers that come from every corner of the song. From toolish to melodic, itʼs the diversity that creates the magic.

F – SING AND RUN – is one of those tracks that gives you nostalgia and reminds us of early mornings at the end of the party when the sun would be coming in through the windows and the dancefloor was in total harmony. Could easily cast a spell with the right audience.

G –RUMBLING DREAM – is a ritualistic-sounding slice, crossing towards the kind of slow-burning, atmospheric cuts that doubtless inspire his intricate studio productions. The vocals are unusually illustrative and make a lasting impression.

H – KLAUS DID IT – is an intriguing interplay between dark functionality and high velocity grooves — the type of deep, trippy, IDM-tipped tunes. Its warped tones are forming dank, lurching rhythms that trap you like a spiderweb, venturing into a bizarre, rewarding territory. The conclusion? You can spend a decade honing a very particular personal vision and not run short of inspiration. Mihigh is a world-builder: everything he does is about further extending and reinforcing that world.

ARCHIELONG LP is capturing the beauty at the intersection of experiment and perpetual learning

n Greyscale's continued focus on evolving and expanding the experience of the label, we have some exciting news to share with you. We are launching a new series on Greyscale - the Spectrum Series! This premier outlet will be dedicated to the most special and colorful projects, stepping away from our usual black and white visuals. For the first project, we dug in the vaults and chose to put out a legendary Lithuanian dub track - “Kasdienybės Šventykla” by grad_u & Eazystyle MC. It was recorded back in 2009 which means we are celebrating its 15 year anniversary! Back in 2011 we recorded an English version and released it as a double CD that came with a string of memorable remixes. Now, and for the first time on vinyl and in
the true roots of dub, released on a special 10” record. But that's not all! Each new Spectrum release will include a full cover print with specially created artwork.
For those that are new to the track, 'Kasdienybės Šventykla' is a pure representation of the origins and the lineage of dub music from the 70's and early 80's. As a result, you will find the full vocal on the A-side while the instrumental graces the B. On the original, you have Eazystyle MC wherein he speaks about what is most important in the world...everyday life. "Don't look far, because you will find everything here..." he urges us all to keep the world small and focus on the things right in front of you and the environment you live in every day. Wise words to live by. Ones that resonate as well as the cool echoed out chords do. We couldn't think of a better way to kick off the Spectrum Series! This sets the stage for a new and exciting extension
to Greyscale that we know you will love and enjoy. With grad_u at the wheels we can trust in his direction to lead us.

On "The Best EP", Chengdu-based artist B.AI shows she can not only write memorable hooks but can do so while covering a broad array of registers. One of her most enticing feats is her ability to make the minimal, electro and tech house genres she navigates her own by injecting them with a unique sense of melody. "Nightdreaming" is a moody builder: although new, sturdily patched layers keep being introduced and the pace never slows down, a sense of restraint remains. This atmosphere quickly changes on "Satisfy", which, with its tapestry of indeterminate arpeggios and EBM-evoking vocals, takes a nervous turn. "The Best" on the B-side is a slab of vigor tailored for the peak time. Set to an effective bass groove, modulated chords, white noise sweeps, delicately mixed moans and bright pads nearly trip one over another. On "Crash Landing On Nimas" B.AI , together with Diego Santana, unleashes a batch of detuned and portamento heavy square wave patterns. The EP, diverse yet balanced, ends on a note so ominous...

Dombrance is back with a colourful new EP on Discolypso featuring two new songs and remixes from a stellar cast, including Francois K, Lindstrom,

Dombrance has been described by The Sunday Times as a 'French Jarvis Cocker with a bushy moustache and flares'. He is a musical maverick who last year released his debut full-length album and performed relentlessly across the globe from Glastonbury Festival to Downtown Los Angeles, a set before Underworld at Tropico Festival in Mexico and many more.

‘Bayrou’ is a politician who had to leave the government barely after entering it after being indicted for embezzlement of public funds. It’s a timeless electronic disco sound with sugary chords and glistening arps that bring cosmic warmth to the retro-future beats. ‘Cope’ is a politician who disappeared suddenly from circulation after publicly mistaking the price of a ‘pain au chocolat’. The fantastic tune is a prickly seven-minute disco odyssey with pulsating synth sequences and crunchy percussion. It’s twitchy and edgy and perfect for peak time.

First to remix is the legendary Francois K, who flips ‘Cope’ into a psychedelic wonder that navigates in different directions and through several genres that will make dancers lose their minds. Scandi-disco king Lindstrom then comes through with an exotic remix of ‘Bayrou’ that makes you imagine a cocktail pool party filmed by David Lynch.

HIGHLIGHTS We are happy to present here two Tropical versions of massive disco hits that retain all the party spirit of the originals. 'Da Ya Think I'm Sexy' (Rod Stewart) by La Cumbia Moderna de Soledad is a playful mix of the old and the modern that guarantees some dancefloor heat each time the needle hits the surface of the vinyl, and the Machuca Cumbia rendition of Bee Gees 'Stayin' Alive' becomes a dancefloor winner full of hypnotic percussions and guitars. A perfect follow-up to the acclaimed previous singles in our 'Tropical 45s series' that so far has included recordings by the likes of Jimmy Salcedo or Sebastiao Tapajos/Pedro Dos Santos. DESCRIPTION Few melodies have been played so many times on radio, movies or TV commercials as these two compositions from the golden age of mainstream disco music. Top international hits and iconic milestones of an era, both songs are immediately recognizable after just a few chords by almost anyone on this planet. These two compelling tropical versions retain all the party spirit of the originals, guaranteeing some dancefloor heat each time the needle hits the surface of the vinyl. A perfect follow-up to the acclaimed previous singles in our 'Tropical 45s series' that so far has included recordings by the likes of Jimmy Salcedo or Sebastiao Tapajos/Pedro Dos Santos. In the rendition of Rod Stewart's 'Da Ya Think I'm Sexy' we find a playful mix of the old and the modern made by Pedro "Ramayá" Beltrán, signed under his project La Cumbia Moderna de Soledad; a group from Barranquilla, Colombia, that recorded a set of songs that exudes both tradition and innovation. Machuca Cumbia, a Colombian studio band under the direction of "Cachaco" Brando, add some unexpected cumbia arrangements to the Bee Gees 'Stayin' Alive ', resulting a dancefloor winner full of hypnotic percussions and guitars that, at times, even recall other genres such as surf.

The Lunar Effect lift up cosmic spirits with "Sounds of Green & Blue" album, out in April via Svart Records The Lunar Effect, sonic architects known for their gravitational pull of fuzzy, snarling riffs and psychedelic visions, proudly announce the release of their latest album, "Sounds of Green & Blue," available to pre-order now through Svart Records. “Sounds of Green & Blue” is a galactic journey through sound that showcases The Lunar Effect’s evolution and marks a pivotal chapter in their musical odyssey. Formed in 2016, The Lunar Effect burst onto the scene with a distinct blend of grunge and retro hard rock. With a flair for hair and a penchant for barbed and growling riff work, the London-based quartet quickly garnered attention for their dynamic sound and Blues rock reverence. In 2019, they crash-landed onto the Stoner Rock scene with their debut album, "Calm Before the Calm,” firmly establishing themselves as a force to be reckoned with. "Sounds of Green & Blue" sees The Lunar Effect expanding their sonic scope and bending all the elements and eras of Classic Rock into their own unique mold. The album is a testament to their musical growth and willingness to explore new territories while maintaining the brooding vintage sound that defines them. Each track is propelled into orbit by the low-end buzz of distorted chords, powerful enough to blow the moon-dust off your amp. The first single from the album, "Pulling Daisies," is a bristling sojourn that encapsulates the band's celestial rock influences. The track combines classic Blues tones, fuzzy guitars, swirling ethereal vocals, and a dusty, hypnotic rhythm that transports listeners from the past into a screaming, paisley, future wonderland. "Pulling Daisies" sets the controls for the heart of the moon, showcasing The Lunar Effect's ability to craft immersive and soul side musical experiences. From the heyday of The Beatles, Floyd, Zeppelin and Sabbath to newer artists like Graveyard, Radio Moscow and Red Fang, The Lunar Effect have created a masterclass in Psychedelic Rock that takes you firmly by the collar. With a palette that also includes shades of the 90s Grunge scene like Nirvana and Soundgarden into their heady mix, The Lunar Effect paint their own trippy world, where genres blur into their unique brew of heart-felt space rock. "Sounds of Green & Blue" by The Lunar Effect is proudly released by Svart Records, a label known for its commitment to uncovering high-quality, diverse, and boundary-pushing music. Svart Records continues to be a platform for artists who defy conventions, push the boundaries of their respective genres, and break out of the underground.

The Lunar Effect lift up cosmic spirits with "Sounds of Green & Blue" album, out in April via Svart Records The Lunar Effect, sonic architects known for their gravitational pull of fuzzy, snarling riffs and psychedelic visions, proudly announce the release of their latest album, "Sounds of Green & Blue," available to pre-order now through Svart Records. “Sounds of Green & Blue” is a galactic journey through sound that showcases The Lunar Effect’s evolution and marks a pivotal chapter in their musical odyssey. Formed in 2016, The Lunar Effect burst onto the scene with a distinct blend of grunge and retro hard rock. With a flair for hair and a penchant for barbed and growling riff work, the London-based quartet quickly garnered attention for their dynamic sound and Blues rock reverence. In 2019, they crash-landed onto the Stoner Rock scene with their debut album, "Calm Before the Calm,” firmly establishing themselves as a force to be reckoned with. "Sounds of Green & Blue" sees The Lunar Effect expanding their sonic scope and bending all the elements and eras of Classic Rock into their own unique mold. The album is a testament to their musical growth and willingness to explore new territories while maintaining the brooding vintage sound that defines them. Each track is propelled into orbit by the low-end buzz of distorted chords, powerful enough to blow the moon-dust off your amp. The first single from the album, "Pulling Daisies," is a bristling sojourn that encapsulates the band's celestial rock influences. The track combines classic Blues tones, fuzzy guitars, swirling ethereal vocals, and a dusty, hypnotic rhythm that transports listeners from the past into a screaming, paisley, future wonderland. "Pulling Daisies" sets the controls for the heart of the moon, showcasing The Lunar Effect's ability to craft immersive and soul side musical experiences. From the heyday of The Beatles, Floyd, Zeppelin and Sabbath to newer artists like Graveyard, Radio Moscow and Red Fang, The Lunar Effect have created a masterclass in Psychedelic Rock that takes you firmly by the collar. With a palette that also includes shades of the 90s Grunge scene like Nirvana and Soundgarden into their heady mix, The Lunar Effect paint their own trippy world, where genres blur into their unique brew of heart-felt space rock. "Sounds of Green & Blue" by The Lunar Effect is proudly released by Svart Records, a label known for its commitment to uncovering high-quality, diverse, and boundary-pushing music. Svart Records continues to be a platform for artists who defy conventions, push the boundaries of their respective genres, and break out of the underground.

Techno luminary Keith Carnal returns with his latest EP, "SEC009," a four-track sonic odyssey that epitomizes his distinct style. From pulsating rhythms to introspective melodies, Carnal showcases his mastery in crafting immersive techno experiences.
"SEC009" features Carnal's hallmark blend of driving beats and emotive chords, inviting listeners on a captivating journey through the depths of electronic music. With tracks that range from high-energy underground stompers to introspective compositions, the EP highlights Carnal's evolution as an artist while staying true to his roots.
Set to release on April 8 on his label SEC NDº (Second Degree), "SEC009" promises to captivate audiences worldwide with its infectious rhythms and undeniable energy. Available in your favorite record store, this EP solidifies Keith Carnal's position as a leading figure in contemporary techno music.

Here at Four Flies, we kind of feel we need a bigger word than 'proud', this time, to present, in collaboration with Beat Records, the first-ever release of the original soundtrack written in 1976 by Guido & Maurizio De Angelis for the legendary Squadra Antifurto, the second chapter of the comedy-infused crime saga directed by Bruno Corbucci and starring Tomas Milian as the iconic Italian Police Marshal Nico Giraldi.

The excitement in this case is nothing short of gigantic, difficult to rein in for those who, like ourselves, grew up adoring the character played by Milian as one of our cult heroes, and dreaming that the soundtracks of the first three films in the saga – the only ones composed by the De Angelis brothers – would one day be released.

Since the launch of our label, Squadra Antifurto has been at the top of the list of film scores we most wanted to release. Until a few months ago, this dream of ours seemed destined to remain just that, so strong was the conviction in all of us that the master tapes were definitively lost, that they had forever vanished into thin air. That's why their recovery, made possible by Maurizio De Angelis himself and the persistence of our friends at Beat Records, is an extraordinary feat.

Nearly 50 years after it was first heard in cinemas, the soundtrack penned by the De Angelis brothers is resurrected in its entirety and can finally shine its incredible power all over us.

Beautifully seeping through this score – like many others composed by the golden duo in the 1970s – are elements from the Italian, and especially Roman, folk tradition, for instance in the warm, heartfelt ballad sung by Alberto Griso, "E nun ce voio sta," which first plays in the opening credit sequence and is then reprised in various forms throughout the film, culminating with the soul-stirring orchestral version that closes the album's tracklist.

But as in any Italian crime film worthy of that name, a different soundscapetakes centre stage: it's the music that accompanies the countless scenes of tension, action, and pursuit that punctuate the film, and which has made us fall madly in love with this score.

The main theme is a prog-funk joyride, drawing inspiration from the traditional tarantella but elevated to irresistible energy thanks to a rock orchestration featuring psychedelic flutes, wild percussion, distorted electric guitars, piano chords, and various feedback and delay effects.

The resulting groove is just mind-blowing, and we almost can't believe it's finally available on a record, completely remastered for vinyl.

We really couldn't be prouder, and dedicate this release to all passionate fans of Italian crime films, the De Angelis brothers, and Tomas Milian aka Nico Giraldi.

Available starting April 12th on standard black vinyl and limited coloured vinyl (transparent amber, limited to 300 copies).

RFXN kicks off life with a new single from David Agrella that comes with a bunch of great remixes. First off he offers up his own Acid Mix of 'Perro Balearico' and it's a supple, deep and dubby track with liquid synths and prog chords that sound both retro and future all at once. The orange is a more dreamy and spaced-out sound for 5 am sessions. On the flip is a more punch but still silky and warmly melodic remix from Mario Liberti before last of all, Gabriel Rai gets darker. His drums hit harder and the synths are moodier as he takes dancers down a late-night path of mystery and intrigue.

Modern funk meets house on Moniquea's 'Red Light,' produced by XL Middleton. Bouncy synth bass and leads give this one a recognizably west coast feel, but the pulsating house beat and detuned chords give this one appeal for dance floors everywhere. The '97 Remix on the b-side nods to Moniquea's g-funk roots while the bonus Applejac remix of 'Hate To See It blends dance-oriented sensibilities with thick synth strings that hearken back to peak-era Neptunes productions from the 2000's.

A two-track 12" with fresh artwork and a nice heavyweight pressing, with one side taken by each artist. Sy Sez kicks off 'Change Da System' with dub-wise vocals which then make way for a tight, taught, bouncing house groove with fat bass. Things are utterly different on the flip with Leeds legend and sometime Nightmares on Wax collaborator offering the deep house delights of 'Knights' with its soulful vocal whispers, intimate late night chords and warm, candle-lit vibes.

Octave One stride into 2024 with a fresh four-track EP that once again showcases their unique take on techno with three new versions of classic tracks alongside an all-new cut.

Detroit's legendary Burden Brothers had a big 2023 that saw them release their superb Never On Sunday album, which was a nod to their 90s downtempo project of the same name. The bumper collection traversed deep techno, house, and tech in their usual inimitable style while the pair themselves continued to push techno forward with their incomparable live show at the world's most notable clubs and festivals. They now show that their creative reserves continue to run deep with four more essential tracks.

The first one is a new Mothership Remix of 'Price We Pay' with long-time vocal collaborator Karina Mia. The original appeared on Never on Sunday and this version comes on strong with vast rubbery kicks powering a deep and seductive groove. Muted synths roam down low while twinkling melodies fall from above next to the controlled, soulful vocal. The superb 'Mirror Image' is a new track that rides a heavy broken beat. Downtempo chords are melancholic but stirring and have a dramatic sense of finality to them.

'A Better Tomorrow' also gets a new Mothership Mix following its original release on the Burn It Down album back in 2015. Here it is a surging cut with funky guitar riffs and bleeping synth sequences that bring to life the thundering low end. It's a hi-tech and soulful fusion of the organic and the synthetic that will blow the roof off.

Last of all is a Mothership Instruments version of 'Price We Pay' that powers along on thudding drums with edgy synth stabs riding up and down the scales. Deft keys shine and twinkle and signature Octave One arps break out at the midpoint to take things to a higher level.

These are four more classic techno sounds steeped in great synth craft from The Burden Brothers.

Early Moods’ sophomore album A Sinner’s Past is the ultimate dosage of classic early 70s proto-metal, 90s grunge riffing and timeless songwriting delivered with an explosive youthful energy. The Los Angeles area quartet burst onto the scene fully formed with a sound that somehow simultaneously merged gritty underground Street Doom with slick “big box” Heavy Metal melodies on their self-titled RidingEasy debut album in 2022. And it’s the band’s highly skilled musicianship paired with exquisite aesthetic taste — in addition to their killer live show — that has made them an immediate popular favorite. A Sinner’s Past takes those elements several steps higher with a nod to Soundgarden’s huge sonic depth, the low-mid fuzz drenched tones of Sabotage and classic 70s melodies and structures of Ulli Roth-era Scorpions. The latter in particular inspiring the album’s intricate tonal shifts and shimmering twin leads. “I’m very proud of these songs,” says guitarist Eddie Andrade. “We did a lot of different things, took a lot of chances and show a lot of growth, and I think people will pick up on it. I was trying to use more open chords, not the typical styles. We came off touring with Candlemass and Pentagram, sharing those shows with our heroes really pumped us up. We went into the studio just hungry to record.” The album was recorded near the band’s home base in Pico Rivera, CA by Allen Falcon of Birdcage Studios, who also mixed their debut album. “He’s a good friend of the band and we wanted to be more comfortable, in a relaxed environment for this,” Andrade says. “He had a lot of input and his ideas made a lot of impact on this recording.” The band started recording in May 2023, then worked on the album on and off for 3 months between tours, which also lends to its very refined sound. Early Moods was founded in 2015 by Andrade and vocalist/keyboardist Alberto Alcaraz after a few years of playing in thrash and death metal projects before the two realized that the classic doom that they’d grown up with was what they really wanted to explore. Going through a few lineup changes while delving deeper into the diverging influences that were calling, Early Moods arrived at the sound and lineup that grew their fanbase locally. The band released their debut EP Spellbound in 2020 on German label Dying Victim Productions, followed by their self-titled debut full length on RidingEasy Records in 2023. Early Moods is Oscar Hernandez on lead guitar, Chris Flores on drums, Elix Felciano on bass, Alcaraz on vocals/synth and Andrade on guitar.

2024 repress!

Montreal. 1983. In the studio, Denis and Denyse LePage once again marry their musical ability to produce a romance streaked electro disco gem. Fast forward three decades and the husband-wife partnership of Lime may be forgotten by some, but not by all. Odessa pays homage and treats you to a Private Disco Show. Synth lines are buffed and allowed to shine once again. Vocals take a back seat as glittering notes are given centre stage. Bright beaming bars, cascading chords and heady harmonies bob and weave in this refreshing of a true classic.

The fourth leg on the early emo table of Rites of Spring, Moss Icon, and Cap'n Jazz, Indian Summer's Giving Birth To Thunder compiles their complete discography. Emo's second wave crashed into the Bay Area in the summer of 1994 in a rage-filled capsule of quiet and loud, octave chords, angry sons, Spock haircuts, and screaming. At the eye of this pissed-for-the-hell-of-it storm were Indian Summer. In the quartet's 12-month existence they wrote ten songs, appeared on a dozen singles and comps, and played over 100 gigs across the U.S. and Canada before burning out, passing out, and moving out of their Blue House in Oakland. Their hand-screened aesthetic is replicated in alarming detail in the accompanying by 24- page book with detailed liner notes, flyers, and miscellaneous propaganda.

MASK’s ZentaSkai & Laura Merino Allue announce vinyl-only underground house and techno series as Cuddling Monsters.
Cuddling Monsters serve up the first vinyl-only volume of a new self titled series on Berlin-based Mask Records. All four cuts explore deep and classy techno, dub and house soundscapes with the aim of rediscovering the soul of electronic music and forming new bonds between human creativity and technological innovations.
Cuddling Monsters is the coming together of creative partners ZentaSkai and Laura Merino Allue. ZentaSkai is the MASK founder recognised for his immersive, hypnotic groove, and Allue is a fashion and graphic designer. They are newly assembled under this alias but have a long-time love of vinyl and analogue machines, which shows in their sounds.
"Crafting music with analogue instruments holds profound importance in the contemporary musical landscape. Despite the omnipresence of digital technology, analogue instruments maintain a pivotal role, offering distinctive sonic qualities, creative constraints, and genuine sound reproduction. The tactile, hands-on connection." - Cuddling Monsters The superbly deep and atmospheric 'Lucky Star' is a dubby minimal cut with a deft rhythm and warm pads that are perfect for cosy back rooms. The absorbing 'Crystal Growing' is another stripped-back techno roller with rubbery drums and pensive chords that lock you into a state of meditation. Up next is the powerful 'Floating Tank' which pairs gorgeous ambient synths with driving drums. It's a great coming together of the physical and the emotional that will take dance floors to the next level. 'Analog Dreams' shuts down with more perfectly smoky pads and grainy lo-fi atmospheres as slick but driving drums power onwards.

Out of print as a stand-alone release for decades since its original 1974 issue. Produced by George Harrison, Shankar Family & Friends is an almost-forgotten masterwork – an emotional and sonic pact between two like-minded souls to both advance their spiritually minded bond and unite musical styles, cultures, and sounds in wondrous fashion Contributions from Ringo Starr, David Bromberg, Billy Preston, Nicky Hopkins, Jim Keltner, Klaus Voorman, and a host of virtuosic Indian musicians add to a diverse album that melds Eastern and Western traditions; encompasses jazz, funk, bhajan, Indian, and pop; and represents the spirit and breadth of Harrison's Dark Horse Records imprint.

Memorable contributions from an A-list of American and English musicians — Ringo Starr (drums), David Bromberg (electric guitar), Billy Preston (organ), Nicky Hopkins (piano), Jim Keltner (drums), Klaus Voorman (bass), Robert Margouleff (Moog), Malcolm Cecil (Moog), Tom Scott (saxophone) included — add to the richness of a set that melds Eastern and Western traditions. These “names” mesh with a host of Indian virtuosos — Alla Rakha, Ashish Khan, Kamala Chakravarty, Hariprasad Chaurasia included — who turn Shankar Family & Friends into a journey laced with percussive, string, and vocal components that aren’t soon forgotten.

Throughout, Shankar Family & Friends remains true to its title — a mesmerizing record named to reflect the group participation approach of its creators. The idea started when Shankar told Harrison about a ballet he wrote. The Beatle, who first met Shankar in June 1966 — roughly a year after Harrison became interested in Indian music after overhearing it in a restaurant while filming Help! — immediately was convinced they needed to record it. Harrison’s staunch admiration of Shankar and serious approach to Eastern styles are reflected throughout the album.

Indeed, for Harrison, Shankar Family & Friends marks the culmination of a years-long effort to master the sitar, study Hinduism, and incorporate elements such as drones, unusual chords, and expressive picking into his own songs. The seeds of this unique collaboration can be heard in Beatles works such as “Norwegian Wood,” “Love to You,” and “Within You Without You.” Both musicians were also fresh from performing at the 1971 Concert for Bangladesh shows. Yet Shankar Family & Friends remains entirely unique in each visionary artist’s history — and ultimately, led to a collaborative tour Harrison and Shankar staged across North America.

Encompassing jazz, funk, bhajan, Indian, and pop, Shankar Family & Friends is thematically split into halves. Side One reveals Shankar’s uncanny ear for melody — even when applied to Western forms. The lead-off “I Am Missing You,” the first single ever released by Dark Horse Records and reportedly the first pop composition Shankar completed, underscores his skills as a composer and global ambassador. Beautifully sung across three octaves by his sister-in-law, Lakshmi Shankar, the devotional song features multiple drummers and production that mirrors Phil Spector’s Wall of Sound approach. Harrison plays autoharp and guitar; Starr sits in on drums; Scott handles flute and soprano saxophone. It’s the inviting start of a musical adventure teeming with color, majesty, and mysticism.

A second version of the track — designated with a “(Reprise)” tag — appears minutes later. Unfolding in different ways, it follows a folk ballad structure stitched together with Indian instrumentation. Here, according to Shankar, the musicians “attempted to convey the sounds and atmosphere of Vrindavan, the ancient holy place where Krishna grew up.” Both renditions speak to the cross-continental fusion that came so naturally to Harrison and Shankar, whose oversight on the side’s other vocal tracks ensures listeners familiar with Western methods gain easy access to the hypnotic allure of his native country’s music.

Nowhere is this more evident than on Dream, Nightmare & Dawn (Music for a Ballet), the side-long piece that served as the genesis for Shankar Family & Friends. Launched with an airy overture and unfolding across three movements, the mostly wordless suite features everything from call-and-response interplay and classical lyricism to uptempo dance figures, stacked rhythms, and intoxicating grooves. Blurring the lines between contemporary and traditional, and Western and Eastern, the inspirational work is the exclamation point on a record that defined “world music” well before the term became co-opted as a catch-all genre.

Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

Steeped in the sounds of electro disco, italo and new beat, Ace Vision is an artist raised on the synthesizer traditions of Italy.

Following on from his debut EP,”Not An Ordinary Story”, the musician returns with four pieces of crafted electronics; Snapping percussion lays a path for arcs of melody, bruised bass and computer game chords for the driving energy of “Enigmatic Flow.” The same rhythmic strength is carried into “Middle of the Night.” Kicks and snares are the foundation from which perfumed keys ascend. In the exquisite “Goodbye,” warm analogue waves are punctuated by beats while rolling arpeggios and soaring lines drift above vocoder lyrics. “Synthpop Voyager” ends the EP. Warm playful melodies are central in this elegant and emotional finale, crisp drum patterns being the central columns around which Ace Vision weaves his analogue tapestry. Four tracks that tell a very different musical tale.

US-based producer MACK LOENZ makes his Lone Romantic debut with the beautifully anthemic ‘Dance With Me’. Centred around its captivating vocal, ‘Dance With Me’ layers its sounds throughout. Pulsing bass, half-time kicks and rasping snares, are adorned with powerful synth chords, chops, and aquatic flourishes. The track builds, yet never peaks, always maintaining its sense of stripped elegance and mystery throughout.

Maceo Plex, fresh from the release of his critically acclaimed new album ‘’93’, makes a swift return to the label to lend his signature touch to ‘Dance With Me’. Initially drawn to the beauty of the original, the Lone Romantic boss now deftly reimagines the track, slowing the tempo, amplifying the vocal and adding a cinematic propulsion to synths that results in a spine-tingling rework.

‘Dance With Me’ (incl. Maceo Plex Remix) by Mack Loenz is available on Lone Romantic from 21st March 2024.

Polycarp boss Simon Ferdinand delivers the cinematic electronica ‘Six Months’ EP in 2024, recorded across this time period and influenced by travels to Sicily, Baltimore and Zanzibar.

Hamburg, Germany’s Polycarp is the brainchild of Simon Ferdinand and has been active as a platform for the music of Simon under his own name, Basch and their music together as Bonn, as well as further notable artists such as Tilman and Johannes Albert. Here, Ferdinand returns to the imprint with another solo sonic adventure, traversing through a range of emotions and influences with elements of glitch, ambient, electro, breaks, EBM and more instilled within the project.

‘Broken’ leads the release and sets the tone through an amalgamation of hazy, glitched out jazz loops obscured and processed throughout. Title-track ‘Six Months’ then shifts towards a more ethereal deep house aesthetic with cossetting textures, stuttering synth
chords, elongated bass drones and jazzy organic drums. ‘In The Lab’ follows next and sees Basch join forces with Simon to create a haunting slice of broken beat deepness fuelled by murky low-end pulsations, saturated drums and gritty stab sequences.
First up on the flip-side is ‘The Beginning’, shifting gears towards classic electro tropes with boomy 808’s, unfurling arpeggios and twitchy resonant synth bleeps before ‘Santa Maria’ rounds out the release with a contemporary electronica feel, fusing fluttering square wave bass lines, crisp amen breaks and intricately intertwined textural elements.

Everybody's still talking about the good ol' days! A rough and rugged collection of Numero Group classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the thirteen chambers of Shanghai'd Soul have led a generation of lyrical chefs and production geniuses to compose some of their most ominous hip-hop. Bound by heavy drums, moody chords, and haunting melodies, Gods and Earths alike will appreciate the raw funk and smoother-than-a-Lexus soul that come together like Voltron on this special compilation.

Everybody's still talking about the good ol' days! A rough and rugged collection of Numero Group classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the thirteen chambers of Shanghai'd Soul have led a generation of lyrical chefs and production geniuses to compose some of their most ominous hip-hop. Bound by heavy drums, moody chords, and haunting melodies, Gods and Earths alike will appreciate the raw funk and smoother-than-a-Lexus soul that come together like Voltron on this special compilation.