Search:clé

Futureslowdubdisco moves in a deep groove of sonic slowness: a two-way collaboration between producers Francesco Colagrande and Simone Ticconi, the creators of ‘Superpaesaggio’, their debut for Hermit Records.
These four original tracks blend dub and deep techno abysses, ephemeral ambient atmosphere, and hypnotic library obsessions. Lose yourself blissfully in the low beats, the lazy flow of the four movements, the hypnotic repetition, the almost shamanic rite that takes over all your senses.
The conclusion, though, is entrusted to two cleverly manipulated remixes of L'oggetto and D Lewis & Paul Hyde, which cranks up the BPM dial. Enclosed within kaleidoscopic artwork put together by Flavia Mastrella (Leone d'oro 2018), ‘Superpaesaggio’ is a journey into sound that has no worries sinking into the reverberations and delays of ordinance, as well as involving sparse and distant voices that bring more human entities into the entire Futureslowdubdisco project.






e B2 SUPERPAESAGGIO 1 L'oggetto RMX
D Lewis & Paul Hyde RMX

Mustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photosMustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photos

Ghostbusters: Afterlife is available as a limited edition of 2500 copies on “Muncher” coloured vinyl (crystal clear & transparent green). The heavyweight gatefold sleeve has a special UV Spot varnish + embossing finish. The package contains a printed innersleeve and 4-page booklet (featuring several of your favorite mini-pufts!) and a special litho of the gatefold artwork.
Ghostbusters: Afterlife is co-written and directed by Jason Reitman and stars Carrie Coon, Finn Wolfhar, Mckenna Grace, Annie Potts, and Paul Rudd. The film follows a single mom and her two kids who arrive in a small town, where they begin to discover their connection to the original ghostbusters and the secret legacy their grandfather left behind.

Rob Simonsen rejoins director Jason Reitman with his score for Ghostbusters: Afterlife, having scored The Front Runner & Tully for the director. Other recent film scores include The Friend, The Way Back, and Love, Simon. Based in Los Angeles and ever with his finger on the pulse of contemporary music, he co-founded the influential collective The Echo Society with the mission ‘to inspire, challenge, enrich and connect the community through the creation and performance of new sonic and visual art’. Simonsen’s debut artist album Rêveries was released in 2019 on Sony Masterworks.

Coco & Clair Clair wussten von dem Moment an, als sie sich trafen, dass sie dazu bestimmt waren, gemeinsam Musik zu machen. Ebenso werden die Zuhörer sofort von dem Duo aus Atlanta durch seine cleveren, mitreissenden und genreübergreifenden Songs angezogen. GIRL ist ihr zweites Album nach dem gefeierten Debüt SEXY aus 2022, das Lob von Pitchfork, Stereogum, The Fader, Nylon, u.a. erhielt.

- "Pioniere des "Dämonen-Glam-Rock", ihr kompromissloser und unverkennbar Hip-Hop-beeinflusster Sound haucht dem Lo-Fi-Schlafzimmer-Pop-Genre neues Leben ein." dreamhaus.de

Video Age follow up their newest album `Away From The Castle' with a new 7" release. Side A, "Record Shop," a sparkling pop/rock cut is a playful theme song for record shop employees, the track follows a fictional record store clerk through a typical day in the life of slinging records. Alluding to classic 70s songs from acts like Don McLean, America, and NRBQ, Video Age are right at home in the pantheon of great American songwriters. Side B is a reworked version of the recent LP's title track called "Out In The Country." The track features Alt-Country/Americana singer Esther Rose, dueting with Video Age's Ross Farbe on this stripped-back acoustic swooner.

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.

J. Written has been preparing for this moment almost his entire life. From early on he has been writing. You might even say he was obsessed with writing. It did not matter what he was writing, he just felt compelled to write. Hence the name Written.
Born on January 18, 1994 (yes, he will gladly accept birthday greetings!) in the Payne Land neighborhood of Kingston, Jamaica, J. Written entered this world as Jason Rasheed Wright. Due to certain financial instability in his family they had moved around a bit to various locations within the Kingston area. His parents, wanting him to be safe, encouraged him to be at home with his two sisters and to occupy his time at home he began to write. And write and write. And write some more.
He would write daily journals and even create newspaper articles written on the walls of their home. This creative outlet gave way to writing poems, speeches and essays while a student in high school. At 16 he started a dance trope known as the ACEZ dancers who were quite popular around Kingston.
He was then drawn to music around age 18 and began to create beats at a studio in Trench Town. He became part of the Trench Town community and is still very connected with the people there. His drive to write songs became his new medium for expressing himself. And this has led to him being recorded for various producers and included in the song “Fear To Understand” with Albarosie. Other songs and music videos followed and J. Written was brought to the attention of reggae producer Doctor Dread.
“When I first saw a video with J. Written and began to listen to more of his songs I knew this was a unique artist with a special vibe and a knack for writing interesting songs” says Doctor Dread. So he came to Jamaica and produced a first album “Kaleidoscope” for J. Written which is due for release in late 2024.

“My mission is to be active and positive. Not to confirm with the norm. To sometimes make people feel uncomfortable with issues impacting our community and society at large. To give thought to what is happening in the world and presently around us”. J. Written has made his intentions clear and it is revealed through his music.
And of special note is that J. Written has a role in the Bob Marley movie “One Love” as Junior Braithwaite, a member of the early Wailers in the scene when the young Wailers first come to audition for Coxsone Dodd of Studio One.
The future is bright for J. Written. He is creating music and lyrics as a constant in his life. And now the world will be able to share in his vision of creative expression.

Dark Evergreen VInyl. The odd couple of Kristian Dunn (El Ten Eleven) and Damon Che (Don Caballero) was the result of some clever musical matchmaking by Karl Hofstetter, founder and curator of Joyful Noise Recordings. Karl introduced Dunn and Che via email in April 2023 after Dunn's prolific output outgrew the resources and abilities of his instrumental duo El Ten Eleven. Less than a year later, after countless text messages and song sketches were exchanged, and one fateful meeting at a recording studio was organized, their nascent project's debut record, See You at the Solipsist Convention, was complete. Despite Che's initial unfamiliarity with Dunn's musical output, their personalities bridged any and all gaps_both Che and Dunn share a flair for the comically absurd and musically adventurous, a mindset that shines throughout See You at the Solipsist Convention. Che has become legendary for his calculated polyrhythms and undeniable physicality, while Dunn is known for relentless experimentation and productivity akin to a freight train. Quickly, the unlikely pair transformed into destined collaborators. Scaffolded around eight-string bass, knotty percussion, and intricate syncopation, See You at the Solipsist Convention is a carnival of delights for fans of the post-everything persuasion_uncategorizable yet reverent to the altar of instrumental rock. Beyond all measure, Yesness stands as a testament to the powerful dividends of friendship and collaboration. We are nothing without each other - our partners, our local record store clerks, our neighbors. Music, too, thrives on our entanglements. With twelve tracks, an upcoming tour, and an unexpected friendship stemming from one email, Yesness underscores the brilliant machinery of human connection.

French hip-hop producer Ugly Mac Beer, with over 20 years of experience in the industry, returns to his youthful passions and ventures into synth-punk production for the first time with his upcoming album titled "Broken Ill". Three decades later, he brings to fruition an album he has dreamed of making since the age of 16, adopting a "Rick Rubin style" in its creation and production.

"Broken Ill" transcends the boundaries of a typical album. It features a UK sound that seamlessly blends post-punk, electro-punk, darkwave, new wave, while still maintaining its roots in US hip-hop, with a significant touch of rap rock.

Mac Beer's influences are clearly heard throughout the album, ranging from the Beastie Boys to The Cure, and including Kraftwerk and Sleaford Mods.

In terms of collaborations, Ugly Mac Beer has enlisted a diverse array of rappers from various backgrounds. Among them is the iconic Princess Superstar, a prominent figure in the 90s underground scene, whose hit track "Perfect", released two decades ago, unexpectedly resurged on TikTok, sparking excitement and eventually securing a place on the 2024 Billboard Charts. It even underwent a remix by David Guetta himself.

Additionally, Mac Beer has teamed up with French rapper signed to Kitsuné, Mynameisleonidas, who has contributed to a significant portion of the album. Other collaborators include the singer from the French punk band Frustration and Mac Beer's longtime collaborator and friend, The Real Fake MC a.k.a OP18.

With "Broken Ill", Ugly Mac Beer, hip-hop beatmaker par excellence, surprises and delivers a solid rap rock album with a pervasive UK influence, inviting listeners into his ever-evolving, creative, and audacious universe.

Endonomos is the brainchild of Austrian multi-instrumentalist, producer and session musician Lukas Haidinger, who was mostly known for playing extreme metal in bands such as Profanity, Nervecell, Distaste and many more, but as a longtime ‘doomer’, he finally brought his sinister yet melodic sound to tape. Of what started as a one man's urge to craft menacing yet epic death/doom ‘funeral’ metal, turned into a full group of dedicated musicians in 2021 with their debut-album “Endonomos” (2022) as a result. Along with some of his closest friends to accompany Haidinger on this adventure, namely Armin Schweiger (drums), Philipp Forster (guitars) and Christoph Steinlechner (guitars), Endonomos now releases the sophomore album “Enlightenment”, recorded, mixed and mastered by Haidinger in his DeepDeepPressure Studios. Fans of acts such as Ahab, Evoken, Mournful Congregation, Katatonia, My Dying Bride, Candlemass, Swallow The Sun and Paradise Lost should give ear, as Endonomos once again unleashes a fierce blend of sinister, epic, melodic and menacing doom/death ‘funeral’ metal; low and cavernous grunt-vocals are continually breached by captivating clean vocals, combined with thick riffs, highly melodic lead guitars and, from time to time, also fragile parts, with uncanny chord progressions.

Too Late To Turn Back Now by Drivin' N' Cryin', released 22 November 2024.

This version of Too Late To Turn Back Now comes as a 1xLP.

The vinyl is pressed as a clear & yellow disc.

"We're happy to announce the repress one of El Búho's more emblematic album and a key release on downtempo scene.

On Camino de Flores, his second full-length album, El Búho reimagines electronic music through the lense of the natural world and its rich soundscapes.

Drawing on the inspiration of traditional rhythms and sounds, notably from Latin America, Camino de Flores is an album that transports you to another place. Following the success of his first LP, titled Balance, El Búho is back and takes us on a journey from high mountains to cascading waterfalls, from a dusky rainforest to a crackling fire beneath a clear, star-filled sky. The album charts a pathway between traditional rhythms, the sound of the natural world, IDM electronica and a deep, enveloping dancefloor sound."

Ghostly 25 Year Anniversary Edition. Thus far, Zach Saginaw's releases as Shigeto have been fragments, albeit singularly satisfying fragments -- EP-length glimpses into the Detroit producer's creative psyche. After filling two EPs on Ghostly International, Shigeto's lush, sumptuous take on instrumental hip-hop has fully materialized. Full Circle, the artist's first full-length album, completes the journey begun with Shigeto's Semi-Circle EP, synthesizing the drummer/producer's signature themes of family, continuity, and musical boundary-pushing into a vibrant, fully unified artistic statement.The sounds on Full Circle come from four years of obsessive field recording and collaboration. Saginaw brought his Tascam mini-recorder with him everywhere, capturing the "glasses, chains, breathing, children, family meals, monks singing in cathedrals, walks in the south of France, and good friends offering their musical skill" that would all find homes in the record's compositional nooks and crannies. As a result of Saginaw's constant documentation, the songs on Full Circle play like chapters in an ongoing story--as in "Escape from the Incubator", whose initial rhythmic claustrophobia opens up into a boom-clap nocturnal chase, or "French Kiss Power Up", whose romantic digital strut gives way to discord and fragmentation as the waves of synthesizer give way to a shaky, neurotic coda. Full Circle is framed by the "Ann Arbor" diptych, a pair of beat suites named after Saginaw's hometown (one featuring a sample of Detroit MC SelfSays), all double-thick synths and triple-strength kick drums. Saginaw plays the majority of his rhythms by hand, and Full Circle's consistently deep pocket is the record's secret weapon, thumping and breathing like a living being.Having set the stage with Semi-Circle and What We Held On To EPs--twin treatises on Saginaw's Japanese grandmother's escape from a US internment camp--Shigeto is clearly ready to draw the tale to a close and take center stage. "This release represents the end of the beginning--or perhaps that there is no end and no beginning at all," says Saginaw. Regardless, Full Circle is the start of something great.

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

A1 Dharma
Opening the LP in lively fashion, JLM liberally flecks a detailed composition with exquisite breaks cymbals playing a key role in the evolving patterns as the track progresses while heavy layers of synth work forms a substantial atmosphere. Musical and resonant with micro melodies and sprinkles of FX, Dharma encapsulates JLMs everimpressive attention to detail throughout its seven minutes.

A2 Artha
Where to start with Artha Setting the scene immediately with an epic synth intro that whooshes through your mind to prepare you for what is to come, its immediately obvious JLM has crafted a modern day classic here. Crisp Hot Pants breaks drop before we are treated to inspiring, continually developing and rousing melodies with a tuneful 808 bassline playfully dancing below. One to drop any chance you get Artha deserves to be heard.

B1 Moksha
Delightfully clear, characterful percussion introduces Moksha, a dancefloor friendly piece which rolls along beautifully thanks to old school breakbeats seizing the initiative while fluid keys, filtered synths and waves of serene effects punctuate the production. The
kick-light breaks will stay long in the memory as perfect for both the headphones and the discerning dance floor, just as weve come to expect from JLM.

B2 Kama
Taking you back to the early Progression Sessions era with a modern scifi twist reminiscent of your favourite space operatics, Kama will sit effortlessly alongside tracks from those days and now with its simple yet memorable core wind melody, sprawled
across energetic breakbeats and wide layers of synths & pads to a typically appropriate bassline. Another fine example of the evolving diversity in JLMs production with Spatial.

C1 Boundary
Switching things up, JLM treats us to a notably laid back vibe as Boundary is introduced by understated, filtered synth work and explorative kicks before a mellow yet chunky break pattern provides energy to the track. Detailed as ever, a myriad of effects and
samples are introduced and dance around the mix with a wistful complexity, in a track destined to be in your playlist for some time to come.

C2 Hexis
Kicking things off with a filtered DJ friendly beat intro, Hexis soon drops with constant old school jungle synth work and periodical strings alongside rasping, striking breakbeats that drive the track forward with impressive energy. The breaks reverberate in and out of the mix at intervals as JLM toys with the listener at will, creating a tonally unique and vibrant composition very much worthy of our attention.

D1 Ideal Forms
Low pass breaks echo and jostle for position with FX free counterparts early doors in the finely crafted intro to Ideal Forms, slowly developing with a triumphant assortment of keys and synths before a third layer of breaks are added which underpin a detailed, yet never busy, breakbeat landscape. Occasional breakdowns offer respite in a glistening wilderness of comforting melodies and light ambience.

D2 Physis
JLM rounds the album off very much on form with Physis a suitably climactic piece that opens with a detailed array of percussion, synths and effects before superbly programmed breaks take over the mix. An occasional, all encompassing sci fi synth rush
permeates the atmosphere to almost cinematic levels, while a melodic bassline nestles below leaving you with a track (and an album) you will not forget.

Words by Chris Hayes (Spatial / Red Mist)

Two Lights is the fourth studio album by American singer-songwriter Five for Fighting. The album is released in 2006 and includes the singles "Two Lights" and "The Riddle". The album peaked at number eight on the Billboard 200 chart, making it Five for Fighting's highest-charting album to date. It has sold over 287,000 copies in the United States as of November 2009. Two Lights is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl and includes a renewed insert with lyrics.

"Incubus carved their own musical niche and earned a huge following by tireless touring and releasing ever-improving quality albums. A Crow Left Of The Murder came out in 2004, and hit the album charts at number two. The album was produced by Brendan O'Brien, who's known for his Pearl Jam production work. O'Brien shaped an album that Incubus needed in this stage of their development: crisp and clean, but still heavy enough to allow for an effective variation between heavy riffing and fine acoustics. A Crow Left Of The Murder is available as a limited edition of 2000 numbered copies on transparent red coloured vinyl. "

After two highly acclaimed EPs and a number of collaborations, singer, songwriter and melodist Enchantée Julia opens a new chapter in her career with ONZE, a debut album with a carefully matured groove on which she blazes a trail in France, between neo-soul intentions and R&B inflections. Or the art of grooving a French language that's not always all-terrain, of marrying a certain lyricism inherited from chanson with the rhythmic and melodic codes of contemporary soul with Anglo-Saxon roots.

Such is the promise kept by Enchantée Julia on this album, recorded between south-east France and the Noble studio in Paris - where sound engineer Clément Caritg (Luidji, Lala &ce, Lossapardo...) helped meticulously shape the sonic identity of the 11 tracks, 8 of which are produced (or co-produced) by the young and highly visible multi-instrumentalist LaBlue. With her pure, celestial voice, set against sophisticated arrangements, she recounts her most intimate emotional torments in an unvarnished yet poetic way.

Jan Anderzén - living in Tampere, Finland - is a collage artist making music, quilts, drawings, mosaics, videos and other things. From him, among a few others, sprang the The River of Finland. A stream that shook the European underground for infinity, back from the years 2005 and up. Jan is/was involved in acts like Kemialliset Ystävät, Avarus, Tomutonttu and The Anaksimandros. When in the past some of that River of Finland tasted like a fermented ocean of mycelia - today it tastes different, like sparkling water.

Halki pilvien - transl. Trough the clouds - brings exactly what one expects from the clouds. It is a collection of soft and gentle movements, as playful as a ‘Jan Anderzén type of music’ is always. A collection of patterns that solidify for just a brief moment in time, before sublimating in the back of the mind. This album is in constant motion.

Push play. A warped piano and cartoonish SFX’s might foretell a hyperreal approach to music. Yet while the champion of hyperrealism, Noah Creshevsky, describes his music as being written in a language we already understand (realism) yet in an exaggerated manner (hyper) - I have to add that things on this album do not sound exaggerated at all. Moreover, i have the feeling that somehow on this work, Jan is trying to underwhelm us. In the best possible way. Because clouds float trough and dissolve. Thus instead of hyperrealism, is Jan maybe speaking to us in a certain Serenerealism? Or Mildrealism?

What Jan’s music does have in common with Creshevsky’s is the no rush part. Listening to Halki pilvien makes time non-directional. The music seems to be designed to be played over and over again. This music has no direct impact like one can experience at a punk show, or at a classical music concert. This music is not that one gigantic raincloud covering the world dark. Quite the opposite, it is a pattern of clouds and clearings, floating over the lands. Trough this music a shadow play appears. This music is durable.

And it is when the sounds are at its faintest, that Jan touches the core: in the smallest detail, we find the fullest musical information.

PRESSED ON CLEAR WITH RED & BLACK SWIRL COLORED VINYL
Limited to 1000 copies

Benny The Butcher and 38 Spesh helped put Upstate New York rap on the map when they released Stabbed and Shot, their now classic collaborative album. Since then each rapper has reached new levels of commercial and critical success while cementing their legendary status in the rap game. However, throughout their rise, fans of Benny & Spesh have never stopped asking for the duo to reunite for a full-length album. More than six years after the initial release of Stabbed & Shot, the wait is finally over as Benny & Spesh are drop Stabbed & Shot 2, their long-awaited, full-length collaborative album, and follow up to Stabbed & Shot. The new 16-track project was worth every bit of the wait, as the duo trade bars with each other alongside featured guests Ransom, ElCamino, Klass Murda, OT The Real & Busta Rhymes over production by Daringer, Harry Fraud, V Don, StreetRunner & Chup the Producer and more

Incubus carved their own musical niche and earned a huge following by tireless touring and releasing ever-improving quality albums.
A Crow Left Of The Murder came out in 2004, and hit the album charts at number two. The album was produced by Brendan O’Brien, who’s known for his Pearl Jam production work. O’Brien shaped an album that Incubus needed in this stage of their development: crisp and clean, but still heavy enough to allow for an effective variation between heavy riffing and fine acoustics.

A Crow Left Of The Murder is available as a limited edition of 2000 numbered copies on transparent red coloured vinyl.

It happened this summer while we were spending our family breaks in a rural house located in the town of "Cuacos de Yuste" in the region of La Vera, Extremadura (Spain). An idyllic setting in nature that we recommend everyone visit... One night, upon returning home after enjoying the magnificent cuisine of the area, we found a hard drive with a note at the entrance of the house. The message was clear and concise, FOLLOW THE SAME STEPS... Suddenly my body shook and I quickly understood that the ALIEN RAVE contact had occurred again. In line with his successful first vinyl, the alien has given us two only vinyl songs, Misconception and the sublime Deep Space, accompanied by Bilocation and No Gods. If you liked the first Alien Rave vinyl, you can't miss this Electrobreak gem. Will there be future contacts? We are sure that yes..

Joshua Kitakaze's new album Darkness & Light for Acquit is a superb nine track record that comes on trifold clear vinyl. It runs the gamut from pure, dark and driving Detroit style techno to more other and astral electronics, cosmic sounds and bubbling house. The likes of 'Seven Samurai' brings crisp drums and rubbery basslines to future facing synths. 'Hidden Fortress' has a dark edge and more menace in the drums. 'Trying To Come Home' is a lighter vibe with its head up in the stars and day dreaming. A complete work, then.

Even as the obstacles to meaningful connection mount into an Everest-ian hurdle, artists nevertheless find ways to bend the technologies of our days to foster visceral human connection, rather than bereft isolation. Comprised of a West Coast bassist (Kristian Dunn of El Ten Eleven) and an Appalachia-adjacent drummer (Damon Che of Don Caballero), Yesness forges a friendship mediated through the language of collaboration, all formed through emailed song sketches and text exchanges of Van Halen demos. The odd couple of Kristian Dunn (El Ten Eleven) and Damon Che (Don Caballero) was the result of some clever musical matchmaking by Karl Hofstetter, founder and curator of Joyful Noise Recordings. Karl introduced Dunn and Che via email in April 2023 after Dunn's prolific output outgrew the resources and abilities of his instrumental duo El Ten Eleven. Less than a year later, after countless text messages and song sketches were exchanged, and one fateful meeting at a recording studio was organized, their nascent project's debut record, See You at the Solipsist Convention, was complete. "We were ships in the night of the musical variety until Karl found a way to merge our paths," Che said of his introduction to Dunn. "There are very few comparisons in the aesthetic approach to how we created the music. We worked remotely for eight months before physically meeting for the first time at the recording studio." Neck-deep in their own ambitions, Che and Dunn swapped musical ideas and quirky song titles throughout the summer, working at a breakneck pace. Star Wars references were intertwined with walloping bass lines ('If You Say So'); non-sequiturs were punctuated by Che's signature frenetic percussive jabs ('Horror Snuggle'). Scaffolded around eight-string bass, knotty percussion, and intricate syncopation, See You at the Solipsist Convention is a carnival of delights for fans of the post-everything persuasion—uncategorizable yet reverent to the altar of instrumental rock. Tearing through the record's evocative instrumentals is a delightful bolt of strangeness, felt as much as heard in the spontaneous chemistry between Che and Dunn. "Occasional Grape?" dances like a waltz played with a sledgehammer—delicate moments shattered by bursts of aggression, while still embedding a rhythmic earworm deep into your heart. 'Nice Walrus,' a string-studded panorama featuring Kishi Bashi, volleys between nervy hyperactivity and heartfelt grandeur. The album's closing track, "Non-incredible Visitor," contrasts Che's meticulous precision with Dunn's imaginative instrumentation, bonding bass and percussion like nesting dolls. Just as the track seems to settle, it drives off an uncharted auditory cliff—abruptly, without ceremony, leaving the listener grasping for meaning in the murk. Beyond all measure, Yesness stands as a testament to the powerful dividends of friendship and collaboration. We are nothing without each other – our partners, our local record store clerks, our neighbors. Music, too, thrives on our entanglements. With twelve tracks, an upcoming tour, and an unexpected friendship stemming from one email, Yesness underscores the brilliant machinery of human connection.

Dan Reeder's debut album is finally on vinyl! The packaging includes a gatefold jacket, written by John Prine, with a photo of the original letter explaining the story of how Dan found Oh Boy Records. Also included are credits, photos of Dan's homemade instruments and original artwork. Wowee!

2024 Repress

14 highlights from Aleksi Perala's "Spectrum Analysis" series on this triple vinyl album. Aleksi again conjures up repetitive, minimalistic techno cuts that use clever drum programming and his signature 'Colundi' scales to maximum effect.

Known for his pivotal role in the Acid Techno sub-genre revival through his label, Involve Records, Regal's latest work revisits the genre's essence while infusing it with a fresh, modern twist. Under his ACIDBOY alias, his latest album, 'The Final Chapter', is a nostalgic and forward-looking expression of an artist who has grown and adapted but remains true to his core musical identity.



This eleven-track project blends the high-energy sounds that first defined his career with the depth and maturity gained over years of evolution whilst also honouring an unforgettable era of one of electronic music's boldest and most expressive sub-genres and artists.

'The Final Chapter' is an album that goes against the current flow, bringing to light the sound of the sub-genres of Techno from the last 35 years. It's a clever balance between past and present, the old and new Regal aka ACIDBOY, emphasising his introverted artistic side, a lover of music and production as well as a story intended for a patient and cultured listener. The album defies superficial musical trends, offering a profound sonic experience that invites listeners on a deeper journey, far removed from the quick-hit tracks designed for social media.

The name of this album and Regal's previous EP 'The Last Summer' certainly leaves room for interpretation as these might sound like signs of a farewell to the music scene.

Known for his pivotal role in the Acid Techno sub-genre revival through his label, Involve Records, Regal's latest work revisits the genre's essence while infusing it with a fresh, modern twist. Under his ACIDBOY alias, his latest album, 'The Final Chapter', is a nostalgic and forward-looking expression of an artist who has grown and adapted but remains true to his core musical identity. This eleven-track project blends the high-energy sounds that first defined his career with the depth and maturity gained over years of evolution whilst also honouring an unforgettable era of one of electronic music's boldest and most expressive sub-genres and artists.

'The Final Chapter' is an album that goes against the current flow, bringing to light the sound of the sub-genres of Techno from the last 35 years. It's a clever balance between past and present, the old and new Regal aka ACIDBOY, emphasising his introverted artistic side, a lover of music and production as well as a story intended for a patient and cultured listener. The album defies superficial musical trends, offering a profound sonic experience that invites listeners on a deeper journey, far removed from the quick-hit tracks designed for social media.

The name of this album and Regal's previous EP 'The Last Summer' certainly leaves room for interpretation as these might sound like signs of a farewell to the music scene.

Red-Transparent LP + Bonus 7inch

Brainfeeder kündigt für den 16. Dezember 2022 die Wiederveröffentlichung des mittlerweile zu Kultstatus aufgestiegenen Debütalbums der Prog-Jazz-Future-Funkster von Hiatus Kaiyote, „Tawk Tomahawk“! Das Album, das ursprünglich 2013 erschien kommt in seiner Neuauflage auf Rot-transparenten Vinyl dem zusätzlich eine Bonus-7“ mit dem grandiosen Clever Austin Remix von „Boom Child“ und der Klassiker 'Nakamarra feat. Q-Tip' beiliegen.

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Some of the treasures herein include, from Volume 5, a German gospel/modal jazz hybrid replete with flutes and vibes (and even a surprise gospel choir) reminding us not to 'speak when we should be silent' called "Ich Rede Wenn Ich Schweigen Sollte"; Indian jazz/rock fusion outfit Jazz Yatra Sextette's literal peace chant, "Shanti" led by Louis Banks (real name Dambar Bahadur Budaprithi), who worked with Embryo and John Maclaughlin; and Ron Wilson Trio's walking meditation and study on the beauty and rhythm of "Zimbabwe" in 3/4.

Knapp vier Jahre nach ihrem Debut Patterns veröffentlicht Jenobi im Mai 2024 ihr zweites Album. Ein halbes Jahr lang schloss sich die in Hamburg lebende Musikerin Jenny Apelmo Mattsson in ihrem Studio ein und ließ für "Irregularity" 11 neue Songs entstehen, die sie nicht nur selbst geschrieben, sondern auch eigenständig aufgenommen und produziert hat.

Die bereits aus Patterns bekannte mystisch-skandinavische Melancholie trifft nun auf markante Beats, die zusammen mit der charakteristisch zarten Stimme eine ganz neue Dimension eröffnen. Außergewöhnliche, elektronische Elemente erinnern teilweise an Björk und The Knife, während selbstbewusster Sprechgesang zu lässigen Basslines eine Attitüde hervorbringen, die wir bei Künstlerinnen wie Rosalia und Noga Erez wiederfinden.
Irregularity steht dabei längst nicht nur für musikalische Innovation, sondern liefert auch eine starke Message, die Apelmo Mattsson nun aus ihrer Oase in die Welt heraustragen möchte. Viele Talfahrten und Herausforderungen prägten die 13-jährige Erfahrung als Musikerin, die sich stehts in einer männerdominierten Branche behaupten musste. Doch während Patterns destruktive Verhaltensmuster thematisiert, berichten die neuen Songs von einem neu erlangten Bewusstseinszustand und Stärke. Nach der Trauer kommt die Wut – das spiegelt sich in Texten, gespickt mit cleverironischem Humor, die ein bittersüßes Gefühl hinterlassen, dass sofort süchtig macht. So gelingt es Apelmo Mattsson patriarchalische Strukturen mit
einem selbstbewussten Schmunzeln zu kritisieren.

The brainchild of drummer/producer Chiminyo, NRG is more than just an album, label or event. It’s a concept. Born out of a conversation about the UK Jazz scene (is it really jazz?) Chiminyo concluded that this musical expression is less about ‘jazz’ and more about energy (NRG).
So with this in mind, he set about to explore, celebrate and harness this NRG in its purest form. No labels, no promoters, no industry, no control. Just Chiminyo and members of his musical community exchanging (strictly improvised) NRG with audiences and capturing the spontaneous beauty to be shared with the world.
This third edition, NRG 3, features an all-star line-up. Modular synth wizard and Ariwo band leader Pouya Ehsaei, electro synth-pop artist and incredible keyboard/synth player Maria Chiara Argiró, and Hak Baker's trumpet player Sam Warner. And you can really feel the vibrant NRG of the capital pulsating throughout. Raucous dance-floor stompers such as 'Enter the Dragon' and 'Fred not Again' are beautifully contrasted with the dreamy, cinematic 'Avalon'. And the addition of instrumental and vocal guests on the night really adds a special touch. 'Stories Untold' opens with flautist Lluis Domènech Plana's lyrical exploration on bamboo flute before developing into an up-tempo house inspired dance tune, whilst Nadeem Din Gabisi's 'Fire' presents a unique perspective on a trap groove that you simply couldn't imagine outside of the context of NRG 3, and towards the end of the track the audio cuts to camera audio due to an issue with the desk recording, a magical moment that puts you in right there in the room and reminds you that this was a live gig!
It is incredible to think this record is improvised, because each tune comes across as a carefully sculpted master-piece, a clear testament to the incredible musicians on the line-up.

Clear vinyl. Edition of 500

The Danish-Chilean composer Molina (b.1992), explore the transformation between organic and synthetic musical landscapes. She weaves her own tapestry of dreamy guitar surfaces, soaring flutes and atmospheric vocals.

Die türkisch-italienische DJ, Produzentin und Multiinstrumentalistin Carlita (bürgerl. Carla Frayman) veröffentlicht ihr lang erwartetes Debütalbum, „Sentimental“ bei Ninja Tune!
„Sentimental“ ist der bisherige Höhepunkt von Carlitas musikalischer Reise, an der sie jahrelang gearbeitet hat. Das Album stellt einen kreativen Meilenstein in ihren Produktionen dar, indem es eine klangliche Erzählung aufbaut, die ihre Lebenserfahrungen als Bausteine nutzt. Ein paar dieser Momente, zusammen mit einer Reihe von talentierten Freunden, sind auf „Sentimental“ aus erster Hand zu hören. „Trouble Symphony“ eröffnet das Album mit DJ Tennis, der wie schon zu Beginn von Carlitas Karriere mit am Start ist. SG Lewis, der gefeierte Produzent, der Carlita letztes Jahr bei der New York Fashion Week Show von Senza Fine begleitete, leiht der Leadsingle, „The Moment“, seine Stimme. „Comme Ça Voce“ greift ihre italienischen Wurzeln auf und wird von dem sizilianischen Musiker, Orofino, gesungen. Mascolo, Elderbrook, Julietta und Cleo Simone vervollständigen die Liste der geschätzten Kolleg:innen, die ihre Zeit und ihr Talent zu „Sentimental“ beigetragen haben.

"Sympathy Pain is an unusual animal, as their collective backgrounds come from hardcore, drone, and experimental pop in Salt Lake City, Utah. Sympathy Pain began as Skyler Hitchcox’s gloomy drone project which was later joined by Casey Hansen (of Cult Leader) to explore and expand the sullen space that the project initially carved out. Sympathy Pain is rounded out by Chaz Prymek (Lake Mary) and Nora Price. The deep connections to Salt Lake City’s underground well of experimental music have deep entanglements. Sympathy Pain has emerged from those entanglements with a clear eyed thesis, transmuting the often oppressive cultural climate of Utah through a personal veil of heavy sorrow.

Swan Dive is the product of years of excavating that space into a cavern, yielding their self-described “emo)))” (a nod to the preeminent doom/drone band Sunn) while still holding onto the submerged soundscapes that began as the core of the project. The album is expansive — a winding ride that travels from minimalism, to claustrophobic ambient, to triumphant passages that all underscore its forlorn undercurrent.

Originally released in January of 2024 as a CD by The Ghost is Clear and cassette by Diabolical Records, Swan Dive finally finds a new life on vinyl - reissued by the Cincinnati, OH record label Whited Sepulchre Records.

Tracked with Wes Johnson at Archive Recordings in SLC, UT and mixed/mastered by longtime friend and co-conspirator Ben Young, the album features a haunting guest spot by Madeline Johnston of Midwife on “Heaven + Hell” to close out the album."

David C Clements calls time a blessing and a curse. In the eight years since the release of his debut album, he has toiled through creativity's long winters and now offers up 'The Garden', an 11-track alternative folk record featuring songs written with Iain Archer and Jacknife Lee.

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

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

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

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

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

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

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

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

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

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