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Strut presents an exclusive new collaboration between UK jazz keyboardist Greg Foat and Venetian ambient / electronic maestro Gigi Masin on ‘Dolphin’.

Recorded remotely during 2021-2022 the album took shape in the form of mutual compositions, gradually developed and embellished online. Final recording sessions took place at the majestic Chale Abbey Studios on the Isle Of Wight with Moses Boyd (drums), Tom Herbert (bass) and Siobhan Cosgrove (flute, clarinet) adding elements to several pieces. Tracks include the reflective, wistful single ‘Viento Calido’ and drifting ambient piece ‘Sabena’, a beautiful tribute to Gigi’s wife who sadly passed away during 2022.



Greg Foat has recorded prolifically in recent years for Athens Of The North, Jazzman and Strut including acclaimed albums Symphonie Pacifique (2020) and The Mage (2019). Best known for his 1986 ambient masterpiece Wind and as a member of Gaussian Curve, Gigi Masin has enjoyed a revival in recent years through his Calypso album on R&S’s Apollo label and renewed touring. Dolphin represents Greg and Gigi’s first landmark recording collaboration together. “I first heard Gigi’s album Wind in 2016,” remembers Greg. “I was living in Miami and I heard it playing one Summer evening Since then, it has always been in my mind to be able to record together.”

Milestone album from n°1 Dancehall artist in Europe available for the first time ever on vinyl. Includes the monster hits "Bad" and "World Whin" as bonus tracks.

Blaiz Fayah currently lives between Paris and London and comes from a family of musicians. Songwriter- singer-composer, he made a name for himself thanks to the Dancehall and Moombahton djs who selected him for their best mixes around the world.

After making the world dance with his track « Bad » and its millions of streams, Blaiz Fayah is the dancehall hit maker of the moment.

Blaiz Fayah is the most exciting dancehall artist of his generation !

The French artist has been very successful all over the world and this has brought him to the South American, Caribbean and European dancehall scenes.

Independent and unstoppable, his freshness and talent have pushed him to the top with several million streams per month thanks to hits such as : Best Gyal, Bubble & Whine, Bounce it, Call The Police... With millions of views on TikTok, his hit "Bad" (with Tribal Kush) has gone viral, accumulating thousands of videos.

Independant and unstoppable, his freshness and talent have pushed him to the top with several million streams per month and a string of hits...

Blaiz Fayah, with his charisma and accompanied by his dancers on stage, brings to each of his live performances, a crazy energy and happiness to the public.

CREEPING DEATH befinden sich auf einem schnellen und rasanten Aufstieg aus dem Untergrund.Die texanische Death-Metal-Crew liefert immer wieder ein unerbittliches Geknüppel, das aus den entlegensten Winkeln der Vergangenheit, Gegenwart und Zukunft des Genres stammt. Der Fünfer aus dem Lone Star State zelebriert den Stil triumphierend und peitscht grausame Riffs und Südstaaten-Grooves mit einer unwahrscheinlichen kathartischen Freude auf.Boundless Existence wartet mit Future-Death-Metal-Klassikern wie dem superschweren, schnellen und groovigen "Intestinal Wrap" auf (bei dem George "Corpsegrinder" Fisher von Cannibal Corpse mitwirkt). "Vitrified Earth" zeigt die zunehmenden Fähigkeiten von Creeping Death in Sachen Songwriting, was vor allem an der Kadenz und Phrasierung von Alavis Gesang zu erkennen ist, während die kranken
Riffs nie vernachlässigt werden. Gegen Ende des Albums gibt es sogar eine etwas entrückte Atmosphäre, mit Gitarreneffekten, Harmonien und berauschenden Taktarten."CREEPING DEATH versammeln gewaltige Riffs, schreiende Gitarrensoli und bedrohliche Gesangseinlagen und spielen sie mit dem treibenden Schwung einer erstklassigen Hardcore-Band." - Revolver Magazin.

CREEPING DEATH befinden sich auf einem schnellen und rasanten Aufstieg aus dem Untergrund.Die texanische Death-Metal-Crew liefert immer wieder ein unerbittliches Geknüppel, das aus den entlegensten Winkeln der Vergangenheit, Gegenwart und Zukunft des Genres stammt. Der Fünfer aus dem Lone Star State zelebriert den Stil triumphierend und peitscht grausame Riffs und Südstaaten-Grooves mit einer unwahrscheinlichen kathartischen Freude auf.Boundless Existence wartet mit Future-Death-Metal-Klassikern wie dem superschweren, schnellen und groovigen "Intestinal Wrap" auf (bei dem George "Corpsegrinder" Fisher von Cannibal Corpse mitwirkt). "Vitrified Earth" zeigt die zunehmenden Fähigkeiten von Creeping Death in Sachen Songwriting, was vor allem an der Kadenz und Phrasierung von Alavis Gesang zu erkennen ist, während die kranken
Riffs nie vernachlässigt werden. Gegen Ende des Albums gibt es sogar eine etwas entrückte Atmosphäre, mit Gitarreneffekten, Harmonien und berauschenden Taktarten."CREEPING DEATH versammeln gewaltige Riffs, schreiende Gitarrensoli und bedrohliche Gesangseinlagen und spielen sie mit dem treibenden Schwung einer erstklassigen Hardcore-Band." - Revolver Magazin.

In the digital age, words are no longer just symbols of communication, but a powerful tool that gives rise to meaningful interconnections between different universes.

Words have the power to transcend time and space, connecting two souls destined to meet.

Il Significato delle Parole (the meaning of words) is Adiel's new effort on her DanzaTribale, a crossover of two minds, generated together with musician Flavio Accorinti: techno sounds like the restless soul that pervades our days, deconstructed atmospheres like shattered generational dreams. The fusion of two cosmic currents, two ways of thinking and creating, characterized by an immanent power, pushing us to imagine new urban primitivism. Two creative processes, transcending individual boundaries to connect into a single overarching vision, to explore new forms of art and storytelling.

The EP, mixed by Donato Dozzy and mastered at Rome's Enisslab Studio by Giuseppe Tillieci, starts with Nulla Resta, a defragmented, dreamlike, ascending climax markedly cyberpunk: dense with references to 90s Progressive Dream, Nulla Resta, with its dulcet melodies, transports us to an artificial reality, a spiritual reality albeit dominated by technology. A reality suspended between fantasy and materialism.
Suspended, like the second track (Sospesa): dark trip-hop's echoes adorned by the voice of Jordie Devlin Mcmorrow. "Shadows on the walls orchestrate our downfall." Dystopian futures intertwine with mysteriously dreamy pasts in a fatal spiral of redemption.
But words remain the catalysing element of this EP.
Parole(words) represents a communicative rare faction that embraces tribes near and far. Black drums echo in the distance in an intimate ballad, in an epic ride, in an ethereal metaphysical journey to the dissolution of the boundary between time and space, between memory and perception.
Notturna, on the other hand, is the epilogue we all deserve; a solemn twilight, a lysergic, dragging escape from the objectivity of the real world.

The images of life do not simply exist in a vacuum. They are defined by the energy that surrounds them, and it is the explanation behind each of these words that we must find if weare to truly understand them. Thanks to the meaning of words, sooner or later, we will be all united again.

Merging a dynamic curio of melodic guitars, disconcerting monologues and a rhythm section both technical and unruly, London’s Legss create a wholly unique and mesmerising sound. New EP Fester is a literary and disarmingly lyrical collection of art-rock songs laden with ideas and sun-licked beneath the bus smog of anxious skies.

Even when leaning into more melodic territory, there’s a pervasive uneasiness that underpins both the vocals and instrumentation. Just as you drift into the relaxing arpeggio flow, vocalist Ned Green’s soft soliloquy accelerates to an exasperated yelp and we’re jolted by discordant noise-rock stabs dragging us into Legss’ deliciously feverish and poetic world.

“The lyrics were written in the summer, when you’re sun-drunk and romantic, and the buses look like they’re kissing as they cross each other, and everyone’s got a cold sore. But beneath all the sunny games there’s a bittersweet desire to be someone or something else.” - Legss

Fresh from supporting the likes of Pom Poko and Hotel Lux, Legss release Fester via The State51 Conspiracy on 16th June. Pressed on 12” black vinyl in a sealed polybag liner.

The album Symposium Musicum is developed from field recordings, interviews, and observations collected in the villages of Podolínec, Lomnička, Levočské Vrchy, and Kolačkov - all areas of the eastern and north-eastern Slovakia with significant Romani enclaves. The pieces resulting from these interactions encourage the listener to tune in for a delicate negotiation of language, (audible) gesture, and storytelling.

The collaboration with the local participants appears lighthearted and whimsical on the records, but this seeming easiness is clearly a result of devoted fieldwork planning and committed post-production. The curated compositions represent and emphasize not only performative aspects of the acoustic activities but also point attention to seemingly non-productive aspects of creation, such as silence, hesitation, observation, perception, or waiting.

Sound experiment and preservation is not the only goal of the project. Some of the records capturing acoustic activities in peculiar places but also carry an element of social novelty that accompanied their making - according to the locals in Lomnička, the recording visitors were the first non-Romani persons who spent the night in the village.

In many instances, these recordings explore liminal spaces that have lost their original function (a church ruin or an out-of-business grocery store) and became a lively territory for acoustic exploration and playful reciprocity. For instance, in track 7, "Kavka", local children used crackling leaves as percussion devices.

Such moments betray a high level of engagement in the subtle details of the recorded spaces and their social ecologies. According to the creators, their creative processes involve "a social sound practice" as an attitude towards exploring sound in its social setting.

Symposium Musicum leaves behind many aesthetic conventions of sound capture and what is considered "musical", including the usual notions of a linguistic unit, narrative, memoir, and play. Instead, it engages in a self-reflective questioning of the way we listen to the world around us.

This project invites us to experience places outside the divided sociolinguistic provinces, resulting from multigenerational displacement and neglect of the Romani communities from the explored areas. The result is in many ways revelatory and poetically impactful.

Clear Vinyl

Cairo’s trip hop, illbient and club producer Hashem L Kelesh aka Dijit documents a decade of sprawling productions at his home studio, fuelled by the energies of his friends and collaborators.

Populated with the vocal presences of vocal spars Deedz, 7aleeb, and Lella, ‘The Room’ is a metaphoric synecdoche for Kelesh’s studio output between 2008-2019, featuring 9 tracks of lo-slung but levitating trip hop and illbient that overlaps his productions on the long sold-out ‘Hyperattention: Selected Digital Works Vol.1’ album, and augmented by a number of fiery percussive pieces and future folk works that give a wider frame of reference to his style.

While the album follows the smoke curl dynamic of his previous work, the glorious mesh of electro-chaabi breaks and Eno-esque ambient guitar licks on ‘Dreak’, and the heat-seeking street rave scenes of ‘Saga’ will no doubt disrupt your preconceptions, while his folk prayer-like ‘Loli’ reaffirms a knack for captivating downbeats. ‘Leban’ brings a chopped ’n screwed trip hop temporality, deploying laminar layers of male/female vocals that inevitably call to mind Tricky via Leila Arab, while ‘Hasheesh’ trades in red-seal levels of heads-down pressure shades away from Portishead or even Pessimist’s snapped productions.

Dijit smartly manages to keep it all just the right side of gloomy though, with the shatterproof tension between screwed vox and ascendant hyaline electronics on ‘Hamhama’, or likewise in the high-register piquancy and celestial chorales of ‘Dream of a bee’, while the upfront burst of drums in ‘Saga’ will bring heads to their feet.

Kusōzu : Nine Death Stages is the second album by the Tokyo trio Archeus, which consists of Keiko Higuchi (voice, percussion, trombone, shamisen), Shizuo Uchida (bass strings), and TOMO (hurdy gurdy, voice). It follows their debut, self-titled and self-released CD and cassette from 2021 and is further proof – if any were needed – that these musicians, who’ve known each other for some time, but only started playing together relatively recently, share a telepathic communication, improvising together, fully in the moment, and as one. Where their debut album featured four extended improvisations, Kusōzu is an object lesson in economy and clarity – nine tracks, thirty-three minutes, everything that needs be said and nothing more.

All three musicians are incredibly active in the Japanese underground. Higuchi currently plays with Sachiko in Albedo Fantastica, adding Uchida for Albedo Gravitas; Uchida and Higuchi team up with Masami Kawaguchi (guitar) in vDBG. She’s also recorded with improvisers such as Naoto Yamagishi, Yasumune Morishige, and Shin-Ichiro Kanda. Uchida is also a member of MAI MAO, Kito-Mizukumi Rouber, Hasegawa-Shizuo, UH, and TERROR SHIT, and he’s recently recorded with improvising guitarist Takashi Masubuchi; TOMO has previously been a member of Tetragrammaton and Pouring High Water, and has recently performed live with Mick of Kousokuya, Mitsuru Tabata, Keiji Haino, and Daisuke Takaoka.

While Higuchi and Uchida have been making music together for some time now, they appear careful not to impose their previously articulated lexicon to bear on Archeus. There are trace elements of their playerly voices still present – the stretchy, plastic scrabbling on bass strings from Uchida; Higuchi’s murmurations of tone, and sudden plunges back down to earth, vertiginous and woozy – but there are other things going on here, particularly with TOMO joining in the action. His hurdy gurdy is a wild card in a group of wild cards, here cranking out burred, purring drones, there fidgeting through floods of notes, cranked up really high, ducking and weaving between Higuchi and Uchida as the three pursue the eternal now that is core to the best improvised music.

Archeus seem to work alchemically, transmuting their base matter into gold. Named after the Buddhist art practice of kusōzu, the graphic painting of nine stages of a decaying corpse in the open air, “to demonstrate the effects of impermanence,” as scholar Gail Chin once wrote.

Kusōzu : Nine Death Stages is Archeus at their most rigorously attentive to each other’s playing, and by the end, the music is itself thinking and feeling.

Celo Rec returns with its third chapter of Celosophy,
bringing a mindfully curated release with a dreamy soundscape of minimal aesthetic and energetic beats, spiced up by a latin touch.
Marcelo Cura, head of the label, invites his friends Gabri L, Ja Kub & Louis Ka to forge a collaborative eclectic quest.

Early support by artists such as : Cesar Merveille, Traumer, Nu Zau, Sepp, Janeret …

Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band in a dusty wooden studio, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

‘Dybbuk Tse!’ album will be released by Astigmatic Records on LP in regular and limited (B1 poster included) editions, as well as on all streaming platforms.

Das selbstbetitelte Debüt von ENVY OF NONE, der bunten Zusammenrottung von Gitarrist/Keyboarder Alf Annibalini, Rush-Gitarrist Alex Lifeson, Bassist Andy Curran (Coney Hatch) und Singer/Songwriterin Maiah Wynne war eine der spannendsten Grenzgänger-Platten des Jahres 2022 und hat sich bis heute nicht abgenutzt. Die Band schreibt schlicht verdammt gute, emotional greifbare und musikalisch fesselnde Lieder in einem Spannungsfeld aus State-of-the-Art-Elektronik und Rock/Pop-Tradition.

Die nun nachgeschobene EP "That Was Then, This Is Now" dient ihrem Titel entsprechend als Standortbestimmung und enthält zwei Tracks aus den Debüt-Sessions, zwei Remixe und das erste nach "Envy of None" komponierte ´That Was Then´. Stilistisch war das Quartett von Beginn an so vielseitig, dass man nun nicht von einer zusätzlichen Erweiterung ihres Repertoires sprechen kann - doch das famose Songwriting bleibt erhalten, und für Rush-Fans noch besser: Lifesons Spiel schimmert noch einen Tick präsenter durch.

´Lethe River´ ist dem Album-Opener ´Never Said I Love You´ relativ ähnlich, aber insgesamt doch ruhiger. Darauf folgt mit ´You´ll Be Sorry´ sachte brodelnder und zischender Industrial light, der ebenfalls auf "Envy of None" hätte stehen können - was ja auch plausibel erscheint, weil beide Stücke im gleichen Rutsch entstanden sind.

Much anticipated debut album from this Leeds-based electronic duo, following high-profile UK festival slots, and shows alongside luminaries The Brian Jonestown Massacre, Warmduscher, Sea Power, Moonlandingz, The KVB, with multiple plays across BBC6/BBC Introducing and Amazing Radio, jellyskin are finally ready to unleash ‘In Brine’, their first full length release. The result of four years spent writing, recording, and refining the album between Leeds, Liverpool, Bristol, Palamos, and Berlin, ‘In Brine’ showcases the many talents of Will Ainsley and Zia Larty-Healy in a work straddling iridescent electronica, tungsten-tipped techno, art pop, and queasy, brown acid folk. The songs are pieced together with themes of longing, misadventure by the sea, desire and aquatic apparitions that showcase Larty-Healy’s warm but urgent vocal range, as at home around the campfire as it is in the club. The pair’s meticulous arrangement and rearrangement, sculpting, recording, and mixing was a glacially slow process of adaptation, mutation, cooperation, growth, and, yes, natural selection. First single ‘Bringer of Brine’ thumps from the speaker anthemically and forcefully, pitched somewhere beautiful and uncanny; Larty-Healy’s vocals soar and skim off the production like a smooth stone across choppy waves. The radio-ready pop electronica of ‘I Was The First Tetrapod’ bursts into the world with an urgency in line with the lyrics. An aquatic tale of crawling onto land for the first time, desperate to make new life forms, it’s also a positive, joyful rebuke to the despair of the world around us. “Growing my legs...”. The fuzzed-out psychedelic keys and forward-moving, Knife-like structure echo throughout while beautiful lyrics detail visions of where this would all lead life as we know it-“I can run freely, white horse behind me. Flexing my bones and artery twine, find human tone and reach for the vine.” ‘Fox Again’ opens with chopped alarm clocks segueing into a lurching rhythm, before exploding into skittering beats and a soaring chorus. The effect is like waking up drowsily, going over to the window in your room and yanking open the curtains to be blasted by searing sunshine. The pair brought in Berlin based co-producer, mixer and masterer Lewis D-t to help finesse the tracks into fat-free hunks of ecstasy and sonic exploration, their rich depths marking ‘In Brine’ as an album everyone should be talking about this summer and beyond-all nine tracks will have feet moving and hearts swelling in equal measure. As opening track ‘Lift (Come In)’ positively opines “Going up!/Just want to keep going up!”. It’s time to get in on the ground floor

Colombian sisters Elia and Elizabeth Fleta recorded a handful of songs between 1972 and 1973, accompanied by Jimmy Salcedo and his group La Onda Tres, mixing soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and psychedelia. We are now happy to present two of the most celebrated songs by the Colombian sisters together on a 45 for the first time. A Tropical funk pop gem! Colombian sisters Elia and Elizabeth Fleta recorded a handful of songs between 1972 and 1973, accompanied by Jimmy Salcedo and his group La Onda Tres, mixing soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and psychedelia. These elements blended graciously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in their simplest forms. The songs of Elia y Elizabeth remain among us as part of the most wonderful pop legacy of all time. ‘Alegría’ and ‘Ponte Bajo el Sol’ are two of the most celebrated songs by the Colombian sisters. We are now happy to present them together on a 45 for the first time. TRACKLIST Side A Alegría Side B Ponte bajo el sol

"If you’ve ever wondered what Catharsis covering The 13th Floor Elevators might sound like, wonder no longer—and that’s only the start!" - Decibel Magazine GELD make their Relapse Records debut with their third full length, Currency // Castration! The Australian band distills a despairingly hellish vision of the world into a thundering crack to the temple through an unsparing fusion of hardcore’s bleakest violence with metal’s ruthless strength-through-conviction. GELD's abrasive take on the genre is distorted through a lense of fuzzed out psych soundscapes; vocals truly sound like unhinged barks, while guitars, bass, and drums crash against one another frenetically, each track burning brighter and brighter. Every moment of Currency // Castration is urgent. Tracks such as “Chained to a Gate” edge and scratch at a relief that is ultimately denied, toying with the nightmarish promise of a breakdown that never comes. Elsewhere, "Cut You Down" pulses with frantically itching riffs that stream forth. "Fog of War" snaps and snarls; while "Secret Prison" evinces the honed physique of Japanese hardcore fed through the broken brain of someone on a years-long Rrröööaaarrr-era Voivod spin-out. Despite the band's innovative approach to the genre, GELD makes no pretensions at being “interesting” for interesting’s sake - As vocalist Al Smith puts it, “One of the most boring things people can do is try to dress up what someone else has already contributed to a genre and make it ‘clever’… We’re more interested in finding our own position.” With Currency // Castration, GELD offers no promise of a higher purpose or resolve. Rather, they lean into dissociation, finding truth and meaning in the transcendental joy of simply escaping, surviving, existing.

Vinyl Only

We are happy to announce another quality release from Polish label Kooky Records. This time you get a really diverse 4-tracker, with tunes from 2 legendary producers Jurek Przezdziecki (Poland) and Iuly B (Romania), as well as 2 tracks from label's founders, Schrill and Gogan. Side A is definitely more house-oriented, whereas side B sounds more like a deep insight into minimal trends, but always with a forward-thinking approach, where old meets new and experience of producers goes well with what is currently fresh in minimal/house vibes. To cut it short, a record not to be overlooked!

Timo Kaukolampi, frontman for Finnish electronic rock group K-X-P and tireless sonic wanderer, is releasing his second solo album, this time on Optimo Music. Exquisitely rendered, shadowy, curiously claustrophobic and even occasionally paranoid, Inside The Sphere is an album wholly deserving of its name.

A sense of paranoia is one of the threads through this glittering, winking electronic maze. Kaukolampi says “I came up with this metaphysical concept of the “sphere”. When you are manipulated you are ‘Inside The Sphere’. It’s like this dome of ‘undue influence’ that you don’t know exists around you. It’s a bit like the inside of a cult.”

Indeed, it’s amazing the effects achieved with a few sparse electronic textures, the odd smattering of studio trickery, and two or three well-placed synthesizer parts. Though the result might sound ostensibly simplistic, Inside The Sphere is an album of reduction rather than addition. The rhythmic and textural scaffolding is based around what’s not there, rather than what is. Take ‘VCS3’. At first listen, it seems forged from a few synth lines and a simple percussion part – so far, so simple. But listen closer, enter the sphere, look behind the mask – notice the slightly detuned drones, the chattering percussive textures, that distant swell of bass, the way the central fugue shifts and mutates somehow statically, like a barber’s pole.

Might we be listening to an album within an album, a more complex song cycle hiding within the folds of an ambient electronic album? This ties in with another of Kaukolampi’s thematic frameworks – that of the mask. He references Oscar Wilde’s quotation that “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.”

Inside The Sphere is not a one-note album. For every moment where a clammy ambient space enters, a buttery analogue bassline is there to fill it. This clash seems to be the album’s engine room, its power supply.

Timo references devotional and choir music as an influence on this album. The paranoia and foreboding is tempered by these headier aspects. Kaukolampi mentions “empty and hollow spaces” in relation to several of the songs. Perhaps this is the very space behind the mask, where outward disguise merges with inner reality. Perhaps inside the sphere is not always such a bad place to be.

Hatıralar was Anadol's second album, originally composed between Berlin and Istanbul around 2012 and released years later only in digital form on the Istanbul based label Inverted Spectrum. The title Hatıralar ("Memories") turns out to be a self-fulfilling prophecy. Anadol recalled and revisited the music in 2023, gently editing and mixing the compositions for the newly mastered LP format in which they now see the light of day. Hatıralar represents an early version of the melodic, instrumental synth-pop that Anadol refined on her album Uzun Havalar (2019) before exploring the more free, krautrock-inspired musique concrète of her last album Felicita (2021). Here is the text that accompanied the original 2017 release:

Anadol, named after an old-fashioned Turkish automobile brand, is an instrumental synth-pop project by Gözen Atila, an artist, dj and keyboard player. She records with mini organs manufactured during the 70s and 80s, the built-in rhythms and arpeggios of these machines provide the backbone of her sound, and her melodies are influenced by pop music and soundtracks from France, Italy and Turkey from the same period. The music is awash with allusions to the moods of old Turkish and European cinema, from the erotic to the melodramatic, and with a reminiscence of the sound and spirit of so-called "tavern music" popular in Turkey's urban nightlife in the 1980s, a flexible pop style usually performed by a solo keyboardist-singer. Anadol is a continuation of the tradition of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, and of the keyboardists pushing the boundaries of minimal equipment to entertain middle aged drunk couples in pubs and wedding parties of Istanbul.

Die mit dem Mercury-Preis ausgezeichnete britische Rapperin Speech Debelle meldet sich mit einem neuen Album zurück. "Sunday Dinner On A Monday" ist eine Studie über Familie, Freunde, Abstammung und die DNA der Vorfahren durch den Blick des Afro-Futurismus. "Es geht darum, wie wir uns unsere eigene Zukunft vorstellen und dann erschaffen", sagt Speech. "Das Album handelt von unserer Reise durch das Leben, auf der wir aus Erfahrungen lernen, die unsere Sinne erweitern. Wir lernen inneres Management und kommen der Leichtigkeit näher. Manche von uns werden sogar genährt, wie von einer guten Mahlzeit. Darum geht's auf diesem Album. Corynne Elliot (geboren am 17. März 1983 in London, England), besser bekannt als Speech Debelle, ist britische Rapperin, die bei dem Plattenlabel Big Dada unter Vertrag steht. Für ihr Debütalbum Speech Therapy wurde sie 2009 mit dem Mercury Prize ausgezeichnet. Im Jahr 2012 veröffentlichte sie ihr zweites Album Freedom of Speech und 2017 ihr drittes Album Tantil Before I Breathe. Debelles Single aus Speech Therapy, "Spinnin", wurde von Tinchy Stryder und Dionne Bromfield überarbeitet und diente als eine der offiziellen Hymnen der Olympischen Sommerspiele 2012 in London. Die neuen Singles/Videos "Atlantis", "101010" und "Come Your Way" kündigen das im Juni erscheinende Album an!