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After lurking on the internet as an outlet for Dreamlogicc's solo and collaborative work, cheeky Peak Time Dance Music launches its physical imprint with a half dozen tracks of drum-driven madness. Drawing raw rhythms and rugged sound design from gqom, integrating elements of electro, grime, and techno, these flexible beats absolutely stomp. While the core sound remains, the moody grooves from his Kimochi Sound releases and bassy halftime from Main Drain Studios take the back seat here: it's a 12" for the club.

South London based producer and multi-instrumentalist Neue Grafik announces his new EP 'Foulden Road Part II' from his Neue Grafik Ensemble band, released 25th March on Total Refreshment Centre. The sequel to their impressive 2019 release 'Foulden Road', Neue Grafik continues to incorporate 100% live takes with the ensemble, as well as solo productions that reflect Neue Grafik's past work with both the Rhythm Section and 22a labels.

Neue Grafik explains, "This EP is a reflection of the social context which surrounds me" – created in a year of much social isolation as well as political unrest, 'Foulden Road II' explores the complex feelings that he found himself battling. He adds "In 2019, we released 'Foulden Road Part I', which was a transitional album, exploring a new culture and navigating between two worlds: Paris and London. 'Part II' is a bit darker, closer to realness with a sprinkle of hope. I couldn't have predicted that I'd finish it encased in my flat, between four walls, in December 2020 after a year of lockdown, Brexit, George Floyd protests, and without London's brilliant culture mesmerising my mind. Everything was sad and closed. Hills were difficult to climb. But it also gave me the time to work hard and deliver this second part of Foulden Road, pushing it forward".

Combining an array of influences — from London, to Paris via New York, Nigeria and Cameroon — with well-measured confidence, ' Foulden Road II' allows you to reflect on the complexities of the last year, whilst braced with energy and hope to move forward positively. Heavy horns and hypnotic poetry form the backbone record, which will ignite any room. 'Foulden Road II' begins with the grounding poetry of MA.MOYO on 'Black Bodies'. The EP is dedicated to Adama Traoré, a black man who died in police custody in Paris. Neue Grafik explains "His name is not well known outside of France. I was shocked, devastated even, to learn that his story didn't cross the Channel". 'Queen Assa' is a heavily percussive dancefloor-hitter which honours French activist Assa Traoré, (Adama's sister) her family, and her struggle to support all families hurt by police brutality. Broken beat elements flow through the horn accompanied 'Officer, Let Me Go To School', while West London rapper Lord Apex offers an unapologetic and poignantly personal perspective on 'Step To It'.

Released on the Total Refreshment Centre label, based out of Stoke Newington's Foulden Road, the EP is a testament to his versatility as an ever-shifting figurehead. Engineered by Capitol K, recorded at Total Refreshment Centre, mixed by Marcus Linon at Greasy Records and mastered by Guy Davie at Electric Mastering – a significant pillar in Neue Grafik's musical career. Having played a DJ set there in 2017, he was convinced by TRC founder Lex Blondin to start a band after he was heard playing some compositions on the communal piano. After spending a couple of sleepless nights on the living room couch, his first gig was booked in the venue space downstairs a week later. The ensemble was established and he has remained in London ever since.

Neue Grafik Ensemble's musicians include; Matt Gedrych, Benjamin 'The Chief' Appiah, Jack Banjo Courtney, Chelsea Carmichael, Dougal Taylor, Yahael Camara-Onono, Xvngo, Rebekah Reid, Dan-Iulian Drutac, Jamie-lee Glinsman and Zara Hudson-Kozdój.

Neue Grafik hosts The Orii Jam Sessions, an energising weekly jam night at Hackney Wick's Colour Factory, which has become a pivotal weekly gathering, inspired by the likes of Unit 31 and Steam Down.

Ferocious JP / US free jazz bomb. A rare meeting between the NYC free jazz scene and the Japanese free music scene. Old-style Gatefold LP, with rare photographs & liner notes by Alan Cummings.

Following hot on the heels of the first, mid-sixties generation of Japanese free jazz players like Kaoru Abe, Masayuki Takayanagi, Yōsuke Yamashita, Motoharu Yoshizawa, etc., an exciting second wave of younger players began to emerge in the seventies. Two of its leading members were the saxophonist Kazutoki Umezu and multi-instrumentalist Yoriyuki Harada. Both were post-war babies and immigrants to the city, Umezu from Sendai in the north and Harada from Shimane in the west. They first met as students in the clarinet department at the Kunitachi College of Music, a well-known conservatory in western Tokyo. Harada was already securing sideman gigs on bass with professional jazz groups and was active in student politics, making good use of his connections to set up jazz concerts on campus. It was around this time that the two began to play together in an improvised duo, with Umezu on clarinet and bass clarinet and Harada on piano. They also experimented with graphic scores and prepared piano.

These experiments eventually led to the creation of a trio, with a high-school student called Tetsuya Morimura on drums, that they decided to name Seikatsu Kōjyō Iinkai (Lifestyle Improvement Committee) in joking reference to the Marxist discourse of the student radicals of the time. Around 1973, Umezu and Harada decided to call it a day and go their separate ways. Umezu began playing with the Toshinori Kondo Unit and Harada with the Tadashi Yoshida Quintet. In 1974 Harada formed his own trio and began to play at jazz coffeehouses across Japan.

Then, in September 1974 Umezu travelled alone to New York, where he set about building connections with the loft jazz scene in the city. It was a fortuitous moment to arrive in New York. Rents were cheap in the Lower East Side, possibilities for squatting existed, so many musicians and artists had moved to the area. Umezu soon became known on the scene as Kappo and he started to make connections with some of the young musicians like David Murray, Arthur Blythe, and Oliver Lake. He recalls making the rounds of the lofts every evening, checking out the performances, and getting the chance to sit in with many groups including Juma Sultan’s Aboriginal Music Society and trumpeter Ted Daniel’s orchestra.

Things were going so well that Umezu wrote to Harada and invited him to come to New York. He accepted and arrived in the city in July 1975. Harada and Umezu took the opportunity to resume their artistic collaboration. Their first concert together in over two years took place on July 20th at another loft, Sunrise Studios at 122 2nd Avenue. Umezu remembers Sunrise as an unusually sunny loft with the rarest of things, a grand piano. He invited along Ahmed Abdullah, a trumpeter he had got to know while playing with Ted Daniel. Abdullah led his own group and was a long-term Sun Ra sideman. William Parker, one of the key figures in the loft jazz scene of the period, was on bass. Abdullah also brought along Rashid Sinan on drums. Sinan drummed in Abdullah’s units throughout the seventies, but he had also played on Frank Lowe’s immortal Black Beings album and collaborated with Arthur Doyle, playing on Doyle’s Alabama Feeling album. By all accounts the evening was a huge success, with speed and dynamism of Harada’s piano playing gaining him lots of support.

Since they had managed to save some money from their day jobs, Umezu and Harada decided to set up a recording session with the same line-up on August 11 at Studio We, where there was a well-equipped studio on the third floor. Umezu recalls the session as follows, Of course, we recorded our performances in one take, with zero retakes as far as I remember. On all the tracks we recorded, we moved as one unit, sharp and fast. That was the nature of Lifestyle Improvement Committee, New York Branch.

Umezu and Harada would later become known for the elements of parody and entertainment that they brought to their music, a freewheeling blend of pastiche, humour and on-stage performativity that paralleled the approaches of the Art Ensemble, Sun Ra, and Holland’s ICP. But here, on their first recordings, the humour element is not yet present. Instead, there is a febrile sense of joy in creation and connection. On the Umezu-penned “Kim”, for example, Harada opens the piece with a speedy exploration of the full-range of the keyboard, hitting hard on the bass keys to create a rhythmic bed out of which patterns begin to emerge. Umezu enters at a much slower pace, longer held notes that at first float weightlessly over the urgency of the piano before they begin in splinter and accelerate. When Parker and Sinan kick in, it’s a rollicking tempo with Parker plucking deep and hard and the left-handed Sinan skittering hard across the topside of his kit. Abdullah kicks in a glorious solo twelve minutes in, bright and breathy at once. The piece slows and grows more spacious towards the end, giving Parker a chance to showcase some arco work that shades beautifully into the air against Abdullah’s trumpet.

Repress !

(November Collective Title) Meditative but heaving with energy, Son Lux's third full-length weaves disparate elements into songs both strange and welcoming. On the heals of being named NPR's 'Best New Artist of the Year', Son Lux has created an album that sits as comfortably next to the compositions of Stravinsky, John Adams, David Lang and Ben Frost, as it does to those of Jamie Lidell, Björk, Flying Lotus, and Radiohead. Equal parts producer and composer, Son Lux (aka Ryan Lott) bridges an unusual gap between old-world music theory and next-level experimentation. Meditative but heaving with energy, 'Lanterns' finds a peculiar congruency between futuristic soul and ancient sentiment. Driving orchestral electronica (Lost It To Trying, No Crimes) is placed alongside creepy minimalism (Pyre), often starkly juxtaposing densely layered arrangements with Lott's fragile voice. In recent past Son Lux has gained notoriety both for his s/s/s project (with Sufjan Stevens and Serengeti), and from being named NPR's 'Best New Artist of the Year'. His third full-length album, and his first for Joyful Noise (Kishi Bashi, Sebadoh, etc.), positions Son Lux at the helm of an impressive ensemble of instrumentalists and singers, including Chris Thile (The Punch Brothers), Peter Silberman (The Antlers), DM Stith, Lily & Madeleine, Darren King (Mutemath), Ieva Berberian (Gem Club) and yMusic (Dirty Projectors, Bon Iver).

Best known for his work with CL Smooth, and his remixes for Public Enemy, House of Pain, Mary J Blige and Mick Jagger to mention a few. Hailing from the little town of Mt. Vernon, NY, right next to the Bronx, Pete Rock & CL Smooth pretty much got together in their local high school when Pete noticed CLs dope and unique voice. After high school, Pete hooked up a weekend hip-hop show on WBLS-FM and was considered one of NYs premier DJs during his four year stint on the show. All Souled Out was Pete & CLs debut EP, it was the phenomenal production by Pete Rock which really drew people to this EP. If the legendary DJ Mark The 45 King was the first producer to incorporate horns, Pete Rock was the first to really perfect this new style of production with his trademark echoing horns laced throughout his music. This was done very nicely on two of the cuts off the EP, Creator and Mecca & The Soul Brother, and people were taking notice in a big way.
After the solid Mecca/Creator 12 inch, the duo unleashed one of those all-time classic LPs every MC dreams of having, Mecca & The Soul Brother featuring the monumental: They Reminisce Over You, Straighten It Out, Ghettos Of The Mind, and Lots Of Lovin. Songs to make you cry - damn, they were playing TROY at funerals everywhere. One of the greatest hip hop records ever made ...it never leads my box man...- (Tim Westwood)

Pete Rock on hip hop: Hip hop to me today is still important but we are going through a phase right now. Hip Hop as been injected by a virus, and right now weve got to find a cure to this. Which brings along myself. (Frank 151)

The Press ...from downtempo, funkdified sounds to hypnotic hip-hop beats, this is a wonderfully crafted album - (BPM July 2001)
This hypnotic ... album represents hip hops incredible ability to morph and manipulate a hodgepodge of sounds to create something unique...although the sound is now industrial, electronic and everything but natural Pete's version of hip hop will remain a classy affair that merges the elements of an orchestra, the roots of black music and the cacophony of the streets. - (Mass Appeal July 2001)

Origu teams up with HiPNOTT and 2 Hungry Bros once more for two slices of dope Hip Hop vinyl!

Deep of Deep Breez returns under the 2 Hungry Bros banner, with a nasty piece of boom bap and MC Likwuid brings her surgically sharp lyricism, to collaborate on "IllFayted". Likwuid's commanding presence is inescapable as she delivers powerful messages between her similes, commonplace catchphrases, and cynicism. Dj Evil Dee of Da Beatminerz layers "IllFayted" with some signature cuts to engage your Hip Hop senses! Though, don't be too distracted by those cuts and the hot 2 Hungry Bros beat, because Likwuid's rhymes are so precisely interwoven you might miss an comedic analogy or sociopolitical statement. illFayted is for the true lover of Hip Hop that appreciates all the fresh elements that make it classic and undying.

In the spirit of letting go of negative energy, toxic relationships and flakey individuals, "Hold That (Faybles)" offers an escape plan for folks who are just ready to move forward in 2017. Tired of being outcasted, misinterpreted or just shut out by your peers? Then here is the gateway to redirecting that energy back to the source...hold that! Deep of 2 Hungry Bros lends his magic by providing a melodic canvas with signature heavy alternating drums and sinister deep loops and chops. The song features Donwill of Tanya Morgan and Hipnott's P.so the Earthtone King.

In the past few years, Clarice Jensen has forged her own path. Recently, her focus has shifted to film scoring, successfully recording work for three feature films between 2020 and 2021. At the same time, Clarice continues to serve as artistic director of the American Contemporary Music Ensemble, while continually collaborating with an impressive array of musicians, such as Max Richter, Björk and Stars of the Lid, to name a few.

That being said, it was her 2019 tape release on Geographic North, »Drone Studies«, that initially caught the attention of a wider audience, with the work showcasing a compelling assembly of deeply immersive drones, and elegantly orchestrated compositions, in which neoclassical elements collide with electric density.

Three years later, the work has lost none of its innovative character and appeal. It also documents a turning point in Clarice's career, one where her classically trained background started to converged and overlap with her interests in improvisational electronics and drone music. As a result, the aptly titled »Drone Studies« shows Clarice at her most exploratory, introspective, and daring, channeling her areas of interest into a collage of richly textured timbers and cello movements of sublime tension.

Now for the first time, the original album can be experienced through an expanded vinyl reissue, mastered by Rafael Anton Irisarri, and carefully adjusted for vinyl by Ian Hawgood. The new reissue also features an additional track by Clarice called »Platonic Solids 2«, which was originally conceived around the same time as »Drone Studies«, and which has now been made available exclusively for the vinyl edition.

We hope that this new reissue will aid in introducing Clarice's groundbreaking »Drone Studies« to a new crowd of listeners through this expanded edition.

Re-release of Swedish Lustre's second album "A Glimpse of Glory" on CD and coloured vinyl. Long-since sold out and highly sought after - this classic is being treated to a proper packaging. The new cover artwork comes courtesy of Joan Llopis Doménech, the Valencian illustrator who made the amazing piece that adorns the "Night Spirit" re-issue from 2021.

Lustre is one of Nordvis' oldest and still-running collaborations. We discovered this band with "Night Spirit", and so had high expectations when "A Glimpse of Glory" came out in 2010. For anyone who appreciated the debut, this was a treat. Filled to the brim with the same atmosphere-driven lo-fi black metal as the first: the sound which has now become characteristic for Lustre. Majestic soundscapes built on hypnosis-inducing repetition, tastefully curated with various theatrical elements in the form of nature samples.

Sound Like: Summoning, Caladan Brood, Stellardrone, Carbon Based Lifeforms, Midnight Odyssey, Dead Can Dance

Anfisa Letyago has established herself as one of techno's key players. An intrepid selector with a positive attitude, and an infectious smile, the Napoli based starlet has been making seismic waves within the industry for several years. Her own imprint - N:S:DA has been a home for her own dark-brooding style of techno, but it welcomes a brand new project to kick off 2022, with the first of 3 remix packs featuring a host of very special artists and artwork designed exclusively by Sergio Fermariello.

DJ Rush, a master of hard techno and wicked percussive elements, he's committed himself to the art of rhythm and drums. A Chi-town hero whose music transcends continental boundaries now takes his hand to "Rising Sun". Staunch and unrelenting, the barrage of bass drums keeps momentum at a hauntingly steady pace through the entirety of the track. A true drum-machine wizard who said "It was a pleasure to put my stamp on Anfisa's release. I felt her vibe and wanted to keep the traditional feel to the song but give it that Rush bump".

Adiel has graced the stages of some of the industry's most accredited venues, Panorama Bar, Dekmantel, DC10 and Concrete. She continues to bring her unique take on techno and doesn't disappoint with her kaleidoscopic iteration of "Orizzonte". Renowned for her ability to manipulate crowds with her mind-bending DJ sets and mosaic-like track selection, Adiel twists the original mix into a living techno organism of sorts, evolving and shifting through a deep palette of atmospheric sounds and vocal cuts. "It was a lot of fun to remix 'Orizzonte', it's maybe one of my best remixes and I am really happy about it" - adds Adiel.

Boston 168 leads us deep into an acid laboratory for this reinterpretation of "Gravity", masters of sound design and reformation of classic drum machines like the Roland 909, 808 and 707, the psychedelic and twisting nature of this Italian duo's tracks is unmatched. Currently residing in one of techno's capital party cities - Tbilisi, the pair hold down a residency at the legendary Khidi. "Gravity is the track that inspired us the most with its deep vocal, so we merged this with our cosmic sound" add the duo.

Very few producers have rode the pinnacles of techno as it unfolds through the decades, Chris Liebing is one such figurehead. Revered for his energetic, seize-the-moment style of DJing and music production Liebing is forever finding new ways to innovate within the booth. "Remixing 'Not There' was a huge pleasure, and the production process was very organic. I tried to take it in a little less melodic direction by just hinting it in the break". Says Chris Liebing.

This Germanic trailblazer continues to ignite dancefloors internationally between running his label CLR and juggling family life. Liebing steps up to the plate with his own take on "Not There" to conclude the pack. Instantly drawing your attention with his trademark grit laden kick drums and sweeping dubbed-out vocal shots, along with a hypnotic and body-jolting start to a literal Pandora's box of remix material.

"Someone like Anfisa, with such a high spirit and a smile that lights up any room deserves to have that same representation to her music. Good music will always put a smile on your face" adds DJ Rush.

New York-based duo Bottler, Pat Butler and Phil Shore, are the vanguard of their own distinctly eclectic sound. Raw, emotive, bold and highly creative, the duo has successfully carved out their own path with a series of EPs that represent the broad scope of their production prowess. Over the last five years Bottler have been working on their debut album, ‘Journey Work’, a milestone achievement that marks a pivotal moment in their music career. The LP is a distillation of the duo’s multifaceted upbringing, blending a variety of styles together bound together by an overarching attitude and approach that embraces creative freedom and self-acceptance.



Pat and Phil are childhood friends whose bond is akin to that of blood relatives. Their parents are best friends and they grew up side by side, developing their deep love for music together; sharing discoveries and inspirations, learning to play and perform, and nurturing their creativity together. Now formally ordained as Bottler, they channel their eclectic tastes into a sound that encapsulates the love and trust that forms the foundation of the friendship. The duo blends a myriad of styles to create songs that emanate warmth, joy, sorrow, pain and the full spectrum of human emotion.



The album title, like their music, is open to interpretation. The duo reveals themes related to chronicling life’s many ups and downs, the deep preparation that must be taken ahead of a spiritual ceremony or psychedelic experience, and, simply, the journey taken during the conception and creation of an album. A quote from Walt Whitman also partly inspired the title; “every leaf of grass is no less than the journey work of the stars”. However, the intention behind the title is to allow for ambiguity, giving the listener an opportunity to write their own narrative.



Across 11 cuts Bottler illustrate their distinct take on electronic music, weaving in elements of indie, pop, rock, house and techno with confidence and panache. ‘Journey Work’ starts at ‘Home’, a song that is fizzing with positive energy, Pat’s vocals welcoming the listener to the start of this meandering audio adventure.

‘Chrysalis’ opens with delicate piano keys that guide us into a bombastic bassline and energising drum beats. As it progresses, scintillating layers of synth and strings are added, creating a highly affecting, uplifting atmosphere.



‘Melatonin’ follows up next, merging heartfelt vocal delivery with a sombre instrumental, and a stirring guitar riff. A glorious demonstration of Bottler’s songwriting capabilities, which are also evident on ‘Vinyl’, an uptempo dance number with an unbelievably catchy chorus. Here we see the duo channel their experience of playing in multi-member bands, as the breaks and arrangement feel perfectly suited to a festival-sized crowd.



On ‘Tacoma’, Pat and Phil channel their appreciation of house and techno into a haunting cut that utilises reverse strings and extended vocal refrains to chilling effect. A heady club track for the twilight hours. ‘Meds’ incorporates muted singing, mystical pad work and a mesmerising riff to produce a captivating slice of uncomplicated dance music.



This is followed by ‘Hot Water’, which feels like a trip to a Californian beach, circa 1965. The vocals drift over a bouncing bassline with a complementary guitar riff. ‘Mako’ features Samurai Velvet singing about fireflies and afterlife in a wonderfully heartrending manner, Bottler’s instrumental keeping things simple, yet highly effective.



We head back underground with ‘Weed’, a dense, gloomy cut with inspired use of chopped up vocal clips, stuttered throughout, alongside a mean bassline. ‘You’re Old’ is the soundtrack to an explosion of festival euphoria, dancing shoulder to shoulder with your best friends, forgetting all your troubles and living in the moment. An anthemic song that transposes Bottler’s idiosyncratic style onto the pop blueprint. Finally, ‘Cicada Rhythm’ closes the LP with a pensive, yet joyful feeling. A chunky bassline is juxtaposed with Pat’s angelic vocals cascading over the top. A hint of tribalism comes through, as we approach the end of the Journey Work…



Five years in the making, fuelled by the desire to express their deep love for music of all varieties, Journey Work is symbolic of the long road it takes to accept oneself and be comfortable expressing one’s truth. Diverse, dynamic and daring with a rawness and honesty that is rare to find, the album marks a triumphant debut for Bottler and one that crystalises their unique identity.

Architect by day and musician by night, Jaime Tellado picks up as Skygaze, and returns to the fold of Flumo Recordings with his brand new 12”, the ‘Astral Trip’ EP; combining his knowledge of architecture with a love for sound to construct and merge acid house, broken beat and atmospheric melodicism.

The 'Astral Trip' EP follows releases on Guayaba records, Riverette and Thirty Three Circular. And remixes for Ed is Dead and Contours & Yadava, earning support/plaudits from the likes of Mr. Scruff, Simbad, k15, Andrew Jervis, Gilles Peterson, amongst others.

The common denominator throughout the release is the balance and combination of various elements, exploring a multifaceted contemporary dance sound whilst paying homage to the foundations of the sounds that we listen to today.

‘Minor Mood’ pays tribute to Chicago and Detroit with its high paced house rhythm, acid synths, and piano lines, whilst ‘City Cathedratics’ slows the tempo down to lay the groundwork for a dreamy synth-laden soundscape.

Whilst the majority of the project is a solo exploration in dance music and its multi-layered context and history, the contributions of vocalist Ruben Ondina lift the high-paced, synth house grooves of ‘Gimme Five’ to another level. Meanwhile, the broken beat influence of London is keenly felt on ‘Nigh Heat’ and ‘Wagwan’, their rhythms emphasised further by harmonic and melodic exploration via atmospheric synths, melodic improvisation and irresistible synth bass lines.

Skygaze reconstructs the rhythms and synths into his own fresh and unique package to paint a picture of spiritual wonder, richness and excitement.


DJ Support:

Severino / Horse Meat Disco
Ashley Beedle
Fouk
Just Her
John Digweed
Oliver Dollar


DJ Feedback:

Ashley Beedle - Fantastic EP and difficult to pick one track! 'Wagwan' will be ft. on my April 'Heavy Disco Spectacular' radio show on Worldwide FM.

Michel De Hey - Very nice release

Diynamic / Connaisseur - Very nice cosmic vibes!

Xinobi - serious knowledge of groove on this release.

Lex Ludlow - Super nice!!!

Joshua James - Groove on this...

Just Her - Gimme five is really nice

Fouk - Loving this!

Tom Simpson - some good stuff ....summer is coming.

Junior Simba - peng !

Willie Rosado - nice soulful sound

Milanese producer Nelson of the East sets out on a deeper exploration of percussive house/techno on Sub Erotic, the first release on Tartelet Record’s new dance floor-focused sub-label DANCEMPORIUM – out May 6th.

Following his 2021 album release of Kybele, Nelson of the East (Nicolas Meyer) is embarking on a new area of sonic exploration rooted in club music motifs. His forthcoming EP, Sub Erotic, builds on his accomplished artistic imprint, balancing the urgent pulse of dance music with the rhythmic sensibilities of non-Western cultures. “After the release of Kybele, it took me a while to figure out what would be a good sequel, and I found myself deconstructing tracks from the album,” says Nelson. “I came to the conclusion that the most important thing on the new EP would be the relationship between the different elements, while trying to use fewer layers.” While the lilt and sway of organic musicality remains at the heart of his sound, the Berlin-based producer applies these qualities in a variety of ways. On “Ellipsis”, for example, live percussive patterns were recorded and recreated using synthesis, which Nelson found to be more effective than the acoustic originals. The result is three tracks that pivot around danceable structures while moving well outside the established norms of house and techno. From the pinging textures and staggered beat impulses of “Ellipsis” to the Go Go-flavored funk of “Sub Erotic” and the trance-inducing acid incantation of “Memoria”; Nelson’s distinctive inspirations spill out of his music in intriguing formations.

Danish mainstay Kasper Marott rounds out the EP, applying a seductive pulse to push “Ellipsis” towards a psychoactive peak. The perfect brooding partner to the original, while reinforcing Nelson’s vision of an electronically minded album. Sub Erotic marks the first release on DANCEMPORIUM, Tartelet Records’ new home for dance floor-oriented music. Having grown to become a broad church of musical modes and expressions, the label is now breaking out into more focused sonic spheres. With his use of rich timbres and adventurous spirit, Nelson of the East is the perfect inaugural candidate.

»Tides« marked a radical change in direction for Arovane. After Uwe Zahn had made a name for himself with cutting-edge IDM rhythms and slick ambient textures on a slew of releases, his sophomore album saw the prolific producer opt for a sample-based approach that resulted in a more organic sound and laid-back downbeat grooves. Having reissued Arovane’s seminal »Atol-Scrap« as a double LP in 2021, the Berlin-based Keplar label now makes »Tides« available on vinyl for the first time since its original release in 2000 through the legendary City Centre Offices. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. It shines a new light on a release for which Zahn quite literally ventured into previously unknown territory — »Tides« is an album that emits a timeless, quiet calm and nonetheless stays constantly in motion.

»The idea for the album came to me after a vacation in France«, says Zahn. Inspired by the landscape, especially the coastline and the sea, he made field recordings throughout his trip that were also used on the record, giving it its sensual feel. The foundation of the album however, the loose yet gripping grooves at the heart of every track, result from Zahn working extensively with samples. »I wanted to make use of drum sounds and small excerpts from old jazz vinyl records«, he explains. He maintained the unique sound signatures and rhythmic flutter of the source material while building intricate beats with them. Most of the material was culled from the record collection of Christian Kleine, whose spontaneous guitar improvisations over the first musical sketches were recorded and edited by Zahn and can be heard on four tracks. Also employing the occasional cembalo or spinet sound, he worked with a hardware sequencer and a delay to integrate the different, discrete elements into nine tracks that feel both dense and light at once.

What’s astonishing still 22 years later is how spacious »Tides« sounds. This is due to the fact that Zahn not only paid close attention to the sonic idiosyncrasies of his source material, but also to what happened in between those sounds. »Mark Hollis’s solo album was a huge inspiration at that time«, says Zahn. »What I find fascinating about it until this day is how silence and the subtle hiss of the mixing boards were being used on that record.« Silence was also an important stylistic element on »Tides« and adds greatly to the overall atmosphere of an album that with the appropriately named »Theme« immediately sets the mood with intricate spinet melodies: Zahn opens a door for his listeners and invites them to follow him to see a specific part of the world through his very own lens.

As a whole, the album mirrors Zahn’s trip that took him along the steep cliffs on a foggy day (»Seaside«), to an abandoned house in which he found old maps (»A Secret«), along the coastline during a long car ride (»Deauville«), to a sleepy village and the slowly moving sea (»Tides«) and finally back home to his native Germany where he started reflecting upon his experiences, ultimately deciding to translate them into music (»Epilogue«). »Whenever I listen to this album now, the images and memories it evokes are incredibly vivid and vibrant«, he says. It’s not hard to see — or rather hear — why. »Tides« may have been a deeply personal project, but it effortlessly evokes universal feelings by (re-)building an entire world in the course of only a few pieces of music.

Benoit B aka Terra Utopia breaks out into another auspicious alias for Step Ball Chain, Blu:sh - metamorphosed; coming in hot and heavy, sexy and sophisticated. Bass down, *ss up! The ambitious 6 tracker “Lovebite” fuses forms of dance; reworking elements from niche corners of the Step stratosphere that can result in freaky combustion. Breathing life and lust into every phrase, we are fortunate to be offered an intimate glimpse into a complex world of sound, filled with bold and brash inspired statements, rhythmically rolling the dice with snap lock precision. The cherry on top is served via a vocal collusion from fellow associate noff, the web expanding as the label delves deeper into futuristic tech territory, the prolific producer pushing their own boundaries and desires for new meticulous audio spectrum and ethereal realms.

The trio of flirtatious tracks laid bare on the A side read as a love letter to 4/4 naughty nocturnal testimonies. Opening auspiciously; Tighten Up dips into nasty grit, a sub centered excursion into the technological domain, sleazy and stripped back with modest tenacity. Candy Land sugarcoats the status quo of pumped up prog, playfully in the driver's seat and revving 100 miles per hour toward Hush highway; narrated by Greek cyber enigma noff.. An atmospheric deep trance kissed club chant. Opposites attract and find points of connection on the flip of Lovebite, the B side boasting a mutually slick sharpness permeating the record; blending sparse bass focused broken beat expeditions with liquid dnb; genially abstract mood boards of sampling mayhem; cut and spliced in addictive fashion. Flushes of gorgeous esoteric harmonic soundscapes fill out the rhythmical chaos, grounding and expanding the mind through a lush & plush tint woven in Recess and Heaven Spot alike.

A perfect prophecy destined for Step Ball Chain, Blu:sh’s first, yet expertly curated EP sets the bar high as hell. Divine dance music that can’t help but push boundaries; confronting and challenging our archival references and perceptions of genres and classifications, arguably the best kind of auditory statement.

What would you do if a never before released jazz funk album from 70s Yugoslavia had dropped suddenly into your arms? An album which sounds like a crate diggers holy grail!? Album full of heavy drum breaks, repetitive bass grooves, superb sax solos and world class jazz arrangements finely intertwined with Yugoslavian folk music elements?! - “PRESS IT!” ~ That’s what we said always striving to present the future of unheard sound of Yugoslavia! With the help from Mr. Cosmic himself (Željko Kerleta), Jovan Maljoković and his wife Nevenka and, of course, Radio Belgrade who provided the recordings buried deep in their library, here we present Jovan’s first vinyl release since 1989 and his album nr. zero. If this LP was released in 1976, sounding this clear and impressive as it sounds today, it would be up on the pedestal with cult Yugo jazz-funk releases such as Sećanja by Miša Blam (also released on Everland) – and believe me – it would burn a whole through your wallet. Don’t allow me to get started on the Jovan’s ensemble personnel here, represening the crème de la crème of jazz and funk instrumentalists of Yugoslavian Jazz (Goce Dimitrovski, Miloš Krstić, Kire Mitrev, Miodrag Maljoković, Aleksandar Sanja Ilić, Miša Blam, Uroš Šećerov...). The raw execution, top recording and compositions resembling but not imitating the greatest contemporary western jazz-funk ides of the time, that sound like something that could have been easily released on Mainstream, Columbia, MPS or even be an authentic Kudu hit record if it had been released at the time by Creed Taylor. Just listen to the track A1 Ponor Naviše with a whirlwind of big band arrangement turnovers or track B1- Uspomena (hint: Sećanje...) where Jovan takes on the ‘Lame donkey’ in a strong downbeat rearrangement released just two years after Volker Kriegel published it on his album Lift! (MPS/BASF 1973.). You’ll be blown away by the instrumental prowess of the ensemble and Jovan’s ideas! ~ Dr. Smeđi Šećer

Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde - Akira Sakata on saxophone and Takeo Moriyama on drums.

Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician.

Recorded at Kashiwa Church Chiba Pref. In Japan on 24 May 1986 by Yukio Tezuka on Sony stereo cassette recorder.

Mixed by Jim O’Rourke, Mastered by Martin Siewert. Graphic design/cover photo by Lasse Marhaug.
Liner notes by Kazue Yokoi.

There is a tendency within modern electronica to pigeonhole and categorise, to package music into easily digestible formulae. In direct revolt comes Dutch artist Satori and his new album Dreamin’ Colours, released globally April 22nd, 2022, on renowned imprint Crosstown Rebels. Recorded at the esteemed Sonic Vista Studios in Ibiza, the nine-track LP has been greatly anticipated off the back of its proceeding’s singles: Yellow Blue Bus ft. Laska, Lalai ft. Ariana Vafadari and most recently Gin Song.

An ethereal, swirling body of work, Dreamin’ Colours is rich in texture, colour and imagination. Satori stretches himself out through languorous, mystical explorations of both the digital and the analogue elements of music, the result a beautifully conspired collection of world music, steeped in electronic and Balkan roots, and straddling a multitude of genres from blues and indie electronic to opera, folk and beyond.

Colourful Dream begins proceedings, taking the form of a gently-building opener. From the pluck of a guitar string to hypnotic flute-like elements, we soon arrive at the enchanting world of Lalai ft. Ariana Vafadari. Recorded in a four-hundred-year-old water well, it showcases the transcendent sound with which Satori has become best known, meandering through rustling hats and tribal-like drum patterns whilst the dulcet tones of Ariana shimmer softly throughout.

Tuti ft. Kalima takes on a harder edge, with gritty drum patterns opening into melancholic chords early on. Kalima’s vocals add an emotive touch to the piece, paving the way for Moj Dilbere: a euphoric cut that feels tribal and reflective in one.

We land at a similarly ethereal soundscape on The Gin Song ft. Mybaby, as star-like synths pulse alongside punchy percussion before Yellow Blue Bus ft. Laska takes its place. It begins with real-life ambience, made up of sounds recorded live in Ibiza as a bus passes and birds chirp merrily in the background. This swiftly gives way to a guitar-flecked bassline, opening neatly into the vocal offerings of both Satori and Laska.

Troublemaker ft. El Mundo retains an inherent melodic quality, progressing through poignant strings and whispering kick-hat combos. Powerful and poignant, the mesmeric sounds of Ora Dea and Moshe meander subtly into Lonely Boy (Redux) ft. Hugo Oak. The closing saga brings things to a wonderfully subdued finish, rounding off the album on a wholeheartedly calming note.

Although raised in the Netherlands, where commercial electronic music is of course king, on Dreamin’ Colours it is undeniably Satori’s Balkan heritage that layers his production with dreamy, ethereal, Eastern European influences. The album’s overriding voice lies in his exultant celebration of Eastern European music, weaving vibrant threads of its earthy, melodic, rhythmic sounds into his thick musical tapestry. Written during the pandemic and driven by the ache of separated love, the album is, Satori says, his most personal yet.

From holding down an eighteen-month residency at Heart, Ibiza to having nearly four-hundred-thousand listeners on Spotify each month, Satori is a truly worldwide artist in today’s electronic music scene. Having been championed by Damian Lazarus early on in his career, he has emerged as a must-see live act for fans from all corners of the globe. November 2021 marked the start of his USA tour, where his Maktub concept adorned some of the country’s most iconic clubbing institutions, whilst his discography speaks for itself, with a plethora of acclaimed releases on labels including Crosstown Rebels, Sol Selectas and DGTL Records to name a few. As Dreamin’ Colours introduces him to an ever-growing audience, Satori remains one of the most exhilarating, untamed and truly authentic forces in music.

The Nitecap EP is the first collection of music created by jazz multi-instrumentalist Marquinn Mason and FWM Entertainment mastermind Stefan Ringer. This 6 track EP is striking to say the least. One can tell from the artwork this is something different.

The stand out track for the DJs is “The Light”. This one is straight forward space funk in a dance track. It has that big room sound reminscent of “Sexual Obsession”. The title track “Nitecap” has to be the true stand out. Mason’s jazz influence stands out over the organic broken beat rhythm section. The tone of this one is deep and introspective. “Pulling Closer” and “Falling Notes” are both unique cuts in their own right.

Both tunes really show a different take on rhythm, bounce and energy and how those elements interact with melody to create something unlike most music you hear in the dance music space. The last two cuts, “Tiny Keys” and “Cocomango” are down tempo grooves with some soul and sauce thrown in. Perfect for background vibes for a kickback or just listening around the house.

UK techno legend Mark Broom releases ‘100% Juice’ LP on Rekids.

Following the acclaimed ‘Funfzig LP’ on Rekids in 2021 as well as his ‘Mutated Battle Breaks’ series on the techno focussed Rekids Special Projects, Mark Broom returns to Radio Slave’s imprint for his latest full length, ‘100% Juice’, dropping this April.

Title track ‘100% Juice’ leads the charge, barreling forward with phased hats and trippy bleeps, before ‘Slush’ carries the rest of the A-side with dense synths and stereo trickery. ‘Rainbow’ bridge sees muted chords drifting in and out of focus alongside rattling drum programming before ‘Reverse’ mutates dub techno inspired elements with swathes of spacious FX and pitch-perfect processing.

Opening the second disc is the aptly titled ‘Wonky Workout’, which sees hard-hitting kicks meeting freaked out leads, followed by the fast-paced ‘I Want’, which brings crunchy, shuffling percussion and effected vocal samples together to devastating effect. The final side of vinyl is the one-two punch of ‘Boxed In’ and ‘Wiggle Me This’, with the former bringing sharp keys, rumbling low end and glistening pads, while the latter closes out the LP with warped acid lines and crisp drums.
Releasing on labels such as Rekids, M-Plant, and Blueprint, the wildly prolific Broom has consistently beenat the forefront of the techno scene for decades with his gritty, groove-based output while, away from the dancefloor, his The Fear Ratio project with James Ruskin continues to win critical acclaim.

Kenny Lynch was a popular singer, songwriter, actor and all-round entertainer. A self-styled “black cockney”, Kenny was one of the few people of Caribbean origin prominent in the British entertainment industry during the ‘60s and ‘70s.

During his musical career, Kenny released a number of Top 10 singles, including a version of ‘Up on the Roof’ (1962), competing with the original by the Drifters. He composed and co-wrote songs recorded by Dusty Springfield, Cilla Black, the Drifters and the Everly Brothers. He also worked briefly as a songwriter at the Brill Building in New York.

Whilst probably best known as a prolific Pop Crooner during the earlier part of his acting and musical career, we must not forget his stomping disco success of the early eighties, released under British-borne Satril Records. “Half The Day’s Gone, and We Haven’t Earne’d a Penny” was a milestone moment for British Disco. Produced by Kenny himself at Satril Studios, London 1983, this record still encompasses that organic late-70s disco sound, with true instrumentation and minimalist electronic synth elements.

This is the album’s first ever repress since 1983 and has been remastered in high-definition from the original analogue tapes. Pressed on heavyweight 180g vinyl, this is one not to be missed. Limited to 500 copies only.

Fueled on pizza and the spirit of dance music, Chef Sam O.B. has lovingly cooked up four courses for our aural connoisseurs to enjoy: "Just A Slice."

Like any good pizza, it all starts with the dough, and "Making Dough" gets us right on track. Borrowing elements from house classics of the past, it rises on a jackin' groove complete with a funky fermented low-end and dashes of vocals from the chef himself.

"Le Sauce" offers a tangy burst of flavor atop our dough foundation; a sort of subtle and seductive palate that only the most refined of sauces can provide. Twists and turns await as the layers of seasoned live instrumentation unveil themselves (best enjoyed past dusk).

Next, as you might have expected, is "Cheezin'" - many people's favorite part of a pie. This one is sharp; bursting with mouthwatering umami energy and, like any good chef, O.B. has added just enough to leave you wanting more of the catchy interwoven melodies and rhythms sprinkled within.

Finally, it's time to grab a piping hot "Just A Slice" out of the oven - an amalgamation of all groovin' ingredients added thus far and the title track. A bubbling and elastic bassline pairs with the percussion of various textures and savory synth lines, combining for a well-balanced meal sure to keep your senses engaged.

A satisfying listen, "Just A Slice" would do, but feel free to indulge in multiple spins.

Lance Ferguson is back for a killer follow-up 7" to his second volume of classic re-works and re-imaginings, Rare Groove Spectrum Vol. 2 - released on Freestyle in late January on LP, CD and digital formats.

We just couldn't resist putting this take on Pucho & His Latin Soul Brothers cover of Gladys Knight's Got Myself a Good Man on a 45. Keeping true to the source, yet somehow simultaneously sounding like no-one else, this version is 100% guaranteed to put a spring in the step of any crowd as the sun starts gradually to come out from hiding. Aside from the faithfully executed and expertly recorded drum-track, which sits pretty higher up in the mix than it's precursor, the star of this particular show comes midway through when Lance's lilting and sun-kissed guitar solo comes gliding in. If you can't move to this, even just a little bit, then you might actually be lacking a pulse. Backing things up is the undeniable latin-funk strut of Mandrill's Mango Meat. Given an instrumental work-out here with Remco Keijer's Flute and Daniel Mougerman's keys putting in work over a heavy-as-lead rhythm section, those delectable salsa-inflicted horns upping the spice levels.

Lance's work across the Rare Groove Spectrum series can often be looked on as something akin to a "live re-edit" on the originals, at times switching up sections or extending the groove. These two choice cuts however are a masterclass in subtly teasing out some of the original elements on the tracks that really make them work on a dance-floor, and bringing those to the fore while retaining 100% respect for the OG arrangements.

A Toolroom veteran of 15 years and longstanding member of the #ToolroomFamily, Dave Spoon (aka Simon Neale, or the better-known Shadow Child) made his label debut way back in 2005 with his 21st Century EP. Having released an incredible amount of music during his time with Toolroom, he is most known for his massive 2006 hit ‘At Night’ which saw a huge level of physical sales and massive radio support. Eventually being reworked with So Solid Crew’s Lisa Maffia on vocals, turning into ‘Bad Girl (At Night)’.

2012 onwards saw Simon shelve his Dave Spoon identity, creating the Shadow Child alter ego and his own Food Music record label. Having huge success with records such as 23, Climbing (Piano Weapon), Ooh Tune and his remix of AlunaGeorge – ‘Best Be Believing’.

He is a prolific artist and producer in his own right, having remixed records from high-profile artists Robyn, Paul van Dyk & Dizzee Rascal. As well as scoring multiple hit records under the Shadow Child moniker, the time is right to bring the Dave Spoon pseudonym back online. Taking form of ‘Steels’, a refreshingly new, fiery and fun party record that you won’t be able to get out of your head.

Legendary Polish Dance duo Catz ‘n Dogz are on remix duties for this one. The duo bring a refined, Disco-tinged, festival flavour to Dave Spoon’s summer hit, adding a slick groove with an emphasis on the insanely hooky records brass section. Throwing in similar elements such as the brass swells, melodic steel drum hits and the vocal cuts, Catz ‘n Dogz have created a remix that doesn’t stray too far from the original but lives completely in a world of its own.

A cut that has it all, Catz ‘n Dogz has nailed definitely nailed this remix by putting their own spin on the record whilst staying true to the originals fiery but fun feel. For sure, ‘Steels’ is a record you won’t be able to get out of your head.

achyon Audio partner and artist Paradaux brings you the label’s eighth installment TAC008 the Fleeting Glory EP. The four-track release presents some hard-hitting functional and engaging beats with strong support from Los Angeles USA techno powerhouse Drumcell who contributes a scintillating remix of the records title track.

Side A begins with another of Paradaux’s gems in Fleeting Glory (A1). This title track is impeccably orchestrated and strikes a hard-to-find balance between being dancefloor-friendly driving and creative and heady with its synth work.

Drumcell brings his distinct sound and mesmerizing groove to the EP in Fleeting Glory (Drumcell Mutation) (A2). Engaging and unique drum patterns guide the listener through an expansive soundscape that tweaks the ears and pointedly reforms the core elements of the original retaining the strong mood.

Side B Mover (B1) continues the glory immediately with a strong trippy 303-oriented dive into the realm of drum-driven sci-fi techno. Leave no interstellar prisoners.

The last full track on the EP Pulsar (B2) finishes the record with Paradaux's strong and distinct desert techno acid vibe as it envelopes the listener with grimy and building synth work and broken and loopy percussive elements and noise manipulation.

The record is capped off with a vinyl locked groove from the National Aeronautics and Space Administration’s (NASA) audio collection Haquindar (B3) capturing a mission control audio test countdown from the Apollo moon mission’s Capsule Communicator.

Kailus Echo and IGC for life.

Curtis Electronix is proud to present "Destroy Your Future", the new LP from the one and only Galaxian. In the last years Mark Kastner aka Galaxian has become a prominent figure in the underground scene because of his high quality productions and his unique take on electro. We all know electro started with futurism and well, this work is pure futurism. Each cut is a trip into his restless creativity. Each track is a mind altering exploration of a deeply cinematic soundscape with a massive number of elements perfectly fused together with his "one of a kind" sci-fi aestethic that immediately pulls you out of the schemes. Caustic distortions, post industrial environments, mind expanding electronics and primitive drum patterns are only the main elements of this sci-fi masterpiece. There is no "Detroit Nostalgia" in it. This is sonic militance. The same that inspired the originators back in the days. When you play it, time runs faster and future looks closer. We are on board, but Galaxian is the only pilot of the ship.

Analog Africa delves deep into the scene of the Mexican's sonideros (sound-system operators) to present the "Rebajada" movement they've created using locally made pitch controls, speakers and sound effects.

"In 2010, I had asked Eamon Ore-Giron - aka DJ Lengua - if he would be interested in compiling a Latin project for Analog Africa, and if so, if he had a theme in mind. He replied, “Have you ever heard of rebajada?“ The question mark above my head, together with the wall of China, must have been the only other object visible from out of space because Eamon, probably noticing I got paralysed, continued, “Rebajada in Spanish means “to reduce, to lower”. It’s basically Mexican sonideros (soundsystem operators) slowing down the beat of a Cumbia to create a much more tangible music to dance to. I’ll send you a mix I made last year and let me know what you think.“ And so he did.

That mix was called Rebajada Mota Mix and I began listening to it on a loop. Although I was not immediately hooked it was intriguing from the get-go, and so I kept listening until magic began unfolding. Slowed down music allows you enough time to hear right through it, revealing itself in ways I had rarely experienced before. Everything became more transparent and I was noticing sounds normally only perceptible by bats. A near psychedelic experience. That mysterious mix included a few Ecuadorian songs by Junior y su Equipo - aka Polibio Mayorga (a cult figure in the sonidero scene), a couple of Mexican tunes, one Colombian, and various Peruvian songs, undoubtedly the driving force behind this project.

The sonidero who brought Peruvian and Ecuadorian music to Mexico was the legendary Pablo Perea from Sonido Arco-Iris, and although his fingerprints are all over the compilation Saturno 2000, this selection of songs in rebajada is exclusive to DJ Lengua. With the exception of a few classics from Polibio Mayorga and La Sampuesana – the queen of all rebajadas – most of these songs were probably never performed as such before, let alone released.

So how did rebajada come to be? In a nutshell; Rebajada started with two families of brothers – the Pereas and the Ortegas – who travelled all over Latin America and returned to Mexico with heavy loads of records which they would sell to the various sonideros always on the lookout for new tunes. Colombian beats especially seemed to fit almost perfectly with the Mexican dance steps – but they were just a bit too fast. As a result some sonideros began experimenting with equipment, and Marco Antonio Cedillo of Sonido Imperial created a revolutionary pitching system that could slow records down to an extent other players could only dream about. And so rebajada was born . . . or so we thought.

At the same time in north of the country, in Monterrey, sonidero Gabriel Dueñez almost got electrocuted by a short circuit that nearly set his record player on fire. As a result the platter started spinning in slow motion for the rest of the party, turning Cumbia into a different affair altogether. The youngsters went crazy for it and started harassing the sonidero with requests to record cassettes for them. Reluctant at first, Dueñez finally began recording a series of pirated cassettes called “Rebajada” which included mainly Colombian cumbia and porro in slow-mo exclusively. Those tapes took the city by storm and turned rebajada into a celebrated and defiant movement of the youth.

Of course it would not be a Mexican urban legend if it didn’t include dramaturgical elements, and so for nearly 30 years, until this day and probably for ever, both cities have been arguing and claiming ownership the creation of rebajada for themselves. But sonidera Joyce Musicolor, who never has time for such trivial arguments, got straight to the point: “Rebajada, and the equipment to perform it, is from here Mexico City but it was Monterrey that popularised it.“

Welcoming Arfa to the Time Is Now family with his debut EP: a tight 5-tracker which sees the emerging producer come into his powers with a fiercely forward-facing take on dark garage, featuring a raucous remix from London's Bakey.

Real Badman EP starts as it means to go on. 'Run It Back' is driven by a fractured syncopated rhythm and a heavy warped bassline which lends it its tune, fusing together the stylistic elements of dark garage and speed garage to offer a fresh take on both genres. Clattering rimshots and a womping bassline compliment 'For The Mandem's luscious pads before being carried onto 'Ain't Ready' which adds a tight two-step rhythm and the chopped-up vocals of an old skool garage MC. Finally, 'Real Badman' sees the EP at its most playful. Staccato piano chords infuse it with an uplifting melody before Time Is Now family member Bakey steps in to deliver his take: a half-time rendition which strips back the higher ends to make way for a focus on the subs. A real stomper.

Danish singer-songwriter Soren Munk releases his debut solo album Purr Show on 15 April 2022 via Navarino Records.Soren also travels the world as a cameraman for Channel 4 News, and the album was written and recorded in between trips to cover some of the major global events of recent times, from the war in Mali to the Taliban resurgence in Afghanistan

Soren also co- wrote the much- loved theme tune to the hit animated TV series Charlie and Lola – which is currently trending on TikTok with millions of views.Despite the nature of his news work, the songwriting on Purr Show has a more private focus, dealing in intimate but ambiguous moments of love and loss.

Melodic and intense, the album has elements of Dream Pop, Slowcore and classic songwriting, while the blend of electric guitars, analogue synths and vocals draws on the work of artists that combine restraint and power, such as Neil Young, Low, Big Star and Elliot Smith. Soren worked with Andy Ramsay from Stereolab to record the album, and Jimmie Robertson (Depeche Mode, Arctic Monkeys) during the mixing Soren explains, “I wanted to create slow pop songs. Romantic and melodic but with an edge of strangeness that makes them harder to pin down. That's the music I respond to – things that are assertive but fragile at the same time. Where every element counts.”Soren drew together a strong lineup of musicians and collaborators, including guitarists Garo Nahoulakian (Emiliana Torrini, Gaz Coombes, Piney Gir) and Nick 'Growler' Fowler (Gaz Coombes, Luke Haines); a Danish rhythm section of drummer Nikolaj Bjerre (Lamb) and bassist Andreas Jensen (Dub Pistols); and
pianist Tom Dyson (co-writer of the Charlie and Lola theme). Soren's vocals are often combined on the songs with the soft alto of backing singer Emma Faulkner, creating a sense of something confidential, like snatches of pillow talk.

Sebastiao Loopes offers his debut maxi 12" EP named DYSFUNCTIONAL LOOP. At the crossroads between DJing and production, this four-track sounds like a new chapter in his artistic path.

Far from the pressures of any categorizations of a debut project, these four compositions have structural roots in Hip Hop while innovatively associating with soulful hues and various electronic elements.

Afrociberdelia is the second studio album Brazilian of manguebeat Chico Science & Zombie Nation, released on May 15 of 1996. It was ranked 18th in the list of 100 best records of Brazilian music by Rolling Stone Brasil magazine and 2nd in the election of the best national records of the years dev 1990, carried out by the website “Scream & Yell”. The album was produced by Eduardo BiD and recorded at Nas Nuvens studio, in Rio de Janeiro. With a stronger presence of elements of electronic music and hip hop than its predecessor, Da Lama ao Chaos, he would reach the gold record in April 1997. In interviews, members of the band stated that they preferred the timbre of the drums in Afrociberdelia, which would finally have approached the sound that the group made on stage.

Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde - Akira Sakata on saxophone and Takeo Moriyama on drums. Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician. Recorded at Kashiwa Church Chiba Pref. In Japan on 24 May 1986 by Yukio Tezuka on Sony stereo cassette recorder. Mixed by Jim O'Rourke, Mastered by Martin Siewert. Graphic design/cover photo by Lasse Marhaug. Liner notes by Kazue Yokoi

Nothing is explained in the mysteries around us, but some art touches their soul: last year, Justin Tripp, one half of the US-American impro electronic duo Georgia and London-based electronic artist Zaheer Gulamhusein man behind projects like Waswaas and XVARR -joined forces as STRING. Together they went on a virtual vacation and never came back. As the virtual is fully real due to its virtuality, they created a truly authentic aural hardware journey, hauntingly adventurous, calm, and surprising.

Without defining the scope, STRING tumbled through a dark musical zone that stretched to the horizon, letting the sound shape itself while falling discreet into an appealing abstract space. Hovering clockwise shortly above the ground, they formed impossible geometric musical figures - weightless, fluid clouds, made up of relations between asymmetrical elements. Like in nature, their collaborative work avoids identical characteristics. In an expression of respectful admiration, they softly celebrate the irregularities between their specific genetic musical fingerprints, creating eight light binding clouds of dawn. A meditative musical voyage that transports cosmic particles of idealistic Berlin school ambient right into the heart of their electronic machines. All tunes swing calm but constitutive, dancing around synthesized surfaces that form obsessed flaming orbs of fear and hope, of matter and antimatter.

A shared love for hardware and the ethos of improvisation guided STRING into an experimentation, in which each party aligns closely to the core ideas of co-operative, in-the-moment electronic music, tied across the eight tracks in a sequence.

Finding a home with the highly esteemed Hamburg based label V I S, STRING’s debut “Last Index Of...“ will enter the earth in double vinyl and cassette format, plus tripping on at the digital platforms.

Following hot on the heels of his recent mini-album for Elephant Gait, Italian producer Joseph Tagliabue is back with a full-length album on Glasgow's Invisible, Inc.

With Un' Altra Forma Di Vibrazioni Tagliabue continues to expand on the cosmic foundations laid by such pioneering experimental forefathers as Franco Battiato and his ground-breaking abstract ambient work of the '70s and Klaus Schultze whose legendary Innovative Communications label birthed the “Berlin school” sound at the start of the '80s, then tracing a path toward later luminaries like Boards of Canada and Plaid. There's a personal, emotive and ethereal quality also present here conjuring feelings of 4AD's glory years and the likes of This Mortal Coil and Dead Can Dance. However, backwards-looking music this is not. It's fair to say the Milan-based producer is developing his very own distinct sound as he matures from one release to the next and regardless of his wide range of influences, it's Tagliabue's firm grasp of sound design and audio engineering that takes this album far beyond the realm of just “electronica” or “psychedelia” and plants it firmly into a distinctly forward-looking contemporary space of its very own that's as much music for the heart as it is music for the head.

Tagliabue provides some insight: “Un' Altra Forma Di Vibrazioni (meaning Another Form Of Vibration in Italian) is a concept album inspired by one of the most sensational scientific discoveries of recent years, namely evidence of the existence of the "Cosmic Web". The album is comprised of ten tracks, each linked to one another, much like the various forms of matter in the cosmic web, and whose meaning can only be understood by listening to them as a collective whole, rather than as separate pieces of music. The album therefore is a well constructed sonic experience fusing elements of ambient, psych, rock, experimental and trance and is designed to be listened to continuously from start to finish; the album's journey through the universal elements is reflected in each track, whose rhythms resonate in harmony with the phenomena they represent, whilst a backdrop of drones and mesmeric grooves contribute to an atmosphere of otherworldly mechanical oneirism."

The idiosyncratic musical style and production practices by Sheldon, Sidney Thompson (aka Sid Le Rock) are shaped by the DIY electronic-music movement that has encouraged his creativity to develop and thrive since the late ’90s. This is a contributing factor to his impressive discography that currently stands at twelve albums under his various aliases, including Sid’s collaborations with artists from various fields and musical genres such as Depeche Mode, DJ Koze, Placebo, and persistent impressions of the journeys he has made throughout the world as a result of his live music performances.

These invaluable experiences are the supplements for his next important leap forward as follows: As a tribal member of the Algonquin First Nations, Sid seeks to explore his ancestral heritage to uncover the traditional, ceremonial soundscapes of the Native American indigenous peoples as an integral component for his new solo album project – Invisible Nation. It is his respectful endeavour to bind this seamlessly together through his knowledge of music theory and his own distinctive production sound. Sid Le Rock’s current album concept is a fusion of traditional music and organic elements utilised by the Aboriginal peoples of Canada, combined with the modernisation of electronic-based music. Mixing of both sound styles achieve balance with a shared importance to rhythm as a source of impulse and functionality. It is his equitable attempt to produce and deliver a complementary synthesis of sonic peculiarities, modern electronic methods and the repurposed use of ceremonial music, to showcase a profound pride and pay homage to his forebears.

The Algonquin First Nations otherwise referred to as Anishinaabe, are a group of indigenous peoples present in the Great Lakes region of Canada. They consider music and dance to be sacred and an integral part of their lives. It is a culture in which it heavily relies on rich oral traditions to pass on its stories, teachings, history, and cultivates their verbal language. Membranophone, idiophone, aerophone, and chanting are traditionally essential components to our sacred sound, "Drumming is the heartbeat of Mother Earth, chanting is the heart”. This musical connection produces a narrative depth that can transport an effective atmosphere to dance-floors, bridged by the unconventional virtues, to which electronic music permits limitless possibilities. Sid Le Rock’s latest release, marks his eighth studio album – Invisible Nation, is an exploration into his cultural roots, combining myth and musical expression to bring forth a prideful nation.

clear Vinyl

These tracks were proppa game changers n were pure classic anthems of the day and a time when we were nurturing the british hardcore sounds that pushed the boundaries.

A.Set Me Free - This track produced in 1992 by Noise Factory it was a big anthem of it's time back then a real game changer and has that ravy feel n piano stab filled. With strong hardcore and techno elements with the speeded up vocals n keeping in with the 4/4 beat.

AA.Bring Forth The Noise - This track from Noise Factory produced in 1992 this is when we found our british identity n stamped our authority on the hardcore scene. It has strong synth piano stabs n speeded up vocals with heavy sub bass resonating thru along with the hardcore n techno feel.

AAATo The Top - This was produced in 1992 by Noise Factory keeping in with the hardcore theme this track was more jungle techno.
With its looping bass n hardcore 4/4 beat n sample vocals.

With vivid flows that radiate effortless complexity, Detroit rapper Elzhi is among the most masterful lyricists on the planet. The gifted emcee rose to fame as the youngest member of legendary group Slum Village, but has since graduated from prodigy to sensei, with a thriving solo career bolstered by several acclaimed projects, plus memorable collaborations with artists like Westside Gunn, Royce Da 5’9”, Ghostface Killah, Conway, Danny Brown, Little Brother, and many more.

Georgia Anne Muldrow is a supremely talented musician, producer, and vocalist whose eclectic work blends elements of jazz, hip-hop, funk, soul, rock, and beyond. The prolific artist has released more than 20 albums, earned a Grammy nomination without a major label, and worked with the likes of Erykah Badu, Mos Def, Madlib, Bilal, Kool G Rap, Robert Glasper, and more.

Now, Elzhi and Georgia Anne Muldrow are joining forces for the collaborative album "Zhigeist". A carefully crafted mix of psychedelic instrumentation and whirlwind lyricism, the project is entirely produced by Georgia, who also contributes vocals on several tracks. An inspired fusion of styles and textures, Zhigeist is an aesthetic triumph infused with an undeniable message.

Merrin Karras’ 2020 foray into extended compositions combining his Berlin School tendencies and expansive ambient is finally pressed-up on cloudy transparent 12”. Remastered by Rafael Anton Irisarri and featuring revisited art by Noah M / Keep Adding.
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Conceived and composed in two days, Silent Planet is Brendan's first attempt at a fully continuous piece of music. Normally, albums under his Merrin Karras guise take many months, if not years, to put together:

"I wanted to challenge myself to create a mini-album in a short amount of time, not to think too much about it, but just to let it flow and see what happened. Everything was created in one project, but it's comprised of six distinct sections. Several motifs and elements are re-used at various points throughout the work. It's also the first time that I've used percussion elements in a Merrin Karras work".
The mood spans from brooding to almost Balearic at points, with strong elements of Berlin School and Space Music, classic Trance, and Ambient all intertwined.

Tallinn-based label Processed presents its ten year anniversary with a vinyl release called Split EP. Dance floor oriented “Float Boat” and “Potion” by 1DERL&, first released on Processed in 2012 on the debut album “Reflection”, got revived for this weighty 180-gram record. A dreamy and melodic ambient track “Left With Memories” finishes off the A-side journey. On the flipside fellow estonians Fractal Elements and Steve Rig are debuting on Processed with darker scapes on bass heavy “Structure 576” and crunchy sounding “Inside The Fusion”.

Sounds move across the limits of space and time to leave imprinted in the mind an album of memories full of colors and emotions, a travel journal that from the farthest corners of the world burns every kind of distance and returns through warm and strongly evocative sounds the colors, scents, rhythms, the atmospheres of distant lands. The result is a rich and evocative soundscape, where images become sounds and sounds images, where the elements of nature echo voices of different places and cultures, distant in space but deeply similar and intimately connected.

Imaginária Records has commissioned the refined experience of Giovanni Santucci and LucaEffeSunset a journey through the sounds of the world, which from the enveloping wave motion of the warm Iberian beaches carry us to the crystalline dripping of waters and voices of the Mexican jungle, crossing Balearic rhythms and Brazilian brilliance, letting ourselves be captured by the persuasive voices and the chasing rhythm of the magical formulas of the masciare, ancient mysterious witches of southern Italy. In this journey, which represents the first stage of a wide-ranging project (a trilogy that will take the shape of new musical experiences gathered around the themes of the places first and then of the return), an exciting centrifugal movement that attracts towards a single center: the beating heart of a single Mother Earth; voices, suggestions, rhythms, emotions from the far/near, in order to confirm, together with Raymond Murray Schafer, that in the end "the whole world is sound".

Meaning all things magic and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album - a psychedelic opus in two separate volumes released in 2017 is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang.

Following the Yin (feminine, darkness, night, earth) represented on Occult Architecture Vol. 1, Vol. 2 presents the Yang. Yang means “the bright side of the hill” and is associated with the male, sun, light and the spirit of heaven, and as such Vol. 2 explores the light and airy elements of Moon Duo’s complex psyche.

“In production we referred to Vol. 1 as the fuzz dungeon, and Vol. 2 as the crystal palace,” guitarist Ripley Johnson explains. “The darkness of Vol. 1 gave birth to the light of Vol. 2. We had to have both elements in order to complete the cycle. We’re releasing them separately to allow them their own space, and to ensure clarity of vision. To that end we also mixed Vol. 2 separately, in the height of Portland summer, focusing on its sonic qualities of lightness, air, and sun. Listeners can ultimately use the two volumes individually or together, depending on circumstance or the desired effect.”