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2024 Repress

Beautifully produced German Disco release with an environmental edge. Originally released in 1979 on a Contemporary Christian Music Label called Lord, this rarity is remastered and brought back to life with a respectful extended, previously unreleased, edit.

Four of the freshest Blaze remixes come together on wax for the first time on Slip ‘N’ Slide, ‘Blaze Remixed’. The West London label is home to some of the best house music that crossed the Atlantic from the 90s onwards, and today the imprint continues to refresh Blaze’s legendary catalogue with remixes from leading industry figures. Up first, British producer Atjazz takes the cool feel of ‘So In Love’ from the minds of Kevin Hedge & Josh Milan as Black Rascals, adding his signature genre-crossing style. Jimpster’s take on ‘Wonderland’, featuring Josh Milan on vocals as Alexander Hope, stabilises the track while allowing the free-flowing feel of the OG to shine through. Brooklyn native DJ Spinna’s remix of ‘How Deep Is Your Love’ capitalises on Hope’s powerful vocals, supported by impeccable synth-laden production, before vinyl aficiando Natasha Diggs closes out this Blaze collection with her remix of ‘Breathe’; Diggs stays faithful to the original’s iconic saxophone and trumpet-led sound, sprinkling in her tasteful flair for smooth grooves and delicious synthwork at every turn.

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things

Dear Friends,
Can you relax while maintaining a stable structure? The principle of “fang song” in Chinese martial art Taijiquan embodies this balance, where heaviness sinks downward and lightness rises through a vertical axis from heavy rooted feet to head.

As a dedicated Taijiquan practitioner, Littlelake applies this concept in his new EP, featuring four tracks rooted by a distinctive bass heaviness while giving a playful lightness to the overlying sound elements.

The opening track "Tonight's the night" immediately makes clear what is meant: a light-footed 2-step beat dances over weighty bass variations and playful vocal cuts set the tone.

“Passing by” is no more and no less than a true monster speed garage warper blending all the best elements of its genre.
Coming with funky tribal breaks, skillful sample manipulations, and a warm, soulful string foundation, “Watch Your Mouth” defies genre classification—it's in a class of its own.

With "Lost", Littlelake once again proves his ability to create extraordinary dancefloor moments. A jackin' 909 and shimmering dub sounds contrast with a dark Reese bassline, creating a captivatingly ambivalent mood. Don't miss this one.

P.S.: physical release comes with handcrafted, screen printed artwork by fabulous graphic artist Zatina Kessl.

Mexican supergroup Secret Echoes releases debut single ‘Bring My Beat Back’ on Crosstown Rebels. The project combining a trio of revered talents from the Mexican electronic landscape sees Estefani Brolo, Diego Cevallos, and Marco Anaya unite to reveal a first glimpse into their forthcoming debut album, with the single remixed by Zombies In Miami focus on the song's hypnotic vocals and raw emotive energy.

Secret Echoes is a dynamic collaboration of three acclaimed artists from Mexico’s electronic music scene: Estefani Brolo (of BROLORZIO & I.M YONI), Diego Cevallos (AKA Métrika), and Marco Balcazar (AKA Balcazar of Balcazar & Sordo). With each member bringing a distinct musical background to the group, creating a unique fusion of sound set to resonate with electronic music enthusiasts worldwide, Secret Echoes creates music that blends house foundations with melodic innovation.

The origins of the project trace back to the height of the pandemic, when Cevallos and Balcazar began collaborating on an album they had always envisioned. Renting a unique studio in Jiutepec, Mexico, equipped with analogue tape machines and high-end studio gear, and inviting their talented friends to contribute, Brolo soon joined the project - adding her melodic and lyrical expertise. The result was the recording of 11 tracks that were put on hold until the time was right. After revisiting the tracks and performing them live, ‘Bring My Beat Back’ caught the attention of Crosstown Rebels founder Damian Lazarus during 2024’s Day Zero performance. Inspired by its energy and potential, Lazarus signed the entire album, and this first single provides a first glimpse of what is to come from the enigmatic trio on an imprint known for continually pushing boundaries within house music.

‘Bring My Beat Back’ showcases the group’s distinctive blend of house music foundations, guided by Brolo’s captivating vocals above shimmering synths and refined percussion grooves to deliver a silky-smooth production balancing classic nuances with contemporary touches for the dance floor. Creatures Of The Night founders and Permanent Vacation regulars Zombies In Miami provide an extra layer to the package, with the renowned duo’s remix drawing for neon-lit synths and hazy tones for a deep dive into the late-night hours.

how do we live in times when nothing seems safe, how do we listen to music when rockets and bullets make the air scream, how do we produce music when the building with our studio is simply no longer there?

over the last 2 years, AMAS and KONSTANTIN KOST have been trying to produce a techno EP across the borders of the war in ukraine. KONSTANTIN KOST was never able to leave ukraine for this, while we were able to move freely through europe.

this ambivalence is part of this album, it is part of every note and every line of the poems that can be heard here. we all associate techno with bass-heavy and dancing through the night, but ODESSA is more, it is a journey without being able to travel, an experience without being able to experience, an escape without being able to escape and a life without really being able to live ...

neither AMAS was able to travel to odessa during this time, nor KONSTANTIN KOST to europe, neither was able to experience the other personally. however, the exchange of music and lyrics has built up a relationship to a country at war, as well as to its people, musicians, women and children.

while we were dealing with our everyday problems in germany, the situation in ODESSA became increasingly confusing. the constant fear of being drafted and producing videos and images for the album at the same time were extremely ambivalent moments.

how do you deal with your counterpart in such moments and what do you say to someone in a situation that we can hardly imagine? we often talked about friends simply disappearing and corrupt officials and soldiers embezzling money and in the next sentence it was straight back to the vinyl production. these conversations were very rational and at the same time extremely surreal.

this EP is not meant to be a political EP, it is meant to be a human album and to take away the feeling of powerlessness from the people who were and are involved. this production and its music is a triumph over the destructive and dark side of war, it is meant to show that art is boundless and that people are connected all over the world even in the darkest times.

in the first track RED GLOW our guest TANYA (musician and djane from Odessa) stoically repeats the words LOVE and FEAR, followed by the words: “i meet you with red glow, in your eyes i quickly dissolve!” the track is part of everyday life, everywhere you meet this red glow and yet everything has to flow on and yet people still live and dance ...

in NIGHTCALL we walk through the streets and follow the call of darkness. the words “through the night” are used here repetitively like a percussion. but the highs and lows also give us hope and the belief that we will wake up again tomorrow and start a new day. in the dark there is always light, which must be preserved and found.
OLD KINGS is also the title of the poem we have written, based on the poem OZYMANDIAS by percy bysshe shelley. OLD KINGS determine our times and our political systems, seemingly unteachable old men hold the world in a stranglehold and it seems as if there are an infinite number of them. yet we continue to fight against these people, we cannot and do not want to do otherwise ...

in TALK TO GOD, KONSTANTIN KOST reads from the well-known ukrainian poem “a cloud floating behind the sun” by TARAS SHEVCHENKO, a famous ukrainian poet and writer. he is considered the founder of modern ukrainian literature and, in part, of the ukrainian language. it is about red fields, the fog and its darkness, as well as the sea and the calmness of the heart in nature, the longing for peace and peace with god.

in addition to poetry and music, all photographs and videos are original recordings by KONSTANTIN KOST of his city ODESSA. although we cannot visit each other, we still share strong visual impressions of a city that, in all its beauty and resilience, will hopefully soon be open to the world again. the cover is therefore also a picture of the port of odessa, a place where people and goods from all parts oft he world will soon be able to sail in and out again.

In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

"Described by Zimbabwean journalist Liam Brickhill as “a new star in the southern sky”, and by his legendary mentor, Bra Johnny Mekoa, as “the future Jonas Gwangwa”, Malcolm Jiyane is a cornerstone of the contemporary South African Jazz scene. From his teenage years, it was under Mekoa’s tutelage that Jiyane developed his prodigious talents into the multi-instrumentalist that he is today. What Theon Cross is to the tuba, Malcolm is to the trombone, although his ability to embody musical production extends far beyond one instrument. His work thus far constitutes, amongst other works, film score (which he composed as a teenager), and debut album UMDALI (meaning ‘creator’ in Zulu), which was received to universal acclaim, including a 5-star review (and Global Album Of The Month nod) from The Guardian. In 2024, Malcolm Jiyane Tree-O (Tree-O is the name of his band), returns with his sophomore album ‘TRUE STORY’, an exploration of the current state of the rainbow nation through a series of songs inspired by real people and their stories. TRUE STORY releases on 14 June, on digital, vinyl and CD. "

25 killer library music cuts by the German film music maestro on audiophile pressing in deluxe 2x10" set. Uberrare and never released before material from 1968-1976, sourced from Peter Thomas' personal reel-to-reel tape archive. Limited edition of 500 pieces.

From brassy big band funk, space jazz, krauty synth experiments to proto-hiphop, cosmic schlagers, heavy easy listening, soulful soundtrack moods and absurdly dreamy LSD ballads, this compilation encompasses the composer's most obscure and yet most transcendent work.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970, best known for his iconic soundtrack work. He scored over 600 films and episodes, from the crime blockbusters of Jerry Cotton and Edgar Wallace to indie arthouse films like Playgirl, Bruce Lee's The Big Boss and the extraterrestrial Space Patrol and Chariot of the Gods.

His recordings for music libraries often provided an even more leftfield approach. Their visionary 'dope beats' appeal provoked a keen interest from vinyl aficionados, beatmakers and rare groove DJs alike. Unavailable for the public, the original "for professional usage only" albums are now sought-after collector's items that fetch astronomic prices on the 2ndhand market.

This double 10" album is the definite selection of Thomas' best library cues from the Golden Ring Records, KPM and DeWolfe catalogues, many of them available publicly for the first time - plus four recently unearthed "lost" tracks from Warner Chappell's CPM Archive series that have never been released on vinyl before. All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation was realised in cooperation with Peter Thomas' son Philip who takes care of the Peter Thomas Sound Orchester catalogue after his father's death in 2020.

DJ support: Tim Sweeney, Make A Dance, Parris, Pleasure Voyage, Camillo Miranda

Back yard - Back yard is the first single from the new Teen Daze album, Elegant rhythms, and features singer-songwriter Andy Shauf on drums, and LA jazz staple, Sam Wilkes, on bass. This is a stark change in sound for Teen Daze, who’s last album Interior was an exploration of neon-lit House music. Back yard is a mellow groover, conjuring up images of Laurel Canyon in the 70s, yet still with its flourishes of contemporary sounds.

We’re out of phase again - We’re out of phase again is another vulnerable glimpse into the inner world of Teen Daze, and marks the release of his most personal album to date, Elegant rhythms. In contrast to the synthesized, digital world of his prior album, Interior, here we’ve been brought into a lush, organic arrangement, brought to you in large part to the stunning bass playing by Sam Wilkes. While the verses pulse forward, the chorus slows things down, and evokes the sophisti-pop sounds of The Blue Nile. This track is a stunning showcase of the world of Elegant rhythms.

Nothing’s gonna change my love - Teen Daze returns with his second single of the year, Nothing’s gonna change my love. The stark change in sound, as heard on previous single Back yard, is on display here again: a smouldering, 2 and a half minutes of slow jazz-pop, indebted to the great Sade, or perhaps the feeling of leaving downtown LA at 2 AM. Lyrically, we hear a story of a love, challenged by the unpredictable nature of our lives. This may be Teen Daze’s smoothest song to date.

Neighbourhood - Neighbourhood is the third single from the recently announced LP from Teen Daze, Elegant Rhythms. Along with Andy Shauf on the drums, and Sam Wilkes on the bass, Teen Daze gives us a languid tour of his quiet neighbourhood. The sun has set on the pleasant, tree-lined streets, and a stranger, more surreal environment presents itself. The song plods forward at an extremely comfortable pace, held down by the paradoxically loose-yet-tight rhythm section. Lyrically, we walk around the Neighbourhood at night, and while the chorus reveals a type of sobriety, the vibe of the song makes it easy to feel a little…effected.

Fade away - Fade away sets the tone for Elegant Rhythm’s side B: a deeply personal, though somewhat veiled, confession of loss. How does it feel to grieve something that was never really here? A smouldering, slowly progressing first half erupts in synthetic noise, and then fades into the ether with it’s repeating refrain, “I can feel you / feel you fade away / when there’s nothing / nothing left to say”.

Fall ahead - A sweet piano tune which serves as a quiet break in the record, intended to help the listener reflect and take a moment of pause before we reach the final two songs on the album.

HST underwater - The penultimate track on the record tells a story where the narrator finds themself in an alien, yet oddly familiar place. Arpeggios soaked in crystal blue water flow through the stereo field, while the narrator, vocoded and drenched in autotune, searches for meaning and purpose in a confusing world. This is one of Teen Daze’s most cinematic, emotional songs yet.

In the rain - It’s never really made explicitly clear on this record, but a lot of these songs find Teen Daze wrestling with life as a new father, and this song, the final on the album, expresses the fears of generational trauma. A touching, tender ode to his children, we hear Teen Daze at his most personal and vulnerable. The falling rain surrounds some absolutely breathtaking bass playing from Sam Wilkes, and Teen Daze’s signature ambient keyboard sounds.

Radio Support: Ruf Dug (Soup To Nuts on NTS)

The first contact is a common science fiction theme about the first meeting between humans and extraterrestrial life. The theme allows authors to explore a variety of philosophical concepts by adapting the anthropological topic of the first contact with extraterrestrial cultures. But then what are the Topics of a possible “Second Contact”? What would have happened to civilization if the extraterrestrial life force returns. Are they ready to greet it?

In this case, the second contact comes in the form of SEELEN. Label head and part-time intergalactic traveller Janein’s second full EP on the Imprint. And he hasn’t returned to take prisoners.

The Title track takes you for a wild ride from the second one. A warbling, acidic texture marks the foundation of what is an absolutely destructive and fiery cut. One of Janein’s heaviest percussion tracks to date takes the mood to an absolute frenzy while the acid-textures and metallic Chords can almost singe your eyebrows off if you get too close to the speaker.

In comparison, Gaja tones it down somewhat with mellower synths and an absolutely funky Bassline. But do not underestimate this track in comparison to Kobald M. This track will ensnare you into its hypnotic chokehold. It is the kind of cut you can play in any situation and not a single person will leave the dancefloor.

Meeting the Alien for a Parlay, translating its transmissions on this record are musical linguists Somewhen and Peryl.
While Somewhen has leaned into Kobald M’s destructive potential, adding a chaotic, out-for-madness kind of energy, that is sure to bring insanity to any warehouse, Peryl, known for his cathartic breakbeat excursions, has absolutely deconstructed Gaja making it into a track that sounds like the moment an unknown flying object enters the atmosphere of the earth.

microCastle’s second offering of 2024 welcomes Upercent back to the label for a new EP. Since first appearing in 2011, Valencia based sound architect Upercent has developed a distinct brand of electronic futurism. An enthusiastic attitude towards experimentation, coupled with extraordinary creative vision has made the Spaniard one of the more unique artists to emerge in the last decade. Upercent’s first microCastle project, 2018’s 'Vuit', not only served as the imprint's second ever vinyl release, but continued the Valencia resident’s mission to create contemporary club tools and destabilizing sound explorations. Seemingly in constant motion moving forward, Upercent would go on to record projects for Diynamic, Kompakt and Watergate, amongst others, firmly establishing his place amongst the underground’s premiere talents. Now more than five years on from this elusive string of projects, it has been Habitat, Innervisions, Sum Over Histories and TAU which have been vehicles for his creative swell over the last two calendar years, reminding us of the niche he carved out during his initial rise, as he continues to maneuver himself through the confines of electronic music. With 2024 being highlighted by ‘Falling’, a two-track collaborative project with Germany’s Adana Twins, Upercent now returns to microCastle with ‘Persevere’.

Beginning with the organic monochromes of ‘Oracle’, Upercent’s craftsmanship reveals itself across the slow-burning piece, one where funked-up beats and rubbery basslines get peppered with skittering rhythms, thought provoking vocal samples and glitched-out electronics. Its subdued yet swing-heavy suspense while perfect for an astute dancefloor, also acts as an ideal segue into the hopeful qualities of ‘As It May See’. Paul Brenning’s vocals feature here, falling like raindrops atop woody kick drums and clustered sonics, eventually giving way to an interlude of soulful phrasing, coaxing beautifully with granular textures and ghostly swirls of wind, before tastefully moving forward as panoramic arps emerge for a mesmerizing finale.

Upercent’s distinct aesthetic continues on the fourth selection ‘Cult’. Perhaps the most direct composition on the EP, its six-minute running time quickly sets you adrift in a techno-inspired wasteland of deconstructed vocals and retro chord stabs. Both intimate and wide-ranging, it's a series of crystal-like drones which engulf your attention whole, creating a sombre, ceremonial backdrop for misty glitches and fog-like swells to create a scenic storyboard. Reverberating hits and twitchy rhythms fill the space of closer ‘Blau Cel’, a production where Upercent crafts a trek through mountainous dancefloor trails. Unbound by gravity, orchestral gestures sweep across mossy plains and frost-filled sighs, offering listeners another immersive journey into the uncharted realms of musical expression.

BRIDGE - CRYING FOR LOVE b/w LISTEN

Paul Tillman Smith is a significant figure within in the music community of Oakland/Berkeley, California. His connections and collaborations read like a who’s who of famous musicians.

As leader of 70s Buddah Records group ‘Vitamin E’ and then onto ‘Bridge’, the subsequent band cut an album in 1981 for the CBS distributed Bang label that never saw the light of day. It was released by First Experience Records as a double LP and CD in 1999 and is recognised as being one of the finest unreleased discoveries within its genre.

IZIPHO SOUL are thrilled to release on a 7” for the first time two gems from this magnificent body of work. CRYING FOR LOVE written by Paul Tillman Smith and Michael Robinson is perfection personified, from the production through to the lyrical content - and of course the sublime vocals of Debravon Lewis (RIP) the tone of her voice will move you to tears.

On the flip is LISTEN, penned by Paul Tillman Smith - a tour de force rendition by the late great Freddie Hughes with Sonny Lewis on sax, adding that extra touch of class.

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


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.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
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.

DJ support - Danny Krivit, Francois K and Joe Clausell to name a few.

Calm presents K.F.'s 'Shining of Life' returns with an array of unreleased mixes that breathe new life into the iconic 2004 Japan-only release. This special edition features innovative reinterpretations by Calm, offering a fresh auditory experience that blends the past with the present in an extraordinary musical journey.

This new package contains four unreleased versions, including the mesmerizing 'Flutemental' mix and the expansive 'Space Ritual Dub' rendition.

This collector's edition is a must-have for true music aficionado

Bliss Point is proud to present the long awaited reissue of lost italo house gem Soft Keys – Bubbles.

Recorded in Trieste in 1993 by Edoardo Milani and Tullio Battisti, “Bubbles (Soap Mix)” is a slice of colorful, sun-soaked euphoria, a track delightfully leftfield and playful in a way so rarely found in club music. Originally released on Italy’s Promo Music label, it was quickly lost to time, a masterpiece locked away on an extremely hard to find 12”, soon growing in notoriety among DJs and collectors.

Bliss Point’s reissue of this classic includes two remixes from contemporary luminaries, each interpreting the timeless sound of Bubbles for the 21st century. Tokyo’s boys be kko explores the soaring complexity of the original, and New Yorker Olive T offers a thumping take on its deep and tender heart. The original “Acapella” version is also included.

This reimagining of Soft Keys – Bubbles is remastered and recut by Dubplates & Mastering, and features an homage to the original 12” sleeve designed by Brandon Oxendine.

Contra009. Embark on an auditory voyage through the heart of Detroit's finest dusty crates with "The Vault Vol. 1," a compilation of beats and melodies meticulously crafted by esteemed producer Reggie Dokes.

Dokes unveils a treasure trove of his finest deep house creations, never before released on vinyl. Delve into the hypnotic rhythms, lush harmonies, and pulsating basslines that define Dokes' signature sound, as he seamlessly blends elements of house and soul to create an immersive sonic experience. With "The Vault Vol. 1," Reggie Dokes invites listeners to rediscover the essence of soulful electronic music.

This anthology also features two mesmerizing tracks from his acclaimed 'Napi Hedz' collaboration with Pirahnahead, adding an extra layer of depth and complexity to an already stellar collection.

Cetu Javu was a German synth-pop band lead by singer Javier Revilla Diez and synth wizard and composer Chris Demere. They started with the band in 1984 and in the spring next year surprisingly reached the third place in a young talent festival in Hanover. Several other shows followed but the highlight was a concert in December of 1986 as the opening act of Erasure. Their first maxi single “Help Me Now” was released in the spring of 1987 on their own label’s. Through the mediation of Talla 2XLC, Cetu Javu got a record contract with major company ZYX Records and released their debut album “Southern Lands” in 1990.

When the song “A Dónde”, a B-side sung in Spanish included on the single “So Strange”, hit number two in Spain, the band surprisingly achieved a great success and toured all this country. The second full-length, “Where Is Where”, was released in 1992 in Spain. The success did not stop here and led Cetu Javu became very popular in some other countries such as Argentina and Mexico. Unfortunately, in 1994, between problems and having to make decisions about the future, the group withdrew from the music scene and each member moved to focus to other activities.

“Where is Where” is re-released contains the original album along with some extended versions and remixes from the singles “¿Por Qué?”, “Dame Tu Mano” and “Una Mujer”. Limited edition of 500 copies on gatefold sleeve and a poster.

Hilit Kolet returns to Rekids for the ‘Snap Talk’ EP. It follows her ‘Hot Mess’ single for the storied imprint and features Kameelah Waheed's vocals on the title track.

Continuing her hugely successful run of 2024 releases, Hilit Kolet returns to Radio Slave’s revered Rekids label with the two-tracker ‘Snap Talk’, following in the footsteps of ‘Hot Mess’ (Rekids) and ‘Everything Is Amazing’ (Bush).

The two dancefloor favourites won DJ support from Laurent Garnier, TSHA, HAAi, Maya Jane Coles, Roman Flügel, Chloé Caillet, Jennifer Cardini and countless others while earning an extended string of radio plays from Danny Howard, Jamz Supernova and Sarah Story, who tapped Hilit for a Future Dance Mix.

For ‘Snap Talk,’ the fast-rising East London DJ and producer turns in yet another drop of striking, jackin’ power-house, this time propelled by Brazillian baile funk rhythms, a homage to her days as a samba dancer at London’s Notting Hill Carnival. Fellow Rekids alumnus Kameelah Waheed's seductive spoken-word vocals ride and push the driving 909-fuelled number, and the result is an outstanding 2 AM track that seriously cuts through the noise.

On the flip, Hilit’s ‘Gate 33’ combines tightly looped percussion opening up into a naggingly insistent drum-heavy cut that employs favela funk-patterned cowbells, a throbbing bottom end and a mix of passionate vocal and unnerving airport announcement samples to create an utterly compulsive late-night groove. Hilit Kolet has been integral to London’s underground scene ever since she was slinging vinyl at Soho’s legendary Black Market Records. Her distinctive, energetic DJ style established her behind the decks, playing everywhere from Ibiza to Berlin via Shanghai and Oslo.

For an aesthetic of (dis)obedience. The impressions Richard Siegal and his company Ballet of Difference gathered on a trip to Japan in September 2022 now find their way into a full-length dance evening. Siegal and his team had set off for Tokyo to learn the practice of Shuudan Koudou, also known as "Japanese Precision Walking". The strictly synchronised group choreographies are astonishing in their radical stringency and have become a secret YouTube hit, not least because of their peculiar subtle humour. Siegal recognises in the extreme disciplining of the bodies an analogy to the training practice of classical ballet. In the mutual exchange of these movement cultures, questions are raised about individual and collective thinking, about personal decision-making power and social responsibility. For this extraordinary project, Richard Siegal has invited a special guest: Nazareth Panadero, long-time companion of Pina Bausch, who has long since become an icon of Wuppertal dance theatre and will be on stage with the BoD ensemble.

The production BALLET OF (DIS)OBEDIENCE is sponsored by Goethe Institut, with the kind support of Sissel GmbH.
CHOREOGRAPHY & STAGE: RICHARD SIEGAL
COSTUME: FLORA MIRANDA
LIGHT & VIDEO: MATTHIAS SINGER
MUSIC: ALVA NOTO
DRAMATURGY: TOBIAS STAAB

more info to: Shuudan koudou

'Shuudan koudou' Shuudan Koudou Is the Japanese #art of Synchronized Precision ...YouTube · Boson TV: Tech Marvels & Cool Discoveries22 Dec 2022

Kottke.org https://kottke.org › shuudan-koud...Shuudan Koudou Is the Japanese Art of Synchronized Precision Walking


On the other hand, hybrid 3 is inspired by Noh Play - Japanese performances and deals with the refusal of rules musically, hybrid three continues the two previous albums and weaves both rhythmic and beatless musical pieces into a holistic work.
The idea for me has always been that these albums are not only perceived as individual tracks, but as a whole piece, which is why I find the possibility of experiencing and listening to these albums in the right order and as a whole particularly important. For me, the pieces are not only closely related to the ballet that was created for them, but also function as individual pieces as pure, musical pieces and mark a new quality for me, which is very strongly focussed on producing electronic sounds and structures in such a way that they can develop a sculptural quality.

Warehouse Find!

Multitrack Reworks continue with Volume 5 in the MT series This time it’s Marvin Gaye and Double Exposure going under Smoove’s cutting knife. Extended Drum build ups and vocal breakdowns, expertly mixed using original multitrack tapes.

International Superstar DJ and world-renowned artists, Jamie Jones along with hit making, Brit nominated songstress Jazzy, deliver THE ear-worm, dancefloor hit of the summer 2024…there’s no avoiding this future anthem.

‘We Groovin’ is the latest addition to Jones’ discography, following hit singles like ‘Fine Fine Baby’ and ‘Lose My Mind’. Tracks that continue to be supported by some of the best DJ's worldwide as well as plays at Jones weekly Paradise residency at Amnesia, one of Ibiza biggest club nights.

Jazzy, a Brit-nominated Irish DJ, earned acclaim with her Irish #1 single ‘Giving Me’. Her mix of training and passion for club music led to a Top 5 UK single with Belters Only on ‘Make Me Feel Good’.

Available on limited edition orange vinyl (1000 units only), in a collectable picture sleeve.

Having plied his trade around the world for more than three decades, German guitarist, bandleader and musical explorer Jan Whitefield has always instilled in his craft a natural aesthetic of authenticity, a key component which has seen him amass a sizeable and varied catalogue of material which has remained timeless where some of his contemporaries have faded away.

In the early 90s, as various UK bands were signed up by sizeable labels and enjoyed even mainstream chart success in the Acid Jazz and rare groove boom, Jan and his brother Max formed the Poets Of Rhythm, self-releasing their own uncompromisingly hard-edged take on 70s street funk on the then completely unfashionable 7" single format, forerunning the Deep Funk scene by almost a decade. 30 years on, in spite of a legion of retro-focused bands having followed in their wake, few have yet to come close to matching the energy and spirit of those early Poets 45s.

Since then, Jan has applied himself to all manner of new incarnations and innovative side-projects, releasing further funk surveys as the Whitefield Brothers before leading his own band under the pseudonym Karl Hector, with releases on labels such as Stones Throw, Daptone, Ninja Tune, Mo'Wax, Strut and more. An avid music lover, explorer and record collector extraordinaire, Whitefield's music has effortlessly absorbed his expanding interests along the way, particularly drawing influence from Ethiopian Jazz and West African funk and highlife, as well as Kraut-rock and ambient via his Rodinia alter-ego.

More recently, Whitefield has begun to venture into the astral planes of what's now commonly referred to as 'spiritual jazz', and this is very much where we find him manifesting on 'The Infinity Of Nothingness'. A set of mature, delicate and meditative orchestrations, like much of Whitefield's best work the album is studiously true to its key influences - and in this instance the twin figureheads of Sun Ra and Pharoah Sanders are particularly preeminent - but also completely avoids falling into a trap of mere tribute or facsimile. With subtle yet diverse accents of Hip Hop, Library and the Avant Garde appearing wholly unobtrusively, the album is unified by a marked trance-like feel, beginning with the sparse, processional opener 'Nothingness' through to the 3 part 'Infinity Suite' of 'Time', 'Space' and 'Energy'.

As he did as a schoolboy with the Poets of Rhythm, with 'The Infinity Of Nothingness' Whitefield achieves that exceptionally rare feat of creating music that is not only worthy of sitting alongside that of his overarching influences, but will also stand up with it against the tests of time.

Incredible new album from our new signing to BDQ records ZAN on the Boogie - Jazz Funk tip, due May. We’re so happy to be releasing this fabulous album.


Zan’s beautiful voice is an abiding part of the Australian music landscape. In the 80’s, she came to prominence out front of Melbourne’s iconic pop funk band
I’m Talking with Kate Ceberano, Zan’s lead vocals shine on one of the bands biggest hits ‘Holy Word’, which is still considered a trail-blazing Australian classic today. She loaned her vocal
talents to some of the most memorable Australian songs including The Models “Out Of Mind Out Of Sight” and “Barbados”. She appears in numerous videos singing backing vocals for a number
of Australian artists.

Zan appeared with I’m Talking in the classic music film Australian Made directed by Richard Lowenstein of Dogs in Space and Mystify fame. The film captured the incredible concert tour, which featured a plethora of major Australian performers such as INXS, Jimmy Barnes, The Divinyls & The Models. In her time with the I’m Taking band and as a solo performer she has made countless appearances on Australian TV including the legendary music programme Countdown.


In the 80’s she even performed for Princess Diana and Prince (now King) Charles at the
Rockin’ the Royals concert, at the Arts Centre in Melbourne, meeting the Royal couple after the show. Zan was bitten by the soul/R&B bug at an early age. Born in London of Sri Lankan heritage,
arriving to the shores of Australia as a young girl. Her love of music took her from Australia to New York and London, where she lived in the 90’s and early 2000’s regularly performing and recording with top international session musicians/artists. She’s also
had the extraordinary honour of performing live with both U2 &
B. B. King, Zan’s self-titled solo album was released through Amber Records in Germany in the mid 90’s and she also toured with UK Acid Jazz band
Mother Earth throughout Europe & Japan, eventually returning to the city she calls home, Melbourne.

Since being back in Melbourne, Zan has performed at various popular music venues such as The Night Cat, Memo and The Espy and in 2019, to the delight of 80’s music fans, Zan sang once again with the re-formed I’m Talking, playing a number of shows supporting Bryan Ferry on his acclaimed Australian tour. The re-formed band received several rave reviews for their shows. Zan’s new material is influenced by her considerable experiences, her rich musical history and the songs and artists she grew up on - soul and R’N B singers such as Chaka Khan, Renee Geyer and many others of that genre. Her new songs are steeped in 80’s dance/boogie funk/soul & pop flavours, re-capturing that feel-good factor from the era whilst bringing to it a new unique and contemporary edge.

Through the medium of a distinctly synthesised, sustained ambience, seasoned artist and composer Jasmine Guffond arrives on OOH to explore the tension between technology and human creativity in an increasingly ambiguous playing field.

Alien Intelligence came into being during Guffond's residency at fabled Parisian institution GRM in 2021. While learning how to generate sound and make music with the in-house Serge modular synthesiser, the Australian artist noticed the typical role of human input for machine output was being subverted by the behaviour of certain electronic elements, which came to exercise their own influences on the direction of the music.

Taking this idea one step further, Guffond proceeded to explore the programming environment MaxMSP, a customisable interface which allowed her to blur the lines between human input and machine directives even further. Across the three extended pieces which make up Alien Intelligence you can hear the results of Guffond's inquisitive approach as she coaxed the machines into bringing their own ideas to bear on the music.

The tension inherent in this thematic duality is mirrored by the contrast between glacial ambience and chaotic interference across the album. On 'Serge & Maxine Variation One' the presiding mood is a slow and patient one, as undulating waveforms rich with harmonic overtones spill out over one another across 10 minutes. The track's latter passage, driven by steadily intensifying oscillations, is then interrupted with an unexpected flurry of pitch shifting. This kind of complex technical movement features more prominently at the start of 'Serge & Maxine Variation Three', which then gradually shifts into a gentler ebb and flow of rising and falling frequencies.

Angled slightly differently and residing on the B side of the album, 15-minute quiet epic 'Serge & Maxine Variation Two' bookends a louder passage of synth work with serene, sustained notes that ring out a sort of hymnal melody. Throughout, the movement in the music evolves in subtly modulating, hypnotic, ways, but there are also unexpected turns or melodic diversions which feel much more incongruous. In its closing stretch, the notes dart around more freely as though played by hand, but it's hard to be sure whether these shifts in the otherwise delicate tonal music were a human conceit or a programming by-product. In the end, the two inputs logically become one.

As Guffond says herself, "More-than-human logics emerge, a kind of alien intelligence that questions an assumed central position of human subjectivity in socio-technical assemblages and considers the philosophical, socio-political and cultural implications beyond music practice in an increasingly technologically mediated world."

As AI creeps into art as much as other aspects of modern life, Guffond applies her playful instinct to the theme of these works by re-considering machine intelligence as 'alien', crediting its contributions with a more robust yet enigmatic identity in the creative process, leading to an end result which is far from artificial.

►Mastered by Giuseppe Ielasi, cover art by Ilan Katin, layout by incepBOY, photo by Camille Blake, words by Oli Warwick

A continuation of the extensive research project initiated last year between Sound Metaphors, Transmigration and surviving eye-witness/historian Ray Castle. An in depth analysis of the dancefloor landscape that developed in Goa during the 80s' and early 90's well before "Trance" became the unfortunate dirty word it is today. Before "trance" was even a genre, Goa was brewing a scene with unparalleled aesthetics, with a constant influx of dedicated collectors and DJs coming and going to this tropical underground dancefloor haven, filtering through vast amounts of emerging electronic music of the times and distilling only the finest of "Special Goa Music". Here is another compilation of our chosen most impactful tracks that would have been soundtrack to a very special and pure moment of freedom in dancefloor culture before the bastardisation of what we now know as "Goa Trance". A highly sought after selection of New Beat, Proto Techno, early Progressive/Trance, Industrial, EBM and House Music. Featuring photographs of the events presented in a double LP gatefold with poster and liner notes by Ray Castle himself. Re-mastered at Manmade mastering in Berlin. A generous body of research essential to any well rounded record collection.

Pianeti Sintetici presents AI-37, entitled ‘Space Opera’. Conceived by Italian artist Davide Perrone, the Pianeti Sintetici (“Synthetic Planets”) project hypothesises the creation of future synthetic worlds as told through sound. Although split across two parts, the album is a singular organism that narrates a journey of boundless cosmic exploration. A sonic tapestry woven of intergalactic atmospheres, Space Opera’s imaginative sound design contributes to a richly spatial and haptic experience.

Taking place in the dimly lit crevices of deepest space, a swirling pool of chemical abstractions and extraterrestrial transmissions spumes out from the darkness. Elements weave through broad washes of drones and scintillating textures, contrasting a sparse backdrop with dense and multilayered passages. Composed with the use of modular synthesisers and intense audio manipulations, ‘Space Opera’ comes to life as an entity that transports the listener on an immersive journey into the mysteries of alien worlds. 

The Silence returns with this limited edition addendum to their debut album for the true diehards that need their darkness to be a little more complete. To sweeten the deal this EP contains an extended version of their tortured dubstep anthem 'Something Hardcore' and the already infamous 'Industrial Counter'.

2024 Repress


"Limited Collector's 12inch Edition on Pink Colored Vinyl" - of 300 copies only !
It contains the original versions plus the extended version of "Un Nodo All'Anima", a big Italo-disco hit performed from one of the best eighties italian singer and showgirl.
This release comes with full picture cover artwork on the original "Jumbo Records" label.
From an idea of the former executive producer : Claudio Casalini.

2024 Repress

A powerful addition to PATRICE BÄUMEL's steadily growing Kompakt catalogue, SPEICHER 89 is the third contribution to the series from the Dutch producer and former Trouw resident. Hitting dance floors in the wake of SPEICHER 81 (KOMPAKT EXTRA 81) and SPEICHER 85 (KOMPAKT EXTRA 85), his latest 12" offering brings you a duo of massive belters, headlined by cyber-calypso manifesto DUM DUM and backed by techno string showdown SURGE. Both tracks nourish some serious bass drops while showcasing an artist invested in carefully crafted melody and impeccable flow - excellent material from a leading beatsmith and DJ who knows how to woo a crowd.
SPEICHER 89 ist die nunmehr dritte Scheibe vom holländischen Produzenten und ehemaligen Trouw-Resident PATRICE BÄUMEL in der Serie, mächtiger Zuwachs in seinem sich verdichtenden Kompakt-Katalog. Nach den Einschlägen von SPEICHER 81 (KOMPAKT EXTRA 81) und SPEICHER 85 (KOMPAKT EXTRA 85) birgt auch die neueste 12" ein massives Set an Schiebern, angeführt vom Cyber-Calypso-Manifest DUM DUM und unterstützt vom grossen Techno-Streicher-Showdown SURGE. Beide Tracks züchten sich ein paar äußerst ernsthafte Bass-Momente heran, vergessen aber nicht den Künstler hinter der Welle, der stets auch in sorgfältige Melodiearbeit und reibungslosen Flow investiert - exzellentes Material von einem führenden Beatschrauber und DJ der weiß wie man mit einer Crowd umzugehen hat.

Renowned US producer Maceo Plex releases his highly anticipated third album, ‘’93', a homage to his three-decade journey through the realms of electronic music. Marking both a passion and a prolific career, the maestro presents a tantalising body of work that masterfully blends House, Hip Hop, Global Bass, Techno, Breaks, and Electronica. This audacious fusion delves into historic and modern influences, crafting an audio journey that transcends time, rich in history yet boldly future-facing.

‘’93' is a cross-genre exploration, seamlessly balancing emotion with hard-hitting beats. Maceo Plex collaborates with a stellar lineup of artists, including Diplo for his contribution on ‘You Don’t Have To Wait’ with Cubicolor, Oscar and the Wolf, Perry Farrell (Jane’s Addiction), Johnny Jewel and Desire, Kirsty Hawkshaw, Mystic Bill, AVNU, Giovanni, Ishi, and Tyler Hill, resulting in a diverse and dynamic musical affair.
This album narrates the story of a highly esteemed artist at a pivotal juncture in his career, consistently evolving towards new directions. Departing from the early deeper house sound that initially defined him, Maceo Plex intentionally ventures into new territory, steering away from his famed melodic and techno direction in recent years. Nevertheless, '93' retains the essence of Maceo Plex's signature style, transcending various sounds and genres in a manner reminiscent of his electrifying DJ sets, meticulously curated for the dancefloor and the crowds.

‘93’ vinyl LP by Maceo Plex is available on Lone Romantic from 17th May 2024.

Key Feedback Quotes:

Pete Tong - Maceo is such a talented producer. A sonic juganaut. An inspiration to so many aspiring music makers. He's a master of analogue and digital in the studio. He's a total 'one of'.
Kolsch - Incredible album!!!!
Artbat - “Very cooooool album!
Gregor Tresher - Wow, now this is what I call an album! Extraordinary stuff, I love it! Big up, Eric!
Hot Since 82 - Nothing short of sensational. My fav producer and DJ who consistantly sets the bar far too high and we all play catch up. Love it.
Rodriguez Jr - Awesome album. LOVE IT. Such a wide spectrum of influences here. Respect!
Laurent Garnier - Very cool. Will play these
Hernan Cattaneo - This is a really good album!
Wehbba - happy to finally see the album coming out, lots of gems, Nasty, Just You and I, Get out Of Here and You're My Desire are my main picks.
Eelke Kleijn - Already listened to the whole album on Spotify. Fantastic. Miles ahead of everyone else. Thanks for sending this, will play many of these for sure.
AFFKT - all tracks are amazing
Ida Engberg - Loooove this release! Stop that and Serpent jazz for me, can't wait to play them. Lone Romantic killing it!
Victor Ruiz - Honestly, you’re a genius! 10/10 productions always.
Pig&Dan - Great to hear new tunes from one of my favorite producers out there
Oliver Huntemann - some real gems on here
Fideles - wow, love it all
Peter Kruder - Love 'em all! Thanks for sending my way!
Yotto - Sick Sick Sick work!
Jody Wisternoff - Insane tracks from Maceo!!!
Terr - Amazing music as always, thx!
Nicolas Masseyeff - Solid release! Full Support!
Paige - Nasty is an absolutely mind-blowing track!!
Braxton - Incredible Album. .
Dense & Pika - Wicked stuff from Maceo.
Eli Brown - Always great music from Maceo Plex.
Anden - Congrats on the album! Love it!
Sergio Muñoz / Fur Coat - Great work from Eric! Congratulations.
La Fleur - So many gems in there, looking forward to having a proper listen from start to end! Thx
Captain Mustache - Big work here from Maceo, congratz!
Alex Kennon - This is a masterpiece!
Timo Maas - Clickbait is a cool track, I like the deep funk.
Martin Eyerer - This is a great album!! I love nasty most, but all great.
Nick Warren - This is such a great album.
Laurent Garnier - Very cool EP. Will play these.
Jonas Rathsman - Stop That sounds interesting

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

2024 Repress

2LP gatefold with liner notes, 180gr vinyl. 'Funky Chimes' is a two-hour collection of excellent and unique grooves. It contains 27 of the most interesting yet long forgotten Belgian dance tracks from the seventies.

'Funky Chimes' is a two-hour collection of excellent and unique grooves. It contains 27 of the most interesting yet long forgotten Belgian dance tracks from the seventies, when a generation of extremely gifted and versatile musicians experimented with funk, jazz, latin and other grooves.
'Funky Chimes' is in many ways the logical follow up to 2014's highly acclaimed compilation 'Funky Chicken'. Uncovering a blind spot in Belgium's musical heritage and unearthing a diverse collection of hidden treasures. 'Funky Chicken' has induced a renewed interest in Belgium's rare grooves from the seventies, which until then had never been regarded a genre worth mentioning. Having said that, this second instalment is much more than just a fast sequel or a batch of leftovers. The music's quality matches that of its predecessor, but the treasure hunt was even more adventurous, and the stories behind some of the nuggets even more gripping.

repress !

That true beauty lies in the essentiality and meticulous combination of a few elements is sometimes not just a cliché. The delicate blend of Roland CR-78, acoustic guitar and dissonant organs that intertwine in Open Windows is a vivid demonstration of this. It is these few elements, now distant and hinted at and now close and deafening, that paint the backdrop of melancholic nostalgia where laconic whispers move the listener within the paintings that bear the sonic signature of Human Figures. To Daniel Lewis’ new project, which has seen its springboard through releases on the label of his friends at Frigio Records, perhaps the adjective “new” is already quite tight. He has built a very recognizable sonic tibre, an influence of producers and listeners at different latitudes of the post-punk and wave scene.

In the 8 canvases of Open Windows the folk tradition is repainted in a more contemporary guise: the sweet and sad litanies are alternated with fast and frenetic stornelli in which the combination of tradition and experimentation constitutes the stylistic signature. The open window through which the listener has the opportunity to look out in this album does not, however, give onto a natural external panorama. It projects into an inner world where introspection and silence are the only chance to grasp its sublime beauty.

Upfront business from London’s Baby Rollén. Kaleidoscope EP is a club ready four-tracker exploring a fusion of sounds from the dazzling arps of the title track, to the groovy bassline pulse throughout Nerve Glider.

Hitting hard on the A1 with Psychology which takes equal measure from early Detroit techno and fuses with the steadily popular Baby Rollén blueprint of contrasting pads and melodies. Voodoo combines influences of jungle with euphoric piano hooks, scattering throughout an extended arrangement.