Suche:d part

Nina Nastasia nahm mit Steve Albini bei Electrical Audio in Chicago auf und engagierte den Instrumentalisten und Arrangeur Paul Bryan aus Los Angeles, um ihre Songs für ein kleines Orchester zu arrangieren. Mit dem Schlagzeuger Jay Bellerose und dem Gitarristen Jeff Parker aus Chicago wird Outlaster von einer absoluten Traumband unterstützt. Dieses Album ist ein Werk von üppiger Raffinesse, das ohne Verlust an Charakter oder Wirtschaftlichkeit über Nastasias berühmte Sparsamkeit hinausgeht. Das Orchester geht mit Bryans kraftvoller, bewegender Partitur - die an Gil Evans und den verstorbenen Phil Ochs erinnert - eher formell vor und veredelt die Platte mit glänzenden Bläsern und einem dynamischen Streichensemble. Nachdem Outlaster mehr als ein Jahrzehnt lang vergriffen war, ist es nun endlich wieder auf Vinyl erhältlich. Die Neuauflage von Outlaster wurde 2025 von Josh Bonati für Vinyl remastert und ist auf limitiertem burgunderfarbenem Vinyl gepresst.

French electric producer RONI lands on fragrance with four powerful tracks, as part of her EP ‘amor fati’.

From the pulsating, kinetic energy of 2knymph to the propulsive, percussive force of Pulse, each track is layered with textured synth work, crisp drums and immersive electronic atmospheres designed for movement.

EP includes a remix by Big Ever who elevates the record into even more dynamic, club-ready hit.

Take Me, I’m Yours is the first collaboration album between Alan Abrahams and Jan Jelinek. Released through the latter’s faitiche, it builds upon multi-layered vocal sketches by the former. The Paris-based artist, primarily known for his work as Portable and Bodycode, supplied Jelinek with multi-layered song sketches that the German artist subjected to a rigorous process of manipulation, excavating the ambiguities of the original material and transforming its rhythms into subtle pulses. Take Me, I’m Yours is neither a typical Abrahams record nor a classic Jelinek album—it is something third, mediating between the physicality of the voice and the abstraction of electronic sound design.

The two had crossed paths before really getting to know each other after Abrahams invited Jelinek to play at one of his Süd Electronic parties. The idea of a collaboration emerged slowly. “It started as an experiment, and over the past few years grew from a few tracks into this album,” says Abrahams. He describes recording the basic material as a “tantalizing” process, not knowing how Jelinek would transform his material, some of which was based on wordless chanting, while other tracks were working with lyrical content. However, their mutual trust allowed Jelinek to remove the harmonies, radically reduce the rhythms, and concentrate on Abrahams’ voice.

Jelinek heard something “fragile” in this voice, “moments of doubt and dark premonitions.” He points to Forever as an example. “Alan’s original song reminded me of classic vocal house, but his voice seemed to almost break,” he says. “This contradiction made the piece even bigger, because we hear a singer in the moment of an awakening.” He further accentuated such tensions through arrhythmic synth modulations and time-stretching algorithms, while also adding concrete sounds from a variety of sources. With its dedication to both transforming and amplifying the emotional qualities hidden within Abrahams’ pieces, Take Me, I’m Yours functions as a dialogue between those two singular artists.

Produced by Masters At Work (Kenny Dope and Louie Vega).

'Collaboration is stimulating, it's in my blood.' Thus speaks Brian Jackson and his philosophy for making music and it's indeed collaboration that runs through this amazing album of reimagined and revisited songs from his artistic past. Featuring artists such as Black Thought, Rahsaan Patterson, Josh Milan, Moodymann, Omar, J. Ivy and others and being produced by Masters At Work, Now More Than Ever takes the enduring classic tracks that Brian made with Gil Scott-Heron and places them in the now over nineteen tracks and across a triple vinyl LP or double CD.

Songs such as Lady Day & John Coltrane, The Revolution Will Not Be Televised, Home Is Where The Hatred Is, Winter In America, The Bottle and more soundtracked a generational movement of Black Consciousness in the 70s and 80s. As Brian says, 'This album is one way to connect to what we were about in the 70s; we were about change and this is part of the lineage of resistance. These tracks mark a period of time when resistance was essential and now a younger generation has picked them up.'

'As young men in their twenties we (Brian and Gil) just wrote about what we saw and were feeling and people interpreted these songs in ways we never thought about but as Sly stone said the song comes from me but it's for you.' This statement from Brian perfectly sums up the collaborative nature of Now More Than Ever and the relevance of these songs in a contemporary perspective can be perfectly summed up by the songs themselves. The formidable stable of artists contributing to each track and the excellent production from Louie Vega and Kenny 'Dope' Gonzalez make this album an event in itself. However, these songs are there to be enjoyed as a canon or as individual masterpieces, whether on the dancefloor or on a home system. ‘Now More Than Ever’ just has to be in everybody’s music collection.

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

Singer-songwriter and multi-instrumentalist Son Little expands his musical palette on his upcoming album, Cityfolk. Blending elements of soul, folk, and blues, Son Little captures his signature sound along with expressive yet personal lyrics. Cityfolk is a reflection on love, loss, and finding peace in the chaos. It"s about holding on, letting go, and learning to breathe again when the world feels heavy. Born Aaron Earl Livingston to a preacher and a teacher in Los Angeles, Little"s collaborations with The Roots and RJD2 helped him make a name for himself in his adopted hometown of Philadelphia. Critics were quick to recognize the unique power of Little"s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little"s "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent." Since then, his catalog has racked up over 250 million streams, and Little has toured with everyone from Leon Bridges and Kelis to Shakey Graves and Mumford & Sons alongside festival appearances at Bonnaroo, Newport Folk, and more. Never one to rest on his laurels, Little also earned a GRAMMYî for his work helming Mavis Staples" acclaimed "See That My Grave Is Kept Clean."

New album by SABA ALIZADEH, a groundbreaking voice in contemporary Iranian music who blends classical Persian traditions with avantgarde experimentation.

Born in Tehran in 1983 as son of the world renowned tar and setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH established himself not only as a true master on the Iranian spike fiddle kamancheh but one of the groundbreaking voices in contemporary Iranian music, blending classical Persian traditions with avantgarde experimentation. His music, praised by THE WIRE as "a bridge between the ancient and the contemporary", turns sound and image into powerful narratives of memory and resistance. Over the past years, ALIZADEH (who relocated to the Netherlands a few years ago) has appeared at key festivals and venues such as Reeperbahn Festival, CTM, Flow Festival, Philharmonie Berlin, Kölner Philharmonie, solidifying his reputation as a singular live performer.
After the critically acclaimed releases "Scattered Memories" (his international debut, released on Karlrecords in 2019), "I May Never See You Again" (2021) and last year's "Temple of Hope", his new album fascinates again with a unique artistic voice, weaving together centuries-old sonic heritage and the urgency of the present through deeply immersive, meditative landscapes in two epic pieces. "Rituals Of The Last Dawn" may feel like a sad or resigned title (compared to the positively fierce "Temple Of Hope"), but at the same time the highly meditative music provides a good lot of contemplative strength. Appealing to an open-minded "world music" audience as well as fans of current streams of ambient or drone in its most subtle forms, ALIZADEH's latest work is a strongly needed soul food in bitter times. Created on the spot with his musical partners PIETRO CARAMELLI (guitar and electronics on "First Ritual") and LIEW NIYOMKARN (lap steel and electronics on "Last Ritual"), "Rituals Of The Last Dawn" is a pure, unfiltered emotional expression from one of contemporary Iranian music's leading artists.

2026 Repress

Sicily's SLV is able to merge technical mastery with emotional resonance. His potent techno sounds have come via the likes of SHWD's Mutual Rytm and Slam's Soma, and unite timeless yet forward-thinking sonics.
On 'Fleeting Dreams', he continues to refine his signature sound while channelling introspection and intensity into a collection of meticulously crafted cuts that balance precision and feeling, energy and space. Each track reveals a different side of his sonic identity: hypnotic rhythms intertwine with evolving soundscapes, while layers of distortion and melody merge into a dreamlike tension between the mechanical and the organic.

'Fading Moments' kicks off with a sleek blend of driving, supple kicks and warm synth ripples, while a euphoric vocal cry is buried deep to amp up the emotion. 'Scenario' then brings icy hi-hats and sinewy synths bring a futuristic feel to the unrelenting, high-pressure drums down low. 'Daruma' has a darker energy with menacing textures and paranoid FX bringing the rolling drums to life, while 'Bass Grit' has a hunched up rhythm, with groaning pads and fizzing static electricity that charge up the party. To close, 'Shimmer' sinks down into a muscular and deep rhythm that's marbled with restless synths and ever-rising tension.

In addition, digital bonus cuts 'Trust' and '1990' offer different perspectives with slamming drums, seductive vocals and feisty synth loops making for two more bold, immersive techno weapons.

This is another big moment for us, and if you have read the story on how the Psychology EP came to be, you will know that we spent a long time trying to track Dimension with the Fozbee & Cooz brothers.

This is my era of music, these are the tunes that I was raving to once I first got my driving license in 90/91. Its a style of music that has influenced pretty much my whole musical career. I find it fascinating that this music was basically by hip hop heads who only a year or two before would of discovered rave. A truly unique musical style and culture that could of only come out of the UK.

Check the soundfiles below and take yourself back to an illegal rave in a secret woodland in Wiltshire in 1991 where ravers, b-boys, hippies and new age travellers all partied together.

London Jazz Classics originally came out in 1993 - the first album ever to be released on Soul Jazz Records. The album brought together rare and obscure dance tracks in a unique mix of jazz dance and fusion, funk, Brazilian and Latin grooves. 

The album was ironically titled - none of the music was from London, none of the music was traditionally classified as jazz, and all of the tracks were at the time practically unknown to most people. Instead these were tracks that were filling dancefloors in a nascent jazz dance scene in London being created by a small group of DJs – Paul Murphy, Gilles Peterson, Sylvester, Patrick Forge and a few others.

As demand for these rare groove jazz tracks grew, previously unknown records such as Alive!’s ‘Skindo Le Le’, Doug Richardson’s ‘Salsa Mama’, Carlos Franzetti’s ‘Cocoa Funk’ and Emilio Santiago’s ‘Bananeira’ became sort after and even-harder-to-find items with original copies going for £100s of pounds. 
These tracks became part of the soundtrack to this jazz dance scene which has now spread across the world. This music paved the way for the arrival of many of the UK’s new wave of current artists such Shabaka Hutchings, Nubya Garcia and Ezra Collective who today offer a uniquely London sensibility of fusing jazz with wide-ranging cultural influences – everything from afrobeat to soul.

London Jazz Classics was the first album to bring this jazz dance music featured here to a wider audience. More than 30 years since its initial release Soul Jazz Records are releasing this new 2026 edition, bringing the music once more to a new generation of listeners.

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

2026 REPRESS

New repress of the first album "Midnight Walkers". We have used the same vinyl metal works as the first 2012 pressing.

After several releases on 7 and 12inch, Stand High Patrol, the french crew of Pupajim, Rootystep and the legendary Mac gyva is back with a long awaited LP. With strictly brand new killer dubadub, digital and hip hop tracks including crazy echos, “Midnight Walkers” is totally unique! It contains all elements of a Stand High live session and offers an evolving dubadub. With the crazy voice of Pupajim and totally timeless dubs, the first album of the three “dubadub musketeerz” deals with the particular originality that made of Stand High Patrol one of the toughest dub sound system of France. Every bass addict and every dub fan should enter the Stand High experience. If you are ready, fasten your seat belt and run the track! We hope that you will enjoy the flight!

With the release of De Todas las Flores, Natalia Lafourcade returned with an album of entirely original material for the first time in seven years.

Musically, De Todas las Flores, dives into a wide variety of Latin jazz and folk genres, such as bolero, cumbia, bossa nova, and samba. Lafourcade describes the album as her musical diary, exploring themes of heartbreak, loss, and grief. She drew inspiration from nature, particularly her home garden in Xalapa, Veracruz.

Lafourcade enlisted the help of her former neighbour, Adán Jodorowsky, for production. The musical touch came from musicians such as the guitarist Marc Ribot (Tom Waits, John Zorn) and the bassist Sebastian Steinberg (Soul Coughing, Eddie Vedder, Fiona Apple).

De Todas las Flores is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert and printed inner sleeves.

/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren

2026 Repress

Marking the anniversary of three decades of career, Dopplereffekt debuts on Tresor Records with Metasymmetry, arriving 12 December 2025. This latest release finds members Rudolf Klorzeiger and To-Nhan in deep inquiry in sound, contemplating structure and pattern in physics and nature resulting in a harmonious audio tessellation.
Metasymmetry itself relates to a kind of second-order reality found not in the structures of life but in the rules that govern these structures; that order exists not only in things but in the relationships among systems of order. It is a structure of structures, a logic of laws, an abstract unity embedded in the act of transformation itself.
Accordingly, the four-track EP reflects this duality. Each side opens with a piece of electronic music at its most precise and immovable: defined, kinetic, architectural. This is followed by a second composition that dissolves into a weightless, atmospheric counter-form.
The shift evokes a higher symmetry: an alignment not of parts, but of principles; a sonic model of the universe’s hidden invariance.
Metasymmetry also echoes across Dopplereffekt’s extended sonic continuum; this stands as the first offering on Tresor under the Dopplereffekt name despite an association with the label and club going back to the start. In this, it becomes the source of an echo that reverberates backwards through time; its own reflection:

FELT wade deeper into the murky waters of contemporary Scandinavian electroacoustic music following the recent reissue of Johan Wieth’s Health & Safety project on sub-label LEFT and established gems from the likes of Civilistjävel!

Gintė Preisaitė, a Lithuanian artist and graduate of Copenhagen’s Rhythmic Music Conservatory, reveals her first solo release under her own name, following a collaborative effort with Toshimaru Nakamura in 2025 and a number of cassettes as “Baraboro”. The deliberately genre-blurring sound Preisaitė deploys works with composed pop vignettes, sustained drones, FX manipulations and guttural bursts of noise. Sparse piano movements, sample-laden psychedelia and moments of big beat/trip-hop rhythms gel with crowd noise, close mic’d intimacy and experimental percussion with a focus on instrumental timbres and extended techniques.

With a background in composing for large ensembles, Preisaitė's multi-instrumental approach is evident across the eight tracks, moments of dense concrète-style sound collages anchored by the human voice never being far away. She laments on fantasy, absurdity and relationships as a cast of players contribute string, brass, accordion, and guitar parts. Passages move from delicate acoustic folk motifs through to wide-eyed, cut-and-paste glitch electronics and spectral melodic riffs, making the album an unorthodox and welcome addition to Denmark's current world-class music scene.

Chins For Lefty is the debut album and first recording by Gichard, a new duo chronicling the absurdities of end-stage capitalism and mouldering social rituals from their vantage point in Glasgow, Scotland. Recorded primarily in the band’s home studio straight to tape, Chins For Lefty combines gorgeous, ramshackle melody, DIY kosmische punk, drum machine + synth and, in vocalist/lyricist Lisa Jones, an absurdist commentator on the human condition as it navigates the anxieties of the modern world. Instrumentalist Chas Lalli’s swirling music accompaniment stitches an evocative mix of musical styles, the ragged wind beneath the lyrics’ wings.

Although the duo first collaborated in their previous group Dragged Up, their disparate musical and artistic backgrounds make for an alluring mix in Gichard. Lalli has spent the last 20 years in the Glasgow underground, most notably in the noise rock group VOM, while Lisa Jones’s practice was in poetry and spoken word. Beginning as co vocalist in her previous band, in Gichard her lyrics are centre stage; the vision concocted alongside Lalli amounts to a total world-build.

Chins For Lefty scans almost like a novel, with each track elucidating a skewed universe that bears only some resemblance to the one you and I partake in. Like all works of fiction Gichard’s songs are rooted in reality and the lived experiences of its authors, but here characters are exaggerated, social mores and habits are pulled apart to reveal their inherent alienness. Universal emotions are laid bare, the bright light of anxious examination searching out every hairline fracture in our relationships. Distorted and cracked, the mirror that Gichard hold up to our world is also pretty damn funny.

Opener Cholesterol Test launches an expansive, cosmic guitar and synth intro that belies the Tascam-tape recorder it was recorded onto, like a Chromatics cut substituting anxiety for overt sexuality. Here Jones intones an apology to a non-responsive recipient, in the medium of a long voice note forensically deconstructing an interaction from the night before. Over punk guitars and shuffling, lo-fi drum machine splutters, the narrator in Asking The Apes “prefers things to people” before being taken hostage in the city zoo to confess an obsession which consumes the protagonist, ending with the immortal two liner “I sleep in a cocoon of old newspapers at the end of your street / And I think I have been fired from my job,” On album standout Posthumous Hologram, the narrator is faced with a human simulacra, in this case an undead pop star; the face of the encroaching technological singularity. Yes, it does requests, it can do My Way in 200 different language options. But what are the implications? While you’re left pondering, the alternating deadpan verse delivery and undeniably catchy chorus keep you company.

By the time Break Up With Johnny Dogbirth rattles into view, the band are satirising a suburban inanity blown up to cartoon proportions, soundtracked with a drawled musicality that recalls Rowland S. Howard’s post-Birthday Party balladeering. This approach is furthered on Human Resources: over an angular guitar+bass track, Jones’s short story recalls Dry Cleaning’s erudite lyrical post punk. On Soft Face, Lalli’s guitar and drum machine are swathed in echo and delay, as Jones dissects dating rituals with a west of Scotland drollness. Hamming It Up brings a porcine perspective in a short story that begins with the line “I was breastfeeding discreetly in the service station. She didn’t mind.” What follows is a passage punctured with canned laughter and a narrative involving tribute acts, modern farming techniques.

Brilliant first single Your Private Hell closes the album, the closest the group get to earnest perhaps, filtered through a surreal central Scottishness. While Your Private Hell might seem like a sardonic take down of romance, perhaps it’s the very distillation of love in all its awkwardness, selflessness and weirdness. Here there’s a distinctive Glasgow-ness to this doomed romance: the protagonist falls for an outsider, offers them cheap jarred hot dogs and carbolic soap (the infamous, excoriating soap dished out in schools and government buildings throughout Scotland), offers to cover up a murder, stalks them in the all-night Spar. It’s a short story of intrigue, murder and the irresistible pull of self-sacrifice to share in someone else’s suffering. If that’s not love, what is it? You can see this vision mapped out in black and white on their video for 'Your Private Hell'.

James Ruskin's Blueprint Records continue the 30th anniversary with another label stalwart as Mark Broom returns with his new EP, "Reality Check".



Mark Broom is a renowned British techno DJ and music producer whose career spans over three decades. Throughout his career, Broom has released over 150 singles, showcasing his versatility across various sub-genres of electronic music. He has collaborated with esteemed record labels such as Defected, Rekids, Warp, Ifach, M-Plant, Cocoon, Glitterbox and his own Beard Man (launched in 2009).



In addition to his solo projects, Broom has engaged in numerous collaborations. He partnered with James Ruskin to form The Fear Ratio, exploring experimental sounds that blend elements of hip-hop, IDM and techno with four albums (to date) on Skam Records, Tresor and of course, Blueprint. Another highlight has been their "Ruskin & Broom" EPs which have peppered the label's roster.Now based in Norfolk (England), Broom continues to be a driving force in the techno scene.



His work has been described as ranging from "club-ready techno and house to left-field electro, downtempo and IDM" highlighting his adaptability and broad musical range.? Returning to his driving Techno roots, his "Reality Check" EP is an essential release for fans of both Broom and Blueprint.

MILK is the new EP born from the collaboration between Brussels-based producers Alex Lesage and Eekway. The project marks the convergence of two complementary approaches to contemporary electronic music, united by a shared vision: creating music with strong physical impact, designed for the club while maintaining depth and high production standards.



Developed in Brussels, the project's home base, MILK sits at the crossroads of Drum & Bass, Jungle, and IDM, combining the heritage of UK bass traditions with a distinctly modern sonic research. The EP explores sharp rhythmic structures, massive low-end pressure, and detailed sonic architecture, driven by extensive work in sound design, sampling manipulation, and spatial composition.