Search:dark energy

Purple Tree Fog Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

In the neon-lit underbelly of Vilnius, where the pulse of the city syncs with the rhythm of the cosmos, Lithuanian sound architect Tourman emerges with his debut EP on Trance-Atlantyk entitled “Identification Mentale.” This electrifying release is a masterclass in neo progressive house soundscapes, featuring three original tracks and one hard-hitting remix.

The EP kicks off with „Restricted Airspace”, igniting senses with its relentless drive and pulsating bass. The track is a cybernetic symphony, weaving together glitchy synth lines and hypnotic beats that propel you into the heart of a digital dystopia. Embracing a darker, more introspective vibe, “Digitalog” is a proper roller that dances effortlessly between the realms of emotion and energy.

The title track boldly attacks your auditory membranes with its earwormy synth stabs, echoing the familiar yet exhilarating sensations of a sonic awakening. This cut also serves as a true manifesto for the modern trance movement, capturing the essence of euphoria and nostalgia in one exhilarating ride. The last word on the EP belongs to the polish power duo Penera, who transform the original title track into a hard-hitting, uncompromising dancefloor stomper that effortlessly blends hardgroove energy with trance nostalgia. Their remix amplifies the intensity, layering driving beats and electrifying synths that explode with energy.

Chapeau Music presents its second vinyl release, this time by Resonances (IT). "Signal" is a record that connects diverse shades of electronic music: from jazzy undertones to industrial techno, from punchy and intricate rhythms to straight and clean grooves. It's a collection of tracks that showcases the vision of the "man behind the Octatrack".

The title track "Signal" develops naturally, immersing the listener in its dynamic layers of piano stabs and synth elements with a fast-paced groove. The subtle distortion of the rhythmic elements injects raw energy without compromising the track's underlying elegance. It reimagines the genre's darker roots, offering a bold and innovative perspective.

Gene Richards Jr's remix of Signal intensifies the journey, delivering a high-impact, hard-groove edge that perfectly complements the EP.

"Please" concludes the A-side with a pulsating rhythm and a cadence that keeps the dancefloor in motion. Its energetic progression completes the A-side with an undeniable dancefloor weapon.

The flip side begins with "Randomizer", an exploration of atmospheric and industrial textures. The track builds around a solid kick drum and spatial synths, with scattered elements orbiting like satellites to create an extraterrestrial experience.

To close, "The Stand" merges classic influences with melodic, Detroit-inspired elements. Wide, reverberated synths fill the space, crafting a fusion of rhythm and melodies to deliver a standout closing track that feels timeless.

WRWTFWW Records is honored to present a one of a kind collaboration release between buzzing UK producer and DJ Pizza Hotline and Swedish electronic and synth icon Mitch Murder, delivering 3 gigantic tracks each for the Anti Gravity Tournament album, now available as a limited-edition LP housed in a heavyweight 350gsm sleeve illustrated by the legendary junkboy. It is also available in digital formats.

Inspired by the classic WipEout video game series, this high-energy boosted split-album transports listeners into the futuristic world of anti-gravity racing, a colorful turbo adventure soundtracked by 6 mega tracks of fast-paced atmospheric jungle, thunderous breaks, and liquid drum & bass. The adrenaline-fueled collection delivers maximum energy and dreamy vibes, a true paradise for fans of 90s/Y2K video games, LTJ Bukem, Peshay, Soichi Terada, and previous efforts by Mitch & Pizza.

Anti Gravity Tournament follows 2 critically-acclaimed albums by Pizza Hotline – Level Select and Polygon Island, both still available on WRWTFWW Records, as well as the limited Low Poly Breaks cassette series which sold out in a few minutes.

Mitch Murder is known as one of the originators of synthwave and has released timeless albums on Rosso Corsa Records, Mad Decent, and My Pet Flamingo (TimeSlave Recordings). He is also the man behind the Kung Fury soundtrack and has collaborated with…David Hasselhoff himself!

The astonishing exclusive artwork comes from the one and only junkboy, creative director at Mojang Studios (Minecraft) and all-around design grandmaster.

Fasten your seatbelt and join the fun.

25th Anniversary Reissue. Remastered With New Artwork.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound. ‘To Change the Shape of an Envelope’, released in 2000 on Troubleman Unlimited, was their only LP. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sounds of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

FFO: The Faint, The VSS, and Clickatat Ikatowi.

25th Anniversary Reissue. Remastered With New Artwork.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound. ‘To Change the Shape of an Envelope’, released in 2000 on Troubleman Unlimited, was their only LP. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sounds of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

FFO: The Faint, The VSS, and Clickatat Ikatowi.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura were one of those bands. They cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound.

The band’s musical output was sparse. In addition to two 45s, the band released their only LP, To Change the Shape of an Envelope in 2000 on Troubleman Unlimited. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sound of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

In October of 2024, the band announced a partnership with Solid Brass records to begin work on reissuing their long out of print album. To Change the Shape of an Envelope has been completely remastered by Pete Lyman at Infrasonic Mastering with new artwork by Sonny Kay (The VSS, GSL Records).

To Change the Shape of an Envelope will be available digitally for the first time ever as well as on limited edition transparent red or opaque white vinyl on 2/7/25 from Solid Brass Records.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura were one of those bands. They cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound.

The band’s musical output was sparse. In addition to two 45s, the band released their only LP, To Change the Shape of an Envelope in 2000 on Troubleman Unlimited. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sound of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

In October of 2024, the band announced a partnership with Solid Brass records to begin work on reissuing their long out of print album. To Change the Shape of an Envelope has been completely remastered by Pete Lyman at Infrasonic Mastering with new artwork by Sonny Kay (The VSS, GSL Records).

To Change the Shape of an Envelope will be available digitally for the first time ever as well as on limited edition transparent red or opaque white vinyl on 2/7/25 from Solid Brass Records.

Imaginary friends Akka & BeepBeep share the third release on their label: Floral Ancestors by Raduns. The 12” offers blooming ambient rooted in dub, lush drone and hand-picked cosmic that’s all grown deep in Detroit.

Spacious sonic arrangements vividly swell yet keep grounded within a sculptural rhythmic core. Raduns sows synth basslines and wispy pads next to harmonious guitars and muted field recordings. Grooving propulsion drives throughout. Rhythms appear, in negative space, like outlines between leaves. Recorded with machines direct to SD card, the compositions represent ephemeral blessings of experience. As if strolling into a verdant conservatory, the layered and diverse sensations blend into one cohesive revelatory experience.

On their first record, Raduns draws an ancestral line in Detroit as inspiration. A time when you could ride a streetcar from Dexter-Linwood to Belle Isle. A time before freeway expansion demolished vibrant Black neighborhoods. A time before the rebellion, motown and white flight. A time when Raduns’ great-grandparents were florists in the city, serving the community in times of celebration and times of grief. This melancholic circle shapes the project in which Raduns summons these Floral Ancestors, stretching upward from the darkness of the earth into the light of the world back down once more.

AKKA’s Side: “Grass Boulevard” exhales a luscious soundscape that develops through wave-crashing synths and circulated guitars to a transplanted acid lead. “Spread” lays out a decoration of blended sample and hold synth with kosmische styled guitar licks. Tracked as a single take in a Detroit community studio, the tune intuitively reseeds the symbiotic sprout between krautrock and Detroit techno.

BEEP’s Side: “Metrograde Bouquet” submerges you into the bulb of a handcrafted vase. Dub techno roots grow out into murky water with energy that is subtle yet profound. “Oldest of Arrangements” textures breaths of misty air cascading ventilating in on itself. The track’s time seems to stretch and disappear within a dark and deep undercurrent. A harmonic and reverberant resonance closes the record in a flowering of beauty and peace.

“You’re a flower child. Put this music out.” - Someone Important in Detroit

The Montreal rapper's new opus is at once deeply introspective and a wide-eyed embrace of the world. Produced by longtime collaborators Adrian X and Kevin Figs, this sonically adventurous follow-up to her two-part debut Godspeed: Baptism (Prelude), released in 2020, and Godspeed: Elevated (2021) finds her stretching her wings lyrically, vocally and musically.

Naya Ali's journey to We Did The Damn Thing took hard work, sacrifice, faith, and sweat, as represented on the album cover : “Our sweat has trickled down from our braids for generations”. The song The Heist completely embodies the cutthroat energy and hard work that fuels Naya’s music. Yet, We Did The Damn Thing shows there’s more to her artistry. From the dark, ominous More Life, Less Names, a defiant anthem about protecting your peace, to the country-inspired renegade spirit of Turning Tables, and the Afrobeats-infused warmth of Life, where she stepped out of her comfort zone by singing instead of rapping, it is clear that Naya Ali has decided to embrace her versatility as an artist. Beyond the classic, 808-heavy beats, We Did The Damn Thing is a gospel-infused album grounded in live instruments, especially the electric guitar. Naya also took on a larger role in production, leading the choirs and working on vocal production for the songs Life, Jericho and Freedom Creepin.

The follow up release to last years Times & Places Volume 1, which sold out in super quick time has the same four artists, each bringing their own style of old skool rave goodness to the table.
Gridzone gets us off and running with beautiful pads and an oh so familiar soothing female vocal sample. But don’t let this fool you, the harsh amens are just round the corner and when they drop, you will know about it.
Midlife Crisis has similar energy levels in their offering, the breaks are more chopped and more in a jungle vein.
On the flip is the highlight of this EP. NewKiller drops a jungle-techno stormer. 4/4 kicks with high speed breaks, hoover sounds and horror film samples. Its like 1993 all over again. Finally the EP ends with a ragga tinged rudeboy of a stepper from Gold Soundz.

It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career — a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.

Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl — and on a definitive-sounding pressing at that.

Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.

This collectible reissue presents the improvisational magic that unfolded onstage — the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals —with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.

The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend — and penchant for bold, unorthodox moves.

Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.

For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs — titled after Swahili numerals — are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.

Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.

In 2009, you couldn't ignore Kyteman. It truly was his year. His album "The Hermit Sessions" likely topped the year-end lists of many critics and music enthusiasts. With his HipHop Orchestra, sometimes 25 members strong, Kyteman made more than his mark at numerous festivals, including Pinkpop, Paaspop, Oerol, North Sea Jazz, Lowlands, Appelpop, a sold-out gig at the HMH in Amsterdam, and many club performances, always bringing the energy to the next level. His appearances on Dutch televisionshows like 'Raymann Is Laat' and 'De Wereld Draait Door' are also legendary. Now, 15 years later, the music has not lost any of its power. It is high time for a re-release of this iconic album in a special Anniversary Edition, with an additional insert with photo's, credits and a reflection by Colin Benders.








[g] Sorry [Live @ Tivoli]

[i] It Curcus [Not]

The Clamps Unveils From Dust to Dawn - A Cosmic Journey into Drum & Bass

French Drum & Bass producer The Clamps is set to release his highly anticipated second album, From Dust To Dawn, through the label Kosenprod.

Known for pushing the boundaries of Drum & Bass, he delivers a highly personal and finely crafted album that merges intricate sound design with an intense dancefloor-oriented energy.

From Dust To Dawn showcases The Clamps' signature Neurofunk style, characterized by deep, dark basslines, meticulously engineered beats, and emotional soundscapes, while also incorporating elements of Jungle, Hardcore, and Techno. This 16 track journey blends introspective themes with hard-hitting club anthems, creating a diverse experience that is both thoughtful and electrifying.

The album will be released as a special double vinyl edition, cementing its place as a must-have for Drum & Bass enthusiasts.

Since the late 90"s, Jakob "Dino" Dinesen has become a stalwart of the Danish jazz scene, performing with nearly everyone of note in the country as well as internationally celebrated names such as Kurt Rosenwinkel, Jeff "Tain" Watts, Jakob Bro and Paul Motian. Finding joy and inspiration in the building of bridges between genre boundaries, his career in music has seen him travel and perform all over the world, enriching his sound and soul with every new experience. His new record seeks to convey his dream of a future world at peace with itself. "Slow Flow" is set to release on January 25th on April Records. "I envision a world where people from every corner of the globe come together, dancing, sharing meals, and finding joy through my music. My children are a blend of Africa and Denmark, and I hope they"ll carry the traditions and wisdom of both their mother and father as they navigate their path. I would love for music like this to be the soundtrack to their journey through life." Rooted in the playful live sound of an atypical quintet featuring cello and djembe, Slow Flow sits in a unique space somewhere between earthy, simplistic, and acoustic and contemporary, electronic, and unexpected. The record"s sound is soft spoken and full of compassion-a dark-timbred music where the intimate, warm breath of his tenor saxophone intertwines with the crisp, organic tones of the cello. Together, they float over smooth, analog synths and electronic loops, while the carefully crafted lines of the bass and the gentle rhythm of hands on drum skins carry the music forward. Occasional erratic, quirky bursts from an affected keyboard and weaving improvisations offer moments of energy and contrast. Each of the album"s nine original compositions paint musical pictures of contentment that are dear to Dino, as well as offering musical tributes to four of his heroes in Yusef Lateef, Wayne Shorter, Coleman Hawkins and Eddie "Lockjaw" Davis". Drawing on modern European jazz, African rhythms, Italian circus music, and reggae, Slow Flow plays as a deeply personal exploration of Dino"s identity, whilst providing a dream-like message of global peace that promises to resonate with like-minded people all around the world..

With Human Drift, TUKAN continues to explore human connections through music. This album marks a new phase in their journey, after years of performing on international stages and resonating with an ever more diverse audience. Human Drift embodies this collective movement, this human drift where the individual is swept away by a force larger than themselves.

In a world leaning towards isolation and individualism, Human Drift is a celebration of connection. Each track blends electronic grooves with instrumental melodies to highlight how music can transcend language and create authentic bonds between people. They want their audience to feel, through every note, the raw and organic energy they experience on stage.

Echoing their music, the visual universe of this album also focuses on the human element. It's all about bodies in motion, imperfections that reveal the authenticity of the moment. Just like on stage, they aim to capture sweat, emotions, and communion. Every detail matters: wrinkles, smiles, flashes of light in the dark. They seek to show the beauty of disorder and the unexpected.

Human Drift was composed with the idea of what music can provoke in a collective space: transformation. It's an album that encourages letting go, immediate connection, where each sound is an invitation to surrender and drift together towards unforeseen horizons.

Human Drift is a human experience, an album that embodies the spirit of community, celebration, and sharing. They hope that, like them, you'll let yourself be carried away by the drift.

"From the remote reaches of Haparanda, Sweden, Häxkapell presents a black metal masterpiece that resonates with the eternal rhythms of nature and the cyclical dance of life and death.

“Om jordens blod och urgravens grepp” (‘Of earth’s blood and the grave’s grasp’) is a powerful blend of black metal, folk, and atmospheric darkness, interwoven with classical and progressive influences. Traditional instruments such as the violin, viola, willow flute, and hand drum infuse the music with ancient, primal energy. The lyrics, crafted through subconscious writing, serve as a conduit to the mystical and otherworldly.

The album was engineered, produced, and mixed by Oraklet. Drums were recorded at Nordvis Ljudstudio, with the remaining tracks laid down at Studio HMH. Mastering was handled by Tore Stjerna at Necromorbus Studio.

Founded in 2015 in the northernmost part of Scandinavia, Häxkapell is the creation of Oraklet, who embarked on an inward journey to explore the philosophical, spiritual, and mystical aspects of existence. Following the 2016 demo “Om sanningen,” Häxkapell released their debut album, “Eldhymner”, in 2021.

On “Om jordens blod och urgravens grepp”, Häxkapell’s music evolves much like the earth itself: slowly, imperceptibly, yet ever-changing. It reflects the cycle of birth and bereavement, with death and life beginning anew as earthen folk melodies murmur ancient slumbers into dawn. Oraklet channels these profound truths into lyrics and music."

To celebrate the debut release on his own label, Hindwood extols the power of intuition, which has served as his guiding force since his childhood.

Fueled by love and a deep connection to the cosmos, he blossomed as an artist, attracting a circle of talented artists into his orbit, such as Brique and Local DJ. This EP is a sonic journey through his inner awareness and the web of cause and effect: an exploration of the invisible threads that bind us all together.

#1 “Guts’ feeling”, is resonating with the heartbeat of the universe and the pulse of ancestral memory, use of tribal sounds and deep bass. Through this track, he conjures a world of duality, where the darkness and the light coexist in perfect equilibrium, revealing the beauty of both.

#2 On “Third eye awakening”, he draws on the primal energy of deep, trance-like, and energetic soundscapes, and weaves a sonic tapestry that transports the listener to a realm of heightened awareness and connection.. The whispers of his soul and the song of the earth, intertwined in a harmonious dialogue that speaks to the deepest part of his being.

#3 Captivated by the mystical powers of Third Eye Awakening, Brique delivers a hypnotic remix. Appropriating the distinctive vocals and pads of the original track, he has fashioned an ode to never-ending nights animated by his own hazy memories of losing oneself on the dance floor. The deep and organic bass combined with the looping and trance-inducing acid will shake listeners to their core.”

#4 The local dj remix finishes the EP with a more atmospheric allure of dub. With a deep, throbbing bassline that anchors the groove local dj sets the pace, inviting movement and dancefloor immersion where elements evolve all along the track and keep the listener engaged from start to finish.

The "Birth" remixes breath new life into Madison Willing's debut album, as COIDO, Ehua, Sinistarr, Synkro, and Itoa each add their unique sonic signatures to the project. These reinterpretations expand on the album's emotional depth, infusing it with fresh rhythms, textures, and dynamic energy. By reshaping the original's cinematic qualities, the remixes amplify the contrast between light and dark, further exploring the interplay of beauty and discomfort. The result is a collection that not only complements the original album but also pushes its boundaries, inviting listeners into new worlds of sound.

M.I.T.A. makes his debut on FJAAK's CROWD label with the highly anticipated Night Owl EP, a fresh offering that sees the producer delving deep into his signature sound, blending intricate rhythms, atmospheric textures and hard-hitting beats to create an immersive journey through the nocturnal world. The Night Owl EP unfolds across four meticulously crafted tracks, opening with the title track listeners are plunged into a brooding soundscape characterized by pulsating basslines and haunting melodies, embodying the enigmatic energy of the night. 'Ego Bash' follows, delivering a high-octane groove infused with relentless percussion and electrifying dynamics, a track destined to ignite the dance floor. On the flip side, 'Broadcast Chatter' takes a more experimental route, weaving intricate sonic details and hypnotic loops into a piece that commands attention with its depth and complexity. Rounding out the EP is 'Venus of Intensity', a visceral and emotive closing track that builds to a crescendo of raw power, leaving listeners in awe of M.I.T.A.'s ability to balance intensity with elegance. With Night Owl, M.I.T.A. cements his place as one of the most exciting names in the Italian contemporary electronic scene. This EP not only highlights his skillful production but also his artistic vision - whether experienced in the dark corners of a club or through headphones on a late-night drive, Night Owl promises to leave a lasting impression.

War Head Constriction, a trio that defined an uncompromising afro psych-rock sound, began by playing shows that combined dark proto-metal influences from Black Sabbath and Deep Purple with afro-rhythmic elements. Their raw energy caught the attention of Afrodisia, a progressive record label, which signed them to release a single in 1973: "Graceful Bird" b/w "Shower of Stone." Unfortunately, the record was too experimental for mainstream audiences and quickly faded, leading to the band's breakup. Despite this, they played their biggest show opening for Fela & the Afrika 70 at the National Stadium in Lagos before disbanding. However, the members quickly moved on, continuing to form new groups.

Amenechi recalls jamming with Soga Benson, his cousin Skid, and Ben Bruce at St. Gregory’s, where they wrote and performed together. Benson, who had previously been in rival groups, became close with Amenechi once he joined Greg’s. Benson, a talented guitarist, joined Ofege for their second and third albums in 1975 and 1977. Despite this, his main group, Grotto, had yet to record. That changed when EMI Records, the leading afro-rock label, took interest in Grotto in 1977.

Odion Iruoje, A&R manager at EMI Nigeria, recalls his first encounter with Grotto, noting their cocky attitude and raw material. He sought to help them find an authentic sound, avoiding the typical influences of British rock or groups like Ofege. Iruoje was passionate about youth bands, seeing them as a fresh opportunity to experiment and create something unique. Despite skepticism from EMI Nigeria about the youth market, Iruoje felt confident that Grotto’s originality would shine through.

While she was waiting for her last album 'Pripyat' to be released, Catalan composer and producer Marina Herlop was restless. She was concerned about her (by then) uncertain music career, and felt emotionally unmoored. "Some days I used to sit on the balcony of my flat to catch some sun," she explains, "I would close my eyes and start visualizing myself as a gardener, pulling out purple weeds from the soil, every bad memory or emotion I wanted to expulse being one of the plants." As the days dragged on, the fantasy deepened, and Herlop discovered that parts of the garden was withering; the energy she had been putting into the non-musical side of her life had seeped into her creative pasture and poisoned it. She knew what she needed to do to overcome the blight: plant some seeds and tend to her art to help it blossom and bloom once again. 'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy. Skittering fragments of ornate acoustic instrumentation provide a serene welcome to 'Busa', punctuated by precise electronic processes that shuttle the sound towards abstraction and fantasy. Herlop's voice grows over the tangle of sounds from a childish giggle into a layered, matted mantra, sounding passionate, hopeful and full of energy. The vitality spills over into 'Cosset', where she wraps powerful motifs around ricocheting beats and dramatic piano rolls. Herlop's garden opens up dramatically on 'Karada' when bucolic field recordings crack like sunlight over harp plucks and willowy vocals. Her voice seems to bend around the whooshing streams and chittering of birds as if she's singing to the manicured land itself - a utopian paradise that Herlop employs as a metaphor for the creative process. In contrast to the view that an artist is an isolated genius or an idol to be worshipped, Herlop believes that the garden helps us see the process as closer to devotion or perseverance. A gardener brings order to the wild chaos of the outdoors, collaborating with nature to arrange something vibrant and enduring. Blending familiar sounds with fanciful concepts, Herlop traces an imaginary garden, imploring us to wander and wonder. And by the album's billowing final track 'Babel', it's flowered into a flush of pruned vocal phrases and delicately groomed orchestral rushes, painted in orange, green, blue and red.

"Jake Amy is one of Australia’s most exciting nu-jazz outfits. Their sound synthesises up-tempo future-sonic jazz with hip-hop breakbeats, luscious synth harms, afro-cuban grooves & electronic music. 'Yoofee' and 'Graze' are both heavy-hitting tunes that go from high energy jazz-funk to darker drum&bass aesthetics, tightly executed in a live trio setting. Jake Amy is a Melbourne-based session pianist, producer, audio engineer, and social justice journalist. As a non-binary and queer artist, Jake’s music is deeply influenced by their experiences with gender visibility and their advocacy for non-binary representation. Their work is a bold, boundary-pushing exploration of identity and authenticity, reshaping the nu-jazz genre with every release."

Limited to 100 Copies!

Rawar ep is the 6th release of Macro Terra records, an Italian independent label founded in 2020 and focused on a blend of Electro, Techno and Experimental sounds stemming from Ambient, Industrial and Bass music.

This release features the italian based dj and producer Pomposo and Artizhan, and the collaboration with E8 Machines and Gianni Vittozzi, who come from the London underground scene.

The release is composed of 6 tracks with a dark electro style, perfectly fused with ambient sound carpets, voice samples, overwhelming bass and electronic drums coming from modular synthesis.

The main track Rawar by Pomposo and E8 Machines sees the remix of Artizhan that takes you back to all his productions, characterized by the drum'n'bass sound and killer break!
A beautiful interpretation of the original track that allows you to have the track you are missing in your bag for a dj set

6 Tunes of pure energy dance floor oriented!

Following his recent EP, The Circle of Life, on Pushmaster Discs, Milan's rising techno star Maike Depas returns with a brand-new release on his renowned The Innovation Studio Records. Titled “Sexy Devil Horse”, it is a powerful 10-track collection, featuring many iconic international artists from the Hard Techno space such as Etruria Beat’s headmaster Luca Agnelli, Dutch-based sensation OGUZ and the “Demon of hard techno” also known as Michael Katana, as well as Southern Italian talents CHRS and Gianni Di Bernardo.
This release marks a pivotal moment in Maike Depas’ journey to become one of the highest rated talents in the Hard Techno scene. It will also be followed by a key paradigm shift his label’s business model in 2025. For this occasion, Maike has lined up an amazing group of artists to celebrate those who have shared his musical vision along the way.

The title is meant to be provocative and captivating, just like its content: catchy and fresh enough to attract ravers and clubbers from around the world. Its artwork was created by the master Luden Works. It features a plastic female figure with an undefined appearance, yet with sensual curves and a powerful surge of energy, like a wave enclosed in a sphere, representing Maike’s and The Innovation Studio Records’ logos.
From the galloping rhythm of “Sexy Devil Horse” and “Hear The Sound” to the groovy and elegant “Ce Soir” there is an immediate feel about the artist’s singular touch and eclecticism. Same goes for the tangible contrasts which make a key element of this release, where the minimalistic mood of “StarKiller” and its maximalist counterpart “Dark Serenade” carry the listener through a full-spectrum emotional rollercoaster.
Hard Techno and Psy Trance vibes go hand in hand with ‘90s Trance and Rave echoes, creating a blend of recognisable and innovative samples that can resonate with many different types of audience and like-minded artists. This aspect is fundamental in the direction Maike and his team have decided to take.

It all comes from afar: starting with a classical musical background – playing the piano at Conservatory level for many years, including Berlin’s own Funkhaus. This theoretical and practical knowledge, mixed with a long-time passion for electronic music, made it easier for Maike to shape and cultivate his authentic sound since a very young age.

As part of its evolution, The Innovation Studio Records will officially open its doors to new talent and renowned artists starting in 2025. The team’s vision is to create an international reference point for quality and innovation, shaping a brand-new artistic movement based on combining the modern vision of our generation with our cultural heritage from the past, thanks to the team that we put together, both in terms of approach and technique.
It'll be a structure built from the ground up, combining the best of analogue technology in a modern workflow with the highest level of music hardware, audio monitoring and studio design. In their view, there are two types of productions: those that stay ‘inside the box’ and those that get into your heart.

The desire to unite instead of dividing, to join forces instead of competing, is the key to Maike’s success and a real drive to turn the studio lights on every single day. Despite playing a lot with dystopic, cyberpunk-like atmospheres throughout his artistic journey, music doesn’t feel like a means to escape reality for Maike. In fact, it’s quite the opposite.

The definition Maike uses the most to describe what The Innovation Studio Records wants to become is “a mysterious display cabinet”: a place where an artists will never know what emotion will arise or what direction will be taken next. Although hard work, professionalism and common inspiration will ultimately still be its main fuel, a true sense of community and empathy will be crucial to shape the future Maike and his team have in mind for it.
In a very romantic way, the idea is to re-create the same atmosphere from the Italian Renaissance masters’ workshops. Places where different artists - with opposite backgrounds and styles - could all mingle and inspire each other, in order to foster the creation of something unique. A collective effort for a greater good.

About MAIKE DEPAS
Young hard techno DJ-producer Maike Depas (born Michelangelo De Pasquale) has seen the future of music and it’s called metaverse: “In the future it will blow up,” he predicts. “And it’s going to revolutionize the way we experience music.” Bowled over by Skrillex and Martin Garrix by the age of eight, and DJing at smaller Milan clubs by the time he was eleven, Depas went on to study composition and piano at the prestigious

Milan Conservatory before learning ‘life- changing” lessons from the best in the business at Catalyst’s 4-week Advanced Sound Design course in Berlin’s Funkhaus . His production gets inspired by huge 90s trance synths as much as pounding hard techno from artists such as Kobosil, In Verruf and Amelie Lens.
2024 marked the launch of MAIKE DEPAS 2.0, a tectonic audio-visual shift that entails a wide array of content from DJ sets livestreamed from Berlin’s Teufelsberg and other dystopic locations around Europe to cyberpunk-inspired outfits designed by Demobaza, a cyberpunk-inspired casual couture brand best known for their sustainable Dune X Demobaza collection. Over the course of a developing metamorphosis from a flesh-and-bone individual to a mysterious CGI character, Depas is another step closer to revolutionize the dance music scene through the metaverse.

For this fourth edition of CLUB REMIX, KNOWN ARTIST calls out the infectious energy experts.

Demi Riquísimo’s straight to the point effectiveness pushes “Polpogba” to the main stage with its heavy ends, cutting edge finger snaps and stabs.

Pablo Bozzi steps in with his signature EBM infused uplifting touch. Injecting a darker retro futuristic edge to the original track.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

Warehouse Find!

Detroit Swindle continue their incredible run of form with a cracking new EP for for their Freerange follow up, suitably entitled Unfinished Business. It's pretty fair to say that the Dutch duos 2012 Freerange debut helped cement their reputation as one of the most exciting young house music acts to emerge in recent years. Their relentless tour schedule and stream of quality EP's for the likes of Tsuba, Dirt Crew and their own fledgling label Heist are testament to their success. Remixes for the likes of Waze & Odyssee, Sowar and Medlar all did the damage as did their immense Boiler Room takeover session which sealed the deal for any skeptics. Turning to the fresh stuff, we see DS delivering three brand new originals plus we have a hard as nails (by our standards anyway!) remix from the enigmatic Crue.

Title track Unfinished Business sets the tone with a driving, shuffling, tech tinged beauty loaded with their trademark cut-up, MAW style vox samples.

Under The Spell drops next with a more low slung groove, rhodes stabs and breakdowns that are tried and tested for maximum dancefloor pleasure.

The B1 sees Crue step up for his hard hitting remix which brings a darker, raw edge to the EP with a bad boy basement feel and garage swing bringing some peaktime intensity.

Finally we close the EP with Woman, a track that's probably about as close as the DS boys get to a smooching torch song. Lush pads and strings bring a deeper vibe to proceedings but the female spoken word samples keep the energy high and ensure things never stray too far from the floor.

As Odysee celebrates its 30th anniversary, the label’s original founder Atila Kemal (T-Mirage) steps up to deliver this jaw-dropping E.P.

In 1994, Tilla was just 17 years old, and an integral part of the original St Albans collective that comprised Jim Baker & Phil Aslett (Source Direct) and Rupert Parkes (Photek), when he set up the Odysee imprint and released the first Source Direct record (Future London/Shimmer). With a follow-up release from Photek (Phaze 1/Try A Style) and a second from Source Direct, the profile of the label began to grow exponentially.

It was the 3 Mirage releases however that really put the label on the map. These tracks were engineered by Jim Baker but heavily co-produced by Tilla himself with a major focus on his keen ear for dark 70’s Noire samples and eerie abstract electronica pitted against soulful R&B vocals. In hindsight, the impact of this rather different soundscape on the Source Direct material that followed is unmistakable.

The A side track Dark Rhodes is a showcase of T-Mirage’s production skillsets. From the opening atmosphere of utter menace and spacious percussion, to the trademark call and response between the different breaks and speaker shaking subs; this track will take the listener straight back to that infamous dark 1995/6 sound that emerged from both the Odysee & Source Direct studios. What is particularly noticeable is the distinctive pairing of sets of samples to form unique sections within the piece, whilst maintaining the consistent rolling energy of the drums & bass. This was a clear stylistic trait the earlier tracks like Feel My Dreams, and is very much on display in Dark Rhodes; leaving us in no doubt that we are listening to the work of one of the OG St Albans Jungle masters!

One of the most important aspects of each Odysee release was to demonstrate versatility on the B side tunes. As a label that was an important part of the mid 90’s Atmospheric scene, it would be remiss not to revisit that style on this seminal E.P. The first of the two B-side tracks is the incredible Existence.

Everything about this piece is a pure distillation of Tilla’s musical style; from the intricacy of the break work and the depth of the subs, to the masterful dovetailing of the 70’s Noire and Jazz samples that build a cohesive arrangement drawing the listener deeper into the tune’s narrative- “A piece of music that’s just a pure expression.... A celebration of existence!” There is no need to re-invent the wheel, or to force groundbreaking new tricks when the strength of this classic sound is so overwhelmingly persuasive!

With the final track Flawless, Tilla delivers an absolute heart-breaker of a tune that rivals the very best of the original Odysee & SD B-sides. Misty-eyed pads and Jazzy rides launch the crisp rolling Think breaks. The deep melodic sub line and haunting guitar riffs draw the listener in, then hold the listener in suspense for a moment before dropping down in the body of the track. The gorgeous guitar motifs are paired with achingly gorgeous vocal ad-libs and avant-garde electronica, emerging orchestral flutters with that unmistakable 70’s Noire flavour. Once again it is

Tilla’s ear for those ‘special sounds’ that really sets this track apart, and as if that wasn’t enough, some 4 minutes down the track Flawless nonchalantly unveils another primary motif; well worthy in of itself of being the tracks centrepiece!
Absolutely stunning heritage-style Atmospheric Jungle at its finest!

RIYL: Portishead, Thom Yorke, BEAK>, SUUNS, TR/ST, Radiohead. Solo project of Robert Toher who was the creator of ERAAS. Covered by Quietus,Pitchfork, NME, Stereogum, Earmilk, The 405, Clash, BBC Radio, Clash and more.... Public Memory is a mixture of damaged and dubbed-out percussion, unfurling synths and sparse sampling - all strung together by producer Robert Toher's spectral tenor. The project's sophomore LP, Demolition follows 2017's Veil of Counsel EP and 2016's Wuthering Drum LP with cinematic fortitude. While Public Memory's prominent krautrock and trip-hop rhythms are represented here, Demolition explores a greater range of tempos and an expanse of alien emotions with layers of electronic drums, live drums, Korg synths and samples from nature. Themes of rebirth and reflection imbue the album's atmosphere, rich in tape delay, spring reverb, and textures that conjure a sci fi and supernatural narrative. Opener "The Line" sets the album in motion with a driving energy and introspective unease, as if estranged from the world it was created in. A meditation on impending collapse, "Red Rainbow" begins with an arpeggiated melody that hints at a sense of dread. Like the darkness of night descends, the track unfolds with haunting atmospherics and howling synths, finishing with an unexpected climax that ominously builds until at last it falls apart, quickly, softly, without incident. The slowtempoed "Aegis" reflects on the banal reality of love lost, with shuffling rhythms, lingering inflections and a growling synth at its core. Toher's adept use of space and tension articulates the world of Demolition as eerie, emotive, and above all, narcotic. Each track is an existential procession. "Turning out the lights on your illusion," Toher sings to close the album, accepting that change is an inescapable condition of being.

Following on quickly from Fear, and capitalising on that album's energy Slow Dazzle is another fiery release by Velvet Underground founder John Cale - This re-issue faithfully replicates the original 1975 Island Records UK release and is pressed onto high quality 180g vinyl. Released in March 1975, initially, the album offers a false sense of mellow security: "Mr Wilson", a tribute to Brian, the leader of Cale's beloved Beach Boys starts the on a much sweeter note than "Fear Is A Man's Best Friend", as does "Taking It All Away"; by "Dirty Ass Rock'n'Roll" Slow Dazzle is off to darker terrain, business as usual. Cale, however, cannot resist a pop song and a ballad "Ski Patrol" is a great two-minute vignette, and "I'm Not The Loving Kind" is soul-baring. The album's reputation, however, rests on two tracks "Guts", a bald telling of Cale's wife's infidelity and his pitch-black cover of Elvis Presley's "Heartbreak Hotel". 50 years later, these songs still pack a tremendous punch.

Vienna-based producer Mahk Rumbae—one half of the industrial/experimental duo Konstruktivists and the force behind Codex Empire—unleashes his latest EP Rotten Fodder on Trauma Collective. This four-track weapon fuses raw, dark energy with cerebral soundscapes, pushing the limits of both sound design and rhythmic intensity.

The EP kicks off with "Oracular Soul," a relentless, pulsating techno opener that sets an uncompromising tone. "Commissioner of Grief" follows, a dystopian "arabesque'' journey packed with atmospheric tension and heavy beats. On the flip side, 'Force the Tools Available' draws you into razor-sharp industrial breaks that grip and mesmerize from start to finish. Closing it all out is "Maelstrom of Shit," an apocalyptic ride of syncopated drums and chaotic soundscapes, leaving a brutal, lasting impact.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

FERMA third vinyl release lands just before the close of the year and it is a special one. Petros Spatharos leads with a set of bangers distilling perfectly the sound of the label. Athens-based artist is widely known for his dark, immersive industrial sound, so yeah expect nothing less.

Side A starts with ”Datura”, layering heavy drums with dark reeses and syncopations – solid stuff. ”Xorkia” is an eyes-down track which will keep you in the zone with stellar percussion and atmosphere. ”Vultures” closes the first side with higher energy levels and more distinct breakbeat elements.

On Side B, Randstad remixes ”Datura” and pumps up the tempo to create a mind-bending industrial electro track with aggressive synths. Boris Barksdale wrap-ups the physical release by remixing ”Xorkia” and changing the core to techno and reworking percussion to create an industrial heavy-hitter track.

Stabbing Westward’s 1996 album Wither Blister Burn + Peel is a defining release in the industrial rock genre. The album features a dark, aggressive sound with intense lyrics exploring themes of pain, heartbreak, and inner turmoil.

The standout singles “What Do I Have to Do?” and “Shame” propelled the band into mainstream success, thanks to their haunting melodies and heavy guitar riffs. Produced by John Fryer, known for his work with Nine Inch Nails, Wither Blister Burn + Peel blends harsh electronic elements with raw emotion, creating a brooding atmosphere that resonated with fans of alternative and industrial rock. The album solidified Stabbing Westward’s place in the 90s rock scene, offering a perfect balanceof angst and melodic hooks. For fans of industrial rock, Wither Blister Burn + Peel is a must-listen, capturing the dark energy of the era.

Wither Blister Burn + Peel is a limited edition of 1500 individually numbered copies on red and black vinyl.

Although never released until recently, Jazz Sabbath's music has been finding its way to millions for over 50 years. Through a vicious cycle of personal tragedy and plagiarism the songs intended to change the jazz world ended up giving birth to a much darker sound. Now a third recording from the Sixties has resurfaced, perhaps their most important one.

In 1968 Jazz Sabbath were an instant hit on the UK jazz scene. It wasn’t long until they were offered a record deal. They spent weeks in the studio recording the tracks that got the heaviest reactions at their shows until they captured their live energy on tape. Unfortunately, the label manager told them the album was far too experimental and there was no hit potential. Ordered to play some of their ‘easier’ tracks instead, they reluctantly gave in.

The 2 albums that followed still are classics in their own right, but they were not mistaken in thinking they had recorded their best work in 1968. Like the tracks from their 2 albums, these tracks were also blatantly presented as 'original songs' by that band from Birmingham a few years later. Whether they copied them from live bootlegs or if they got their hands on the mix, it doesn’t really matter. Their lasting popularity, even in the crude way they were covered, only proves just how monumental these songs were and how record labels are often wrong.

With the truth now finally out there and that Birmingham band exposed as the musical charlatans they are, Jazz Sabbath have finally mastered the 1968 tapes to present their best work to the public.

'Loukoumades' is the latest album from the Dave De Rose led international improvisation project Agile Experiments, released in full on November 15th on None More Records.

The title 'Loukoumades', which is the Greek word for doughnut, was inspired by J Dilla's album "Donuts", tipping the hat at the connection between the Greek location of the sessions, the musical style of Penka's hip-hop/funk drumming and the Agile Experiments avant-garde sonics the project was founded on. The record is built on breaks and beats layered with eerie loops and effects, calling on hip hop, post-punk, psychedelia, dub and further out-there experimental textures. 'Loukoumades' brings to mind the textures of El-P's production work for the likes of Cannibal Ox or DJ Shadow in his Endtroducing era, whilst the live drums and bass guitar give the album a real energy and tightness reminiscent of Portishead's Third or Can at their funkiest.

LIMITED 200 COPIES POSTER EDITION (stickers included)

Acid machines is back for the 2nd release of the series. Dedicated to the darker, and more industrial side of acid, this VA release will definitely set some dancefloors on fire!
After Acid Machines 1, G303 is back with some more raw bangers for hot, sweaty dancefloors. With Paul Renard and Akkaelle, he's in very good company!
Screaming TB's and overdriven drums are definitely some of the key ingredients of this 2nd Acid Machines... this is VA release is definitely not for the VIP area...

G303's Offer more combines raw drums and distorted 303 lines into a pounding, hypnotic story.

Akkaelle's Planet P is a brutal acid banger that will transport you straight to Italy's proper warehouse raves! Raw as F***!

G303 and Paul Renard's "To the Moon" is a hard acid stomper to do serious damage on the dancefloors with that straight up banging ninetees feeling.

Paul Renard's Overdrive raises the bpms with his typical hypnotic style. This track is pure energy, this will definitely make some ravers sweat!!!

After leaving a huge mark in the techno scene with many high quality EPs on labels like Hayes, Klockworks and Planet rhythm, Portuguese mega talent Vil, finally releases his first long player on dolly's TS series! ''Birds Of Prey'' is a stunning mix of raw, percussive, groovy, distinct house and techno, with an elegant Detroit flavour. 8 tracks that lock you in on an impressive dancefloor journey where Vil shows his diversity as a producer. Switching effortless between the energy fields of deep melodic uplifting bliss and dark, out of the ordinary, groundbreaking drivers!!!

Maai proudly presents a split EP featuring two distinguished Barcelona based talents. On the A side, the Peruvian trio of JJ Beteta, Alonso Bauer and Stefan Cukic delivers a dynamic array of tracks. "Layers" kicks off with an energetic blend of dusty breaks, setting the vibe for the EP. Following this, "Go The Data" takes over with its driving acid bassline, strong rhythm, for a dark and hypnotic vibe. The trio wraps up their side with "Wonky Afthermath," a subtle yet funky combination of deep, groovy elements and breaks that keeps the energy flowing.

On the B side, Canarian artist Javier Carballo, performing under his Look Perry alias, offers a captivating contrast. "I Can't Love U" introduces a track enriched with otherworldly pads and synths, creating an immersive sonic environment. The EP concludes with "Stone Pilots", which takes listeners on a smooth journey through intricate breaks, providing a perfect counterpoint to the A side’s energetic flair. This split EP showcases a rich tapestry of local talent and diverse electronic sounds.