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"Tonky" ist Lonnie Holleys fünftes Studioalbum und enthält Gastauftritte von Isaac Brock, Angel Bat Dawid, Billy Woods, Alabaster de Plume, Mary Lattimore und anderen. Bei der Leadsingle "Protest With Love" ist Jacknife Lee, der auch das gefeierte Vorgängeralbum "Oh Me Oh My" produziert hat, als Bassist, Keyboarder, Synthesizer, Schlagzeuger, Programmierer, Flötist, Percussionist und Sänger zu hören. Weitere Mitwirkende sind The Legendary Ingramettes am Gesang, Kelly Pratt an den Bläsern und Flöten, Jordan Katz an den Bläsern und natürlich Holley am Gesang. Holley fordert die Zuhörer auf, "mit Liebe zu protestieren" und "die Liebe zu deiner Waffe zu machen". Es gibt Dichter wie die große Mary Oliver, die vorschlagen, dass die Hauptfunktion des Menschen, wenn er sich durch die Welt bewegt, solange er Leben und die Fähigkeit hat, sich durch die Welt zu bewegen, darin besteht, dem Aufmerksamkeit zu schenken, was andere törichterweise als klein oder alltäglich bezeichnen mögen. Das Gehirn und das Herz sind beides Gefäße, die so viel Platz haben, wie man ihnen zugestehen möchte, und zu leben bedeutet, Sammlungen von gefundenen Zuneigungen zu schaffen. Die Geräusche der geliebten und vertrauten Häuser, die Bewegungen der Bäume und der Menschen unter ihnen, die Art und Weise, wie jemand, den man verehrt, einen ein paar Sekunden lang umarmt, bevor er sich aus der Umarmung löst und in einer überfüllten Fußgängerzone verschwindet. Wenn wir unser Leben, unser Schaffen und unsere Liebe auf diese Weise betrachten, bedeutet das, dass wir, zumindest für einige von uns, durch die Aussicht auf das, was als Nächstes kommt, vorwärts getrieben werden können. Welchen Moment wir festhalten und in unsere überquellenden Taschen stecken können. Die Arbeit von Lonnie Holley ist ein Werk dieser Art von Anhäufung und genauer Aufmerksamkeit. Das Vergnügen, einen Klang zu finden und ihn gegen einen anderen gefundenen Klang und einen weiteren zu pressen, bis der Hörer, bevor er es merkt, von einer Klangsinfonie überflutet wird, die sich anfühlt, als würde sie sich zusammenfügen, während sie über einen hinwegspült. "Tonky" ist ein Album, das seinen Namen von einem Spitznamen aus der Kindheit hat, der Holley anhaftete, als er einen Teil seiner Kindheit in einem Honky Tonk verbrachte. Lonnie Holleys Leben des Überlebens und der Ausdauer erforderte - und erfordert zweifellos immer noch - eine Art Erfindung. Eine Erfindung, die auch in Holleys Liedern reichhaltig und präsent ist, die auf "Tonky" voll und eindringlich sind, einem Album, das mit seinem längsten Lied beginnt, einem neunminütigen, erschöpfenden Marathon eines Stücks namens "Seeds", das mit einem einzigen spärlichen Klang beginnt und sich dann ausdehnt. Gesänge, schwache Tasten, Streicher und als Krönung Holleys Stimme, die nicht singt, sondern klar und deutlich von der Arbeit auf der Erde erzählt, als er jung war, und von der Gewalt, die er dabei ertragen musste, als er blutig und mit Schmerzen von Schlägen ins Bett ging. Der Song weitet sich zu einer Metapher über den Ort aus, über das Versagen des Zuhauses oder eines Ortes, der einen beschützen soll, der nicht das hält, was er zu sein vorgibt, selbst wenn man unermüdlich daran arbeitet, daran arbeitet, daran arbeitet, etwas Sinnvolles daraus zu machen. "Seeds" gibt nicht nur den Ton für ein Album an, das sich um Wiedergeburt, Erneuerung und die Grenzen von Hoffnung und Glaube dreht, sondern unterstreicht auch, was Holleys größte Stärke als Musiker ist, nämlich sein Engagement für Fülle und Großzügigkeit. Er ist ein unglaublich begabter Geschichtenerzähler, der sich der mündlichen Tradition verschrieben hat, so dass viele Hörer völlig zufrieden wären, wenn sie zu Füßen einer Lonnie-Holley-Platte säßen und seinen robusten, ausladenden Erzählungen lauschen könnten. Aber "Tonky" ist ein Album, das sowohl klanglich als auch in Bezug auf die vielen verschiedenen Künstler, die auf dem Album vertreten sind, einen Platz bietet, an dem sie sich zu Hause fühlen können, ganz gleich, wie sie die Zeit verbringen, die sie für einen Song brauchen.

French producer Saint Paul was raised in Lyon with Ivorian and French heritage and is now based in Reunion Island. He was a founding member of Moonrise Hill Material and continues to refine his style, which is infused with jazz, funk, hip hop and African rhythms. Though built for the dancefloor, it comes rich in introspection that marries energy and soul. This six-track EP on GLBDOM takes in the horn-laced New York house vibes of 'I'm Ur DJ', swinging MAW-esque kicks of 'We Can All Groove With It' and jazz-laced depths of 'Extreme Vibration'. It's an EP full of class and character with the late-night lounge sophistication of 'Elixir De Bons Souvenirs', another highlight.

Repress!

Ahead of a full-length album coming on Glitterbox Recordings, the king of disco re-edits Dr Packer presents the second instalment of this 12' series. 'Different Strokes Part 2' features four Dr Packer versions of soulful house favourites, giving a flavour of what's to come from the LP. Kicking off with a bonafide classic, Dr Packer's take on Soulsearcher's 'Can't Get Enough!' maintains all its most iconic elements, the euphoric vocals and timeless groove given a fresh-sounding elasticity. Next up is Dr Packer's remix of The Shapeshifter's evergreen 'Lola's Theme Recut' appearing for the first time on vinyl. An exclusive to this vinyl release, a remix of Johnny Corporate's 'Sunday Shoutin'' picks up the pace with a funking bassline to suit any dynamic disco set. Rounding off this foursome of impeccable remixes is Cleptomaniacs featuring Bryan Chambers 'All I Do', a vocal house classic from the early noughties, reinterpreted masterfully for today's Glitterbox dancefloor,r which was originally featured on the label's A Disco Hï compilation. Dr Packer has done it again, breathing new life into your most beloved dance records so you can fall in love with them all over again.

Featuring waves of neon synths, pristine machine funk, scorched ambient drones, gnarled bass lines, playful radiophonics & industrial percussion, this thrilling selection of obscure 1980's electronica is compiled by Zyklus (Alan Gubby / Revbjelde) and presented on 10" white vinyl. "On a teaching placement during the pandemic, I found a dusty cupboard above our college theatre holding 200+ library music CDs. Most of the discs were from the Arcadia Cosmos library, a prolific production house active during the late 1980s and early 1990s. I spent the next few weeks working through the discs and found several interesting electronic pieces although, pseudonym or not, I didn't recognise any of the composers involved. Further research kept leading to dead ends with Arcadia's owners having long vacated their last known address and web links either broken or abandoned. So more questions than answers remain about the library's provenance. For instance, who was / is the brilliantly named David Beast? Did Kraftwerk engage trans-european lawyers after hearing Endurance Test? Was Sylvia Sommer deliberately channelling vintage 1960's radiophonics by John Baker? What studio gear was used to create the distinctive Arcadia sound? And, for what appears to have been a UK-based company, why are so many of the album titles, tracks and composer names distinctly Germanic? If anyone has the answers please get in touch." Zyklus / Winter 2024

The follow up the successful ‘Gary Crowley’s Lost 80s’ released in 2019
“I count myself incredibly lucky when I think back to my 1980’s. A lot of those bands and artists that
resonated with me during that time are featured on this, our sequel to our first Lost 80s collection, which we
have inspiringly titled “GC Lost 80s Two”!
I must be honest and say as soon as I delivered the track listing for the first compilation, I already had a
selection in mind for a sequel (if ever I was asked by those cool folks at Demon). Thankfully, they asked...and
this is it.” Gary Crowley
21 tracks compiled and themed by Gary Crowley side-by-side. Many of these tracks are rare and hard to find,
the better-known artists appearing represented by some of their lesser-known (‘lost’) tracks.
Presented on 2 x 180g Clear Heavyweight vinyl, includes an introduction and track-by-track notes by Gary
Crowley, plus memories of the era from Mick Talbot (The Style Council) and more.
“Expect a selection of not only the bigger names with some of their ‘lost’ gems, but also a raft of lesserknown artists. Many of the latter came nowhere near the mainstream but most certainly (IMHO) deserve
another chance to shine under the spotlight. It was such a diverse and eclectic time for music, hopefully this
box set mirrors that.” Gary Crowley


b a2. Working Week – Venceremos (We Will Win) 7” version





h b2. Working Week – Venceremos (We Will Win) 7” version









r c6. World’s Famous Supreme Team – Hey! DJ 7” version
[s] d1. General Public - Tenderness [Special Dance Mix]
[t] d2. Colourbox featuring Lorita Grahame– Baby I Love You So [12” Version]
[12” Remix]

Scowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves.Much of Are We All Angels grapples with Scowl's newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single "Not Hell, Not Heaven" outright rejects the narratives cast onto them by outsiders. "It's about feeling victimized and being a victim, but not wanting to identify with being a victim," explains vocalist Kat Moss. "It's trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain't working for me." The band breaks from a sense of disassociation to seek deeper connections on "Fantasy." "It's incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated," Moss says. "`Fantasy' is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard." The album ends in a philosophical place on the closing, titular track, "Are We All Angels," asking questions like, "Is this all there is?" and ultimately putting it on the listener to decide. "It's about the personal struggle between good and evil. It doesn't matter how `good' or `bad' you are, there are systems that will try to rewrite your narrative no matter what you actually do," explains Moss, noting that punctuation on "Are We All Angels" has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl's debut, 2021's How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record's sonic outlier, a cleaner interlude called "Seeds to Sow," that, true to its name, planted the seed for what was to come for the band. "It kind of laid out this destiny for us, and I feel like now we're fulfilling that," says drummer Cole Gilbert. The band continued to expand their sound on 2023's widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next.Scowl's growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band's scope. "Will would say, `Everything you have here is correct, but it's in the wrong place,'" says Gilbert. Moss adds: "Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses." But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. "Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate," says guitarist Malachi Greene. "At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes."

Acid Tongue is an American garage band heavily influenced by classic soul, punk & psychedelic rock. Formed in a damp Seattle basement in 2015, the band immediately hit the road, extensively touring the US & Europe and refining their unique brand of rock & roll. The brainchild of singer/songwriter Guy Keltner, the band also includes numerous touring & studio musicians scattered between Paris, New York, London, Mexico City, & Los Angeles, with a rotating roster that seems to grow larger by the day. In 2015, Acid Tongue established their own label, Freakout Records, and in 2017 the band released their debut album, aptly titled BABIES. The album is a soulful, stoney, heartfelt approach to modern psychedelia. Their 2020 sophomore album, BULLIES, expanded upon the themes of their debut, cementing the band as the Pacific Northwest's most unique garage-rock proprietors. For their third studio album, ARBORETUM, the band recruited veterans from the psychedelic rock scene during production, resulting in first-rate collaborations with artists such as Death Valley Girls, Naked Giants and Canadian singer Calvin Love. Acid Tongue's fourth full-length, ACID ON THE DANCEFLOOR, showcases their now signature sound and a back-to-basics approach to rock music. Incorporating elements of glam, R&B and post-punk, the album is a loud, funky and chaotic acid trip that redefines "the Seattle sound". Acid Tongue's latest album, SCARS, is the band's most personal release to date. The record is moody, atmospheric and overflowing with the psychedelia and punk rock characteristics that have defined the band's sound over the past decade.

Asphalt DJ returns to Oddysee with another intoxicating 4- track formula, titled “Double O”. Operating on a solo tip this time around, the Berlin-based producer further expands his sonic palette and offers a versatile collection of steamy club workouts geared towards various stages of dancefloor
functionality. The record seamlessly touches on seductive after-hours bounce, slices of late nite propulsion and flawless rhythmic explorations, while keeping firm footing in the 90 and 00’s sound spectrum. With an eye on the ongoing terror inflicted upon the Palestinian people, we (artist &
label) decided to donate all proceeds from this release to Save The Children - Gaza and West Bank Emergency.

Free Palestine

"Co mam delat" which translates from Czech to English "What should I do?" is the title track from this 3 track EP. Jazzy High Hats and Percussion set the pace for this mysterious groovy synth laden track. Your hips and the rest of your body will give that answer.
Side B "Overnight Delivery" - A Deep House Joint with 4 on the floor energy and warm evolving chime-like pads, Piano Chords and a touch of TB-303 Acid. It will Deliver your Dancefloor Audience to an Experimental, Deep House Experience.
B2 "Co Je To/What's That?" Is NOT a Translation. It's a Conversation that Matt hopes will happen between listeners and onlookers to the DJ that plays this track. Funky Bass ,4 on the Floor Drums, Jazzy Piano Chords and Devil Fish TB-303 Acid drive this track

The UK's renowned jazz-funk outfit Speedometer spawns a new single here that takes the form of a bunch of classy covers, all taken from their recent third album Four Flights Up. The A-side offers a refined version of 'Am I Your Woman?', plus a take on the Chi-Lites' classic 'Are You My Woman (Tell Me So)' with Ria Currie's standout vocals lodging deep in your soul. This one was inspired by a night spent dancing at a club in Osaka during their 2005 Japan tour and arms with a smooth groove. On the B-side, they do a fine job of 'Nam M'Yoho Ren'Ge Kyo,' originally by the Night Blooming Jazzmen, by delivering a tight, funky groove with exceptional horn and drum arrangements.

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

Bosom LTD returns with its 12th release, bringing a deep and hypnotic groove to the surface. DubTape delivers stripped-back yet infectious originals that rides the line of minimal finesse.

On remix duties, Direkt reimagines the track with a crisp, driving touch, perfect for late-night dancefloors, while Distilled Noise takes things deeper, twisting the elements into a trippy, heady journey.

BOSLTD012 is a tight package of groove, texture, and dancefloor functionality - a must for selectors digging into the subtleties of minimal sound.

Bosom LTD returns with its 12th release, bringing a deep and hypnotic groove to the surface. DubTape delivers stripped-back yet infectious originals that rides the line of minimal finesse.

On remix duties, Direkt reimagines the track with a crisp, driving touch, perfect for late-night dancefloors, while Distilled Noise takes things deeper, twisting the elements into a trippy, heady journey.

BOSLTD012 is a tight package of groove, texture, and dancefloor functionality - a must for selectors digging into the subtleties of minimal sound.

Repress!

Tony Price is back again with Street Theatre, an electrifying new LP on his Maximum Exposure label that serves up eight tracks of rude, crude, real-deal house music with absolute attitude.

Following the recent release of the psychedelic jazz reveries of Requiem for the Ontario Science Centre, this is his second release of 2025 and marks a return to the dancefloor.

Street Theatre is total midnight music—eight tracks of ferocious Chicago house worship, replete with slamming drum machine beatdowns, laser-guided synthesizers, and radioactive funk refractions that evoke Z-Factor’s primal neon pulse, trench coat-era Prince, WBMX cut-ups, and Ron Hardy’s splice-happy Muzic Box mania.

Produced in the span of a week at his studio in Greektown, Toronto, these recordings exemplify what can now undoubtedly be called Tony Price’s signature style—an unvarnished, elemental, no-nonsense approach to record production and sound design that reduces dance music down to its crudest textures and core principles, an approach and ethos that have guided his entire body of work.

Tony’s recorded output showcases fearless exploration across genres—classic house, funk, electro, and the outer limits of electronic jazz and musique concrète. Street Theatre stands tall alongside his Hit Piece LP, the Bail Bonds EP, and his NTS show, The Maximum Exposure Power Hour, as a bold, ecstatic, and direct expression of the eternal essence of house music.

The discovery of Doris Dennison's score represents a genuine musicological breakthrough—what once would have been "a tree falling in the woods" thirty years ago now holds the potential to render "a thunderous clap in our minds." While researching Anna Halprin's lesser-known collaborators, scholar Tom Welsh uncovered the archives of AA Leath, one of Halprin's principal dancers. Buried within these materials was Dennison's handwritten score for Earth Interval, dated May 1956. Born in Saskatchewan, Canada, in 1908, and raised near Seattle, Dennison (1908-2009) encountered John Cage while teaching Dalcroze eurythmics at the Cornish College of the Arts. She joined Cage's earliest percussion quartet—alongside Margaret Jansen, the composer and his wife Xenia—in the group widely regarded as having performed the first complete concert of percussion music in the United States. This historic December 1938 concert was followed by tours and the landmark May 1941 performance at the California Club, comprising Cage and Lou Harrison's Double Music, the premiere of Cage's Third Construction, and Harrison's 13th Simfony.

As Bradford Bailey observes in his extensive liner notes, Earth Interval demonstrates "an extraordinary balance of elements that imbues the piece with a sense of clarity, directness, and constraint that is both distinct and ahead of its time." The work's most remarkable innovation lies in its approach to extended techniques, particularly Dennison's notation for the central movement: "In 2nd movement, 1st player lowers + raises a gong into a tub of water while beating." This technique, absorbed from Cage's experimental vocabulary, generates what Bailey describes as "fields of acoustic abstraction that bend and warp time through sustained resonances, beat, and space." The temporal sophistication of these manipulations anticipated Karlheinz Stockhausen's Mikrophonie I (1964) and Annea Lockwood's water-based sound investigations by over a decade. After joining Mills College as dance accompanist, Dennison maintained crucial connections to the Bay Area's experimental scene, collaborating with figures like Merce Cunningham and programming Cage's music throughout the 1950s.

Comprising three movements—Land Form, Air Tide, and Earth Play—Earth Interval is scored for recorder, drums, gongs, maracas, muted gongs, and bowl gongs. In total, the piece is just under eight minutes: "a fleeting glimmer of moment in time, a life spent at the cutting edge, and a singular creative vision that packs a powerful punch." When viewed in historical context, placed in contrast to roughly contemporaneous avant-garde percussion works by Cage, Harrison, Louis Thomas Hardin (Moondog), and Harry Partch, or important precursors like Edgard Varèse's Ionisation (1931) and Henry Cowell's Ostinato Pianissimo (1934), it's clear that Dennison was following her own path. Earth Interval is not derivative. It is a precursor to what was yet to come, alluding to developments of avant-garde and experimental music that wouldn't begin to appear on the cultural landscape until the 1970s and '80s, with the emergence of Post-Minimalism and more idiosyncratic artists and ensembles like Midori Takada, Ros Bandt, Peter Giger, Frank Perry, Christopher Tree, Michael Ranta, Gamelan Son of Lion, and Niagara.

This recording by Chicago's Third Coast Percussion, captured in March 2022, represents the first complete documentation of this pioneering work. The ensemble's interpretation reveals the piece's remarkable contemporaneity while maintaining its historical specificity. Where Cage, Harrison, and Partch employed "self-consciously off-kilter polyrhythms," Dennison's rhythmic sensibility anticipates minimalist developments by nearly a decade, yet integrates "forceful rests, as well as sharp shifts in sonic character, tempo, and meter, that break the momentum and breathe a sense of life into the piece's structure." This positions her work closer to Post-Minimalism decades before its emergence. The architectural approach demonstrates Dennison's understanding that "the composer almost entirely disappears" in favor of phenomenological listening experience, creating what might be called an egoless music that places its realities and meaning entirely in the ear of the beholder. The present recording, realized by Chicago's distinguished Third Coast Percussion ensemble, represents a significant achievement in experimental music scholarship and performance practice. As specialists in the Cage tradition and contemporary percussion repertoire, Third Coast Percussion approached Earth Interval with the historical sensitivity and technical precision required to illuminate Dennison's subtle compositional innovations. The March 2022 recording sessions, engineered by Colin Campbell, capture both the work's intimate chamber music qualities and its bold exploration of extended techniques. The ensemble's interpretation reveals the piece's remarkable contemporaneity—its ability to speak directly to current musical concerns while maintaining its historical specificity.

This recording serves multiple scholarly functions: it provides the first complete documentation of Dennison's compositional voice, offers insight into the broader network of experimental music practitioners surrounding Cage and Harrison, and demonstrates the sophisticated level of compositional thinking that was occurring within the Bay Area's dance-music collaborations of the 1950s. The work's emphasis on phenomenological listening—what might be called an "egoless" approach to musical experience—places it within a lineage of American experimental music that prioritizes perceptual process over compositional personality. The work's original obscurity—limited to AA Leath's performances at venues like the 1957 Pacific Coast Arts Festival at Reed College—paradoxically allowed it to remain "entirely on its own terms," free from the constraints of historical categorization. Drawing on Jacques Derrida's Archive Fever, the argument emerges that "the archive can acknowledge, celebrate, and resurrect" overlooked voices, transforming our understanding of experimental music history. The present Blume edition, featuring Third Coast Percussion's authoritative interpretation, includes a lavishly illustrated 16-page booklet designed by Bruno Stucchi / dinamomilano, containing complete scholarly apparatus, historical photographs, and detailed production notes. This recording enables "cross-temporal intersectionality," allowing Dennison to "belong to a newly formed and more dynamic understanding of the present and past," demonstrating how forgotten voices can reshape entire historical narratives when given proper scholarly attention and performance advocacy.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and following the first ever vinyl release to attend to James Tenney's legendary Postal Pieces, the label now presents the first LP published by the visionary Swiss composer Jürg Frey. Drawing from the transformative power of breath and resonance, this release represents one of the most profound explorations of musical metamorphosis to emerge from the contemporary experimental landscape.

The completed work represents a "conjunction of these two artists" that has "activated a transformative form of experimentalism." These renderings "dance with an airy lightness, humour, and play, imbuing them with a beauty and emotiveness that can be rare within experimental music." They exist as "breaths, carrying the curiosities of life, belonging to no time and all time, to no one and everyone: a human music to be inhaled and pondered, for which the outcome remains unknown." In this liminal space between composition and interpretation, between breath and resonance, Zurria and Frey have created something that transcends the boundaries of experimental music itself, offering what might be called a metaphysical cartography of sound in its most essential form. As Bradford Bailey observes in his penetrating liner notes, "music is rarely a fixed entity," existing instead in a state of perpetual flux, "taking on the influences of its interpreters and performers." This fundamental truth finds its most eloquent expression in the transformative collaboration between Italian flutist Manuel Zurria and Frey, longtime member of the Wandelweiser Group. Where conventional recordings might preserve a definitive version, this release activates what Bailey calls "states of unknowing and continued experimentation," allowing Frey's compositions to evolve into entirely new dimensional territories. The original string quartet and piano works dissolve into breath-carried architectures of sound, where "the original remains in a constant dialogue with its transformation." This is not mere arrangement but ontological metamorphosis - an alchemical process through which crystalline harmonies are reborn as atmospheric phenomena.

The metaphysical dimensions of this transformation become clear through detailed analysis of the musical result. Where Frey's original compositions operate through what he calls "basic confidence in the clear and restricted material," Zurria's interpretation activates entirely new perceptual territories. Space holds almost atomic sense of weight against the airy punctuations of timbres, textures, and tones, creating "suspensions of time within which questions and identities posed by instrumentation fade." The Extended Circular Music pieces - each comprising "a small number of bars to be repeated an undetermined number of times" - become organizations of sound that defy being definitive or fixed. Originally scored for different combinations of violin, viola, cello, and piano, these works now exist as pure phenomena of breath and resonance, where "hanging, breath-length utterances dance and intertwine amongst complex harmonic clusters and conjunctions."

The philosophical implications of this transformation illuminate a lineage of composers who have moved "away from abstraction and responding to the need to create" something beyond mere technique. Drawing parallels to Morton Feldman's understanding of non-functional harmony, Zurria's approach represents "a transformative form of experimentalism" that activates what Frey calls the "thaumaturgic power" of music - its capacity to heal and transform consciousness itself. The result is "a radical reimagining of ambience: sprawling sonorities and resonances adrift in space, carrying the liberated traces of the work's former incarnations and their truths." In Zurria's interpretation, Frey's String Quartet n.3 becomes something approaching "an organ played in slow motion, its seals leaking," while the Extended Circular Music pieces transform into "glacial chords from a diverse palette of voicings, harmonies, timbres, and tones."

Performed by Manuel Zurria. Recorded and mixed by Zurria at BigCardo, Catania between 2022-2024, with mastering by Bruno Germano at Vacuumstudio, Bologna, this Blume release represents a profound exploration of musical transformation.

The return of Roy Of The Ravers is always a moment for Emotional Response. Alongside, the infinitely heralded debut that was the 2 Late 4 Love EP in 2016 and the later Emotinium ’23 remixes, there has been the While Line Sunrise series examining the ambient, experimental electronics meets braindance techno releases that showcased lost archives from the late 90s to today, here reaching the 3rd installment with 2 EPs of more machine-driven acid funk.

Following the grand expanse of double LP White Line Sunrise II and its subsequent double pack follow up White Line Sunrise II.I (Le Roy Soliel), III (3) aims predominantly for the dance floor. The uplifting techno of opening Primavera Anjo and squelching TB303 of Plant Earth are premier Roy, hypnotic, percussive, psychedelic purity for the feet.

The flip allows head room for the mind, the deep chords and arpeggios of G-Force signal the vortex shift, before the cinematic, rolling breaks and double bass of Glass Knife sweep far and wide. Recording over 25 years ago, the changing time signatures highlight the influence of (modern) classical and even jazz on Roy, pulsing, permeating, and pushing his sound in the moment, music thought lost that is gladly now, again found.

Singles, seltene Tracks und B-Seiten aus der gesamten DOZER-Geschichte anlässlich ihres 30-jährigen Jubiläums! Zur Feier ihres 30-jährigen Bestehens präsentieren DOZER "Rewind to Return", ein Doppelalbum mit Singles, raren Tracks und B-Seiten aus ihrer langen Geschichte. "Rewind to Return" ist weder ein chronologisches Dokument noch eine umfassende Zusammenstellung aller Nicht-Album-Tracks, sondern eine sorgfältig durchdachte Auswahl der Lieblingsstücke der Band, die aufgrund ihrer Bedeutung und Wirkung ausgewählt wurden. Diese Sammlung wurde von Karl Daniel Lidén brillant remastert und ist die bestmögliche Erinnerung an DOZERs umfangreichen Katalog und ihr unantastbares drei Jahrzehnte andauerndes Vermächtnis an der Spitze des Heavy Undergrounds. Enthält mehrere nie zuvor veröffentlichte Tracks, alle komplett remastered! Transparent rotes Zweifach-Vinyl(Gatefold) sowie einzelne Digipak-CD erhältlich.

The ‘Split EP’ is a collaborative release with James Hayford and BiggaBush, as well as labels Filtered Deluxe and Tru Thoughts Recordings.

The collaboration commenced several years back, when Glyn ‘Bigga’ Bush reached out to James (known for his Shoes Edits series), one conversation led to the next, and a remix exchange was initiated.

In 2022, James contributed a remix to BiggaBush’s ‘A Different Style’ remix collection, released on Tru Thoughts Recordings - followed by Bigga’s version of James Hayford’s ‘Flower Of Thy Womb’, released via Filtered Deluxe Recordings in the spring of 2025.

The ‘Split EP’ is presented as a vinyl-only release, including the previously unreleased ‘Come To Crunch’ by
BiggaBush.

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James Hayford is a sample-based producer best known for his unparalleled series of Shoes edits (feat. Al Green, Miles Davis, Roy Ayer, and more), plus remixes released under his own Shoes and Plimsoll labels - as well as for the Numero Group.
James continues to release original downtempo and leftfield dance music on labels Filtered Deluxe Recordings, and Growroom Productions.

Glyn ‘Bigga’ Bush launched his career as half of Rockers Hi-Fi, and co-founded the Magic Drum Orchestra. He’s
released as BiggaBush and Lightning Head through the ever-evolving Tru Thoughts Recordings, and many more.
His influences range from afrobeat, dub and funk, to library music and soundtracks - as well as electronic, Latin, and jazz music.

Italian techno force Alarico makes a striking debut on KEY Vinyl with 'Sweaty Techniques', a seven-track LP that encapsulates his signature style: groove-centric, stomping and irresistibly danceable. Known for his prolific output, the Berlin-based artist delivers a fast-paced and energetic sound, interwoven by the thematic thread of the whole release: a sweaty encounter.

From the opening pulse of 'Cradle to the Grave', rhythm takes center stage-percussion-driven and primed for peak-time occasions. Snipped vocals and bouncy baselines carve out some sort of hypnotic patterns, while deep, rolling low ends keep the momentum locked in. Gritty textures collide with fragmented modulations, twisting into distorted, high-energy productions. Across the LP, tightly coiled bleeps and moaning snippets emerge, lending a sinister yet seductive edge.

Then there's 'Dammelo'-Italian for 'give it to me'-which subsumes the album's thematic essence into pure physicality, embracing its vocal motif with a knowing smirk. As the record progresses, Alarico shifts between functional, stripped-back rhythms and more tension-driven moments, culminating in 'Touch My Heart', where sharper drum programming meets hypnotic vocal loops. Closing on a high, 'Jamira' encapsulates the album's crisp percussive edge, rounding off a release that is as relentless as it is intoxicating.
With 'Sweaty Techniques', Alarico solidifies his place as one of techno's most electrifying new voices-an LP made of steel, but definitely built to move.