Search:d part

'Spectra' is the fourth full-length LP from Los Angeles psych-garage-pop (etc.) songwriter, Jenny O. “Spectra refers to the many ways we identify. It references our multitudes, the ways we identify and experience life, as a nebula. Nuance, variation, not one thing or another, but somewhere between, unfixed, in all directions. Spectra explores connectivity and contains overt expressions of love for others, one's self, and nature. It is my favorite record I have made and my most joyful." -Jenny

After Miss Machine, Dillinger Escape Plan fans were divided. Many of the folks who were attached to the screaming mathematical metal of Calculating Infinity bailed on the band, disapproving of the experimental musical direction and the meathead appearance of new singer/screamer Greg Puciato. Open-minded listeners were excited about the progressive journey they were taking and many critics hailed the group as a true innovator of metalcore. Ire Works succeeds in many of the same ways that their previous album did, while branching out creatively. They continue to toy with technical metal, blistering hardcore, jazz breaks, and post-punk, but here they evolve again by adding more twists and turns with additional electronic elements. While the merging of too many styles in hardcore can make for a convoluted result (see Avenged Sevenfold's self-titled release), the added instruments and genre changeups enhance the result rather than acting as ornamental distractions. Edgy Aphex Twin-style drill'n'bass drum breaks and stretched and squeezed electro blips feel strangely at home next to the psychotic time-signature changes and manic riffs, especially on the tracks "Sick on Sunday," "Dead as History," and "When Acting as a Wave." Violins, pianos, and trumpets sit nicely in the mix, and the group's willingness to take chances leads to stunning artistic endeavors rather than stale attempts at crossing genres just for the sake of being clever. Original vocalist Dimitri Minakakis makes an appearance, as does Mastodon guitarist Brent Hinds, but the most notable inclusion is drummer Gil Sharone, who proves himself an expert at picking up the slack after the departure of founding member Chris Pennie to play in Coheed and Cambria. Undoubtedly, this act added anger to fuel the fire of their heavier numbers. "82588," "Fix Your Face," and "Party Smasher" are as wicked and manic as their most difficult earlier stuff; conversely, the melodic hooks and falsetto of "Black Bubblegum" and the watery ambience of "Mouth of Ghosts" balance out the album nicely. It can be inaccessible and terrifying all at once, but in a genre overly saturated with formulaic groups, Ire Works is a true standout. If DEP aren't careful and continue down this innovative path, they could easily be labeled the Radiohead of metalcore

new music in nearly 30 years Includes 11 brand new songs written by the band The Cowsills will be on the road through 2023 supporting the new record Some of the best music made in the last 60 years has been delivered by musical families. Think about it . . . The Everly Brothers, The Beach Boys, Bee Gees, The Jackson 5, The Staple Singers, Pointer Sisters, Kings Of Leon, Oasis . . . and The Cowsills! Starting in 1965, The Cowsills was composed of six siblings, performing their instruments and singing those glorious harmonies as only families can. Originally starting as a regional act (from Newport, Rhode Island), the group was “founded” by Joda Records owners Danny Sims and reggae/pop singer Johnny Nash (“I Can See Clearly Now”) in the mid-’60s for whom they recorded a handful of singles before turning towards more national recognition when they were signed to MGM Records in 1967. At this point, the group’s mother Barbara and young sister Susan joined the act and they were awarded a Gold record for over one million copies sold of their very first single for MGM, the sublime, “The Rain, The Park & Other Things.” This began a series of chart records that dominated the Top 40 for the next three years. Among the classic Cowsills recordings are “We Can Fly,” “Indian Lake,” “Hair” (from the rock musical Hair), and “Love American Style” (the theme song from the popular ABC-TV show of the same name). The group also recorded and charted with five successful albums during this time period. The band and their story were even the inspiration for the popular 1970s sitcom The Partridge Family. The group was also a prosperous touring attraction up through 1972, spreading their harmonious hope and love to an adoring fan base. They even had their own comic book published in 1968. As all families do, the group went through a series of changes, disbanding in 1972. But music never left the soul of this tuneful and melodic kin. Over the years, the group, as individuals, continued to make music and even reunited in 1978 and 1993 to make historic records that are woefully out of print. Now, nearly 30 years after their last recordings as a group, The Cowsills are returning with new music for the new world! Omnivore Recordings is proud to announce the release of Rhythm Of The World. Eleven brand new songs written by the band. The ambassadors of goodwill and love will be on the road through 2023 thrilling fans with their classic hits and soon to be new favorites!

My bioluminescent heart is glowing. My post-apocalyptic fae world is here for you to journey into. My wings have been ripped out, but I’ve built them anew using WEEDKILLER machine parts. I am the one sent here to eliminate you, WEEDKILLER.

Debut album WEEDKILLER is a collection of irresistible songs that perfect the bold, genre-blending sound that has defined Ashnikko’s work to date. However, as Ashnikko fans will know, she is known for transporting listeners into her universe and WEEDKILLER is no exception. The WEEDKILLER universe that Ashnikko has created is a dystopian fantasy that tells the story of a fae civilization occupied and destroyed by machines that feed on organic matter where the faerie protagonist seeks revenge by becoming part machine - a poetic commentary on environmental disaster and the rapid evolution of technology. Full of equal parts naked vulnerability and joyful rebellion, WEEDKILLER gives a thundering voice to the oppressed.

Night Owl, newly remastered at half-speed by Miles Showell at Abbey Road Studios, out on 25th August 2023. Originally released in 1979, Rafferty’s third studio album, Night Owl, reached the top 10 in the UK. It's since gone platinum in Canada and gold in the UK and US and features the tracks 'Get It Right Next Time' and 'Days Gone Down (Still Got the Light in Your Eyes)'.
With hits such as ‘Baker Street’, ‘Right Down The Line’ and ‘Night Owl’, Gerry Rafferty is one of Scotland’s and the UK’s finest songwriters and musicians in history. He first found success as part of the band The Humblebums, which included beloved comedian, actor and musician Billy Connolly. Rafferty went on to form Stealers Wheel with old school friend Joe Egan, who produced a number of successful albums alongside the rock classic Stuck In The Middle With You, a track which has transcended generations with notable syncs in films such as Tarantino’s Resevoir Dogs, and is still widely popular to this day. Following his departure from Stealers Wheel, Rafferty relaunched his solo career in 1978 with the album City To City, including hits such as ‘Right Down The Line’ and ‘Baker Street’, which features the iconic saxophone solo by Raphael Ravenscroft. Rafferty went on to release ten studio albums, solidifying his status one of the finest musicians and songwriters to come out of the UK.

Snakes and Ladders, newly remastered at half-speed by Miles Showell at Abbey Road Studios, out on 25th August 2023. Originally released in 1980, the fourth album from Gerry Rafferty includes "The Garden Of England" which was recorded at Beatles producer George Martin's AIR studio in Montserrat and "Johnny's Song", a remake of a song previously released by his former band Stealer's Wheels.
With hits such as ‘Baker Street’, ‘Right Down The Line’ and ‘Night Owl’, Gerry Rafferty is one of Scotland’s and the UK’s finest songwriters and musicians in history. He first found success as part of the band The Humblebums, which included beloved comedian, actor and musician Billy Connolly. Rafferty went on to form Stealers Wheel with old school friend Joe Egan, who produced a number of successful albums alongside the rock classic Stuck In The Middle With You, a track which has transcended generations with notable syncs in films such as Tarantino’s Resevoir Dogs, and is still widely popular to this day. Following his departure from Stealers Wheel, Rafferty relaunched his solo career in 1978 with the album City To City, including hits such as ‘Right Down The Line’ and ‘Baker Street’, which features the iconic saxophone solo by Raphael Ravenscroft. Rafferty went on to release ten studio albums, solidifying his status one of the finest musicians and songwriters to come out of the UK.

Head hydro-tripper Black Eyes has risen from the depths of the deep to release his debut solo record Hydro-Trip vol 1. Fresh off the sea creature's back from co-producing the 'Planet People - Terra Firma EP' with synth botherer Reedale Rise which came out earlier this year. His solo endeavour takes us on a jazzier vibe yet still keeping true to the deep ways of the water. Lead track 'Understood Sea Being' plunges us on a rugged ride with deep Detroit chords and Black Eyes's own punk-like vocals throughout. 'Let's Get Deeper' slows the pace up with chopped up samples and introduces us to the classic hydro-trip sound we've grown to love down here in the underwater cities; it's deep and trippy. 'Scuba Lyfe' picks up the pace a bit but evolves into a low down dubby groove mixed with some hi-tek jazz. Asking Rolando (who we all know was part of the infamous Underground Resistance and Los Hermanos, as well being a Berghain resident DJ more recently) to come on board the subterranean vessel was an obvious choice for remix. He switches the gears and adds some fluid Detroit techno to finish off the EP. Berlin based Deskai masters the EP who also mastered the Planet People EP so you know what to sonically expect.

Duca Bianco is back with one of its special various artists' releases, and a mighty fine one it is too. This one finds four guest producers all with their finest studio tools sharpened and ready for action. Two of the artists are well known but use new alias - one is Israeli synth and psyche wizards Red Axes who work their magic as Der Sexa on 'Gabi Plane' and another is Beauty & The Beat party man Cedric Woo as CW. He gets nice and twisted here while the other two cuts - one from Italo king Franz Scala who builds slow new wave funk, and one from Manchester's renowned edit kings Talking Drums who offer some lovely leftfield madness on 'DMNB', all make for crucial listening.

Jonny 5 is known for his superlative edits as well as heading up the Bahnsteig 23 label and here he returns from time out becoming a father to kick off this new one from Duca Bianco. 'Joy riding' is loopy disco-post-punk for a peak-time trip. Multi Culti man Dreems then brings the Afro party vibes with his 'Bususua' which is packed with dub fx and steeped in fun. Miserymix then throws in his Italo-licked post-disco and punk sounds on 'Adjust Your Love' before a big finale by Black Bones. He offers deep and dubby house that has been a secret edit for a while but finally gets unveiled here to great effect as it worms its way into your brain.

British epic doom metallers Godthrymm (featuring members once
involved in such luminaries as My Dying Bride, Anathema, Vallenfyre, and
Solstice) return with their new album, Distortions
The follow- up to 2020's widely- lauded 'Reflections' shows the Halifax- based
quartet of Hamish Glencross (guitars/ vocals), Catherine Glencross (keyboards/
vocals), "Sasquatch" Bob Crolla (bass), and Shaun "Winter" Taylor-Steels (drums)
elegantly expanding upon their sound and vision. With tracks like "Follow Me,"
featuring former My Dying Bride compatriot Aaron Stainthorpe, "Echoes," and
"Devils," Distortions advances Godthrymm into the hallowed halls of the genre
they adore to death.
"I absolutely wanted to create a much more layered and complex arrangement in
the sound," says Godthrymm's Hamish Glencross. "Totally amping up the
contrasts to the extreme--the light shines brighter, and the darker depths are vast
trenches. There is a lot more harmony and melancholy for much of it, but also
some slab-heavy riffing, too. We wanted a total progression in the production and
more class and clarity in the sound, as opposed to Reflections, which could get
quite dense in tone."
Distortions is the second part of Glencross' Visions trilogy-- the third part,
Projections, is already in the works. Throughout its seven- track, hour- long
expanse, Godthrymm's sophomore effort delves deeper into the despondent
march of post-pandemic singles "Chasm" and "In Perpetuum," the latter released
exclusively on Decibel Magazine's Decibel Flexi Series in 2022. Glencross'
emotionally-charged vocals pair perfectly with his towering riffs and thoughtful,
crestfallen harmonies. The rhythmic foundation of Crolla and Taylor- Steels is
absolutely critical to Glencross' woebegone eclat. With Catherine Glencross'
angelic vocals and atmospheric keyboards stitched into the monumental "As
Titans," the granite-hard "Obsess and Regress," and the stirring "Pictures Remain,"
Distortions has it all.
The songwriting for Distortions began during the first lockdown. For an album
centered lyrically on grief, loss, regret, resolve, love, and determination, it's hard to
imagine something inexplicably heavy yet remarkably beautiful. Producer Andy
Hawkins (Hark, Grave Lines) was the perfect man for the job. Spread across The
Nave Studio in Leeds and Sasquatch Music Studio in Huddersfield, he captured
Godthrymm at their most menacing ("Unseen Unheard") and vulnerable ("Follow
Me"). The tones he extracted from Glencross, Crolla, and Taylor-Steels absolutely
crush, while the brighter moments (like Catherine Glencross' spell-binding vocals
on "Obsess and Regress") splinter Godthrymm's disheartened darkness in two.
Distortions was mastered by Mark Midgley (Doom, Hellkrusher) for Northern
Mastering Co.

Clear Vinyl. They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion.Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's `Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later.

They drift with phantom ease from spare, intimate, literate alt-country to a nuanced, weighted music bearing the marks of rock'n'roll history..." Classic Rock 8/10 // ”...slow burning, emotional intensity" Mojo **** // ”Alluring and seductive." Uncut **** // Morton Valence’s eighth, and eponymously titled album, comes to you, courtesy of Cow Pie Recordings, featuring 11 new songs, produced by the legendary BJ Cole. Robert ‘Hacker’ Jessett and Anne Gilpin, who form the nucleus of Morton Valence, effortlessly take the country music genre, which is generally considered a uniquely American musical form, and create something uniquely English, without ever compromising their authenticity. The atmosphere that BJ Cole brings to the album is palpable, in both production values, and his unmistakable pedal steel guitar performances, on songs such as the plaintive ‘Together Through the Rain’, where an estranged Anne and Hacker reunite under the shelter of an umbrella, walking through the rain and trading verses along the way. Or the more upbeat country rock of ‘I’ve Been Watching You/You’ve Been Watching Me’, which is almost as if Richard and Linda Thompson had touched down in some Nashville backbar before heading for the bright lights. And of course, the scintillatingly down-beat opener, and instant urban-country classic; ‘Summertime in London’, where Hacker reflects on his home city from afar, through simultaneously tear-stained and rose-tinted glasses. What gives the album its country hallmark, are the narratives in the songs. However, they forego the typical Americana for an altogether more kitchen-sink aesthetic. We see the return of MV alter egos Bob and Veronica in ‘Bob and Veronica’s Big Move’, as they make their way from the big city to what could only be the arcadian blue-collar tranquillity of Hastings, or Skegness perhaps? There’s the bewildered small-town homecoming of a wannabe prodigal son in ‘A Town Called Home’. And a conversation with ‘Jim’, a seemingly old-school kind of bloke, with a penchant for midday drinking and late-night city shenanigans. As well as BJ Cole’s steel guitar, there are other collaborations too. ‘Like a Face that’s Been Starved of a Kiss’, co-written with Band of Holy Joy front man, and lyrical visionary Johny Brown. Flamenco guitar genius, Amir John Haddad, sits in on the urban-cowboy ballad, ‘Me & My Old Guitar’, the skewed violin of Dylan Bates brings something of the vaudeville to songs such as ‘It Isn’t Easy Being an Angel’, Guy Jackson adds his sublime keyboards throughout, and the whole thing is held together by unsung rhythm section heroes Jamie Shaw on drums and Josh De Mita on bass. As with all Morton Valence albums, along with the shade, there is always some light, in particular the escapist cosmic romp of ‘It’s a Brand-New Morning’, or the wryly observant, ‘It Isn’t Easy Being an Angel’, where the protagonist discovers that he’s living in some weird kind of purgatory where even the late Johnny Thunders has quit smoking. This is an ambitious album, formed through a unique symbiosis of musical characters, which is ready to redefine UK country music, put ‘urban country’ centre-stage, and should be heard by everyone

. It started in a cafe in Chico, California, with a flier, covered in glitter, wires, feathers, and assorted melted items, with a three-word advertisement: “Noise person wanted.” It wasn’t a sign. It was a sample. A tiny piece lifted from the visionary environment that the band XDS would continue building over the next couple of decades, hoarding an eclectic stockpile of collage materials/influences/approaches for assembling psychedelic dance-punk jams played with homemade instruments, blown-out samples, off-kilter drumming and dub baselines. Shoko Horikawa had come from Japan to (the small, music-crazy college town) Chico for school, and responded to Jesse Hall’s mysterious flier and a pitch to collaborate on making interesting sounds. The partnership would end up featuring her syncopated polyrhythmic drums alongside his vocals (through a duct tape-and-PVC-pipe mic) and custom-built Guitar-o-bass, plus synths/samplers and various noise-making devices. The two-piece Experimental Dental School eventually morphed into XDS as the duo moved the operation from Chico to Oakland to Portland and back to Chico, touring the world (playing alongside the likes of Deerhoof and other innovators) and releasing 11 recordings (on Cochon Records, German label TCWGA, etc.) as they went. On the new XDS album, Bicycle Ripper, the band’s genre-bending roots are as deep as ever, but the goal now is to be less “noise” people and more “fun” people. The songs are weird yet cohesive, with jittery grooves and inventive hooks. Throw a dart at the album and hit “Hot Panther, Cold Moon” for one random sample: an unrelenting fuzzed-out bass dances with a insistent drums; a sharp turn into sparse tin-can-guitar break; then a return to the dance floor with a bonus overdriven bass riff and full-throttle drums. The Panther stays hot whether she’s under the “hot hot sun” or the “cold cold moon.” It’s all very irresistible and, yes, really really fun

Katie Munshaw really needed to finish the fucking quilt, and find a way to
sew herself into it
The lead singer of Ontario four-piece Dizzy has been thinking a lot about the way
things look and the way you can find comfort in disappearing into it all. She
describes the album, a bright indie-pop beast continuing the legacy built from two
previous shimmering records, as a "patchwork quilt" with each song a square, or a
sliver, of her life. "None of them have all that much to do with each other and yet
they wouldn't exist without one another," she says.
It makes for a colourful record that's intrinsically Dizzy - one that swerves
comparison, instead reflecting the shapeshifting and imperfect nature of its
musicians. Avoiding the spotlight yet more confidently themselves than ever.
Munshaw is satisfied with where this record finds Dizzy. The band's first record,
she says, was "formative" to what kind of musician she became, even though "I
was young and had no business making a record. The Sun and Her Scorch was
our rebellious teenage phase where we thought we could do it all ourselves, this
new chapter is about throwing our hands up saying 'we don't have all the
answers. I'm open to having somebody help me. Help us.'"
Listeners will find that Dizzy have made what sounds like their most confident
work to date; embracing the best parts of what has made fans fall in love with
them in the past while confidently stepping into the future and trying new things;
ready to show the world exactly who they are as artists - mask or no mask.
Heavily supported across DSPs, with prime playlist placements across Spotify,
Apple Music, Amazon, YouTube, Deezer and Tidal.
Plays on BBC Radio 1, Radio 2, Radio X.
Coverage on The Independent, Clash, Line of Best Fit, DIY, Dork, Brooklyn Vegan,
Gigwise, She Makes Music, Scientists of Sound, Cool Music & Things, Mystic
Sons and many more.

In the past, Mapache recording sessions have been pretty laid-back
affairs, with friends coming and going, the sessions starting and stopping
at the band's discretion--as relaxed a process as the immaculately sunny
vibes that their four albums would suggest - But on their dynamic and
ambitious fifth album of cosmic-folk, Swinging Stars, Sam Blasucci and
Clay Finch decided to take a trip and hunker down somewhere
particularly special
"It's a pretty impactful place," Finch says of the Panoramic House, the artist
retreat where Swinging Stars was recorded. "It's kind of dramatic. It's a castle-y
building on a hill, way up overlooking the Bay."
Located in Stinson Beach in Marin County, California, the Panoramic House has
recently hosted acts like My Morning Jacket, the War on Drugs, and Cate Le Bon,
and was the ideal combination of scenic beauty and self-imposed confinement to
allow Mapache to settle in for their most cohesive album yet.
"That environment yields itself to a higher level of focus because everybody's
together for a week," says Finch, explaining that the band stayed there during the
process, sharing every bit of their time and energy on a shared vision. "We were
all captive. No one could escape," he laughs.
Swinging Stars, an album of calm, second-nature swagger, is the natural result of
a band that's existed in one form or another for its founders' entire adult lives.
Finch and Blasucci first met as students at La Canada High School, just north of
Los Angeles, where they both had a guitar class: "There wasn't much supervision
or anything," remembers Blasucci. "It was really nice. And we got to just play
guitars together."

Lovely Little Girls is a theatrical art-rock band from Chicago that features
members of Cheer-Accident and The Flying Luttenbachers - They
specialize in odd harmonies and catchy melodies served with a histrionic
flair
"Effusive Supreme", their third LP for SKiN GRAFT Records, delves into more
personal and abstract territory, highlighting the utilitarian and fetishistic
relationship to shoes on one track, while enthusiastically accepting ego- death's
indifferent embrace on the next. Equally informed by Magma and Dead Kennedys,
Lovely Little Girls pull from a range that runs the gamut yards past the finish line -
everything from Esquivel to Toto.
PRESS QUOTES:
"What makes Lovely Little Girls unique is the care for complex arrangements,
creating quirky prog- no wave hybrids... impressive psychodramas of melodic
detours and anguished explosions - full of theatrical uneasiness" - ChainDLK
"Stuns listeners into submission with heavy doses of horns and lyrical flogging.
Equal parts jazz, prog, and avant- garde, this horde of provocateurs revels in
disturbing the peace" - Razorcake
"Lovely Little Girls deal in absurd and jarring contrasts. The group's knotty,
intricate songs heave and dance and skitter - sometimes gracefully dexterous
and sometimes grotesquely lumpy - but clearly the work of formidably talented
musicians with vivid imaginations. Jacobsen's demented lead vocals flicker from
frighteningly histrionic to carefully declamatory, with eruptions of abject mania or
borderline obscenity, while behind him a chorus of singers might deliver a
pristine, almost angelic chant of "the pain, the horror"... - Chicago Reader
"Lovely Little Girls are your favourite cartoon villains, plotting the takeover of the
city before the Joker does" - The Organ

With the rock'n'roll panache of a dive bar matador and the emotional
force of a knife in the guts, Hemi Hemingway makes music that thrills,
spills and breaks hearts
The effortlessly slick New Zealand star has a connoisseur's ear for the finest
parts of musical history, sweeping 60s rock, 50s sheen and 80s romanticism into
the present day, refurbishing them and refashioning them into something new
and fresh.
Debut LP "Strangers Again" is the sound of a starry-eyed dreamer, taking in the
shock of meeting destiny head-on, and figuring out their place in the rough and
tumble of life. It brings together candle- slow burning ballads, soaring, epic
highway rock and thunderous torch songs to soundtrack the sky falling in. But it's
much more than that, a thoughtful and heartfelt exploration of modern themes, of
relating to a world that sometimes lifts you up, sometimes lets you down, and
everything in-between.

With the rock'n'roll panache of a dive bar matador and the emotional
force of a knife in the guts, Hemi Hemingway makes music that thrills,
spills and breaks hearts
The effortlessly slick New Zealand star has a connoisseur's ear for the finest
parts of musical history, sweeping 60s rock, 50s sheen and 80s romanticism into
the present day, refurbishing them and refashioning them into something new
and fresh.
Debut LP "Strangers Again" is the sound of a starry-eyed dreamer, taking in the
shock of meeting destiny head-on, and figuring out their place in the rough and
tumble of life. It brings together candle- slow burning ballads, soaring, epic
highway rock and thunderous torch songs to soundtrack the sky falling in. But it's
much more than that, a thoughtful and heartfelt exploration of modern themes, of
relating to a world that sometimes lifts you up, sometimes lets you down, and
everything in-between.

ғᴏʀ ᴛʜᴏsᴇ ᴡʜᴏ ʙᴜʀɴ ᴛʜᴇ ᴄᴀɴᴅʟᴇ ᴀᴛ ʙᴏᴛʜ ᴇɴᴅs. Four prime cuts of summer party techno. Already being played by some of your favourite DJ’s like: MARRØN, Cleric, Daria Kolosova, Funk Assault (Chlär & Alarico), Phil Berg, Yanamaste, Lobster, Faster Horses, Nastia, Bailey Ibbs, Alex Nantaya, Albert Zhirnov, Beste Hira, Seretide, Erik Burka, VSC, Gonzo MDF, Boris, Dax J, Gareth Wild, SLV, Stephanie Sykes, Juri Heidemann, ANNĒ, Chontane, Desroi, Slam

Finally coming!

Dusty Donuts strikes back with the second part of their Weapons of Choice series. Put together by DJ Robert Smith, Marc Hype, Naughty NMX and DJ Goce it features classic 90s golden age intox-icated beats, a long intro selection and five skipless scratch effect tracks made for phrase cutting, all produced to fit together perfectly. This battle tool was created to cater for the portablist and 45 club DJ alike. It’s one of those records, that just stays in the crate of every dedicated Hip Hop 45 DJ!