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DION BRACKEN & LLOYD DEV'S CROWDPLEASERS EP featuring 5 massive cuts of rare disco, funky soul and house bangers sure to set any dancefloor on fire. Grab on sight as these will surely fly out the door. Fans of AL- TONE, MARK GRUSANE & MR. K will love this. Paper sleeve.

SDEM’s debut LP for Mancunian electronic music imprint Skam Records.

VORTICES 9 tracks continue SDEM’s current prolific flow after a steady series of drops via his own
MEDS label & other like-minded operators (CPU, Opal Tapes, Seagrave, Superpang etc..)

Informed by hiphop & computer music and steeped in Northern England's post bleep+bass
mutations, VORTICES operates in its own lane, rooted as much in the by-hand manipulations of
musique concrete and free improv as the studio-as-an-instrument innovations of electro, hiphop, dub and bass weighted electronica.

Evolved out of hardware jams, the pieces showcased here crackle with emotion and colour,
repeated plays reveal suggested and subliminal depths. Neither shackled to the grid nor enslaved to linearity, the LP expands & finesses SDEM's dynamic & forward facing approach

180gr./4p Insert/Debut/1000 Cps Flaming Coloured Vinyl

Casino (Ltd. Flaming Vinyl) is an album by Alcazar, released in 2022. Casino (Ltd. Flaming Vinyl) includes a.o. the following tracks: “Don't Leave Me Alone”, “Don't You Want Me”, “Salome”, “Ritmo Del Amor” and more. The album is a Coloured Vinyl, High Quality, Insert house LP.

180gr./Insert/Poster/1500 Cps Translucent Yellow Vinyl

Harbor (Ltd. Translucent Yellow Vinyl) is an album by America, released in 2022. Harbor (Ltd. Translucent Yellow Vinyl) includes a.o. the following tracks: “God Of The Sun”, “Don't Cry Baby”, “These Brown Eyes”, “Monster” and more. The album is a Coloured Vinyl, High Quality, Insert pop LP.

180gr./4p Booklet/Ft. Lou Reed/3000 Cps On Red Vinyl

Bright Red (Ltd. Red Vinyl) is an album by Laurie Anderson, released in 2022. Bright Red (Ltd. Red Vinyl) includes a.o. the following tracks: “Speechless”, “The Puppet Motel”, “Love Among The Sailors”, “Poison” and more. The album is a Coloured Vinyl, High Quality, Insert pop LP.

180gr/Insert/3500 Cps On Translucent Red Coloured Vinyl

Alice in Hell is the debut album by the Canadian thrash metal band Annihilator. This influential piece is considered one of the essential metal albums from the late 80s. Frontman and allrounder Jeff Waters created some of his most inspiring guitar riffs.

Die..//180gr/Printed Innersleeve/1000 Cps On Pink Vinyl
1-LP Holland


Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

180gr./Printed Innersleeve/500 Cps Red Vinyl

Dutch singer Anouk released her sixth studio album, For Bitter Or Worse, in September 2009. The album's lead single, "Three Days in a Row," was an epic blues rock ballad where Anouk expresses her love for someone she only knew for three days but believes their love story will continue. The song reached number 1 on the Dutch charts. "For Bitter Or Worse" also performed well, reaching number 1 in the Netherlands and number 2 in Belgium. Three additional singles, "Woman," "For Bitter or Worse," and "Lovedrunk," were released from the album.

/180gr./Insert/1000 Cps Orange Coloured Vinyl

Paradise And Back Again (Ltd. Orange Vinyl) is an album by Anouk, released in 2022. Paradise And Back Again (Ltd. Orange Vinyl) includes a.o. the following tracks: “ Cold Blackhearted Golddigger”, “ Daddy”, “ Breathe”, “ Smile & Shine” and more. The album is a Coloured Vinyl, High Quality, Insert pop LP.

180gr/Printed Innersleeve/500 Cps White Vinyl

In 2013, Anouk represented the Netherlands in the Eurovision Song Contest. Just before the competition, she released her eighth album, Sad Singalong Songs. The album showcased a new sound for Anouk, featuring introspective, symphonic rock ballads. The lead single, "Birds," was performed at Eurovision, and the album reached number 1 on the Dutch charts, achieving Platinum status on its release day. It also charted in Belgium and Germany, highlighting Anouk's versatility as an artist

180gr./Insert/1000 Cps On Crystal Clear Coloured Vinyl

To Get Her Together (Ltd. Crystal Clear Vinyl) is an album by Anouk, released in 2022. To Get Her Together (Ltd. Crystal Clear Vinyl) includes a.o. the following tracks: “To Get Her Together”, “Ms. Crazy”, “Little Did I Know”, “Better Off Alone” and more. The album is a Coloured Vinyl, High Quality, Insert pop LP.

180gr./4p Booklet/1500 Cps On Translucent Yellow Vinyl

Together Alone (Ltd. Translucent Yellow Vinyl) is an album by Anouk, released in 2022. Together Alone (Ltd. Translucent Yellow Vinyl) includes a.o. the following tracks: “Nobody's Wife”, “It's So Hard”, “It's A Shame”, “Time Is A Jailer” and more. The album is a Coloured Vinyl, High Quality, Insert pop LP.

Boy Harsher, Portishead, Thom Yorke, Radiohead, Beak>, ERAAS, SUUNS. Over the past seven years, Public Memory's distinctive use of analog synthesizers, electronic beats mixed with organic percussion, lo-fi sound design, and gritty ambience has created a singularly eerie and shadowy world. The first seconds of Public Memory's new record, Elegiac Beat, thrust us immediately into that world. We are in media res, with a feeling of sudden movement from a sensible point A to B. Given some time however, we realize that there is something askew–a bit of brightness here, some shadows pushed aside, some jazz and funk amongst the dub and Krautrock. This is an unfamiliar, ambiguous mood that pushes Public Memory towards new ground. We still drift past the clouded lights and hollowed out buildings of previous albums, but with an occasional bounce in our step now, a bit of golden haze around the edges. First single "Savage Grin" cements this clearly. The track has a jazzy, trip-hop flavor, albeit filtered through Public Memory's narcotic, hazy lens. We could be in a hotel lounge in the alps somewhere on holiday, or out of time in a majestic, sparkling ballroom. But we still have the feeling of being haunted, or perhaps even hunted in some way. This feeling intensifies and comes to a head towards the ever-darkening end of the track, leading directly into "Afterimage", in which someone almost imperceptibly sings "I hear them coming" in a twisted, auto-tuned flail. Second single "7 Floor" begins with flanged drums and damaged synthesizer stabs, evoking a kind of apparition floating towards us in the mist. As the track moves on there is, similarly to "Savage Grin", a contrast in feeling between a cold exterior roaming and an interior, warmer, human place. This time however, we move from the colder to the warmer as the synths from the track's beginning make way for a Rhodes-style organ and backing string synth, infusing an unexpected sense of peace. But like "Savage Grin", the track moves to its end through an in-between place beyond the haze. Faded and distant synthesizers meld with voices–human, or perhaps otherwise–that beckon us, or perhaps warn us. We can't be sure which. Third single "Far End Of The Courtyard" brings us closest to classic Public Memory territory with hip-hop beats, chopped and screwed samples, lo-fi ambience, and ghostly electric pianos complementing the vocals. There is darkness, perhaps more here than in the previous two singles, but with a crucial moment of uplifting lightness so subtle it may be missed upon first listen. As an inverse to both "Savage Grin" and "7 Floor" we end with brightness, the jazzier side of the record pushed to the forefront as the track fades away on that golden haze. In the end though, the haze may be just that: a vapor, a mist, a slight dusting of some other world on top of the degraded one Public Memory so effectively portrays. Elegiac Beat is between two places, and as it straddles the line between the two, we are uncertain if the light it brings shines directly from the sun, or if it is dimly reflected through that majestic ballroom world. For fans of 1990s Bristol trip hop, coldwave, and Thom Yorke's The Eraser

16 moderne krautige elektronische Tracks inspiriert von Kraftwerk, CAN, Neu, Rother Klaus Schulze und Konsorten. Kuratiert und kompiliert von Compost Künstler Fred und Luna. Seine Auswahl (mit sechs exklusiven Stücken!) zeigt, wie gut jüngere Künstler die Kraut-Szene beleben. Die langjährig Bekannteren wie Pyrolator, Sankt Otten, I:Cube, sowieso. Und Vol. 2 ist auch schon in der Mache, folgt im Winter 2023. Die Collage auf dem Cover ist von der fantastischen Künstlerin Norika Nienstedt extra für die FSOK angefertigt worden. Sie lebt in der Kraut Metropole Düsseldorf.

Intro: Future sounds of Kraut, what’s it all about? Keine Ahnung, I don’t know. Überraschung, where we go...Alles andere als einfach oder im Grunde unmöglich, die Begriffe „Krautrock“ oder „Kraut“ zu definieren. Dennoch begeben sich Compost Records und Fred und Luna auf eine Zeitreise, um die unterschiedlichen Elemente deutscher elektronischer Musik der 1970er und 1980er Jahre und ihre Auswirkungen auf die neuere deutsche und weltweite Musikszene zu entdecken. Auf „Future Sounds Of Kraut, Vol. 1“ präsentieren die beiden Kuratoren Fred und Luna als erste „Forschungsergebnisse“ hauptsächlich Bands, die vom repetitiven Charakter vergangener deutscher Elektronika à la Kraftwerk, Can, Neu!, Harmonia und Cluster, beeinflusst sind.

Viel Vergnügen und erfolgreiches Krautifizieren!

SDEM’s debut LP for Mancunian electronic music imprint Skam Records.

VORTICES 9 tracks continue SDEM’s current prolific flow after a steady series of drops via his own
MEDS label & other like-minded operators (CPU, Opal Tapes, Seagrave, Superpang etc..)

Informed by hiphop & computer music and steeped in Northern England's post bleep+bass
mutations, VORTICES operates in its own lane, rooted as much in the by-hand manipulations of
musique concrete and free improv as the studio-as-an-instrument innovations of electro, hiphop, dub and bass weighted electronica.

Evolved out of hardware jams, the pieces showcased here crackle with emotion and colour,
repeated plays reveal suggested and subliminal depths. Neither shackled to the grid nor enslaved to linearity, the LP expands & finesses SDEM's dynamic & forward facing approach

CHIWAX CLASSIC EDITION PRESENTS PAUL JOHNSON - IN THE KITCHEN 95', ORIGINALLY RELEASED OB NITE LIFE, RUNNED BY THE LEGENDARY DANCE MANIA FOUNDER, RAY BARNEY IN 1995. THIS IS ALSO THE LAST RELEASE WE'VE DONE TOGETHER WITH OUR DEAR FRIEND PAUL, BEFORE HE LEFT THIS PLANET WAY TOO EARLY... DON'T MISS THIS RE-MASTERED RE-ISSUE AND HEAR THIS BEAUTY LOUD!

Carl Finlow keeps on keepin' on. Not only is Finlow one of the most respected names in electro, a producer who boasts a sprawling catalogue that takes in a wide variety of aliases, but he's also spent recent years establishing himself as a mainstay for Sheffield's Central Processing Unit label. Soft Robotics, the new EP from Finlow's Silicon Scally project, is the fifth Silicon Scally release in five years to boast one of CPU's instantly-recognisable black-and-white covers.

The reason that Silicon Scally and CPU keep linking up is simple; they're a perfect fit for one another. Central Processing Unit has established itself as a haven for post-Drexciya producers since launching in 2012, and there are few artists better than Finlow at building on the Detroit group's sound. The union bears fruit once more on Soft Robotics, an EP of lithe machine-funk jams that will both do damage in the dance and also reward more concentrated home listening.

Things begin at a steadier speed than one might expect. Rather than barrelling off with the kind of sinewy roller one associates with the CPU name, Soft Robotics' title-track takes things at mid-pace. The groove reveals itself without hurry, Silicon Scally adding or subtracting elements - twitchy modular loops, pensive pads, the occasional blurt of low-end - atop the chugging bass/drums groove. It's a track which wins you over with guile rather than force.

As the name of subsequent cut 'Jitters' intimates, this one picks things up a little after 'Soft Robotics'. The tempo is higher here, the central beat more nervy. At their cores, though, 'Jitters' and 'Soft Robotics' are kindred spirits. Here, another slyly insistent bit of drum programming comes swirled up with all sorts of extraterrestrial tones, from little nuggets of melody supplied by the keys to electrifying synth stabs and percussive squelches.

Things limber up further still on first B-side 'Spin Ratio'. The track's 808 kicks are punchier than those of the A-side jams, and there's a dizziness to the bass tone which gives 'Spin Ratio' an intriguingly off-kilter feel. Atop the booming beat we find ourselves hypnotised by cells of melody and harmony interlocking or moving apart - particularly the staccato module at the track's heart. Sure enough, 'Spin Ratio' is the Soft Robotics joint which cleaves closest to Drexciya, invoking other Detroit disciples like Jensen Interceptor in the process.

After Soft Robotics picks up speed in the middle, closer 'Super Fluid Tones' brings us back to where we started. This track returns to the more measured delivery of the record's opener - there's a steady pulse to the drums, and once again Silicon Scally packs the mix with so many intriguing whizzes, bangs, blips and blurts that it's impossible not be won over by this tune's construction. 'Soft Robotics' and 'Super Fluid Tones' bookend Soft Robotics very nicely, and Silicon Scally's smart pacing gives the EP a lovely ebb and flow.

The ever-excellent Carl Finlow drops a Silicon Scally release via Central Processing Unit for the fifth year running. Like its predecessors, Soft Robotics is an excellent and deftly-crafted collection of modern machine-funk.

RIYL: Drexciya, Jensen Interceptor, Fleck E.S.C., The Advent

RAWAX re-issues the former Unleash009 by Robert Drewek & Tomie Nevada - Minimize The Maximum EP from 2006.
This release became a big push after being played by Francesco Del Garda & Raresh to name a few.
The re-mastered version will be out 1st of June.
Don't feed the Discogs Sharks!

Die mega-erfolgreiche Compost-Compilation Serie erfährt eine Fortsetzung. Nach 20 Jahren eine neue Glücklich! Rainer Trüby hat tief in brasilianisch, lateinamerikanisch angehauchter Musik gefischt und macht uns damit mehr als glücklich.

Zurück im ganz großen Stil – denn eine Pause von zwei Jahrzehnten bedeutet ja auch, dass man besser stark zurückkommt, wenn man denn zurückkommt. Aber wir reden hier ja auch von Rainer Trüby, und er hat einen ganzen Sack voller brasilianischer und brasilianisch angehauchter Leckerbissen mitgebracht! Einige dieser Leckerbissen waren auf obskuren, von Vinylsammlern ignorierten CDs vergraben, andere sind bisher noch auf keiner Compilation zu finden aber alle werden uns den Sommer über auf‘s angenehmste begleiten und „Glücklich“ machen. Nebenbei bemerkt: Das Auto ist ein VW SP2, der zwischen 1972 und 1976 von Volkswagen do Brasil hergestellt wurde.

Clear Vinyl

Die mega-erfolgreiche Compost-Compilation Serie erfährt eine Fortsetzung. Nach 20 Jahren eine neue Glücklich! Rainer Trüby hat tief in brasilianisch, lateinamerikanisch angehauchter Musik gefischt und macht uns damit mehr als glücklich.

Zurück im ganz großen Stil – denn eine Pause von zwei Jahrzehnten bedeutet ja auch, dass man besser stark zurückkommt, wenn man denn zurückkommt. Aber wir reden hier ja auch von Rainer Trüby, und er hat einen ganzen Sack voller brasilianischer und brasilianisch angehauchter Leckerbissen mitgebracht! Einige dieser Leckerbissen waren auf obskuren, von Vinylsammlern ignorierten CDs vergraben, andere sind bisher noch auf keiner Compilation zu finden aber alle werden uns den Sommer über auf‘s angenehmste begleiten und „Glücklich“ machen. Nebenbei bemerkt: Das Auto ist ein VW SP2, der zwischen 1972 und 1976 von Volkswagen do Brasil hergestellt wurde.

Solo-Debütalbum von Wobblers Lars Fredrik Frøislie! Frøislie passt perfekt in die Prog-Rock-Tradition der 70er Jahre, in der der Keyboarder zwischen den Alben der Hauptband ein Soloalbum machten, und dies ist Musik, die Frøislie während der Pandemie größtenteils alleine gemacht hat.
Viele alte analoge Keyboards wie Cembalo, Mellotron, MiniMoog, Yamaha CP70 und Hammond-Orgel sind Bestandteil dieses warmen 4-Track-Albums. Mit Nikolai Hængsle (Elephant9, Needlepoint, Bigbang) am Bass!
Limitierte LP-Versionen auf Vinyl in Dunkelgrün! Die CD ist bereits erschienen.
Für Fans von Wobbler, Yes, Gentle Giant u.a.

Inspired by the rawness and honesty of artists like Elliott Smith, Julien Baker, Adrianne Lenker & Sufjan Stevens, Callum Pitt imbues his indie-folk with grand, orchestral, chamber pop sensibility plus an alt-rock edge. Despite using music often as a canvas to openly discuss depression & anxiety, as well as political unrest, Callum still manages to imprint feelings of optimism and unity, alongside genuine warmth and honesty, throughout his songs.

This debut album In The Balance pinpoints back to one night in 2019, where Pitt was handed an earth-shaking reminder of how much hangs in the balance with each passing second. Minutes after he waved goodbye to his brother and parents as they left his house, a fire engine hit the back edge of their car. They were all unharmed. But if the car was in the engine’s path a fraction of a second later — if Pitt had said one more word at the doorstep — it would have ploughed directly into the drivers’ side.

28-year-old Pitt has been working on his craft for a decade, beginning in the Newcastle pub scene and gradually refining his thoughtful, poetic songwriting voice. He won the Alan Hull Award for songwriters in 2019, and the Fender Player Plus competition in 2021. Meanwhile, he’s studying a masters in Occupational Therapy, and has worked with children, young people and adults with disabilities through various outlets, including therapeutic music work. These are experiences that shaped In The Balance, his first true body of work, giving him a new perspective on the cathartic and unifying power of music.

This is Come Play With Me Records' first release since the partnership with EMI North has been announced. The compilation 10” is funded by Breed Media and features local Leeds artists Hang Linton, Claudia Fenoglio, Fehlt and Tirikilatops, with the vinyl featuring exclusive spoken word pieces from Jack Collins and Lily Fontaine (English Teacher). Key Quotes: “With summer on the horizon, ‘As Good As This’ possesses a most welcome warmth, its gentle familiarity as intoxicating as it is reassuring.” - God Is In The TV

Super bitter-sweet ballad. Like 70% cacao chocolate. Tomasz Guiddo teams up with legendary Vienna crooner Louie Austen (remember all his hits on Cheap, KittyYo, Tirk, G-Stone, Klein Records, Etage Noir). On the flip side of this 7" the Columbian superdons Meridian Brothers turn this into real mambo madness, which gives the ballad a joyful twist.

Remix EP 1 (incl. Remixes by Acid Pauli, Coldcut, DMX Krew, Shahrokh Dini, Frivolous)

After the release of Felix Laband’s highly acclaimed 5th album “The Soft White Hand” in November 2022, it’s about time to give it some extra class remix treatment. So here comes a massive package with remixes by living legends Coldcut, Acid Pauli, DMX Krew, Frivolous and Shahrokh Dini.

Felix Laband’s The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story.

Released by Munich-based Compost Records, the 14-track album is Laband’s first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single “Derek and Me”, and is being pressed on vinyl for distribution globally.

In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album’s creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like “Death of a Migrant” – is perceptible in Laband’s desire to illuminate instead aspects of his own life.

Fred und Luna hatten schon immer eine Vorliebe fürs Symmetrische. Das zeigt sich an den Motiven ihrer Albumcover und auf dem aktuellen Album nun auch an der Länge der Musikstücke, die sich allesamt an der Fünfminutengrenze bewegen.
„Im Fünfminutentakt“, so der entsprechende Name ihrer neuen Schöpfung, ist „Fred und Lunas“ vierter Longplayer, eine erlesene Auswahl zeitgemäßer Instrumental- und Gesangsstücke mit einem sensiblen Gespür für repetitive Rhythmen, bezaubernde Melodien und hypnotisierende Klänge.
Besonders hervorzuheben sind das in drei Sprachen gesungene Stück „Es ist so schön“ ? mit seinem sensiblen Gespür für die Freude, seine Liebsten nach Monaten der pandemiebedingten Einsamkeit endlich wiederzusehen ? und das dancefloororientierte „Tanz mit mir“, das erahnen lässt, wie sehr selbst computerhafte Stimmen Sehnsüchte und Träume erwecken können.

Wer sind Fred und Luna?
Fred und Luna wohnen in einem Modehaus in Karlsruhe. Die beiden Mannequins sind die Musen des Musikers, Poeten und Foto- und Filmemachers Rainer Buchmüller.
Von seinen Mannequinfreunden und der Liebe zu deutscher elektronischer Musik der letzten Jahrzehnte inspiriert, produziert Rainer Buchmüller unter dem Namen „Fred und Luna“ moderne musikalische Abenteuerreisen mit einer Kombination aus sich wiederholenden Beats, elektronischen Klanglandschaften und Elementen der Krautrock-Ära. Oder wie er es wahlweise nennt: Elektrokraut beziehungsweise Krautelektro.

Unterwegs mit Fred und Luna (Das Luna-Prinzip)
Weil die beiden Mannequins Fred und Luna ihr Modehaus nie verlassen, übernimmt Rainer Buchmüller unter dem Pseudonym Sugar Ray Buckmiller bei Liveshows die Rolle von FRED.
LUNA hingegen erfindet sich von Konzert zu Konzert neu und wird von einem oder mehreren kurzfristig ausgewählten, wechselnden Musikern vertreten. So wird jeder Auftritt zu einem überraschenden und einmaligen Ereignis für das Publikum und die Musiker selbst.
Achtung: Die nächste Luna könntest du sein!

Shahrokh Dini delivered two top notch EPs in 2022, “Now We Can Dance” w/ Illinois and “Ubuntu”. After gathering some decent remixes, a proper vinyl release became self-evident. Here we go now with splendid re-works by the likes of Lehar, David Mayer, Omer Tayar, Tooker, Kovi, Patrick Zigon and Apoena. A superb package!

Shahrokh Dini left Karlsruhe, while he is even more active than ever in his old and new basecamp Berlin. Not even that he played a lot of nice gigs during summer (Amsterdam, few times on Ibiza, lot of gigs in Berlin, Italy, Corfu, Sardinia), he is also busy in the studio with several releases and remixes (btw.: one for Compost artist Felix Laband). “Now We Can Dance” with the strong and lovely vocals by Illinois is a contemporary house smash with an 80ties indie dance twist. Shahrokh met Illinois at the Garden Of Babylon parties, where Shahrokh is virtually the resident DJ, too.
Further we have stunning remixes by Lehar (Diynamic Music, Connaisseur Recordings), David Mayer (formerly Keinemusik, Ouïe), Apoena (Freerange), Omer Tayar (The Gardens of Babylon/Tel Aviv), Patrick Zigon (Biotop, Traumraum), Tooker (Ouïe, Crosstown Rebels), Kovi (Compost, Frau Blau).

Shahrokh Dini has a long lasting release history, among them a lot on Compost, also under his moniker Shahrokh Sound Of K. Check both his discographies on Discogs.

Blackploid has become one of Central Processing Unit's stalwarts in the past couple of years. Martin Matiske's project contributed a trio of EPs to the Sheffield label across 2021 and 2022, with each of them showing off the kind of electro chops and production sensibilities that made Blackploid an ideal fit for an imprint which also boasts the likes of Cygnus, Silicon Scally and Bochum Welt among its catalogue.

Now, for CPU's first release of 2023, Matiske levels things up with the debut Blackploid LPEnter Universe. Across these twelve tracks, Matiske leaves us in no doubt that he's a prime mover in the world of modern electronic music.Enter Universedoes not let up from start to finish, delivering a dozen pieces of leftfield electro that draws from the sound's greats while also showcasing an unpredictability and flair that is all of Blackploid's own.

The tone is set from the first frosty chords of opening cut 'Pulsation'. The track traverses the starscape on pitter-patter drums and chirruping synths, a lively and slightly dystopian roller with an adventurous undercurrent reminiscent of classic Rephlex drops. It's a style which Blackploid often draws for throughout the rest ofEnter Universe, albeit with elements added or subtracted at each stage.

Indeed, this album features some of the most unusual production you will hear on any record this year. While the grooves pulse away in a manner reminiscent of Drexciya or Legowelt, Blackploid layers the mixes with a whole cornucopia of synth tones. 'The Mission' boasts a bleep-bloop breakdown that sounds like malfunctioning rotary telephones; 'Silent Room' is a ghoulish jam which harks back to Warp's legendary Artificial Intelligence compilations; 'Automatik' and 'Wormhole' are defined by some brilliantly strange low-ends - you'll be thinking of Mr. Oizo's 'Flat Beat' with the wiggly former, while the gurgling, writhing anti-lead that dictates 'Wormhole' is oddly thrilling and more than befits the track's title.

This inventive approach is also apparent in some of the structural choices onEnter Universe. While the tracks here all keep a steady, dancefloor friendly pulse, several of them surprise you by switching up the approach after a minute or two. 'Pulsation', 'Automatik' and 'The Mission' all feature moments where a new element - extra hi-hats, a synth line entering from leftfield - inject fresh impetus into the tune to keep the listener on their toes.

Blackploid may push the sonic envelope onEnter Universe, but this does not mean there is no room for melody. In particular, the cuts here which most strongly channel 'Computer World'-era Kraftwerk do so by fronting some slyly tuneful work, particularly in the low end of the mix. 'Unidentified' serves up delightfully springy chords, 'Cell Mutation' leads from the bassline, and 'Space Curve' features little cells of melody and counter-melody working together to closeEnter Universeout on a high.

Blackploid's debut LP Enter Universe marries Drexciyan electro and Warp-school electronica with some brilliantly inventive production choices.

Remixes by Moodymann, Potatohead People, Moodorama.

Kenny Dixon Jr. acuminates it deep and groovy, well, it’s his holy trademark sound. Potatohead People from Vancouver have been championed by Soulection, Nightmares on Wax, Questlove, Big Boi a.o. and have releases on Jellyfish Recordings, or NY label Bastard Jazz. The duo has worked with artists such as Moka Only, Kaytranada, Pomo, Phife Dawg a.o.

On top Moodorama’s remixes are trippy dubby jams. Moodorama have a long recording history, starting in the 90s on Stereo Deluxe, but even before that Martin Sennebogen was the DJ and co-producer of Knowtoryus, the legendary first hip hop outfit on Compost.

Inkswel & Colonel Red started out writing together more than decade ago & over the time have developed quite a unique sound when recording together,..a chemistry that blends music melody & lyric into every verse chorus & hook. So when Inkswel approached Colonel Red to create the 'Holders of the Sun' album, Redz response was to move his hectic schedule around & start immediately. Inkswel dropped the beats Colonel Red dropped the vocals & some fine musical tuning & 'Holders Of The Sun' Vol1 was born….while they promise a Vol. 2.
The fantastic artwork comes from Our Machine, Netherlands, who designed a lot of sleeves for Kindred Spirit, Tom Trago, Versatile, Build An Arc and m.o.

Colonel Red is a groundbreaking soul singer, musician, producer and performer, often referred to as one of the most powerful voices in the UK soul music community, a champion in equal parts of the original Broken Beat scene, as well as the UK soul scene. Working with and writing for the likes of Teddy Pendergrass, Amp Fiddler, Maurice White, Bugz In The Attic, Tony Allen and countless others. His track 'Belive In Me' was awarded the WORLDWIDE award from Gilles Peterson in 2014.
Colonel Red’s foray into the music industry began when Epic Record company giant Sylvia Rhone signed the then lead singer, Nikki Romillie, of Pride n’ Politix, to Atlantic Records. An accompanying publishing deal with Warner Bros. established the artiste, now known as Colonel Red, as one of the UK’s top cutting edge singer/songwriters.

Inkswel has been heralded as one of the busiest and most prolific beat based producers from Australia, a true master of his craft he has worked with the likes of Talib Kweli, Lee Scratch Perry, Andrew Ashong, Dwight Trible, Amp Fiddler and countless others as well as putting out timeless musical projects on labels such as BBE, Sonar Kollekiv, Rush Hour, Warner Music, Boogie Angst and others. He hovers evenly between Hip Hop and Club sensibilities, blending new age approaches with nostalgic leans. 'Holders of The Sun' is the audio melting pot of two musical aliens, future directive soul music drenched in the nostalgia of what once was.

Side By Side - Volume 2 is the latest in a series of exciting releases from
the much-respected Leeds label Come Play With Me and is the second
edition of Side to Side', a callout to support women, marginalised genders
and LGBTQ+ artists
. The album features a collection of 10 new and eclectic tracks from an
exceptionally talented group of artists including Pleasure Centre, Kindelan and
Naali Collective. With the lead track coming from South Korea native Heju and
further two singles from dreampop soloist Boshe and neo-soul Sunday.
Tracks: Edited People - Understand / Elle Bennett - Good Morning Midnight / Heju
- Sometimes i miss that hotel room / Boshe - Take It / Sunday - With Ease /
Eleanor Cully Boehringer - XIII Bells / NAALI Collective - Satori / Bizarrefae - You /
Kindelan - Know You / Pleasure Centre - Above The Neck (Live at The Nave)

Beanfield’s mega classic re-release in a double 12” pack with old and new remixes by Toto Chiavetta and Art Department and a new Beanfield track. “Tides” was originally released in 2004 and evolved into an all-time club anthem by means of Carl Craig’s huge remix (C's Movement #1), followed-up by the stunning Ripperton remix.

Come Play With Me continue their journey to support emerging artists
with the 21st edition in their singles club which has previously featured
artists including Harkin, Team Picture, Fizzy Blood, Cinerama (The
Wedding Present) and more
After supporting both Fuzz Lightyear and Josephine Sillars with standalone
digital singles, they were selected to feature on the split 7 € release.

Deaf Safari is an audio collage of subjects that interest me and speak of the world I live in. It is an album composed of sampled recordings from the media landscape that has been the soundtrack to my life over the last ten years.

The most important development in my current music and as can be heard on Deaf Safari has been my understanding of the beauty and power of the spoken word. I have experienced severe indifference to contemporary pop and electronic music as a whole over the last many years, as I have felt that social comment of any relevance has been ignored by music in general.
Deaf Safari attempts to bring sociopolitical comment into my music without taking any specific stand.
Sampled outside of musical influence directly from the news; from preacher sermons or from contemporary African documentaries.
I have finally created a story with sound that I feel accurately conveys my personal experience with the African world I live in.

My musical influences on this album lie mostly with local Kwaito house. Deaf Safari is an experiment within certain boundaries of the 4/4 genre, to create my own South African "house" album.
I am proud and inspired about the South African Kwaito house scene.
However, as with my first three albums, "Thin Shoes In June“ (2001) - "4/4 Down The Stairs“ (2002) and "Dark Days Exit“ (2005), I am still interested in making strange and evocative music.

American Roots music from the earlier periods of the 20th century has deeply resonated with me during the making of this album.
The incredible field recordings by Alan Lomax of Negro prison and chain gang work songs, and the
beautiful early recordings of artists such as Leadbelly have had a major influence on Deaf Safari.

I am truly excited to release this album and to start performing in the music world again. It has been ten years since I released "Dark Days Exit , and although I have been purposefully absent from the music world, I have none the less never stopped making music.
I feel that I have finally arrived at a mature and challenging stage in my pursuit of making emotional music of relevance .

Felix Laband 13.02.2015

Quotes about the previous album "Dark Days Exit“:

“Dark Days Exit is an interesting blend of latin, ambient, folk, and lounge flavors. The production and composition is top notch throughout, but check the choppy clicks of "Crooked Breath" or the eerie, melodic "Radio Right Now" for signs of true inspiration. A talent to watch.” XLR8R

“One of South Africa's most gifted electronic artists” Resident Advisor

"It has the dark sparkle of Air`s `Moon Safari`, random trippy flashes of Pink Floyd´s earlier sounds, and if David Lynch had based `Twin Peaks` in Cape Town´s City Bowl, then this would work as the soundtrack." SA Rockdigest

“An insane swirling ambient dub glitch freak show.“ Dazed & Confused Magazine

“Dark Days Exit … will ingrain itself into your psyche until you have no choice but to listen to it over, and over, and over again. Every time, it will be worth hearing.” Pop Matters

“Laband´s superbly-layered, multi-tiered soundscapes are tantalizingly tranquil and intriguingly unique – they amble like ambient and slip into the bloodstream like liquid LSD.“ rage.co.za

"An album that will bewilder due to weird electronic nature, but by the same token has the power to melt the soul. Mindblowing." Jon Freer

“For the younger generation, Felix Laband became a mythical legend.“ Below The Lion

"So gehört hat man das noch nicht - die komplett klischeefreie Deepnesss dieser verzwickt-geschickt gefrickelten Elektronik mit Suchtfaktor zehn ist geradezu beängstigend." INTRO

“Elektronische Musik, die schwerlich nur natürlicher, menschlicher klingen kann. Oder kurz gesagt: ein mehr als ausgezeichnetes Album. Tricky Chillout…“ GROOVE

“Man nimmt “Dark Days Exit” einfach nichts übel, alles scheint hier zu funktionieren.” DE:BUG