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The vinyl express keeps rolling. After celebrating Ten years JEAHMON! we are back with label head Marc DePulse who presents his new series “Fingerprint”. Nasty beats. Low drums. Tireless drops. Rolling basslines. Tremendous subs. Tape emulators. Heavy guitars. Acid pots. Dark percussions. Snare rolls. 4/4 time. Headbangers. Attack and release. Fully charged energy. Trippy breaks. Weird breakbeats. Crazy rhythms. Mystic pads. Heartbreaking leads. Squeaky synths. Vocal snippets. Memorable phrases. Powerful speeches. Industrial charm. Metal bangers. Slowed down. Speeded up. Retro vibes. Modern wave. Disco elements. Same same but different. Peak time. No limits. Out of the box. A box full of colours. Painted arrangements. Equalized. Compressed. Limited. Signature sounds. Electronic earworms. Handscript. Fingerprint. Play. Rave. Repeat. Hugs & kisses. Spread the word. Share the vibes. Peace, love and freedom to everyone on the planet!

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

Bergen, Norway- Blood Command have announced their new studio album, "World Domination"(Produced by Yngve Andersen) to be released on the 29th September 2023 through Hassle and Loyal Blood Records. Alongside the announcement is the third and title track single, another self-proclaimed "loser anthem, that tells the sad story of never being good enough for the person of your dreams"

Whilst early singles have cradled audiences with their ethereal death pop sound, make no mistake, the album "World Domination" is 20 rapid bursts of every side the band has to offer. Infectious grooves, blast beats, singer Nikki Brumen’s powerful screams and riot grrrl chanting, techno interludes and that delicate side which lulls you into a false sense of security before ripping into the listener once more.

The record dives into unrequited love, the hatred of the unjust, the power of faith and the darkness of the abyss and never giving up on trying to climb out of it.

"Like various underground religious groups throughout history, Blood Command’s ever growing following, The Awaketeam, is rising around the globe, and we are not stopping until World Domination. So keep your eyes peeled for purple shrouds, three stripes and black and white sneakers."

This is Blood Command at its most interesting. Come and be a part of the movement.

The first thing that strikes you is the rhythm. The Gossip have been making punks dance since they debuted 5 years ago, long before dance punk existed. Soulful and jagged, you can hear everything from Dischord to Motown in Brace's playing. Now, with the addition of new drummer Hannah Blilie (Shoplifting, ex-Chromatics) they have a new thundering beat for the kids to dance to on the corners and in the clubs. The next thing that smacks you is Beth's voice, all the guttural blues of the South is in that inimitable instrument. It resonates with the confidence that is in her lyrics asking people to hold on just a little bit longer, re-assuring the youth that there are others out there, and spitting in the face of all who say otherwise! "Standing in the Way of Control", their third album, was recorded by Guy Picciotto (Fugazi) at Seattle's Bear Creek. From heartbreakers like "Coal to Diamonds" to the anthemic title track, released as a single with a Le Tigre remix, the band is unafraid to put it all out there and take their audience to new places. This is the sound of a band destroying and surpassing all expectations placed on them.

In March 2023, @ turned heads with their debut album Mind Palace Music that utilized an array of acoustic instrumentation and densely layered harmonies, like the great outsider folk records of the 60s and 70s and placed it in a modern setting. If Mind Palace Music was @ playing on story mode, their new EP Are You There God? It’s Me, @ is the darker, stranger side quest.
Mind Palace Music was written in very specific circumstances. The band was formed while they were confined to their homes during quarantine — Victoria Rose in Philadelphia and Stone Filipczak in Baltimore — exchanging musical sketches over iMessage and email. Even though the world has opened back up and they’ve been able to play together live, this EP was again created remotely while in their respective cities. What did change, however, was the production.
Are You There God? It’s Me, @ is @’s foray into electronic music — consisting primarily of software instrumentation (with the occasional flute, guitar or bass part sprinkled in). The band’s experience producing in this style was minimal, but they found the new process to be a rewarding exercise allowing them to explore new textures and structures made possible by computer music. Where their previous acoustic recordings had a looser and more human feel, these new songs allowed them to experiment with autotune and quantized beats. Rose was able to resurrect her passion for classical choir by singing and recording a capella vocal arrangements to be incorporated into Filipczak’s instrumentals.
Across five songs, @ call upon a higher power, as the title suggests, in search of fulfillment. While they try to remain hopeful, daily suffering casts doubt on whether that high power even exists. On “Soul Hole,” overtop an autotuned vocal loop and hyper-pop-esque production, Rose repeats “I’m going to the soul hole and I’m never coming back,” hoping to leave behind the material world and the desires that comes with it. “Webcrawler,” named after the pioneering search engine, might be considered Are You There God?’s epic. @ sees their search for meaning in life akin to how search engines pull together data from all over the internet to find answers. The music itself is even reminiscent of dial-up internet connection, with droning keys and machine-like drum programming until overheating and erupting into chaos, in the form of heavy-metal shredding, only to cool down again back on a loading screen.
While the band confesses the departure from their usual sound may only be temporary, it’s an exciting listen full of twists and turns that surprised even themselves. “We’re both really dramatic in our musical sensibilities and don’t shy away from ridiculous choices,” Rose recalls, “which can really be exaggerated when working mostly with electronic sounds.” Full of soul searching and sonic experimentation, Are You There God? It’s Me, @ is an encapsulating spiritual saga for the digital age.

"French duo Human Rebellion make their debut on Alienata´s Discos Atónicos label with Polymorph, a 4 tracker killer EP in which we will find the perfect combination between techno, acid, electro & breaks.
Dark atmospheres and heavy beats topped with irresistible basslines, mesmerizing arpeggios & sci-fi textures straight out their analog studio.
Modern sound inspired by the powerful & punchy sound of the early 90’s electro-techno!
We are pleased to welcome Patrick & Charles to the Discos Atónicos Fam!

A1 - Blue Sky
Opening with a clean, DJ-friendly Hot Pants break, Blue Sky offers the listener a subtle, warming production with inquisitive synth work creeping around a fine selection of serene effects, panning excitedly across a pristine, polished field. Utilising light orchestral strings, a soft undertone bassline and wistful twilight sounds, Aural Imbalance blends danceable breakbeats with the soothing sounds of yesteryear as fluidly as ever.
A2 - Starburst
Starburst jumps straight into a tight, energetic beat pattern constructed with old school breaks and an off-key bassline, soon joined by eerie, spectral pads to gradually build an ethereal, other-worldly vibe. The composition is elevated by arising symphony of swirling blippy melodies, expressing a nervy and curious tone with detail and harmony before the beat recedes, allowing the melodies to shine alone in the dreamy outro.
AA1 - Frozen Tears
Aural Imbalance conjures a quietly grandiose track with Frozen Tears, driven by muffled keys and thick hi-hats in the intro before a luscious, meditative melody enters the mix. Intricate breakbeats with a suitably understated bassline accompany the fading and echoing synthetic strings, rich pads and subtle bells, producing a beautifully varied spectrum of sound, perfect for the Spatial record box.
AA2 - Moonlit Clouds
A distinctive, impeccably produced Helicopter break takes center stage with Moonlit Clouds, a deftly relaxing ambient aura floating overhead as synths and knowing melodies slowly weave their way into your psyche like shimmering fireflies seizing the moment in the dark. A low sub bassline permeates the depths to complete a collage of euphony to round off another special EP from Aural Imbalance.

Words by Chris Hayes Spatial/Red Mist

A1 - Polaris
Going all in to open the EP with a truly stand out 2-step roller, ASC crafts a distinctly energetic vibe with Polaris, featuring an intricate old school break seldom heard in drum & bass - packed with high-end detail and a glorious raw energy. With long radiant pad work, a classic jumpy 808 bassline and a stunning, reverberating female vocal sample whooshing and panning across the mix, Polaris will instantly become a favourite in your setlist.
A2 - Things Left Unsaid
Opening with an intriguing fusion of suspenseful keys and deliciously crisp bongos that each play a key role throughout, Things Left Unsaid asks the listener questions of yesteryear in a varied odyssey filled with a myriad of echoed vocal samples, horns and effects, set to a break-laden beat pattern that hops along with kicks and snares each snatching the attention. A calmer vibe from ASC that still packs a punch.
AA1 - Temple Bell
A thumping, spirited beat pattern with rapid kicks and metallic snares provide a visceral aural onslaught as the aptly-named Temple Bell blends our imperious breaks with darkly, epic tolls radiating through a vast ornate hall of resonance -suitably reverberating alongside a backdrop of synchronic atmospherics. Heavily EQ'd vocal samples colour the mix to complete a weighty musical collage.
AA2 - Contrast
Beginning with a flurry of cow bells in a vibrant, expertly edited take on the classic Circles break, ASC serves up a delightfully laid back yet danceable piece with Contrast. Space FX, swirling pads and a mellow, memorable key melody overlay a beautiful mosaic of calm as the continued thrust of the break drives a constant energy to the track, perfectly capturing the ethos of Spatial and closing another immense EP

Words by Chris Hayes Spatial/Red Mist

A1 - Permeate
JLM returns to Spatial with another superb selection of old school inspired tracks. Kicking us off is Permeate, with anxious melodies evocative of 90's sci-fi introducing proceedings before filtered old school breaks slowly rise into the mix. An early breakdown with the playful bassline flying solo for a spell precedes superbly executed amens adding a thick layer of detail to an eclectic beat pattern.
A2 - Orogeny
Orogeny opens with a lush old school riff, classically off-key melodies and echoing pads as the varied beats takes shape - effortlessly navigating a range of breaks to create a unique, bouncy pattern evoking a dynamic mid 90's energy with a captivating rhythm. Tuneful synth work and jazzy drum samples deliver an entertaining breakdown before the breaks resume for the latter half, airy pads adding further texture to the track.
AA1 - Subsidence
A contemplative, introspective tone is set by a delicate melody in the introduction to Subsidence, a track which showcases the variety of atmospheres JLM Production scan glean from his unique brand of drum & bass on Spatial set to the usual high standard of classic breaks and bass. Majestic pads and synths envelop the listener in a solemn haze, while a more intense, darkly melody counters, creating a divergent synergy to the vibe.
AA2 - Laminar Flow
Closing the EP in style, we are treated to a jazzy, melodic introduction to Laminar Flow with rising strings and vocal samples, before inspired 80's style synth sounds zip around the mix to a subtle, clean 2-step breakbeat. JLM ups the ante with a crisp Hot Pants break layered over the top while the jazz-inspired Rhodes key shifts craft a tuneful aura as cow bells ring throughout, rounding off another sublime and varied experience for the ears.

Words by Chris Hayes Spatial/Red Mist

Tangential Music is pleased to present the new album from veteran Spanish DJ and producer, Dj Toner (aka Antonio Herrera). Alongside his co-writer/arranger Daniel Molina and with guests that include the legendary Blue Note Records innovator Erik Truffaz and Grammy winning flautist and saxophonist Jorge Pardo, he has created a 10 track collection of slow-burning instrumentals that straddle the worlds of hip hop, jazz and electronica.

With a personal, precision tooled approach to his craft, the Andalusian has offered up an album of finely modelled downbeat moods.

At first glance, ‘Out Side’ is made up of recognisably superior hip hop instrumentals but if you listen carefully, and with patience, one can hear a craftsman at work. A wooden box is just a box until you look closer. The hidden joints, the perfect lining up of the grain, the years of artisanal graft and laser-focussed attention to detail that go into making something that has nothing present, that doesn’t deserve to be there. This is how Dj Toner operates.

The two singles that preempt the album’s release reveal different sides of his craft. ‘Camina’ struts with tough intentions. Soundtrack-y in an exploitation police drama manner, the get-out-of-my-way drum break and tension-filled chords suggest the bad cop, Erik Truffaz’s piercing lyrical trumpet lines, the good. The Afro-jazz horns led second release ‘Surprise’ is an altogether more playful, sunbaked affair. Sensual and slow-burning, there’s still an edge but it’s too hot to quarrel.

Dj Toner’s minimalist attitude to creation is shared with his co-composer Molina - an individual’s contribution may be cut to the bone, leaving just its aura or tone. The echo of a piano, a single blast of tuneful wind from a flute, a perfectly positioned drum hit.

Since the Wu-Tang Clan’s RZA began applying his beatmaking prowess to movie soundtracks, the hip hop instrumental has been acknowledged as something to listen to, as much as being used as a DJ tool or backing for an MC. Dj Toner’s instrumentals can, therefore, be seen as soundtracks. Soundtracks to his life and craft, vignettes of his environment in both the urban sprawl and the wider and slower spaces of “el campo”.

The sweet-tempered jazz-blues of ‘La Rimosa’ is a gentle welcome to the album. A simple, laid back groove with the most romantic of piano hooks that one could imagine Common dropping rhymes on. You’re kept on your toes with the odd purposeful moment of discordant interruption but the tender heart of the composition is never far away.

‘O’Beat’ hints at John Coltrane with the sparse but full-sounding upright bass before a head-snap break leads into a curious piano groove, a vintage organ swirls into a psychedelic fractal, whilst the bluesy female vocal snippets add the spice, that zing in the Granadan gazpacho.

The flamenco guitar driven ‘Flama’ is an excellent example of intricate sample placement and musicality. Old school (school yard) scratch interludes, sweet piano hooks, a minimalist but knife sharp flute contribution from Jorge Pardo, and the crunchiest of drums taking us for an intriguing walk round the corner.

We’ve mentioned them before but it’s on ‘Sweetband’ that we can feel that Wu-Tang dread hanging off its shoulders. A brooding orchestral number with powerful horns and a cavernous piano hit. The title of the piece is in stark contrast to the dark shadows of the tune.

Erik Truffaz returns in fine form on the super lethargic jazz-funk-hop of ‘The Day’. His instantly identifiable muted trumpet sound paints dazzling colours over the more earthy tones of the filtered down keys as a rubbery upright bass keeps the forward momentum. Dj Toner’s ‘Blessed Are The Weird People’ album, was rated in Jazz Magazine as one of the 20 jazz albums of 2021, so he isn’t some dilettante when it comes to playing with the complex hues of jazz but he does like to strip it to its bare essentials.

‘Fanega’ sees a gorgeous flute contribution from Jorge Pardo. An eerie boom-bap groove with sprinkles of electronic pulses and washed out chords is the canvas on which the award-winning multi-instrumentalist evokes the heat shimmer of the savannah.


‘Esperanza’ translates as ‘hope’ in English and this lovely slow, swinging jazzy groove really does provoke feelings of positivity and belief. Sublime vibraphone and another stunning trumpet offering from Erik Truffaz, take us on a journey of warm days and possibilities, the shuffling drums and sweet chord patterns are nicely finished off by a tranquil horn chorus towards its unhurried end.

‘Under Beat’ ends on a beefy boom-bap groove with a liquid funk bassline, elegant synth strings and old school scratching. Again, there’s that undisputable soundtrack edge, action and motion, the smell of the city.

There you have it, 10 tracks that go beyond the surface, deep into the dedicated craft of Dj Toner. Decades of experience and collaboration purified and refined into beat-heavy emotions, listen closely or crank it up, it’s down to you!

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

Introducing "Uprising Volume 2" by Zaratustra, the Highly Anticipated Second Installment of the Acclaimed Series on Skylax Records. Following the Groundbreaking Success of "Uprising Volume 1" in the Indie Dance Scene, Zaratustra Returns With a Collection of Tracks That Push the Boundaries of Genres, Inspired by Indie Dance, Italo Disco, Ebm, New Beat, Acid, and Ethnic Music. Prepare to Be Captivated by the Infectious Energy of "Uprising Volume 2." the Ep Opens With the Mesmerizing "Dark Clouds" (Club Mix), Reminiscent of the Futuristic Vibes of I-F's "Space Invaders Are Smoking Grass" and the Early 2000s Brilliance of Tiga. the Instrumental Version of "Amours Electroniques" Takes You on a Nostalgic Journey, Evoking the Spirit of Miss Kittin & the Hacker's Iconic Sound. Emilio Van Rijsel Delivers an Astounding Acid Trance Techno Remix of "Dark Clouds," Surpassing Expectations and Becoming an Undeniable Highlight of the Ep. for an Extra Treat, Those Who Purchase the Vinyl on Our Bandcamp Will Receive the Full Instrumental Version of "Dark Clouds," the Vocal Version of "Amours Electroniques" (Feat. Angst for Greta), and the Vocal Version of Naranja's Remix. Speaking of Naranja, the Ep Features a Dynamic and Uptempo Remix of "Amours Electroniques" (Instrumental) by the Talented Producer. Naranja's Remix Infuses the Track With a Pulsating Rhythm and Compelling Grooves, Elevating the Energy to New Heights While Maintaining the Essence of the Original. It's a Captivating Reinterpretation That Will Ignite Dancefloors and Leave Listeners Craving More. "Uprising Volume 2" Is a Powerful Testament to Zaratustra's Ability to Revive the Spirit of the Early 2000s New Wave and Electroclash Era. Each Track Encapsulates the Essence of That Time, Infusing It With a Modern Touch That Will Leave Listeners Craving More. Join the Uprising and Immerse Yourself in the Electrifying Soundscapes of Zaratustra. This Vinyl Release Is a Must-Have for Any Music Enthusiast Seeking a Sonic Adventure That Defies Genres and Rekindles the Spirit of a Bygone Era. Grab Your Copy of "Uprising Volume 2" and Witness the Evolution of Zaratustra's Artistic Prowess, as He Continues to Shape the Future of Electronic Music....

3rd release in the "LTD SERIES" imprint from SUDD WAX delivers a versatile 4 track 12" from label stalwarts STK. The dark speedy electro of A-side "STONED" gets reworked by newcomer UNIQUE REASON into something resembling jit, while jazzy breaks conjure old school London vibes on the B-side.

Eszaid imagines the sonic paranoia of discovery with Brumes, a 9 part movement for FELT that coalesces industrialised murmurs from the currents of cavernous creep.

An electronic complexion shaded dusk haunts Eszaid’s output. Previous releases on L.I.E.S., Worship and his own Collapsing Market label exemplified a shutters-closed style of rhythmic and melodic variance that teetered on techno-related realities with the lights kept firmly off. The Avignon-based artist lands at Fergus Jones's FELT stable to further the imprint’s unpredictability, coaxing some of his most perturbed oddities yet with Brumes.

The mythologized voyage of Pytheas to the island of Thule provides the abstracted blueprint for Brumes’ 9 parts. Each movement is born of soundscapes inspired by envisaged scenes of his trip to the North, an aural construction of interpretation. Eszaid unwinds tense metronomic rhythms within sparse sound environments, sprung with globular textures of motorik warbles and darkside atmospherics. Its minimalist beat complexions are buoyant by an abstracted fear of the unknown, tracks defined by bobbling industriale, Gregorian dub and atonal menace. It’s an alternative experience to the often faux-jubilance of expeditious revelation, and something that will resonate long after Nord’s beatless modulation fade out.

Strawberry Wind, produced by Richard Swift (Nathaniel Rateliff and The Night Sweats, Foxygen, The Shins) not only delivers on a promise to create an honest album for kids and parents but it represents what Baylin calls the “beautiful divide,” of juggling family life with her creative life, a difficult task by any measure. “The divide in me is easy to feel because I invest 100% of myself into my family and often the creative gets put to the side,” she explained, “so when I decided to begin writing for this album it just poured out of me.” Now singer / songwriter Jessie Baylin shares that creative outpouring on her debut children’s album, ‘Strawberry Wind’. Throughout the album, Baylin doesn’t hold back on telling it like it is. Weaving through lyrical themes of dream life, supermoons and summertime vibes are some gentle doses of reality. “I don’t want to lie to my kids. Life is hard sometimes and you need to find a way to deal with it... there will always be things in life you can’t control. But, you can dream of a better world and make your own refuge,” says Baylin, who is mom to 4-year-old Violet and is expecting her second child with her husband. Baylin, who’s released four critically-acclaimed albums over the years, says the seed was planted for this album after recording a cover of Harry Nilsson’s He Needs Me from the kids’ film Popeye. “The song has a childlike sense, but the message is very deep. It’s magical, it’s dark, and it hit all the right notes. I wanted to do an album that feels like that” she says. “Since becoming a mother, I found myself being around the house a lot and I started gravitating to these wonderful albums I remembered from my own childhood - The Beatles, Harry Nilsson’s The Point!, John Lennon, Roger Miller’s Robin Hood and Carole King’s Really Rosie." The magic of those iconic 1970s records she mentions is that they’re all grounded in solid songwriting and were never dumbed down for the audience. “Those records felt very honest and that was my mission here. I also wanted it to feel magical and remind people of the child inside of all of us that is filled with a sense of wonder and pure joy and hope.”

Fusing raw industrial power, dark elegance and hedonistic, body-moving intensity, Saint Agnes have created a sound made for sweat-soaked goth club dancefloors. Inspired by the intensity of Nine Inch Nails, the genre-bending chaos of Poppy and the euphoric, cinematic story telling of Lorde; this is music for the club, the stage and the void inside.

DJ Support: Gilles Peterson, Sean Johnston, Jaye Ward, Max Essa and Francois K

Limited to 300 copies

Having been long-time admirers of one another from afar, Hell Yeah and Michele Mininni finally come together for Pop Archetypes. It is a multifaceted debut album that collides broken beats, worldly rhythms, jazz, eastern melodies, live drums and much more into one thrilling 15-track opus that arrives on May 31st.

Italian artist Mininni has always had a leftfield take on electronic music and imbued it with rhythms, melodies and instruments from around the globe. He has released it on cult labels like R&S, Optimo Trax, Internasjonal and Curle Recordings but has saved his magnificent debut album for Hell Yeah. It is much more than a collection of sounds he has already explored and instead finds him heading off into all new territory without losing his signature sense of inventive and beguiling rhythm and melody. It is a multicultural journey that takes in heterogeneous styles and diverse influences but distills them all into one cohesive album with its own unique storyline.

Says Mininni of the record, 'I wanted each track to be like pieces of a unique, multifaceted picture, like walking through train cars or progressing through the levels of a video game, all filtered through my own vision and concentrated into 36 minutes. I wanted a pop album rooted in the extraordinary richness of popular music and projected into the future, a continuum where pieces communicate with each other and are received by the ears in symbiotic balance.'

Despite that concept, the album is a spontaneous listen full of surprises, left turns and original ideas that all hold together in thrilling fashion. It kicks off with the tumbling jazz drums and swirling synths of 'Spinning Around Cotton Candy', takes in mellifluous melodic layers and broken beats on 'Golden Room' and 'Slipped Air' casts you adrift amongst gorgeous piano keys and refracted vocals on the suspensory 'Vertigo'. There are jungle interludes with Eastern string melodies like 'Bangkok Tempo', lavish fusions of organic and synthetic sounds on 'Kundalini' and more charming Far Eastern rhythms on 'Muting Cat'. 'Congoflash' brings electrifying cosmic rays to busy hand drum patterns, 'The Magic Of Synesthesia' combines dark amen breaks and bright and uplifting flutes while 'Carousel Of Tears' douses you in watery melodies and celestial pads that awaken the soul.

Pop Archetypes is an adventurous work packed with meticulous and infinite details but all with an overarching narrative that makes it far more than the sum of its parts.

In a flurry of madcap sampling pitched towards the heat of the night, Pedro Zopelar builds on the premise of his 2022 electro- funk love letter Charme, shifting his approach towards a particular

90s flair and a method with a specific end result. Ritmo Freak took root in studio experiments for a momentous — and rare — live set at São Paulo festival Não Existe in 2023, where Zopelar was caught up in one of those right-place, right- time moments we carry with us through life. As he explains himself: “This album is dedicated to freaky club culture. While I was playing at the festival there was a crazy tropical storm outside and the room was packed with the freakiest crowd. I’ve tried hard to immortalize that feeling on this record.” With the intended energy in mind, Zopelar focused on a particular mode of production centred around 12-bit sampling from his ample record collection. Considering his background as a trained pianist, here his musical instincts are forced to work within the limitations of short, snappy cuts from dusty 12”s. The lo-fi sound sources and the resourceful ways Zopelar works them gives the record an unmistakable old-skool flavour which he applies to forthright house, techno and electro funk rhythms, always taking care to draw out the soul of the music.

The stylistic touchstones flow past thick and fast on Ritmo Freak. From the amped up fierceness of the title track with its gaudy, cut n’ paste, vintage techno flavour to the effervescent electro funk of ‘Gabriellinha’s Boogie’ on to the surreal Balearic inversion of ‘Distraction’, this is a high-velocity, endlessly charming record bursting with the musicality Zopelar has made his name on. As the driving force behind many warehouse parties in São Paulo,

Zopelar has been immersed in club culture for a long time, and his distinctive catalogue of jazz, funk, acid and techno has graced highly respected labels like Apron, Selva Discos and Mother Tongue. Throughout, he’s displayed an affinity for the tangled roots of the groove with an open-eared, big-hearted sound. That’s what comes through on Ritmo Freak

Bloom is the 1997 album by Crustation, who were formed by Ian Dark, Stig Manley and Mark Tayler. All three were quiet connected in the fertile Bristol trip hop community - they played in bands with Portishead's Adrian Utley during the Eighties and regularly hung out with Massive Attack and Smith & Mighty. With just one album, their debut full-length record Bloom, Crustation became a legendary secret in the galaxy of trip hop music. The charming female voice of Bronagh Slevin, spacey, dreamy atmospheres, sleepy beats: all we love in downtempo music. The album features artwork co-designed by Stanley Donwood, who has created all the artwork designs for Radiohead with Tom Yorke. For the first time since its original release, Bloom is being reissued and is available as a limited edition of 750 copies on translucent purple coloured vinyl. The vinyl package includes an insert.

The current lineup of New Haven's long running Mountain Movers (guitarist/vocalist Dan Greene, bassist Rick Omonte, guitarist Kr yssi Battalene, & drummer Ross Menze) have been playing together for over a decade now, making their recorded debut on a slew of singles released from 2011-2013, but it wasn't until 2015's "Death Magic" (released on New Haven label Safety Meeting) that the potential of that iteration of the group became clear; Mountain Movers are a force of nature. The camaraderie & sensitivity to each others playing has only grown over time, cr ystallizing on the group's trio of albums for Trouble In Mind; 2017's eponymous "Mountain Movers" served as a reintroduction of the group to a larger audience, while 2018's "Pink Skies" raged like a group confident in its strengths, and 2020's prescient "World What World" - written & recorded before the world shut down - slightly shifted focus away from the jams & back toward the weight of guitarist/songwriter Dan Greene's poetic tales of magical realism. The band's ninth album "Walking After Dark" finds a happy medium between both aspects of the band's strengths; Greene's lyrical compositions and the group's long-form improvised jams. To those that are tuned in, that feeling of communion is evident in the Movers' playing. The members swap & cycle effortlessly through instruments without missing a beat, utilizing the downtime of lockdown to write & record every jam in their practice space. Those piles of tapes would eventually get edited & sequenced into "Walking After Dark", a tour-de-force double-album that balances fried, stony brilliance with outré excursions of experimental serenity. Consider the opening track "Bodega On My Mind" that ambles in like a road-worn traveller, its lysergic folk strums peppered with acidic lead lines from Battalene's Telecaster, eventually giving way to "The Sun Shines On The Moon, where the group's sizzling guitars are buoyed by Omonte's pillowy bass & Menze's percussion. From there on out, tracks like "Factory Dream" give the listener a taste of The Movers' modus operandi here; a mixture of (more) traditional song craft interspersed between long-form, improvised pieces of modern psychedelia. The group shuffles through instruments; synths, drum machines, auto-harp, various forms of percussion (and whatever else was laying around) as well as the trad guitar/bass/drums configuration to craft a suite of songs that - while not necessarily similar in composition - feel unified in their overall sonic scope. Tracks like the 14-minute "Reclamation Yard", whose deep-space electronic pulse is juxtaposed against side C opener "See The City "s persistent acoustic strum that showcase similar ideas of the `spirituality ' of losing ones self in repetition, but executed differently. In many ways "Walking After Dark"s duality feels like a merger of "On The Beach"-era Neil Young & the collective freak-outs of Amon Düül, taking inspiration in the `incorporeality ' of free music and lacing it with Greene's hazy, haunting lyricism and is an exciting step forward for a band that's already a few steps ahead. "Walking After Dark" is released on black double-vinyl in a full color gatefold jacket & includes an insert with artwork & lyrics by member Dan Greene.

Remedy, a dynamic and cutting-edge melodic rock metal band originating from the heart of Stockholm, Sweden, burst onto the music scene in 2022 with an unmistakable presence. Their debut album ‘Something That Your Eyes Won't See' charted in Sweden and had a massive impact, including truly incredible positive feedback from the Rock and Metal World. Now it's the time for the second album ‘Pleasure Beats the Pain', co- produced with the Swedish S-Rock Music Production, a huge sound journey between catchy melodies, powerful riffs, huge sound and mesmerising guitar solos. With these new songs, the band presents a sound even more personal, pushing boundaries even further. Drawing from the lively sounds of the 80s, but adding a modern twist, Remedy captivates listeners with their contagious energy.

Their magic is driven by energetic guitars, powerful vocals, and catchy hooks across Rock, Pop, and Metal genres, blending retro vibes with fresh innovation seamlessly. In line with the production of Remedy's debut album, ‘Pleasure Beats the Pain' is mixed and mastered by Erik Martensson (Eclipse) at Mass Destruction Production. “Fuelled by the success of our debut album, stepping back into the studio felt like the most natural progression for us. With 'Pleasure Beats the Pain,' we reached a defining moment in Remedy's journey, solidifying our sound. With a balance of light and dark, day and night, pleasure and pain, love and hate, our music mirrors life's complexities, melding melodic rock & metal into a harmonious blend. Through this, combined with a distinctive approach to instrumentality and songwriting, Remedy emerges”, Rolli concludes.

Barro Music Label reaches its tenth reference with a tremendous EP in which the protagonist (even of the cover) is Nöle, the label's boss. In Electro Bloody Music, the popular DJ and producer from Pamplona delivers four original tracks accompanied by a fantastic remix by Delectro. The renowned Colombian producer, active since 2006, has released on some of the best international labels and with his 80s EBM, electro and techno influences, he is the ideal person to accompany the label boss on such an important release. As for Nöle, after the success of Mendekua, his previous work released in 2022, he does what he is the best at: dark and frenetic techno with EBM flavor, like the one he played during his long residency at Stardust and does now at Lasociación.

On the A-side of Electro Blood Music we find three originals, the first two could be included in the category of Techno Body Music while the third is more purely techno. The EP starts with BuruHilketa, a dark track with a certain experimental atmosphere endowed with an incisive synth line and disturbing vocal samples that accompany us during most of the composition. Shaktale, shares some of the atmosphere of the first track, as it also includes vocal samples and a eerie synthesizer melody quite catchy. It has quite a complex rhythm and an extremely careful production that we recommend listening with headphones to appreciate in detail. Cementerio caliente is powerufl techno track, with hypnotic synths and an acid touch and tremendously forceful. With this kick drum, you could definitely demolish a house!

On the B-side we find another original track titled Noisebuilder and the remix by Delectro. Noisebuilder, with its fat and aquatic basses starts off more techno but, little by little, it also includes EBM details. The track lives up to its name and the noise builds, little by little, layer by layer while the intensity keeps growing. With a hard-hitting beat, spiced in the background by synthesizers that help to create an atmosphere, it is one of the clearest bangers of the EP. Delectro delivers a remix a little more forceful and darker, a bombshell of pure Techno Body Music that closes this magnificent EP.

Release note: El Garaje de Frank

"Bloom is the 1997 album by Crustation, who were formed by Ian Dark, Stig Manley and Mark Tayler. All three were quiet connected in the fertile Bristol trip hop community - they played in bands with Portishead's Adrian Utley during the Eighties and regularly hung out with Massive Attack and Smith & Mighty. With just one album, their debut full-length record Bloom, Crustation became a legendary secret in the galaxy of trip hop music. The charming female voice of Bronagh Slevin, spacey, dreamy atmospheres, sleepy beats: all we love in downtempo music. The album features artwork co-designed by Stanley Donwood, who has created all the artwork designs for Radiohead with Tom Yorke. For the first time since its original release, Bloom is being reissued and is available as a limited edition of 750 copies on translucent purple coloured vinyl. The vinyl package includes an insert."

Bloom by Crustation With Bronagh Slevin, released 23 May 2024, includes the following tracks: "Close My Eyes ", "Reverie ", "Falling ", "Life As One " and more.

This version of Bloom comes as a 1xLP in a(n) Deluxe Sleeve packaging. This release comes with (a) Insert(s).

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

Limited to 500 LPs and 500 CDs. New album from the most danceable post-punk pop band in the UK. It's like something has exploded! CRUMBS have been incubating this, their second album, for a few years now. Who knows how they kept all the energy in check. It must have been like sitting on a volcano. The songs burst out with pure pop fire, sending splinters of guitar, sharp lyrics and snatches of the catchiest backing vocals. The rhythm section (Jamie and Gem): it's like Delta 5 meeting Le Tigre in a dark alley in Leeds, fusing blindly and completely, and then forcing its way into the back entrance of a venue, sending volts through the limbs of the unwitting punters, forcing them to dance. This is TIGHT. And as the lights come on and the indie kids throw themselves around, Ruth's vocals sweetly assault their ears with anger, joy, political intelligence - and all around, Stuart's guitar, sometimes twangly-melodic like the B52s, sometimes sweet and ringing like a memory of Scars, sometimes furious and feeding back, keeps you alert and thirsty for more. These songs do NOT outstay their welcome. Starts and ends are cut hard: no pre-echo, no wistful, drawn-out regretful fade-outs. CRUMBS have imbibed the key lessons taught by The Gang Of Four and The Au Pairs: never let the energy dissipate. But there is more than anger here. The band have smuggled a pop sweetness into the disciplined shapes of their angular songs. You're Just Jealous has sharp edges, but it's generous too. The album will be available as a vinyl LP, CD, download and on streaming services. CRUMBS - a brief history. They are based in Leeds, where they are active movers in the DIY scene that currently thrives in the North of England. They recorded a Marc Riley session in 2016, released their first album (on Everything Sucks) in 2017, toured extensively in 2018 and 2019, playing at the Brudenell Social Club with Swearin' and Jeffrey Lewis, and at plenty of fests such as LaDIYfest and Specialist Subject's birthday all dayer in Bristol, A Real Cool Fest in Bradford, Mousetival in Stockton and the Cambridge Indie pop Alldayer. They spent the pandemic creating these new, tightly-wound, irresistible pop songs. These are the people in CRUMBS and these are their influences: Stuart (GUITAR) - Bauhaus, Gang of Four, Shop Assistants // Gem (DRUMS) - Beat Happening, The Raincoats, Antelope // Jamie (BASS, BACKING VOCALS) - Delta 5, ESG, Chic // Ruth (VOCALS) - The Go-Go's, Mika Miko, Paint It Black Collectively - 80s pop music

"Deep Dancefloor Jams of African Disco, Funk, Boogie, Reggae & Proto Electro Music 1977-1986reggWhen a passionate DJ and crate digger intuitively selects music for a DJ compilation, without artistic compromise and without the burden of trends, AfroMagic vol.1 emerges from the depths of his soul. Herewith we present the new favorite phonomancer’s tool for all the DJs who experience the dance floor as a sanctuary and a source of freedom and love.

The most fundamental thing that defines African music is that it was created for dancing. In African dance, there is often no clear distinction between ritual celebration and social recreational entertainment – one can seemlessly merge with the other. Because dance and rhythm have more power than gesture and more richness than words, and because they express the deepest experiences of human beings, dance is in itself a complete and self-sufficient language. It is truly an expression of life with all of its emotions – joy, love, sadness and hope – without which there is no African music and dance. For the African people, dance and music are integral parts of the body and soul, thus depicting the expression of life, current emotional states, visions or dreams. Through hypnotic repetitive music and dance, people communicate with each other and with the souls of the dead, the animals, the plants, the stars, the Gods… They free the body and the spirit through ecstatic states, reaching a healing sense of freedom, happiness, and satisfaction.

Throughout history, this transcendental perception of rhythm and dance originating from Africa, influenced popular music worldwide, thus creating new living and breathing forms of musical genres – freeing them from their industrial mold. Funk, disco, soul, boogie, reggae, dancefloor jazz etc., developed in parallel all over the world. It is foolish to perpetually discuss where they originated from and who were the creators of all these fiery dance floor genres – being obvious that they directly or indirectly originate from the African continent and its people who were as well, over the centuries, influenced by disturbing socio-cultural factors of colonialism. However, no one can enslave the soul. The seeds of free and uninhibited dance and rhythm, true to their original form, initially first sprouted onto the USA’s fertile fields of clubbing and popular music while later evolving in other parts of the world.

The disco funk club culture manifested itself as a phenomenal explosion of artists and grooves in the second half of the 70s in the USA. Shortly it spread around the world continually reigning over charts in its various forms – to this day. Clubs emerged where the DJ is an almighty shaman and the dancers are a tribe united under one roof. This urban ritual had and still has a single goal: togetherness, freedom, and love. Clubs have evolved into temples where we free ourselves from the burden of a consumerist lifestyle and suppressed emotions – a place where we receive love and give love – to be who we really are.

Disco funk clubbing was such an influential global phenomenon that its influence can be observed in various other genres from the disco funk era i.e. progressive rock, which mutated by layering complex rock arrangements with a disco funk groove resulting in hybrids, highly sought by today’s diggers, producers and collectors. The profit-hungry music industry of the 80s very quickly commercialized the original disco funk sound by amputating of its original Afro groove to be able to easily ‘sell’ it globally. So, the original disco funk groove became underground again, and it has remained so until this day. Today, for a DJ to unearth that ravishing groove that will lead the dancers to the stars, he must dig passionately like a true musical archaeologist in search of that groove that picks you up after just a few initial beats. That groove which forces the atoms in your body to vibrate, that groove which unites the body and releases the burden.

The AfroMagic compilation series is created as a tool for real DJs who stick to the aesthetics and essence of clubbing.

This continuation of the Afromagic compilation by DJ Borovich was created in a private jam session which served as an escape route from intense and complex love problems.

Unconsciously driven by intuition and emotion and following a live mix tape framework where many tunes are arranged instantaneously, Borovich narrates his story with a strong rhythm that cuts loose even the most blocked off energy nodes and restores happiness to the spirit and the body.

The musical experience of the groove is completed by the lyrics of the songs, which symbolically give DJ Borovich universal answers to his questions arising from questioning the boundaries, nuances and other forms of love.

When considering that Borovich’s selection was created to facilitate an escape from the burdens of reality through rhythm and dance, we can be sure that Afromagic Vol. 2 will have a 100% uplifting, energized and spaced-out effect on the listeners.

The intro to A1, “Feeling Happy” by the Apostles, introduces us to an experienced and slow, cool and irregularly tight groove containing a confidently sung chorus that instantly gives a sense of freedom and hints at the remainder of Afromagic Vol. 2: “I’m gonna feel happy, ´cause I know I’m gonna be myself.” After the anthemic song mantra of the Apostles, Aigbe Lebarty uncompromisingly continues with a dirty disco rhythm. Acidified by accented synths that elevate it to shamanic levels and held together by a female tribal choir, we embark on an uncompromising ritual disco journey. Without a moment to take a breather the prog funk band Mighty Flames and their Road Man launch a highly vicious and raw, thick funk groove spiced with acid synths and dirty RnR breaks, raising the bar for the A side. Jimi Hendrix himself would surely praise it given the ultimate freedom and virtuosity in the solo sections. With the last tune on A side DJ Borovich decides to burn the floor with Geraldo Pino’s psychedelic, acid furious groove and lyrics which describe this HEAVY part of love problems: “The way she walk, the way she talk, the way she does a funky dances, she is really really heavy – that woman”.

While the A side represents a compact intoxicating afro groove machine that separates us from reality and lifts us up to the stars in over 23 minutes, the B side is a treasure trove of proto sub-genres gems. This selection represents the mission of the Afromagic: to find singular events in African recorded discography of popular music from the 70s and 80s that give evidence to the birth of new modern genres on the Dark Continent even before they emerged in the U.S.A. or Europe. The beginnings of electronic music influenced genres are represented back to back with 80s synth jazzy pop, all painted in African colours.

The B side opens big with Jake Sollo and a huge reggae blues number singing about the humiliation of a man – goosebumps guaranteed! “You think I’m nobody that’s why, you don’t know the way for me, I’m somebody I know, I found myself at last”. Adolf Ahanotu then enters the scene with a hard sliding tackle at B2 and an exotic rare disco funk dancefloor napalm. A ‘Sensation’ that would ignite even the coldest of introverts. While we approach the end of the compilation the narrative revolves again and takes a different turn. No less and no more than to the proto-electro that Baad John Cross serves us in “Give Me Some Lovin´”. The fat and repetitive broken electro synth groove, championing many early 90s electro tracks, is presented here without hesitation and with constant tension accompanied by a mantric chorus “Gimme some, gimme some, gimme some looooovin’, EVERBODY!!!”. Finally, we’re guided to the end of Afromagic Vol. 2 by Eji Oyevole’s 80s synth pop style presented in an authentic afro manner, giving us a glimpse at yet another released Afromagic edition, as well as giving an answer to DJ Borovich’s love problems. A smoothly broken electronic rhythm resembling electrified highlife sounds, carried on the wings of a virtuoso dreamy saxophone on top of which Eji presents the most intimate parts of himself. Finalizing the track with a symbolic chorus, on the surface referring to the dancefloor and simply having fun, but in actuality referring to the skill and happiness of living: “I´m a dancer, I can dance”. So, get up and dance among the stars with DJ Borovich and Afromagic.

In einer Welt, die sich oft bedrückend anfühlt, sind Insanity Alert wild entschlossen, zu feiern, als gäbe es kein Morgen. Skifahrer besuchen Österreich wegen der pulvrigen Pisten, aber als sich diese Adrenalinjunkies 2011 in Innsbruck zusammenfanden, hatten sie eine viel krassere Art des Shreddens im Sinn. Ihr zerstörerischer Appetit auf 80er-Jahre-Crossover-Thrash wird nur noch von einem unstillbaren Durst nach eiskaltem Bier und guten Bud(s) übertroffen. Moshemian Thrashody hält die Party in Schwung. Insanity Alert geben vier bekannten Klassikern, darunter Guns 'N' Roses und Iron Maiden, einen schnellen und spritzigen Dreh. Einer von ihnen könnte Sie allerdings überraschen. Die Leadsingle "Beerless Fiesta" parodiert... George Michael? "I'm never going to drink again / Poor old lives has taken a beating" schreit Heavy Keevy in rotznasiger Agonie, als würde er sich an die Toilette klammern. Aber Insanity Alert werden sich nicht so bald in den Mosh-Ruhestand begeben. Der Titeltrack packt die Queens-Theatralik auf ein Clownmobil voller Scherze. Don Melanzani schmettert Blast-Beats herunter. Die Ganggesänge sind lauter als eine deutsche Bierhalle. Wenn Special Guest Hauwitzer auf der Party vorbeischaut, geht sein Gitarrensolo ab wie eine Flasche Champagner. Nach mehr als einem Jahrzehnt harter Partys gehen Insanity Alert immer noch überall hin, wo das Gras weht.

In einer Welt, die sich oft bedrückend anfühlt, sind Insanity Alert wild entschlossen, zu feiern, als gäbe es kein Morgen. Skifahrer besuchen Österreich wegen der pulvrigen Pisten, aber als sich diese Adrenalinjunkies 2011 in Innsbruck zusammenfanden, hatten sie eine viel krassere Art des Shreddens im Sinn. Ihr zerstörerischer Appetit auf 80er-Jahre-Crossover-Thrash wird nur noch von einem unstillbaren Durst nach eiskaltem Bier und guten Bud(s) übertroffen. Moshemian Thrashody hält die Party in Schwung. Insanity Alert geben vier bekannten Klassikern, darunter Guns 'N' Roses und Iron Maiden, einen schnellen und spritzigen Dreh. Einer von ihnen könnte Sie allerdings überraschen. Die Leadsingle "Beerless Fiesta" parodiert... George Michael? "I'm never going to drink again / Poor old lives has taken a beating" schreit Heavy Keevy in rotznasiger Agonie, als würde er sich an die Toilette klammern. Aber Insanity Alert werden sich nicht so bald in den Mosh-Ruhestand begeben. Der Titeltrack packt die Queens-Theatralik auf ein Clownmobil voller Scherze. Don Melanzani schmettert Blast-Beats herunter. Die Ganggesänge sind lauter als eine deutsche Bierhalle. Wenn Special Guest Hauwitzer auf der Party vorbeischaut, geht sein Gitarrensolo ab wie eine Flasche Champagner. Nach mehr als einem Jahrzehnt harter Partys gehen Insanity Alert immer noch überall hin, wo das Gras weht.

Maximum vocal power and prime time dramatics by Chrissy and Carrie Wilds. The San Francisco based DJ and producer shows his stylistic versatility and technical capability to work with vocals, melodies and sound sources. Like a facsimile of the late 1980s house/freestyle record that you never owned, Things Can’t Go On Like This Forever ticks all the right boxes. Heartfelt vocals (by the great Carrie Wilds): check! Timely social message: check! Melodic euphoria: check! Old school house and true school freestyle flavor: check! Comes in various mixes and with a freestyle bonus beat special.

Additional airtime is given to the now classic Chrissy production So I Go Dancing. Done in a traditional remix fashion by Gerd Janson it highlights all the features of the original and again Carrie‘s enchanting voice, extends the included hysteria and adds a few snare rolls. Let‘s go dancing to brighten the darkness. Dance music in its purest and maybe most US-American form.

The prolific and versatile Ian Martin arrives on Shipwrec with four tracks that make up Future Dawn. Cosmic Garden opens. A piece that blurs genre lines; soft synth-lines are coupled with ruffled rhythms that immerse the listener in gentle orchestral ebbs and flows. Sounds of isolation introduce Future Dawn, modulations reaching over an ever-widening expanse before strings descend. Drums arrive late in this atmospheric journey, one that pulses with a primal energy while conjuring vivid images. The ominously titled Dead Calm opens the flip. Soundtracks have always been an inspiration for Martin and the scores of the silver screen are at the forefront of this work. Brittle beat patterns are the bedrock on which melodies whirl - a bitter acid bass bubbling as tension builds to paranoic peaks. Darker skies loom with the marine chop of Phantom Machine finishing. A flotsam and jetsam of hi hats swirl in the liquid undulations of distorted bass and aquatic echoes, rougher rusted rhythms providing ballast to the eddies and maelstrom of Martin's machines.

From the studio of Attack on Titan, comes a new show - CHAINSAW MAN. This vinyl includes score highlights by Kensuke Ushio from the hit series The soundtrack album by Kensuke Ushio taps into different styles whilst at the core reflecting the action-gore story with lots of electronic & industrial beats and fast-paced melodies. As a contrast, the focus track "that's a dream come true" is a slow-vibing piano track with electronic beats that shows the rare but intense emotional scenes in the show. Kensuke Ushio started his solo career in 2007 under “agraph”. and creates electronic music. He has worked on music for animation TV series, music in advertising and movies such as: A Silent Voice, Devilman Crybaby, Space Dandy, Liz and the Blue Bird, Japan Sinks 2020, Heike Story and now Chainsaw Man.

"Disneyland After Dark" ist das neue Soloalbum von König Boris, Mitglied des aufgelösten HipHop-Trios Fettes Brot. Die musikalische Richtung weist ins Party-England der frühen 90er, frei interpretiert mit ganz modernen Einflüssen. Elektronische Rave-Sounds, mächtige Beats, melancholische Klangwände, düstere Harmonien und dicke Bretter. Darüber erzählt König Boris König Boris alltägliche Stadtgeschichten, mal von weiter weg betrachtet, mal tief in den Mikrokosmos hineingezoomt. Mal gerappt, mal gesungen, aber häufig auch stimmlich ganz wandlungsfähig in der Spoken-Word-Tradition. "Disneyland After Dark" ist eine mitfühlende Liebeserklärung an alle Menschen da draußen. Alle werden mit der gleichen Empathie behandelt, alle sind wichtig im Stadtbild. Die Worte geben ihnen eine Stimme, der Sound gibt ihnen eine Form. Das macht die Größ dieser Platte aus.

Stuck in the depths of a dark alley, blocked by yet another breeze, hitting a stone wall, road sign ahead: Dead End.
Impasse. "Cul-de-sac".
Hip‐hop. The original, some would say, official music of the late 20th Century Bronx.
Some say it has endured it's fair share of distractions, detractors and defectors. Some say it has murdered itself, having been abandoned by its so‐called best men, those who have gone off in other directions, or who have, simply, just beat‐retired. Yet, there are plenty of Soldier Monks still out there, prepared to sweat it out in the Temple of Machinery and Mics.
Low Cut honored this cause four years ago, with his MPC crafted minimalist version of NY Minute and he's back to ring the bells and unsheathe the samples!

The starting point of Dead End's production remains the 90's boom-bap, but the will to carry it even further brings it to its destination. By decorating it with rich samples flushed out after digging through vinyls pressed several decades ago, it is guided by a compass pointing deposits to the East. With sound quality inherited from a fastidious composition and mix works, using inspiration rather than just being a copycat, Dead End celebrates it without setting it up as a museum piece.

Picturing the beatmaker stuck in the depths of a dark alley, ended with a brick wall, is easy. But far from isolated in his Parisian basement, Low Cut has rung phones in New York, Baltimore and Detroit, rounding up the faithful. He magnetized the hidden but sharp forces, and gained attendance of legends. The casting of Dead End : Ruste Juxx & Nutso, Dirt Platoon, Guilty Simpson, Torae, Rasheed Chappell and the stainless Masta Ace, among other beat crushers. Also starring DJ Duke, Nix'on, Topic and Ordoeuvre with their DMC titles crates, for a deep beatfight on bars scarified of scratches.
Heavy atmosphere, martial beats and street soul, Dead End is also the final episode of the projects initiated by Low Cut, based on the model of a producer inviting various MCs.
He will then replace his turntable needles, refresh his sample banks, and settle the BPMs of his productions on more abstract frequencies.

1998 was a fertile year defined by juggernaut projects from Black Star, Lauren Hill, Outkast, and others, all of whom synced experimentation with foundational tenets that made the 1990s ferociously groundbreaking.


Out of Oakland, California, a collective known as Hieroglyphics were positioning away from industry control, to helm their own assets in manners more suited to their own marketing self-vision. While artists have certainly went solo prior, this came at a critical juncture for the crew during a spiraling and newfound Internet world. Born out of this independent spirit was the crew’s first official studio album 3rd Eye Vision.


The album spans twenty-two songs, all featuring beats by Domino who manned the lion’s share of production. A-Plus, Opio, Del, Casual, and Phesto also contributed beats. MCs each had their own song, short interludes highlighting their individuality through short verses, a clear espirit de corps statement.


Even among standouts like “Oakland Blackouts” or “At The Helm,” perhaps the most celebrated song off the release is “You Never Knew,” a track that propelled 3rd Eye Vision to #88 on the Billboard Top 200, not an entirely easy feat as a new label competing with the late ‘90s’ abundant onslaught of classic material.


In celebration of 20 years of 3EV, Fat Beats and Hiero Imperium are proud to present this CD/Vinyl reissue in deluxe packaging, expansive liner notes and the full original album tracks and a bonus for the very first time in one package.

TIPP!

Moisk aka Pletnev & Fourmi Rouz delve into the depths of psychedelia soundscapes with their latest release “Tetris Life’’ on Terra Magica Rec. The duo skillfully balances modular sounds and shimmers through acid synthesizers with a wide range of psychedelic soundscapes from uptempo half-beat to raw, energetic techno trance, inviting you into a mesmerizing sci-fi universe.

The EP features tracks like “Tetris Life” and “A Glass of Coke with Ice”, that explore underground ambient deserts and immersive jungle improvisations. This is followed by dark and slow breakbeat cuts that transition into faster-paced, floating atmospheric IDM tunes. The 12’’ contains many choppy old-school loops and uptempo trance breakdowns, as in “Orange Button’’ and “Wrong Stability”. Featuring two weird dub/IDM/breaks remixes by Anatolian Weapons and HSDJs X Listensport to round off the wax. Don’t sleep on it!

2024 REPRESSED !!

Crash Course in Science are a post punk band that formed in 1979 in Philadelphia.The band members, Dale Feliciello, Mallory Yago and Michael Zodorozny, met while attending art school. They began to experiment with crude electronics and off-beat writing. CCIS avoids conventional instrumentation by using toy instruments and kitchen appliances to augment the distorted guitar, drums and synthesized beats.Their first single, 'Cakes in the Home' was released in 1979 and their 4-song 12'' EP ''Signals From Pier Thirteen'' in 1981. Pier 13 was an abandoned coal-loading pier along the Delaware River near where CCIS rehearsed. The band went there often and was inspired by the huge silent machinery, shapes, shadows, ghosts and debris. The songs 'Cardboard Lamb' and 'Flying Turns' quickly became club favorites during the early 80's. This EP's raw, percussive sound influenced both techno and industrial music in later years. CCIS feel a strong connection to Throbbing Gristle, although they consider themselves as working in a parallel universe rather than being influenced by them. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in the original jacket featuring stark black and white photos of Pier 13. Each LP includes a double sided 11x11 insert with lyrics, photos of the band and the atmospheric pier. Crash Course in Science go above and beyond what is considered 'New Wave' in attitude and sound.

FOR FANS OF: SLEEP, MASTODON, BLACK SABBATH

Die Grammy®-Preisträger High on Fire liefern mit ihrem dynamischen Sound, der Sludge, Doom und Thrash Metal miteinander verbindet, ein
elektrisierendes Erlebnis. Tauche ein in eine klangliche Reise, während Musik Grenzen überschreitet und eine schwere und intensive Atmosphäre erzeugt. Ihre neueste Single Burning Down" unterstreicht die rohe Kraft ihres unverkennbaren Stils mit unerbittlichen Riffs und donnernden Beats.

Mit High on Fire begeben sich die Fans auf eine abenteuerliche Reise durch die Tiefen des Metals, bei der jede Note eine feurige eidenschaft für das Genre entfacht. Schalte ein und lass die lodernde Energie von "Burning Down" einen unauslöschlichen Eindruck in deiner Metal-Playlist hinterlassen.