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After the worldwide success of Toribio's "Bring Dat Jazz" 12", selling over 1K units worldwide - the mainstay NYC producer returns with another record on his own BDA Imprint (in collaboration with A-Trak and Chromeo's label Juliet) for a special 12" with a Crackzat remix.
"Daylight" is a warm, uplifting deep house jam with skippy beats, warm rhodes, bass and percussion. Vocals come from Toribio's sister Sharin
with an uplifting message referencing classic 90s house lyricism.
Originally released digitally in 2024, the raw humility of that song won the hearts of listeners the world over, with nods from Resident Advisor and Spotify's coveted Pollen playlist.

Coming in next on the 12", the always on Crackazat turns up the musicality even further, with cascading pianos and strings that anchor the emotion of "Daylight", with a sly bassline nod to Speed Garage sounds. Another hit from Bristol's masterful jazz-house expert.
Also included on the 12" is Toribio's stripped down, deep-in the groove Alternate Mix.

John Gosling (aka Mekon) the English big beat/industrial musician and electronica producer, is set to launch his new label Hua Hua (pronounced wah wah) with an 11-track compilation album this July. A quick scan at some of the featured artists showcases a line up of legends - eighties rap sensation Schooly D sitting alongside Primal Scream mainstay Bobby Gillespie and John’s recently departed punk hero Alan Vega - even Roxy Music’s saxophonist and founder member Andy Mackay makes an appearance. And while John’s electronic alter ego Mekon is always on hand to remix and arrange, he’s far from the only producer behind the proverbial wheel.
“It’s stuff I had lying around and now I am finding ways to get it out of my system,” he says. “It’s all been brought to the world with brilliant new artwork by Isabelle de Jour, who also features on various tracks.”
Gosling is well known as a member of both Psychic TV and Coil (for the album Transparent). Gosling founded the groups Zos Kia with John Balance and Bass-o-Matic with William Orbit before recording as Mekon. He has also remixed under the name Sugar J. And that’s before we get to the fact that he has soundtracked some of the most forward-thinking fashion shows in the world - crafting the soundscapes for Alexander McQueen shows since the show Dante in 1996. Firstly working hand in hand with the late great Lee “Alexander” McQueen, then with his successor Sarah Burton. In the mid-to-late-nineties he was a core member of the group Agent Provocateur along with Matthew Ashman (originally of Bow Wow Wow), Dan Peppe, Danny Saber (of Black Grape) and Cleo Torez. He has also worked with artists such as Roxanne Shanté ('Yes Yes Y'All'), Marc Almond ('Delirious'), and Afrika Bambaataa. His third album “Something Came Up” featured artwork by Alexander McQueen.
John is as passionate about Suicide and Alan Vega and what he describes as “the new stuff”. Besides, he says, “that’s how people listen to music now. I think kids – my kids anyway – listen right across the board. People don’t see genres anymore. So it’s my definition of good music.” It’s safe to say that this is very much Volume 1. “Yes, it doesn’t cover everything and Volume 2 will be completely different.”

Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).

Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases, and is part of the famous "Silver Edition" on Rotorelief Records, with a luxurious chrome-plated cover in double Gatefold sleeves, and sumptuous 200g vinyl discs issued in 300 copies on silver and black vinyl, and 700 copies on black vinyl.

The first track, Futurismo, begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over modulated electronic hum and rambling piano. The other cut, Dada X, goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title.

Das Debütalbum der jungen Band aus Chicago auf Golden Nugget Doppelvinyl. LP 2 enthält 11 Bonustracks, darunter B-Seiten, Live-Tracks und ein My Bloody Valentine-Cover.

"Reaffirms that indie rock, as a style and ethos, can still feel like the most exciting thing a young person could be into.” - Pitchfork

Zukunftsweisender Indie-Rock hat in Chicago eine lange Tradition. Neuzugang und Hoffnungsträger Friko bilden da keine Ausnahme und verwandeln jeden Song in einen Moment der kollektiven Katharsis. Auf ihrem Debütalbum knüpfen Sänger/Gitarrist Niko Kapetan und Schlagzeuger Bailey Minzenberger an die brennende Energie ihrer Debüt-Single Crimson To Chrome an, indem sie Elemente von Post-Punk, Kammer-Pop und experimentellem Rock miteinander verschmelzen und die berauschende Kraft ihrer Musik mit einer Flut von temperamentvollem Ensemble-Gesang verstärken. Poetisch, explosiv und von erhabener Gefühlsrohheit.

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

In their first bout of new music since 2022"s critically celebrated Mondays at Enfield Tennis Academy, Jeff Parker and his ETA IVtet find themselves exploring the depths of improvised jazz grooves on The Way Out of Easy. Featuring long time members Anna Butterss (Jason Isbell, SML) on upright bass, Josh Johnson (Meshell Ndegeocello, SML) on saxophone, and Jay Bellerose (Elton John, Punch Brothers), the selections are honed and focused to bring the atmosphere of one specific night"s setlist. The delight of the space (now sadly defunct) helped Parker build a beautifully multi-textured, gently-shifting four-dimensional construction out of simple ideas.

The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" Via Negativa (in the doorway light). Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo's enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering - these are technicolor widescreen anthems of the cybernetic age. The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band's fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music's polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals." From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don't see directly."

The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" Via Negativa (in the doorway light). Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo's enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering - these are technicolor widescreen anthems of the cybernetic age. The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band's fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music's polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals." From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don't see directly."

The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" 'Via Negativa (in the doorway light)'. Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo’s enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering – these are technicolor widescreen anthems of the cybernetic age.

The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band’s fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music’s polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals."

From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don’t see directly."

The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" 'Via Negativa (in the doorway light)'. Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo’s enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering – these are technicolor widescreen anthems of the cybernetic age.

The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band’s fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music’s polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals."

From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don’t see directly."

Kool Customer is a collaborative project from B. Bravo and Bay area singer Rojai that brings together the sounds of future funk, 80s boogie, and a little bit of strip club sleaze.

B.Bravo is a 2010 graduate of Red Bull Music Academy with releases on Brownswood, Frite Nite and Ernest Endeavors.

Support from the likes of Benji B (BBC Radio 1), Gilles Peterson, DaM Funk, Sweater Funk Collective .

B. Bravo's shared the stage with artists like Chromeo, Dam-Funk, Flying Lotus and serenaded crowds across the world with his bass heavy outer space boogie and dirty grinding synth grooves at festivals like SXSW, Detroit Electronic Music Festival, and Sonar in Barcelona.

Rojai (pronounced "ROW-JUH") is a San Francisco born singer emerging as a leading voice in the modern funk scene with a vocal range from a raspy, percussive island vibe, to silky r&b.

As a frontman for Kool Customer and Latin-funk outfit Bayonics, Rojai has proven himself adept at crooning on any groove in his soulful timbre.

Being legally blind hasn't slowed down Rojai's ability to write, record and perform. He has channeled his life experience into songwriting and singing, creating music with a spirit and soul that inspires.

Extensive sync history include Awkwafina Is Nora From Queens, Netflix's Fatherhood, as well as 3 unique songs featured on Tyler Perry's Sistas and more

Limited Edition Picture Disc. Including Silver/Chrome Obi Sticker and Silver Postcard with album titles and info in English and Bengali. Housed in PVC sleeve.

ICCHĀ is an international collaboration project that originated in 2023 in Dhaka, Bangladesh. The work "Chant For Hope" was realized by Miet Warlop and created on site with local performers while Micha Volders composed the musical context. The performance acts as a monumental living sculpture, in which the physical process of casting hundreds of Bengali words in plaster becomes the driving force to create a playing field between performers, public space, and participation. Woven through this performative context are more complex relationships that explore the tension between humans and language. As the words become so visible and tangible, an image of their inner bearing and our dealings with them emerges.

The recordings of this performance have been adapted and enhanced to create an album that reflects the energy and expands upon the sound created in Dhaka. ICCHĀ is the Bengali wording of "desire," and reflects the eagerness and urgency felt within the process of this collaboration. In conjunction with the seven performers, a sonic adventure emerges that thrives on the energetic rendering of the Bangla language through transient patterns and snappy melodic figures. The album will be released on 24.05.24 as vinyl picture disc and digital, and will be available as a pre-order online and in local selected record shops.

s*x m*ney dr*gs is the third studio album from Chicago rapper Lucki, and debuted at number 15 on the US Billboard 200, marking Lucki’s second consecutive top 25 release on the chart. At 15 tracks, the album includes explosive tracks such as 2021 Vibes, Mubu, No Bap, & Gemini Love, and features a lone guest appearance from equally mercurial rapper, Veeze. To commemorate the one year anniversary of its release, s*x m*ney dr*gs is receiving the vinyl treatment. The standard variant is pressed on Sweetart Colored Vinyl, housed in a gatefold jacket, and includes a 12 page full color booklet.

Occasionally an album comes along that seems to capture the mood of the time. "The K&D Sessions" was one. In the late 1990s no afterparty, smoking session or languid Sunday afternoon was complete without Kruder & Dorfmeister blasting from the Bang & Olufsen. Now approaching it"s 25th anniversary the lore around this iconic release, steeped in a silvery cloud of smoke, retains a star quality which only shines brighter as time hurtles on. With the original having sold well over a million copies by this point in time, it"s hard to imagine a mix or remix compilation being able to inform a movement like "The K&D Sessions" has. To celebrate this monumental milestone, we"ve created a limited boxset in 6LP and 3CD of "The K&D Sessions", mastered and cut by LA luminary Bernie Grundman for a luxurious listening experience, with newly designed inner sleeves using unseen photos from the original photo shoot. Inserted in the box is a forty-page booklet containing multitudes more never before seen photos from the same shoot and notes which recount humorous tales surrounding the duo and the people who spent time with them in this epoch. Included on the 6th LP is their legendary 11 minute shimmering remix of Madonna"s "Nothing Really Matters". The 6th LP also contains Peter Kruder"s Powercut Mix of Roni Size"s "Heroes" and K&D"s remix of U.F.O, "L.O.V.E.". In addition there are two cerebral alternate remixes of Lewis Taylor, one being completely dubbed and the other the using the vocal line for this beautiful gem, "Lucky" and a special remix of "Speechless" by Count Basic. These have been staples in K&D"s sets and now take their rightful place collected in the canon of "The Sessions".

Mit The Hard Quartet hat sich eine Band zusammengetan, der man mit Blick auf ihre Mitglieder wohl den ein oder anderen Superlativ zuschreiben kann. Immerhin tummeln sich hier mit Stephen Malkmus, Matt Sweeney, Emmett Kelly und Jim White vier Musiker und Songwriter, die mit prägenden Größen des Indierocks assoziiert werden: Pavement, Chavez, Ty Segall, The Cairo Gang, Bonnie "Prince" Billy, Guided By Voices, Cat Power, Dirty Three und Bill Callahan sind nur ein Bruchteil der musikalischen Institutionen, bei denen die vier ihre Finger (und Stimmen) im Spiel haben. Über das selbstbetitelte Debüt von The Hard Quartet wird m Netz schon seit Bekanntwerden der Gründung der Band angeregt spekuliert: "Es ist einfach ein vertrauensvolles Umfeld, in dem alle bereit sind zu sagen: Komm wir werfen unseren ganzen Kram in einen Topf und machen daraus etwas Größeres", so die Band dazu. Dass es trotz der getrennten musikalischen Biographien so gut läuft, ist aber sicher auch der Tatsache zu verdanken, dass sich die Wege der Vier schon zuvor immer wieder gekreuzt hatten. "Ich habe eine geradezu vorzeitliche Geschichte mit Stephen und Jim", so Matt Sweeney. "Nun, zumindest reicht sie bis in die Neunziger. In jüngerer Vergangenheit war es dann Emmett, der einen wirklich tiefen Eindruck bei mir hinterlassen hat. So sehr, dass es die Art verändert hat, wie ich übers Spielen denke." Das Album vereint die Stärken von Malkmus, Sweeney, Kelly und White, oszilliert zwischen sonnigem Slacker-Rock und Noise-Experimenten und dürfte alle mit einem Faible für die goldene Ära des US-Indierock begeistern.

Munich-based quintet Fazer return to Squama with their fourth studio album, ‘Yamaha’, a record that melds indie jazz and psychedelic rock with humour and depth.
The band recorded the album in their own studio for the first time, taking time time to experiment with sound and overdubs, while retaining the vigour of a live performance.
Suspenseful two-voiced themes and tickling solo interplay by Matthias Lindermayr on trumpet and Paul Brändle on guitar is still at the core of Fazer’s music, as well as the meticulous work of their two drummers Simon Popp and Sebastian Wolfgruber, whose grooves are more rooted in the rock vernacular compared to previous records. The restrained playing of bassist and producer Martin Brugger remains a grounding force that rounds out the sound of the group.

We interrupt our regular Drum Chums programming to bring you a little V/A tackle via the 'Percussion Pals' project.
These razor sharp cuts come from friends near and far, old and new, each one primed to upgrade your record collection.

Debuts abound on the A-side, first via international man of mystery DJ Poufsouffle and his Balea-rock disco stomper "Totally Manic". Brimming with Flash & The Pan style pub-rock wonk this one boasts a growling vocal, sparkling keys and an uplifting chorus which doesn't quite break the spell of extreme silliness.
On the A2, Bristol's Spice Route rescue a nebulous reggae gem from Library obscurity, swinging the scalpel and working the desk to turn out an unstoppable groover.
Built around an irresistible rhythm section, "Gruler Dub" keeps on getting higher as the space-based vocals and trilling synths turn your brain inside out.

The B1 brings the return of Drum Chum extraordinaire Neil Diablo, who follows the Balearic brilliance of his last label outing with a cosmic caper into pure oddball pop. "Starry Night" slinks along in a chromed out catsuit, purring weirdo vocals over robo-chug and mechanical drums before indulging in a catchy chorus packed with addled innuendo. Not only is this as arch as Gina X doing a forward fold, but it also boasts some serious bass weight in the later stages - you have been warned.
We're delighted to finally feature a little magic from Australian Italo wizard Hysteric, who brings the curtain down in utterly emotional fashion via AOR disco dream "Pinball". A steady beat, infectious bassline and glistening chords play host to a swooning vocal, which reminds us to go with the flow and follow fun at all times.

100% Drum Fun Guaranteed.

Gilligan Moss - das aus Brooklyn stammende Duo, bestehend aus den Kindesfreunden Ben und Evan - ist mit seinem neuen Album “Speak Across Time” zurück auf ODESZA’s Foreign Family Collective!

Auf „Speaking Across Time“ kapselt jeder der zwölf Tracks des Albums persönliche Momente durch eine Linse der Zeitlosigkeit ein. 90er-Jahre-Rave, Old Country, 70er-Jahre-Soul, Honky-Tonk-Piano-House und sogar ein Sample des Dichters und langjährigen Mentors, David Mason, kollidieren unter Gilligan Moss' gekonnter Einbindung von Samples und moderner Tanzmusikproduktion.
Die Band arbeitete mit der bildenden Künstlerin, Orly Anan, in Mexiko-Stadt zusammen, um farbenfrohe Kostüme und Masken für das Single- und Album-Artwork zu kreieren. Das Kunstwerk ist eine Erkundung von Dualität, Spaltung, Zwillingsschaft und Zusammengehörigkeit. Orly war von entscheidender Bedeutung für diese Aufgabe.
Das Duo trat bereits auf namhaften Festivals wie Coachella, Pitchfork Paris und Electric Forest auf und spielte im Vorprogramm von u.a. Glass Animals, Toro Y Moi, Tourist, Chromeo, ODESZA, Elderbrook und vielen mehr.

"Following the resonating success of their initial collaboration, the TLF Trio—comprising Danish cellist Cæcilie Trier (CTM), pianist Jakob Littauer, and guitarist Mads Kristian Frøslev—reunites on Latency with electronic music legend Moritz von Oswald for the follow-up to their debut album, 'Sweet Harmony.'

TLF Trio, along with Moritz von Oswald, once again delves into the realm of chamber music, this time with two new songs further exploring the intricate acoustic dynamics of their instruments with electronics. As the second instalment in this musical journey, 'New Songs & Variations' builds upon the minimalistic, sculptural, and narrative qualities of its predecessor, weaving a tapestry of expressive and plural voices.

Moritz von Oswald, a central figure in the electronic music scene since the early '90s, brings his wealth of experience to the project, reinterpreting two of TLF Trio's previous works. From his early days as a classical percussionist to groundbreaking collaborations in the techno sphere, von Oswald's influence has left an indelible mark. His role in co-founding Basic Channel/Rhythm & Sound and contributions to the Berlin-Detroit-Chicago axis have defined various strains of modern music.

'New Songs & Variations' not only captures the rich history and influence of Moritz von Oswald but also showcases his ongoing exploration into classical, experimental, and improvisational contexts. From recomposing Ravel and Mussorgsky’s music for Deutsche Grammophon to acclaimed collaborations with jazz trumpeter Nils Petter Molvær, composer Laurel Halo, or Afrobeat pioneer Tony Allen, von Oswald's versatility continues to evolve.

TLF Trio and Moritz von Oswald invite listeners to embark on a sonic journey that bridges the past and the present, mirroring the transformative essence of Louise Lawler's distorted image, which graces its cover—a testament to the delicate fluidity and shape-shifting nature of the music contained within.

Compossed by Moritz von Oswald, Cæcilie Trier, Claus Haxholm (beat on Chrome), Jakob Littauer and Mads Kristian Frøslev.
Mastered by Kassian Troyer at Dubplates & Mastering.
Artwork by Louise Lawler. Formica (adjusted to fit, distorted for the times, slippery slope 2), 2011/2012/2015/2017. Courtesy the artist and Sprüth Magers. As adjusted for Latency.

Two titans of modern disco and funk unite to produce a present-day love ballad (or rather love ache), drenched in 80s nostalgia, complete with melodic arpeggio, thumping drums, electric guitar solos and plenty of vocoder action. Heartbreaker is the title of the project, brought to you by none other than Purple Disco Machine & Chromeo. The 12-inch is released with an extended cut alongside the original mix and an instrumental version for good measure. An upbeat electronic track with early Daft Punk influence

Chrome is back again with his 5th full studio album. A new project under the guise of ChromePlus alongside Super JB, A Civilian and Tom Hanna. Chrome has amassed an incredible catalogue since 1990 as member of the mighty Def Tex and collaborating with IllInspired, Whirlwind D, DJar One, Specifik, Crease and DJ Nappa to name but a few.
This album has taken just over 3 years to complete and release but the wait is worth it. Featuring live instruments over sampled drums and turntables it has a vastly different DNA to most Hip Hop based albums, and with this the soundscape is able to stretch out in a way that would be almost impossible when staying in the realm of samples. But with the sampled drums keeping the dynamic energy of more usual Hip Hop production
Chrome’s previous single ‘Anything You Want’ achieved the prestige of ‘BBC Introducing’ single of the week which gives only a hint of the quality that can be expected here. Chrome is always trying something new and pushing his music into territory that many other artists do not attempt and with great results and with the stunning artwork it is the complete package for the decerning Hip Hop listener. There is something for each part of the Hip Hop spectrum here from Fast Rap, thoughtful and experimental guitar driven tracks, instrumentals and the almost forgotten DJ track with the tempo varying accordingly.

The Stabbing Jabs - vocalist Peter Aaron (Chrome Cranks), guitarists William G. Weber (Chrome Cranks, GG Allin & the Murder Junkies) and Chris Donnelly (Gang Green), drummer Andrew Jody (Barrence Whitfield & the Savages), and bassist Jamie Morrison - breathe fiery life into the type of tough, timeless rock 'n' roll a generation had left for dead. Here it is, ready to make your life a living hell: an arsenal of hard, hammering tunes built on thick, cinder-block guitars. Blood-flecked screams. Dirty, fuzzy low end. Drums that swing as hard as they bash. And RIFFS. Riffs, riffs, and more riffs. Did we mention the riffs?

20th anniversary of Jim White’s haunting outer space alt.country classic that has a title so long nobody can remember the name of it. Featuring Aimee Mann, M. Ward, Bill Frisell and the Barenaked Ladies. Now it’s on vinyl for the first time, pressed on Substrate Black in a gatefold jacket plus three additional bonus tracks

The only proved efficient time traveling method to date is through listening to music, particularly evident when indulging in Jona Jefferies' latest EP released by Spanish house specialists Apersonal Music. It's a refreshing nod to the golden era of 90s electronic music. Across its three tracks, Jefferies masterfully blends elements of ambient, downtempo, and electronica, evoking a sense of nostalgia as if plucked from a bygone era. In contrast to today's TikTok-dominated landscape of short, immediate singles, this EP harkens back to a time when music was crafted with depth and complexity. Drawing inspiration from legendary acts like Boards of Canada and Underworld, it seamlessly transports listeners to the Gen-X decade, when acts like Daft Punk, Orbital and The Chemical Brothers reign supreme and exploited the electronic scene during the MTV era.

On the A side, "Es Camp" embodies the seamless influence of British electronic music on the Balearic scene of the 90s, and viceversa. Feels like Moby’s “Porcelain” if the film "The Beach" had been set in Ibiza. Max Essa's "Romantic Breaks Mix" elevates the track to pure Balearic bliss, setting the perfect mood for any sunset terrace around the globe.

Side B, tailored for the dance floor, runs through “Lost in Paradise”, a track that channels euphoria reminiscent of the underground rave culture during the final years of the 20th century. Apersonal's trusted remixer, Eddie C, delivers an extended rendition of the track that continually evolves, echoing Jim Morrison’s words: 'the music was new, black polished chrome, and came over the summer like liquid night.'

The title track of Unklevon’s ‘UN1C’ album starts with a steady snare-heavy beat, foreboding atmospherics and a futuristic vocal. It introduces the France-based producer’s Detroit-inspired electro LP and also marks his debut full-length, landing on Boysnoize Records, a label Unklevon’s been affiliated with since 2022.

For the second track on Unklevon’s ‘UN1C’ LP, the International Chrome & Nechto artist is joined by Maral for ‘Bag Secured’, adding her sensual vocals to a raw cut featuring rough synthlines and racing rhythm. ‘Science Club’ then continues with infectious and hypnotic energy driven by a deep, earworm vocal before ‘Speed Chains’ picks up pace with speedy basslines and rhythms shot through with bleeps.

Ukranian singer Alina Pash infuses Unklevon’s ‘High Key’ with fantastic modern hip-hop flair, with ‘All 4 Homies’ returning to the club with cut-up sampling and tripped-out electro sonics. Boysnoize Records’ Boys Noize also teams up with Unklevon for ‘Spa8cid’, a menacing dancefloor heavy-hitter which eases into the acid madness of ‘Miami South Express’ which follows.

Next up, Unklevon and Vel drop the aptly named ‘Transed About U’, a true peak-time roller boasting hypnotic trance-like gated vocals, with German electro superstar DJ MELL G joining him for ‘Wizard Snakes’, taking a more classical approach with rich synth lines and crisp drum work. Closing out this fantastic first album from a promising name in the global electro spheres is ‘Call Me Von’, another amped-up, bass-laden track ready to rock the warehouse.

Let's celebrate 20 years of WeMe records!

Nach der 2022 erschienenen LP Rough Dimension wagte Noel Skum - alias Andrew Clinco von Drab Majesty - den radikalen Schritt, sein psychedelisches Post-Punk-Vehikel VR SEX zu einer fünfköpfigen Band zu erweitern, die komplett zusammenarbeitet. Sie buchten Studiozeit in Glassell Park, tauschten skelettartige iPhone-Demos aus und "machten diese klassische Sache einer Band, die genau die Platte macht, die sie will, ohne jegliche Einmischung." In 12-Stunden-Tagen arbeiteten sie in einer Woche an den Grundlagen und nahmen dann einen Monat lang den Rest auf, um ihn mit Schnörkeln, Effekten und Verstärkerexperimenten zu verfeinern. Hard Copy ist das Ergebnis - 10 Tracks Psychedelic-Punk, durchzogen von Chrome-geschädigten Freak-Outs und rotzigen Power-Pop-Harmonien. Abgemischt von Gitarrist Mike Kriebel - einem versierten Tontechniker mit Dutzenden von Credits im Punk-, Goth- und Garage-Underground - ist das Album dicht, reichhaltig und räumlich. Shadows of Chrome, Stick Men With Rayguns, japanischer Psych und "laut-leise-laut" Grunge-Hymnen flackern hier und da auf, aber letztlich ist der Modus von VR SEX eher sardonisch und gesättigt, oszillierend zwischen zerrissenem Leder-Riffing und schmelzendem Space-Echo.

Rib Disques is proud to present Leise im Kran’s self-titled EP as the label’s first offering. Leise im Kran’s third solo outing is a tour de force of twisted acid melodies and driving breakbeat inspired rhythms. The EP's hard-hitting basslines are beautifully tempered by expansive sonic cyber-scapes. Culminating in the ambient beauty of final track 'Tagwerk', this label debut is the perfect representation of Rib Disques's ambition.

Our physical release is the result of an almost obsessive approach to manufacture the best sounding and looking tape that we could possibly imagine - A hand-dubbed, printed chrome cassette alongside a neat double-sided, foldout risography artwork.

Mit über 30 Jahren aktiver, schändlicher Arbeit unter ihren Stacheln und Kugelgürteln sind NECROPHOBIC unbestrittene Legenden der Death- und Black-Metal-Szene. Gegründet 1989 von Schlagzeuger Joakim Sterner, vertraten die Stockholmer Blackhearts von Anfang an eine einzigartige und furchtlose Vision. NECROPHOBIC schufen eine kühne eigene Identität und zauberten eine dicht melodische, aber unendlich verruchte Version des makabren Extrem-Metals, die seitdem von unzähligen Bands nachgeahmt wurde. Trotz zahlreicher Besetzungswechsel und Momente des Aufruhrs ist das dunkle Licht von NECROPHOBIC nie erloschen. Als sich das effektivste Line-up der Band für das 2018er Album "Mark Of The Necrogram" wieder zusammenfand, war es für Fans und Kritiker offensichtlich, dass das schwedische Quintett wieder zu der glühenden Form zurückgefunden hatte, die ihren Ruf einst zementierte. Mit den Gitarristen Sebastian Ramstedt und Johan Bergeback, die nach einer 5jährigen Pause wieder dabei sind, war es ein Karrierehöhepunkt für alle Beteiligten. Es war nicht nur das am besten klingende Album der Bandkarriere, sondern auch eines der monströsesten, dramatischsten und zerstörerischsten des Jahrzehnts und machte die Aussicht auf die nächsten NECROPHOBIC-Alben noch verlockender. Mit ihrem 10. Studioalbum "In the Twilight Grey" tauchen die schwedischen Blackened-Death-Metal-Meister noch tiefer in pechschwarze Schatten ein. Erneut wurde das Album von Fredrik Folkare (von den Death Metal-Ikonen Unleashed) in den Chrome Studios in Stockholm produziert, gemischt und gemastert und in enger Zusammenarbeit von Folkare und der Band selbst aufgenommen. "In the Twilight Grey" bietet nicht nur klassische NECROPHOBIC-Schätze wie "Stormcrow" oder den Titeltrack, sondern auch feierliche Reisen in die Düsternis wie das fesselnde "Nordanvind".

Die Paradise Phantoms, führende Funkgruppe aus Madrid,
veröffentlichen im März 2024 „Ten“, ihr bis dato ultimatives
Album.

Nach den Singles „Tonight“, ein kraftvoller, super-funkiger
Track, „Una Y No Más“, die erste spanischsprachige Single der
Phantoms und dem nicht zuletzt in den USA besonders
erfolgreichen „Cannestereo“ folgt nun das Album mit 10
Songs zum 10jährigen Bandjubiläum. Musikalisch einen Bogen
spannend von Funk bis Electronica und 80er New Wave, mit
Einflüssen von Acts wie Chic, Chromeo, George Clinto, Daft
Punk, Duran Duran, Jamiroquai und Rick James.
Die Paradise Phantoms sind Marcos Miranda (Bass, Gesang)
und Iván Redondo (Gitarre, Keyboards, Programming), die im
Studio und auf der Bühne mit verschiedenen Musiker*innen
zusammenarbeiten. Sie werden das Album in 2024 in Spanien
und Deutschland live präsentieren

The end of 2023 marks 15 years of Lunar Disko Records, but it's also the end of LDR as a label. We are delighted to present esteemed electro producer Annie Hall as our final release on Lunar Disko Records.

The Spanish producer continues her electronic explorations on the the four track EP 'Ultra Dynamic Information'. Another alluring addition to an already impressive back catalogue of Annie Hall releases.

Elite Controller’ c/w ‘Softness on the Other Side’ is the second 7” single containing two of four tracks produced by transcontinental duo ‘Gruuel’, featuring James Vinciguerra and Beau Wanzer, between 2019 and 2023. The duo appear here in an expanded form with third member and Vinciguerra ‘Act Now’ collaborator Tarquin Manek, heard as multi instrumentalist jack-of-all-trades performing guitar, bass guitar, synthesiser and bass clarinet to accompany Wanzer’s hazy drum machine patterns and Vinciguerra’s mutated vocals.

The single is the first release on Elations Recordings’ ‘Deviations’ imprint, focusing on the outer realms of experimentation and fringe expression. Two subterranean, science-non-fiction snapshots capturing the spirit of the forward looking art-experimental groups of the late 1970s and early 1980s that were lumped in with the punk movement.

The a-side ‘Elite Controller’ is the more immediate of the two tracks; a paranoid fever dream of raw, psychedelic guitars underpinned by dub bass and Vinciguerra’s deranged mutant vocals; while the b-side ‘Softness on the Other Side’ takes a more self-reflective turn. A passive, spoken word cautionary telling of the dangers while searching for personal nirvana accompanied by Manek’s tortured bass clarinet impressions. Recommended for fans of Chrome, Tuxedomoon or K. Leimer’s experimental “artificial” band ‘Savant’.

Thee Alcoholics are the brainchild of Rhys Llewellyn, a longtime Rocket Recordings alumnus whose background leans as heavily into the bassbin-shaking realms of electronic music as it does the tinnitus-inducing world of howling, cranked-up ampstacks. Not content with hammering drumskins for numerous floor-shaking records on the Rocket discography from the likes of Hey Colossus and The Notorious Hi-Fi Killers, he’s also been responsible for brain-rearranging electronic works under the Drmcnt and Acidliner monikers. Thee Alcoholics, however - which initially gestated as a result of Rhys himself wanting to pursue the somewhat hostile sound in his own head during lockdown - maps out a collision course between all of the above. Cranky and cantankerous yet lysergically aligned, Feedback is mesmeric rock with swagger, warped into sci-fi shapes by the spirit and sonics of bass and soundsystem culture. The psychedelic shapes here are redolent of the ur-klang of The Fall and the monolithic lurch of The Heads, the motorik malevolence less an uplifting trip to the heavens than a drill down to the earth’s core. Discernible in these jackhammer beats, grimly murmured vocals and delirious dirges to certain heads may be the trash futurism of Chrome, the decomposed stomp of unsung legends Earl Brutus and the electro-punk attack of Six Finger Satellite, yet all of the above co-ordinates are waylaid effortlessly by a balls-out intensity and a 6 fearsome intent on aural oblivion at all costs. Feedback may be elemental and primal, yet this is no psych comfort-blanket nor retrofetishism, rather a repetition-driven journey headlong into intimidating territory unknown. Get on board and strap yourselves in for a bumpy ride.

WeMe inaugurates 2024 with an brain massaging yet teeth grinding release by Chromedealer hailing from New York! Blending all sorts of styles creating a nice mixture of all things WeMe. A match made in heaven!

GOUTLAW, 4 piece rock and roll band, filthy and unhinged, as it should be, hailing from Melbourne Australia. Crystal visions. A moment captured in time. Picture Howlin' Wolf with Girl Trouble. The Virgin Mary, hooked on cough syrup, staring down the end of the line. Think Stooges, Beasts of Bourbon, Chrome Cranks and the Flesh Eaters. Elvis is dead and I'm not feeling too well myself. GOUTLAW to visit European shores in 2024 to showcase their self titled album, watch out!

The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: 'New Standard'. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJ-friendly muse: "I realized I wanted to make a record where every track could go off in a live setting."These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun."From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

2023 Repress

For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

If there’s a secret to time travel, Kool Keith owns the patent. Even a flying DeLorean seems too
conventional for the Bronx legend. He’d more logically orbit throughout the galaxy in a gleaming
chrome spaceship, teaching the stars and aliens new forms of originality. He is too weird to live, too
rare to die, too uniquely ultra-magnetic to be accurately mimicked. Released on Mello Music Group,
Time? Astonishing! is the latest dimensional warp from hip-hop’s premiere astral traveler. His union
with MMG producer L’ Orange finds him exploring uncharted terrain: choppy volcanic rock planets, ice
glacier moons, new surgical procedures, and fresh rappers to toss into the ether. The scalpel remains
eternally sharp. The beats glow with radioactive grit. Hard enough to knock from your car speakers,
cinematic and plutonium-propelled enough to transport you to strange terra firma. Buck Rodgers
movie serials meet boom-bap. And along for the odyssey are a cast of the best underground MC’s of
the last decade: Blu, Open Mike Eagle, Mr. Lif, J-Live, and more. These are space symphonies and
occult odysseys, fuel for wanderers, wonderers, and all the a-likes. Welcome to the new world, even
more sinister and suspenseful than the last one. We live in astonishing times: abstract, absurd, and
indelibly Kool.

Debut album from The Goa Express, led by Clarkey alongside his brother Joe and best friends Joey, Naham and Sam They met as young teenagers in Burnley - growing up in the rural shadow of England's industrial north, music was a means of escape and a vessel for friendship. Their shared adolescent experiences shaped their collective attitudes and behaviours and, ultimately, the sound and spirit of their band. 6music playlists and Radio 1 support has followed along with a heavy touring scheduleeoAgCwAgA&sourceid=chrome&ie=UTF-8

Jeder, der genau hinschaut, kann erkennen, dass Cincinnati, OH, derzeit eine wahre Brutstätte musikalischer Kreativität ist, und die drei Mitglieder von The Serfs - Dylan McCartney (Gesang, Perkussion, Gitarre, Bass, Elektronik), Dakota Carlyle (Elektronik, Bass, Gitarre, Gesang) & Andie Luman (Gesang, Synthesizer) - und ihre jeweiligen Nebenprojekte (The Drin, Crime of Passing, Motorbike) sind unbestreitbar im Zentrum der New-Underground-Szene von Cincinnati. Nach der Veröffentlichung von Alben auf dem Berliner Minimal-Synth-Label Detriti und dem in Seattle ansässigen DREAM Records im Jahr 2018 bzw. 2022 macht die Band für ihr drittes und bisher bestes Album den Schritt zu Trouble In Mind. "Half Eaten By Dogs" gibt dem modernistischen Twitch von Future-Forward-Bands wie Total Control oder Cold Beat sowie dem post-industriellen Dancefloor-Grime von Skinny Puppy, Dark Day, This Heat oder Factrix einen entschiedenen Midwestern-Spin. "Half Eaten by Dogs" ist ein Blick durch ein Fernrohr in eine dystopische Vision, in der eisverkrustete Synthie-Harmonien triefende chemische Rhythmen und aufgebohrte elementare Rockformationen beherrschen. Die Musik ist eine Mischung aus düsterem Drum- und Synthesizer-Industrial und stygischen Gitarreninstrumenten, mal mit vorsichtiger Paranoia, mal mit melodischem Trotz und Ausgelassenheit (und in manchen Momenten mit Mundharmonika, Saxophon oder Flöte). "Half Eaten By Dogs" fasst erfolgreich alles zusammen, was The Serfs bisher erreicht haben, aber mit weitaus größerer Absicht und Zielsetzung als ihre vorherigen Alben. Es gibt Songs zum Tanzen und Songs, die man während eines Sturms oder beim Fahren durch die Straßen der Welt in sich aufnehmen kann. Es mag für die Band ein weiterer Schritt hinunter in die Katakomben sein, dabei aber auf dem Weg zu etwas Höherem.

Jeder, der genau hinschaut, kann erkennen, dass Cincinnati, OH, derzeit eine wahre Brutstätte musikalischer Kreativität ist, und die drei Mitglieder von The Serfs - Dylan McCartney (Gesang, Perkussion, Gitarre, Bass, Elektronik), Dakota Carlyle (Elektronik, Bass, Gitarre, Gesang) & Andie Luman (Gesang, Synthesizer) - und ihre jeweiligen Nebenprojekte (The Drin, Crime of Passing, Motorbike) sind unbestreitbar im Zentrum der New-Underground-Szene von Cincinnati. Nach der Veröffentlichung von Alben auf dem Berliner Minimal-Synth-Label Detriti und dem in Seattle ansässigen DREAM Records im Jahr 2018 bzw. 2022 macht die Band für ihr drittes und bisher bestes Album den Schritt zu Trouble In Mind. "Half Eaten By Dogs" gibt dem modernistischen Twitch von Future-Forward-Bands wie Total Control oder Cold Beat sowie dem post-industriellen Dancefloor-Grime von Skinny Puppy, Dark Day, This Heat oder Factrix einen entschiedenen Midwestern-Spin. "Half Eaten by Dogs" ist ein Blick durch ein Fernrohr in eine dystopische Vision, in der eisverkrustete Synthie-Harmonien triefende chemische Rhythmen und aufgebohrte elementare Rockformationen beherrschen. Die Musik ist eine Mischung aus düsterem Drum- und Synthesizer-Industrial und stygischen Gitarreninstrumenten, mal mit vorsichtiger Paranoia, mal mit melodischem Trotz und Ausgelassenheit (und in manchen Momenten mit Mundharmonika, Saxophon oder Flöte). "Half Eaten By Dogs" fasst erfolgreich alles zusammen, was The Serfs bisher erreicht haben, aber mit weitaus größerer Absicht und Zielsetzung als ihre vorherigen Alben. Es gibt Songs zum Tanzen und Songs, die man während eines Sturms oder beim Fahren durch die Straßen der Welt in sich aufnehmen kann. Es mag für die Band ein weiterer Schritt hinunter in die Katakomben sein, dabei aber auf dem Weg zu etwas Höherem.

Das fing mit Superpunk Mitte der 90er vollkommen ambitionslos an. Plan war es, eine Band zu gründen, um auf Partys Kracher aus den Sixties zu spielen. Leider scheiterte die Band bereits an relativ simplen Garage-Rock-Klassikern wie "I need you" von den Kinks. Und wer hätte gedacht, dass "Friday on my mind" derart viele Akkorde hat? Das kann sich doch nun wirklich kein Mensch merken. Da erschien es erheblich einfacher, sich eigene Songs auszudenken, konnten andere schließlich auch. Aber erst mal musste ein Name her. Zur Auswahl standen "Fifi", "Schnellbus", "Hamburg Spinners", "Superminister Riesenhuber" und "Superpunk". Mit einfacher Mehrheit und wie immer ohne viel nachzudenken, entschied man sich für letzteres Mit den ersten eigenen Songs wurden dann richtige Konzerte gespielt, die zum Teil gut ankamen. Bei einem dieser Auftritte war auch Thies. Dem gefiel, dass die Band, jetzt aus dem Stegreif memoriert, "wie eine total zerkratzte Ray-Charles-Platte auf falscher Geschwindigkeit" klang. So gut gefiel das dem Thies, dass er fortan als Keyboarder dabei war. Und das ist auch wirklich eine treffende Beschreibung für den frühen Superpunk-Sound. So, jetzt aber: Es wurden fleißig eigene Songs gemacht und als genügend da waren, dachte sich die Band: "Die könnten wir eigentlich mal aufnehmen." Auf der Straße, irgendwo zwischen "Eis-Gerd" und "Pudel" trafen sie Bernd Begemann, der sagte: "Ich habe einen 4-Spur-Kassettenrekorder, ich nehme euch auf!". "Toll, danke, Bernd!" Und so brachte Bernd seinen Kassettenrekorder, mehrere Kassetten (die teuren, Chrome II), Mikrophone und eine seltsame Apparatur (ein Stimmgerät) mit in den Übungsraum im Bunker bei der Apostelkirche und nahm mit einer Engelsgeduld das Album auf. Auf der Straße, irgendwo zwischen "Heinz Karmer"s" und "Komet" traf die Band dann Bernd Kroschewski, der sagte: "Ich habe ein Label, ich bring euer Album raus!" "Toll, danke, Bernd", hieß es erneut. Und so erschien ziemlich genau vor 25 Jahren "A bisserl was geht immer" auf Fidel Bastro. Da waren, muss man zugeben, etliche Hits drauf: "Matula, hau mich raus", "Ich kann nicht nein sagen", "Das ist heute nicht Dein Tag", "Die Axt im Walde". Aus der ambitionslosen, verhinderten Partyband wurde dann doch noch eine (beinahe) richtige Band, mit Platte und Label und dem ganzen Schnick Schnack. Sogar auf Tour sind Superpunk mit dem Album gegangen, das war was, zwischen Hölle (null Zahlende in Kassel) und Himmel (ausverkaufter Pudel, Rekordgage von 300 Mark + gekühlte Freigetränke). Falls ihr noch nie "A bisserl was geht immer" gehört habt, stellt euch eine Mischung aus 39 Clocks, Cockney Rejects und dem Ramsey Lewis Trio vor. Zugegeben, leichte Kost ist das nicht, aber einer, wenn nicht der einzige Meilenstein des Hamburger DIY/ Outsider/Beats

Jdotbalance left the moon and the sky for a city that works. This is their first offering for the ESP Institute. On side A, 'Sublimate' combines two aspects of a digital pipe and mallet assortment—both as the percussive base for a groove, and as an interstitial layer where inherent resonances are massaged into melody. Bubbles and squeaks dance around the sound-stage periphery, occasionally pierced by high frequency statements, presenting as either ghostly yelps from the aether or as bursts of kaleidoscopic shards. A third of the way through the track, the instrumentation truly does sublimate, crystallizing into a new self—bolder and naughtier, abandoning its pensive optimism for a detour around the spectrum's dark end. On the flip, 'Precipitate' continues with its predecessor's primer of metallic percussion, but accelerates the pace to reveal Jdot’s attitude leaning toward cunty malice. The kick drum relentlessly pounds us as 16th note droplets metamorphose from chrome-dipped hail into full-blown acid wind. As intensity retreats beneath the digital rubble and the track draws to a close, so does our stream of Jdot’s consciousness. These two songs will accelerate your nervous system.

Colombian producer Faunes Efe known under his moniker Filmmaker, is one of the most productive and vital producers in the EBM, Industrial, Synth-wave and Electro community. He has quickly built a cult following amongst those with an affinity for dystopian electronics drenched in seductive darkness.

After more than 20 records within a 5 year span, Filmmaker keeps running engines with “Machinations”, a mini-album containing 7 cuts that blast a mechanical blend of Electroclash and Minimal Synth. This ride of prominent square waves, robotic beats and detuned atmospheres is born from mainly two instruments: a Syntakt & a processed guitar.

Following her outings on International Chrome, Warning and Tresor, Viikatory joins TRUST with an EP of four raw, kinetic electro bangers - at times explosive and in-your-face, at other subtle and romantic, but always shooting straight from the heart of the sun.

In August of 2007, the Port Arthur duo of Bun B and Pimp C known as UGK released their epic fifth studio album, Underground Kingz. Sadly, this was the last release recorded by Pimp C before his untimely death in December of the same year. Production was overseen
by legendary Rap-A-Lot producer N.O. Joe and Pimp C himself with contributions from Three 6 Mafia, Jazze Pha, Lil Jon, Scarface, Swizz Beatz, and Marly Marl among others. The second single "Int'l Players Anthem (I Choose You) was nominated for a Grammy and won video of the year at BET's 2008 Music Awards.

Recoil ist das musikalische Projekt des ehemaligen Depeche Mode-Mitglieds Alan Wilder. Mute veröffentlicht die letzten drei Recoil Alben „Liquid“, „Unsound Methods“ und „subHuman“ am 7. Oktober neu, jeweils auf CD und farbiger Doppel-Vinyl. Ursprünglich ein Soloprojekt für Alans experimentelle Arbeit außerhalb von Depeche Mode, wurde Recoil zu seinem wichtigsten Musikprojekt, nachdem er 1995 seinen Ausstieg aus der Band bekannt gab.

Das Golden Gate Jubilee Quartet, Rosa Torras, Diamanda Galás, Nicole Blackman, Samantha Coerbell und andere treiben Alan Wilders gleichfalls leidenschaftliche wie aufreibendes Recoil-Album „Liquid“ an. „Liquid“ wurde im Jahr 2000 veröffentlicht und besitzt eine hypnotische und zutiefst aufgeladene Anziehungskraft, die sich aus einem intensiven Geflecht aus Verlangen, Wut und Gewalt speist. Ein außergewöhnliches Werk zur Selbstreflexion in Gesellschaft der eigenen dunklen Seite, das sich auf eine wirklich verstörende Weise in die Psyche bohrt.
Das ursprünglich 2000 veröffentlichte Album des Soloprojekts von Ex-Depeche Mode Mitglied Alan Wilder (inkl. der Singles 'Jezebel' und 'Strange Hours'). Jetzt auf schwarzem Vinyl.

Lee Gamble’s UIQ label unveils a second album from Filipina-Australian artist Corin Ileto, deploying a brace of swarming alien chorales and rapturous digital rave noise to explore the idea of sound as a sentient being. Bold and operatic, cinematic and cybernetic.

Named after the iconic choral work by 20th Century avant-garde legend György Ligeti (as immortalised by Stanley Kubrick in 2001), ‘Lux Aeterna' explores the idea of micropolyphony, a term Ligeti described as a complex polyphony "in which harmonies do not change suddenly, but merge into one another." Like Ligeti, Corin isn't primarily concerned with melody or rhythm, but timbre: the colour and quality of sound itself.

Taking its time to unfurl, the album opens with ‘lumen naturae’, winding tonal clouds that eventually latch onto a misshapen hoover sound that curves into the abyss. Corin shows her hand more formally on 'sunta', balancing layered cybernetic drones against ratcheting metallic rhythms and unstable textures. When the track cuts to almost-silence, it reminds us of Akira Rabelais' ghosted 'Spellewauerynsherde' (itself an impressionistic granulation of vocal recordings), before being disrupted by a dynamic kick that shares DNA with club music.

But despite her occasional flirtations with the club, Ileto doesn't appear to have any interest in making functional dance music. Instead, she emphasises momentum and texture. Like a celestial opera, ecstatic trance is reimagined within the context of sacred liturgy – merging hyper-real soundscapes with Gregorian chant and medieval instrumentation. Chrome-plated clangs and growling subs highlight the album’s sci-fi leanings, tapping into a sort of retro-futurism that balances a hi-tech mindset with a feeling of deep vulnerability and alienation.

No. is the tenth Soft Riot album by Glasgow-based Canadian synth auteur Jack Duckworth (also known as JJD). With origins from the mid-nineties in the vibrant art-punk/hardcore dominating the West Coast American/ Canadian underground at the time, he has clocked in over twenty five years of musical output in various bands and projects.

No. is the logical follow-up to When Push Comes To Shove, released in November 2019 on the Glasgow UK-based label Possession Records, which saw some critical acclaim in the increasingly diverse synthwave scene — a crystallization of the artist’s signature “SynthLord” sound.

With No. things have been shaken up and pushed into new directions. Many different factors came into play, including the conditions of the pandemic lockdowns and an urge for listening to music favourites from beyond his own scene informed developments on this new record. One key feature of these tracks is that under these conditions they were developed as individual pieces — a contrasting approach from previous albums where tracks were written with an album in mind. An evaluation of all of these individual tracks in the summer of 2022 unveiled a common pattern going through these new compositions.

One can still hear any number of echoes of the spirits of original synth artists in his sound, such as Images in Vogue, The Box, Section 25, Thomas Dolby, Skinny Puppy, Chrome, Cabaret Voltaire, Fad Gadget, Japan and Bill Nelson. However, some of Jack’s halcyon punk influences surface as well, taking inspiration from legendary punk/hardcore labels such as Dischord and Gravity, as listening habits over pandemic steered back towards more guitar-based styles. The introduction of expanded production techniques, experiments with vocal styles and tones, and stylistic shifts mark a progression of Soft Riot’s sound. The result is a snarkier, urgent and more playful, with a focus on pure synthpop, new wave, art-punk, proto-EBM as well as grittier synth-punk and post-punk tones.

The variation, energy and tone of this collection of tracks illustrates Soft Riot’s ability to transcend the hallmarks of today’s music environment, which increasingly is fragmenting into smaller and smaller micro-genres. Dry wit and dark humour take the lyrics and the tone of this album on a fun ride through music scenes, dark alleys and inside jokes.

Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).

Breakbeat Paradise Recordings has teamed up with hip-hop legend Paul Sitter who has gather some of dopest MCs on the planet to feature on the epic LP: Hip-Hip Delivery.

The LP is a celebration to the oldskool hiphop vibes that started it all by cutting and scratching up the classic funk record, twisted in a brand-new way with MCs from around the world dropping fire on the mic.

Starting out with the intoxicating Global Chremistry with Craig G and some big funky grooves. Moving on to the Go Move featuring the awesome Andy Cooper on a smooth boom bap joint. The classic Wild Thing gets a oldskool hiphop twist with some big rhymes by Birdapres and cuts by DJ Robert Smith. The breaks are about to get serious as Chromedrops some high paced rhymes on the Who's Nice Kid track. Finally the A-Side finishes up paying some respect to some of the classics beat and breaks from the early hip days on the King Of Rock jam.


The flip side kicks off with more groovy, soulful hip hop featuring Andy Cooper on the catchy Chasing the Funk. Paul Sitter breaks is down nice on another slick hip hop anthem B-Boy Impressions before letting Dr Syntax take it over on the mic on the It's On Like That jam.

The last 3 joints on the album lets Paul Sitter get busy on some funky hip-hop creations showcasing his classic breakbeats and heavy sample techniques.


Breakbeat Paradise Recordings' first full album release since 2019 to drop on 12" vinyl but with an instant classic release like this we felt there was no other way to do it.

Brussels-based producer Sagat’s highly anticipated debut album ‘Silver Lining’ lands on Vlek Records. Sagat takes us on a deep dive into a dense sonic universe: It’s bass music viewed from multiple vantage points, an explorative zoom onto contemporary dance music’s broad ranging cadences, paradoxically viewed from a distance. Silver lining bathes in cluttering rhythms that hover over corroded thumping grooves. Poly chrome synths emerge dramatically, interlocking with oddly timed techno syncopations. Yet all tracks are held together by firm, dubbed out beat repetitions and slabs of sub bass, not without a melodic sense of drama. Sagat’s disintegrated sound-design stands in between musical dichotomies, at once spaced-out, disorienting and emotive, but also explorative, colourful and full of tension. Moving, yet statuesquely standing idle. Silver Lining is an album longing for the dancefloor, but also about disconnection from it: A highly personal presentation of this producers’ singular take on bass oriented club music. From our standing point we love to see how Sagat’s music keeps evolving, toying with contemporary club music’s specific tropes, unbound by its normativeness. Silver lining is an album rich in contrast that works for personal listening experience as well as for the adventurous DJ with one foot firmly on the dancefloor, the other somewhere way out there.

— AZURE ist Ulrich Drechslers bisher grösstes Abenteuer

— Beinahe 5 Jahre dauerte die Arbeit an AZURE

— Mit AZURE versucht Ulrich erneut, sich allem gängigen
Schubladendenken zu entziehen

Ulrich Drechsler zieht mit seiner Musik immer grösser werdende Kreise. Was 2020 mit dem Jazz-Welt-Filmmusik Hybrid „Caramel“ begann, sich 2021 mit dem imaginären Neoklassik Soundtrack „Chrome“ fortsetzte, steigert sich 2023 mit AZURE zu einem elektro-akustischen Sturm.

AZURE ist Ulrichs bisher grösstes Abenteuer. Eine Reise in
komplettes musikalisches Neuland. Angesiedelt an der
Schwelle zwischen elektronischer Clubmusik, Trip Hop,
Dancefloor-Trance, Drum’n’Bass, Jazz Blasts und Filmmusik.

Rising star Viikatory brings her electro-fuelled energy to DJ MELL G's label JUICY GANG RECORDS. Following breakout releases on RAIDERS and International Chrome, Viikatory drops a five-track EP that dips into electro and breakbeat, produced with a galactic twist.

The Mothership has come! It has arrived in the form of the strictly limited collection box “Music Is The Healing Force Of The Universe”, containing all singles released on the label between 2019 and 2021. The Höga Nord – galaxy resounds of all good between strict electro and loose jams, fluffy krautrock and moist world music to underwater techno and space funk. Although, what it is that defines the Höga Nord sound is not genres, instead it is, to cite Mathias Nilsson, founder of and boss for the label, music “strongly connected to fantasy, to the creative world.” Creativity over profit!

The collection is an overview on Gothenburg’s underground music and on an international scene that breathes similar air as the local Swedish acts that Höga Nord Rekords has chosen to highlight. The kinship between Jesse’s 80’s varnish sports car-electro and Purple Desert Rain God’s more traditional mountain sound can appear distant but the artists come together in their free spirited approach to their own productions – what all acts on this collection has in common is that they move toward something new, something beyond the genre they are in.

“Music Is The Healing Force Of The Universe ” mark the closer for Höga Nords first run. The 2010s are over and the 2020s lies open for further investigation of the cream of the Swedish and international of underground scenes!

Full Dose kick your door in with this prime selection of cuts from a new name on the label: Tuck Chains. Who is Tuck Chains? Who knows! But with a crew known for their futuristic and dub-inflected sound, "Tapes" manages to take the label to new heights.

Serving as a masterclass in the sacred art of sample chopping, Tuck Chains offers up a platter of instrumentals that wouldn't sound out-of-place coming from LA in the late 2000s. True to its name, FD013 feels like a mixtape in its delivery, but has a depth and refinement that's difficult to find. Instrumental hip hop of this quality may well have disappeared from the underground but Tuck Chains has successfully iterated on a style guaranteed to bring blunted energy.

"Lock Down", the opening track, quickly sets the scene with metallic and saturated drums. Interspersed with surgical sample chops, the track oscillates between lively and chill after an almost musique concrète sounding intro. This contrast between straight and faded becomes a theme of the album, with moments of intensification punctuating the mellow.

Tracks like "Chrome and Glass" balance fizzy snares, rumbling low end and stabby piano hits to take you on a slow motion coastal journey, while "Ewan Hughes-Army" has an erratic and head-nodding feel that demands your attention. Warbly, downtempo tape vibes feature throughout the release, a combination ripe for repeated, couch-bound listens. With this in mind, "Spanish" feels like the perfect closer - the type of track that oozes sun and THC. Let this be the soundtrack to your hazy holiday.

Arriving directly from the plant and mastered by the label's own Lvcchesi, this could well be the beat tape you knew you were missing! "

The heavy metal, dark, madcap visionaries collectively known as AVATAR — vocalist Johannes Eckerström (vocals), guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin, and drummer John Alfredsson — have emerged from deep within the Swedish forest in which they have been working on their ninth album to grace fans and listeners with a brand new song, "Valley of Disease".

Die Neuauflage von TOXIKs "Breaking Clas$" - erstmals auf Vinyl erhältlich!

Ltd. Red Vinyl
Die Neuauflage von TOXIKs "Breaking Clas$" - erstmals auf Vinyl erhältlich!

After supporting Pearl Jam across their UK & European tour this summer, including a prestigious slot at PJ’s Hyde Park Show, White Reaper return with their brand new album Asking For A Ride in January.
Recorded and largely self-produced in Nashville with the help of close friend and engineer Jeremy Ferguson, Asking For A Ride finds the Louisville, Kentucky band taking a more direct and in-your-face approach, prioritizing the collection’s raw energy and its ability to translate live through ripping and nervy compositions. It’s White Reaper at their most exciting - dialling up the chrome-plated riffs and monster hooks – a welcome reminder of just how much fun rock music can be.
“We ask ourselves: ‘Does it sound good when we play it in the room together?’ And if it does, those are the songs we want to pursue,” Esposito noted.

Each of the three hundred covers is different! All are numbered.

After two well-received albums of Normal Bias, the time has come for a solo debut in U Know Me of the half of this valued dub dub, i.e. Piotr Krupiński, better known as YAC.

The starting point for "We Have Much More In Common Than What Divides Us" was the rhythm, and on the one hand synthetic sounds of classic analog synthesizers with the legendary EMS VCS3 at the forefront, and on the other hand the organic hypnotic sound of Tibetan bowls and tubular bells. All together strongly processed and traditionally ground with dub techniques and marked by the tape's noise.

The amazing graphic design was created by Bartosz Szymkiewicz.

The cover design is the result of an attempt to graphically represent the album's minimalist but full of lively nuances music. Each of the forms on the cover corresponds with its surface area to the length of the work it depicts. The composition was procedurally generated by a computer program, resulting in 300 unique covers. Interestingly, the program definitely preferred to arrange the forms close together, which is an unforeseen reference to the title of the album.

Jetzt auch als VINYL! 180 Gramm und fettes Artwork. Auf dem Planeten Dub haben Dubblestandart mit mittlerweile zehn Alben bereits einen eigenen Krater hinterlassen. Gegründet Ende der Achtziger unter dem Eindruck von Lee Perrys einzigartigen Black Ark-Produktionen und Adrian Sherwoods radikalen Mixmanövern auf On-U-Sound, hat die bewährte und begehrte Backing Band (Ari Up, Lee "Scratch" Perry, Dillinger, Lilian Allen, Top Cat), um Paul Zasky den jamaikanischen Produktionstechniken ihr eigenes, europäisches Gesicht gegeben: bassbasiert, New Wave-infomiert, mixtechnisch auf dem neusten Stand und versiert im Seiltanz zwischen digitalem Wumms und analoger Wärme, wortlos vermittelnd zwischen Patois und Schmäh. Mit dem elften Album krönen sie ihre Karriere mit einer Serie Aufsehen erregender Kollaborationen (u.a. Lee "Scratch" Perry, Ari Up und Regiemeister David Lynch!) und einer in dieser Saison in Sachen Dichte, Fülle, Tiefe und Schwere ihresgleichen sucht. Aufgenommen wurde in Kingston, der Bronx und im heimatlichen Studio in Wien.

Twisted and irreverent, The Rabbits combined ear-splitting guitar shrapnel with one of punk’s greatest-ever snot-nosed vocalists. With hints of PIL or Chrome, but beamed in from a parallel dimension and filtered through the warped lens of visionary loner Syoichi Miyazawa. First-ever vinyl release, fully remastered from the band’s original early ’80s cassette releases, and housed in a sturdy tip-on sleeve. Includes a double-sided, printed insert. Edition of 500

Singer-songwriter Syoichi Miyazawa’s tale is a confounding one.

He grew up in a small town in Yamagata Prefecture (in northern Japan), loved Dylan and The Beatles, and had very little exposure to, or interest in, underground music. And yet, shortly after 24-year-old Miyazawa arrived in Tokyo in 1978, he began performing solo shows at tiny clubs in the city, singing and playing guitar. His performances quicky devolved from brisk acoustic jaunts to lengthy, heavy dirges sung in a snot-nosed wail over a blown-out electric guitar detuned to produce a kind of sonic sludge.

At one of his earliest gigs, a mutual friend introduced him to Endo Michiro, who would soon become the legendary front man of Japanese punk icons The Stalin. It turned out Miyazawa and Endo had attended Yamagata University at the same time just a few years earlier, but hadn’t known each other at school. In Tokyo, they became fast friends, moved into the same apartment building, and for years were inseparable. Endo played guitar and drums on Miyazawa’s debut release, the “Christ Was Born in a Stable” flexi disc. But while Endo was social and outgoing, Miyazawa preferred to be alone, avoiding concerts unless he was performing.

Despite these antisocial tendencies, Miyazawa came to despise playing solo. In 1982, an eccentric high school student named Chika introduced herself at one of Miyazawa’s gigs, and Miyazawa asked if she’d play bass. She agreed and drafted two of her friends to play second guitar and drums. The Rabbits were born.

Miyazawa wrote the tunes, and had a clear vision for the group, but struggled to get the sound he wanted from the other members. His second guitarist was more of a fusion player, and Miyazawa took great pains to get him to tone down the shredding. The group quickly went through multiple line-up changes. Frustrated with the sound of their first proper recording (self-released as the “X1(x)” cassette), Miyazawa spent a full year mixing their second cassette, “Winter Songs,” on his own.

The hard work paid off — the sound of “Winter Songs” is striking, and unlike anything the band’s peers produced. There’s liberal use of delay on the vocals, giving the music a psychedelic feel, but the guitars are caustic, cutting through the mix like metal shrapnel. The rhythm section seems on the verge of teetering out of control throughout, an overdriven and pummeling current below abrasive slabs of guitar and vocals. Even at their most aggressive, though, The Rabbits had strong pop sensibilities, complete with cooing backing vocals and the occasional harmonica solo. Miyazawa delivers his borderline nonsensical lyrics with equal amounts of menace and gaiety, consistently riding that fine line as only a natural oddball can. At times, the band sounds like a distant cousin of PiL, Chrome or The Homosexuals, but beamed in from a parallel dimension and filtered through Miyazawa’s warped lens.

Although The Rabbits briskly sold all 500 copies of the "Winter Songs" tape, live audiences at the time seemed dumbfounded by the group, and would stare at them in silence. After two years together, The Rabbits called it quits in 1984.

When asked if any of the many legendary groups (Les Rallizes Desnudes, G.I.S.M., etc.) he shared stages with left an impression, Miyazawa recently revealed that he always left the venue as soon as he finished performing, so he never caught any of the other bands…

All of which is to say —

The Rabbits are one of the great punk bands of the early ’80s, but their leader had no interest in the punk scene and always thought he was making “normal” music. They rubbed shoulders with a slew of notable groups of the era, and their singer was best friends with arguably the most famous Japanese punk of all time, but Miyazawa shunned fraternization and purposefully distanced himself from his peers.

Could this be why so few underground music fans are familiar with the group, even in Japan? Why they seem to have been written out of the official history of Japanese punk? One can never know for sure, but Mesh-Key hopes to remedy this travesty by offering this compilation, the first-ever official LP by The Rabbits, to a new generation of punk and psychedelic music connoisseurs.
credits

Es ist gar nicht so selten, dass ein Künstler seine eigenen persönlichen Erfahrungen und sein Wachstum durch die von ihm veröffentlichten Platten ausdrücken kann, aber nur wenige Elektronikkünstler haben das so gefühlvoll getan wie Gold Panda.
Der Albumtitel The Work ist sowohl eine wörtliche Aussage über die Platte, für die er sechs Jahre gebraucht hat, als auch, wenn man tiefer gräbt, eine Offenbarung darüber, dass er (der Titel) genauso viel darüber aussagt, wie er jetzt geschafft hat an diesem Ort anzukommen. Das Ergebnis ist ein reichhaltiges Album, das eine sichere Ruhe und das kreative Wunder eines sich weiterentwickelnden Künstlers ausstrahlt.

Ethan James Startzman is a synesthete with chromesthesia, meaning his brain converts sounds to colours and shapes, and this album is an attempt into the use of sounds to “paint" a picture. Shamanic Verse is an audio journey through dark forests, cold lonely mountains, and bustling cities using Eurorack modular synthesis and the meditative technique of following the sounds to their next evolutionary destination to create a film score-like atmosphere. Ethan began as a dancer, working his way up to professional ballet dancer and later found music after an injury ended his career. Originally a bassist, who has played in every style of music from country to rock to salsa, he also works as a film composer in his native New York City. His film work is primarily orchestral and experimental electronic. Shamanic Verse will be released on 4th November, via digital platforms and limited edition pressed vinyl.

As Anomalie, the shape- shifting production project he unveiled in 2016, Dupuis has channeled his musical upbringing (his mother, a piano teacher; his father, a host on Radio- Canada), formal schooling, and stage- seasoned chops into two companion EPs — Metropole and Metropole II — the Chromeo collaboration Bend the Rules, and a series of singles lighting a pathway to his upcoming long-form debut, Galerie.
Galerie’s forward-facing approach may call to mind a timeless phrase familiar to any jazzhead: The Shape of Jazz to Come. Ornette Coleman’s 1959 opus reconfigured traditional notions of harmonic structure, its title and content serving as both a blueprint and open question for progressive music’s future. With Dupuis’ reverent but revolutionary project, that answer is no longer in the past or on the horizon; it’s here.

RAW SPACE" is rooted in chaos and chance, sensuality and intensity - it's an album that's able to sound alarmingly freeform and tightly controlled simultaneously. Already established as a genre-disrupting DJ, and even dubbed "demon of the Nile" by Ugandan politicians after an exuberant performance at Nyege Nyege festival in September 2019, Kampala-based sonic hypnotist Authentically Plastic brings a digger's literacy, an activist's intent, and an artist's playfulness to their jagged debut album. As both a DJ and a producer, Authentically Plastic is drawn to the idea of chance as a creative tool - to push against the idea of the all-knowing genius, and approach artistry instead as a facilitator, unraveling parallel mismatched rhythmic events. Their musical process is to start with chaos, then attempt to mold those fleshy structures into polyrhythmic mutations, pulling influence from East Africa's innovative musical landscape and augmenting it with an exploratory sense of surrealism. On opening track 'Aesthetic Terrorism', rough-hewn industrial rhythms chug mechanically against course, dissonant synth blasts and acidic arpeggios. There's a faint sparkle of Detroit's chrome-plated Afro-futurism, but bathed in neon light, reflecting Africa's contemporary electronic revolution. Authentically Plastic's productions have a sense of thematic coherence, but their myriad influences are torched into cinders, leaving inverse impressions and ghost rhythms: the tuned overdriven clatter of 'Anti-Fun' echoes Ugandan kadodi modes, yet simultaneously mirrors the rugged out-zone grit of Container or Speaker Music; standout centerpiece 'Buul Okyelo' meanwhile is as rhythmically cross-eyed as Slikback or Nazar, but juxtaposes kinetic dancefloor thumps with chaotic microtonal ritual cycles. Writing "RAW SPACE", Authentically Plastic found themselves fascinated by sonic flatness. They realized that in Western art, there's an obsession with depth of field that carries into music, robbing it of intensity. The album is an example of the power that can be reclaimed when you let go of depth, letting sounds rub together carnally and spawn something fresh and unexpected.

Murderers & Robbers is the first album by American rapper Project Pat (Patrick Houston). Pat is the brother of Juicy J (Jordan Houston) of the Three 6 Mafia. The album was released on July 25, 2000, through Project Records. Labeled as an “underground album”, it is mainly a compilation of the rapper’s mixtape material from the early 1990s before a prison sentence interrupted his career.

It’s similar to Three 6 Mafia’s Underground series of compilation albums released from 1999-2000.

Produced by Juicy J & DJ Paul.
Featuring: Lord Infamous. Juicy J, DJ Paul and T-Rock

NY-based cellist / composer Clarice Jensen’s third LP,
‘Esthesis’, is a deep and gorgeous new work,
conceptually structured around the emotional and
harmonic spectrum and the phenomenon of
chromesthesia - a condition whereby sound
involuntarily evokes an experience of colour, shape
and movement.
Following up her critically acclaimed 2020 LP, ‘The
experience of repetition as death’, ‘Esthesis’ sees
Jensen expanding her oeuvre and introducing a wider
instrumental range, including the piano of Timo Andres
and the voices of Laura Lutzke, Francesca Federico
and Emma Broughton. Mixed by Francesco Donadello
and mastered by Matthew Agoglia, it is released ahead
of a UK / EU tour supporting Dustin O’Halloran.
Jensen has recorded and performed with a host of
artists including Jóhann Jóhannsson, Max Richter,
Björk, Stars of the Lid, Dustin O’Halloran, Nico Muhly,
Taylor Swift, Michael Stipe, the National and many
others.
CD in gatefold card wallet.
LP includes digital download code.
For fans of Jóhann Jóhannsson, Hildur Gudnadottir,
Stars of the Lid, Max Richter, A Winged Victory For
The Sullen, Sarah Davachi, Kali Malone, Kaitlyn
Aurelia Smith

Imaginational Anthem Vol. XI : Chrome Universal - A Survey of Modern Pedal Steel

Curated by in-demand Nashville pedal steel maverick and Third Man recording artist Luke Schneider, the eleventh volume of Tompkins Square’s venerable Imaginational Anthem acoustic guitar series features exclusive tracks by legend BJ Cole, as well as leading exponents on the instrument including Susan Alcorn, Luke himself, and British expat /Nashville hotshot Spencer Cullum among others. Nashville native and Merge recording artist William Tyler has written a beautiful detailed history of the pedal steel for the package (CD & LP versions only). 1. BJ Cole - Ely Revisited 2. Jonny Lam - Rainbow Across the Valley 3. Rocco DeLuca - Many Singing Softly 4. Luke Schneider - Yosemite 5.Spencer Cullum - An Ode to Dungeness 6. Barry Walker, Jr. - I Will Tread Upon the Lion and the Cobra 7. Susan Alcorn - Gilmore Blue 8. Maggie Bjorklund - Lysglimt 9. Will Van Horn - Attwater

Das erste Ströme Album “Ströme Nr. 2” ist ein charaktervolles, wunderbar warmsensitives und dennoch energetisches Werk. Ein Hauptohrenmerk ist der ultra rare und sagenumwobene Moog IIIp Modular Synthesizer Sound. (Näheres über den einzigartigen Moog IIIp ist weiter unten im Text zu entnehmen, inclusive Fotos in der 2x LP). Darüber hinaus spielt und featured Ströme noch andere analoge Synthesizer u.a. das Modular A100 System von Doepfer. Der A100 steht auch im Mittelpunkt bei den Live Auftritten von Ströme.

Das Album birgt Clubtracks („Trang & Flinky” / “Panta Rhei”), aber auch entspannend ruhige und spacige Nummern („Wasser” / ”Niki”). “Das Modul” oder “Isolde” (mit dem Schauspieler Anton Weil aka Anton Zucker), überzeugen mit einer Portion Pop. Hinzu kommen noch einige krautige, an die 60er / 70er angelehnte Songs, die Ströme (Mario Schönhofer and Tobias Weber) in sehr fruchtbarer Zusammenarbeit mit Nick McCarthy (Franz Ferdinand) aufgenommen haben - “Right Now”, “Das Modul” und das wunderschöne “Stadlberg”.

Following several tragedies in his personal life, New York rapper El Gant had a decision to make—face those losses head on or bury them deep within. Luckily for us, he chose the former. The result is O.S.L.O., the emcee’s most gripping and personal project yet. It’s also his most relatable, because it shows what we’re all capable of when we’re equipped with the right tools to cope and, in El Gant’s case, transform that tragedy into something powerful.

The album arrives nearly a decade after his previous solo effort, 2014’s great Beast Academy, and after several years spent touring and recording with his group, Jamo Gang, with Ras Kass and J57. Despite the highs associated with that time, El Gant also experienced major personal losses. In particular, he lost three close friends—The Last Original, Bones, and Jim Misa—all of whom had a major impact on his life and career. In fact, the album’s title, O.S.L.O., references the Last Original, because it’s an acronym for “Our Sun the Last Original.”

But it wouldn’t be an El Gant project without some straight-up dope hip-hop, too. Tracks like “Avirex (feat. Innocent? & King Magnetic)” and “Chromed Out (feat. Ras Kass & Planet Asia)” are absolute bangers filled with shape-shifting flows and crazy wordplay.

There’s a reason for these tonal shifts, too; El Gant didn’t want to simply create a linear album. “I want to take the listener on a few ups and downs, just like life does for most of us,” the emcee says. It’s those qualities that make O.S.L.O. so immediately satisfying, and why it’s his most accomplished work to date.

Auf dem Planeten Dub haben Dubblestandart mit mittlerweile zehn Alben bereits einen eigenen Krater hinterlassen. Gegründet Ende der Achtziger unter dem Eindruck von Lee Perrys einzigartigen Black Ark-Produktionen und Adrian Sherwoods radikalen Mixmanövern auf On-U-Sound, hat die bewährte und begehrte Backing Band (Ari Up, Lee "Scratch" Perry, Dillinger, Lilian Allen, Top Cat), um Paul Zasky den jamaikanischen Produktionstechniken ihr eigenes, europäisches Gesicht gegeben: bassbasiert, New Wave-infomiert, mixtechnisch auf dem neusten Stand und versiert im Seiltanz zwischen digitalem Wumms und analoger Wärme, wortlos vermittelnd zwischen Patois und Schmäh. Mit dem elften Album krönen sie ihre Karriere mit einer Serie Aufsehen erregender Kollaborationen (u.a. Lee "Scratch" Perry, Ari Up und Regiemeister David Lynch!) und einer in dieser Saison in Sachen Dichte, Fülle, Tiefe und Schwere ihresgleichen sucht. Aufgenommen wurde in Kingston, der Bronx und im heimatlichen Studio in Wien.