Buscar:dash

A pulsing cluster of wiry feedback, lurching bass, and single stroke rolls, Fake Train entangles the energies of frustrated backpack emo, faded Riot Grrrl back issues, and their own dash of teen spirit and unleashes it all in an earsplitting 10-song assault.

A pulsing cluster of wiry feedback, lurching bass, and single stroke rolls, Fake Train entangles the energies of frustrated backpack emo, faded Riot Grrrl back issues, and their own dash of teen spirit and unleashes it all in an earsplitting 10-song assault.

About Tonder:
Match made! Between poet Alex Deforce and Azertyklavierwerke more specifically. Over a runaway beat, they seem intent on taming the search for love, or anything that smells like it from far or near. "Swiped right, match made" dictates Deforce as rhythmically and unflappably as if he were a Chat GPT controlled computer: more mechanical and cold love has never sounded. What follows would not have been out of place on the soundtrack of Fritz Lang's Metropolis: an industrial drum computer gasping for breath in an attempt to ward off an epileptic fit.
Contemporary yet headstrong, cryptic yet unapologetic: Tonder is an intriguing song full of contradictions that leaves you orphaned but also addicted.

About Soort Van Nerd:
A hearty dash of tristesse rubbing up against the best work of such masters of Weltschmerz like Sufjan Stevens or Spinvis: "Soort Van Nerd" translates as "Kind of nerd" and is a kind of genius underground pop song.
Melancholy and sincere emotion, it is still allowed. Melancholy but above all thoughtful: Azertyklavierwerke handles words and sound extremely sparingly but cuts deeper into his or anyone else's skin as a result. On a nostalgic but austere bed of a drum machine, a naive piano line he pokes Eternal-sunshine-of-the-spotless-mind-wise where it hurts: "I wish you could melt, like an ice cube in the sun."

The wait for HULKOFF's forthcoming folk-metal album "Hersir" will soon be over. The album will be released on December 15, which is the official release date. Hersir is HULKOFF's fourth album and is preceded by "KVEN" 2017, Pansarfolk 2020 and Ragnarök 2021. With a dash of Scandinavian melancholy, ancient instruments and acoustic violins, Hersir offers an assortment of rockhard, earthy, melodic and furious folk-metal - a throwback in time accompanied by familiar and ancient Nordic tones. HULKOFF's sound is a seamless fusion of melody and aggression, forged to resonate with the ancient echoes of the North. His lyrics are a gateway to the distant past, delving into the ancestral tales and beliefs of the Kvens, Scythians, Goths, Celts, Finns, and the later Norse, all of which from which influences can be glimpsed through HULKOFF's rich repertoire. Songwriter, composer, and guitarist Pär Hulkoff stands apart from other artists with his uniquely deep voice and thunderous folk-sound - that are impossible to imitate. Unusual but familiar tones surround the ancient source material of Hersir, resulting in highly varied songs that range from aggressively uplifting to gnarly and determined folk-metal. Hersir comes with eleven tracks, blended with both English and Swedish lyrics.

Hank Wangford, pioneer and Godfather of British alternative Country
music and Americana, joins forces with Noel Dashwood, Britain's premier
dobro player for a unique duo album of original songs A fresh take on
classic Country and Americana it is Studio recorded live with Hank on
guitar and ukulele and Noel on bass ukulele and dobro and harmonica
Dobro is a guitar played horizontally with a slide bar in the Hawaiian style, a
foretaste of the classic Country sound of pedal steel and lap steel guitar. They
sing spine tingling harmonies together on Hank's songs and the one non-original
Image of Me, Conway Twitty's first Country hit which Hank learned from his
mentor and inspiration the late Gram Parsons.
With Noel's lyrical dobro they celebrate the much-ignored influence of Hawaiian
music on American popular music and most especially Country music. Noel tips
his hat to the dobro of Pete Kirby - Bashful Brother Oswald of Roy Acuff's seminal
Smoky Mountain Boys - in much of his playing. Two sides to this album - first
Toetappers is up- tempo with songs about Oil and the current fossil fuel crisis,
Jump In A River about lockdowns, spiritual and societal and Simple Pleasures,
something we all crave. The second side Heartbreakers is sadder ballads about
cheating, lies, lost love, jilted wedding, drinking and broken Promises Promises.
And Something In The Air asks is there a god?
The whole album is a heartfelt tribute to the classic roots of Country that Hank
was pulled into by his friend Gram.

Much has been written about Young Marble Giants' small, perfect catalogue, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about his long wilderness years after the break-up of his first professional band. His next project, The Gist, chopped YMG's minimalism into a new sound. This Is Love, Public Girls and Fool For A Valentine showed his songs to be razor-sharp, but the album's fragmented pieces were a step too far for some, though even the strangest, Carnival Headache, when cast in sunlight by Alison Statton's combo Weekend, was as fine a song as any he'd written - and Love At First Sight became a million-seller when covered by Etienne Daho. Then Stuart disappeared. A rmid-90s resurgence led to fine albums done on low budgets, before more silence followed. The Gist's 2018's release Holding Pattern - unexpected and then quickly followed by YMG singer Alison Statton's first new album with her accompanist Spike in two decades, adding fuel to public interest. The Devil Laughs, recorded a few years back, is a compelling addition to the canon of the 21st century songwriting. Stuart's generally unadorned musical presentation does not hinder his appreciation for the skills of Louis Philippe, whose iconic arrangements across an array of Él label albums inspire the fierce devotion of aficionados around the world. Nor does the unvarnished solidity of Stuart's arrangements deter Louis from hearing possibilities for their presentation in styles which take inspiration from the perfection of 1960's studio technology that led to the rise of Brian Wilson, Burt Bacharach, along with less-recognised names such as Bones Howe and Roy Halee. Tidy Away is Young Marble Giants redux, though the backing vocals hint at maturity which band didn't live to see. Fighting To Lose, written with producer Ken Brake, would pass as a worthy b-side to Bridge Over Troubled Water, and although the songs are otherwise Stuart's, Louis fans will delight at several, like Love Hangover and Sky Over Water, which display his style and production genius as succinctly as anything on his own albums. The Devil Laughs is as out of its time as Colossal Youth was - its subtle but immediate beauty, devoid of "rock", is a recording best understood in the light of those obscure groundbreakers who inspired it - the faux barbershop vocals of Smile-era Beach Boys, the studio lustre of Tom Wilson's work with Simon & Garfunkel, a dash of The Swingle Sisters and French chanson - along with enough hints of Young Marble Giant's modernist folk abstraction to satisfy longtime fans. The Devil Laughs is a small masterpiece of pure expression.

Das Duo mit Wohnsitzen in San Francisco und New York besteht aus Mike Stroud, der sich gelegentlich seine Brötchen als Tour-Gitarrist von Dashboard Confessional und Ben Kweller verdient, und Mastermind und Soundtüftler Evan Mast. Evan mag manch einem bereits unter dem Pseudonym E*Vas bekannt sein oder auch als Mitbegründer des Labels Audio Dregs. Er ist der Mann hinter den Achtziger-Amiga-Sounds und den relaxten Beats und zeichnet verantwortlich für so verrückte Ideen, wie z.B. die deutsche Nationalhymne zu verclashen. Solche Geistesblitze hat er im Dutzend, und so entstand ein Album prallvoller Emo-Electroclash-Tunes für Couch Potatoes. Da ist es beinahe Ironie des Schicksals, dass diese Band ausgerechnet von Paul Bangs entdeckt wurde, seines Zeichens Sänger einer der fleißigsten Live-Bands der Welt: Interpol.

Following up on their highly acclaimed debut release from 2020, raster presents Il Quadro di Troisi’s “Remixes” album, an eclectic collection of reinterpretations of eight of the duo’s tracks. By inviting fellow label artists as well as friends and long-term collaborators to contribute to this, “Remixes” shows a broad spectrum of diversity, ranging from colorful, loop-based renditions by Toulouse Low Trax and Tropicantesimo, to (Italo) disco-inspired versions by Daniele Baldelli & Marco Dionigi and Chloé, to more rhythmical and functional tracks by AtomTM, Dasha Rush and Front de Cadeaux. The album also includes a dub-infused reinterpretation of “Il giudizio” by the artists themselves. “Remixes” will be out on raster on August 18, 2023 as 2xLP and digitally. The record’s artwork was contributed by Spanish graphic designer Alicia Carrera.

The group"s second LP for Epitaph finds HUNNY playing in a brand-new musical sandbox, balancing the haze of hindsight with a sun-soaked SoCal summer. From the meditative track "my own age" and breakbeat-backed, late "90s-leaning "all my luck" to the lo-fi punk standout "ring in your ear" (featuring Motion City Soundtrack"s Justin Courtney Pierre) and made-for-dashboard-drumming "89cc" (complete with a searing sax solo) the album is a testament to the band"s musical fluency and dedication to their craft. HUNNY was born out of the tight-knit North LA indie-rock scene of the mid-2010s, sharing stages and even band members with acts like The Neighbourhood and Bad Suns from an early age. The band is well established in the digital space, having racked up over 300+ Million streams to date on their catalog. By the time the band had secured a record deal with legendary Epitaph Records and released their 2019 debut full-length, Yes. Yes. Yes. Yes. Yes., outlets like Alternative Press were hailing HUNNY - vocalist/guitarist Jason Yarger, guitarist Jake Goldstein, bassist Kevin Grimmett and drummer Joey Anderson - for their spin on "perfunctory electronic and new-wave pop, teeming with love, heartbreak, neuroses and impeccably sweet dancing shoes." Now, on the verge of entering their second decade together, it"s clear HUNNY"s greatest asset is their disinterest in doing anything besides what moves them. It"s afforded them great range as a band, the ability to naturally shapeshift on their own albums as well as win over audiences across the entire rock spectrum. Most importantly, it"s propelled them to be unapologetically themselves and trust what"s gotten them this far.

The latest project by "El Gusano", a moniker of the elusive Pablo Arrangoiz, aka Dj Fitness, Bauzer Vep, Señor Faxwater, Glue Boy, Goiz and too many more to list (seriously, check out his Bandcamp/discogs). Arrangoiz is a Mexican native based in Miami, known as much for his ever varying aliases as he is for his scrupulous production and sui generis live and DJ sets. Focused on incorporating Latin ritmos with contemporary elements of his other influences such as house, techno, free jazz, German new wave, electro, Miami bass, noise, and more, Arrangoiz’s production, much like the artist himself, is one of a kind.

Saka La Bolsita", the inaugural release on Impacto, the new label and love child of Miami powerhouse producers Nick León and Jonny From Space, is a sonic conglomeration of acid cumbia with slivering jazz chords, microtonal reggaetón constructed with a tuning system made by finding the overtones of air conditioners, demonic dembow with a dash of house, Autotune Festival sex music, and all out pure ratchet core with an El Chavó sample. Including collaborations with lifetime friend Matt Angel AKA "El Descarao".

Pianist, composer, arranger and musical director for the likes of Phoenix and Sebastien Tellier, the charismatic and talented Christophe Chassol gave birth to an unclassifiable artistic piece. His compositions articulate voices, music, sounds, images onto new audiovisual objects. The result has a name : "ultrascore".
The second volume of Ultrascores is a selection of unreleased musics composed by Chassol : ?Lamb, his last original soundtrack, Nola Chérie, and remixes of friends : ?Yuksek, Keren Ann,

DeYarmond Edison war der Vorläufer von Bon Iver und Megafaun. Im Sommer 2005 verließen vier Freunde Wisconsin in Richtung North Carolina mit einem einzigen Ziel: der Folk-Rock-Flaute zu entkommen. Während eines Jahres intensiver Konzentration, des Studiums und der Verletzlichkeit taten sie genau das, indem sie an den ekstatischen Rand des New Weird America vordrangen und von allem ein bisschen ausprobierten - Grindcore und Gospel, Free Jazz und Phasenstücke, Bluegrass und Blues - und es in DeYarmond Edison packten. Der Rest ist Geschichte_ Ein Mitglied ging nach Hause, um das zu gründen, was später Bon Iver werden sollte, während drei vor Ort blieben, um Megafaun zu gründen. Epoch ist die Geschichte von DeYarmond Edison: Brad Cook, Phil Cook, Justin Vernon und Joe Westerlund, erzählt wie nie zuvor. Die Sammlung umfasst fünf LPs, vier CDs, Dutzende von ungehörten Aufnahmen und ungesehene Fotos. Begleitet wird sie von einer ausführlichen Biografie des Schriftstellers Grayson Haver Currin, der auch als ausführender Produzent der Sammlung fungiert. Alles in allem fängt Epoch die Zeit ein, bevor aus diesen vier Freunden zwei andere, aufsehenerregende Bands wurden. Es ist eine Geschichte über Gemeinschaft, Visionen, Familie und ein Quartett, das zu gut sein wollte, um zu bestehen. Es gibt Momente des Experimentierens, subtile Wendungen im Fuzz von "Epoch" und eine stampfende Herangehensweise beim Covern von "All Tomorrow's Parties", die den Grundstein dafür legten, wie Bon Iver und Megafaun die akustische Musik ein wenig umkrempeln würden. Aber ein Großteil von Epoch unterstreicht die einzigartige Sichtweise der Gruppe auf amerikanisches Songwriting, auf das Nehmen von Patchworks, das Finden der Akkorde und das Singen aus vollem Herzen. "Trials, Troubles and Tribulations" ist ein Beispiel dafür. Am bekanntesten ist es als Duett von Justin Vernon und Sharon Van Etten, das hier in ausufernder Last-Waltz-Manier wieder zum Leben erweckt wird, mit Vocals von Megafaun, Justin Vernon, Frazy Ford und Fight the Big Bull. Jede Platte ist gleichermaßen ein Crash-Kurs in allem, was dieses spezielle Stück Musikgeschichte ausmacht: Fotos aus Hinterhöfen und Kellern; Essays, die bestimmte Aufnahmen beschreiben; Farbpaletten, die Zeit und Ort widerspiegeln. Mit über sieben Stunden und 55.000 Wörtern ist Epoch eine maximalistische Sammlung. Aber man muss kein Komplettist sein, um zu verstehen, was es bedeutet, sich mit seinen besten Freunden zusammenzukauern und Dinge zu erschaffen, für diese Dinge zu träumen, zu lernen, zu kämpfen und zu wachsen.

Dark Entries has a surprise delivery! Malebox brings us six previously unreleased funk-fueled jams from the archives of the cybernetic disco titan himself, Patrick Cowley. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for gay pornographic films on compilation albums School Daze, Muscle Up, and Afternooners.

But Malebox gives us more of the Cowley we know and love: churning disco-funk and hi-NRG tracks that are spacey and sleazy, gritty and sublime. Recorded from 1979-1981, these six tracks illuminate what was one of Patrick’s most creatively exciting periods. “If You Feel It” and “Love Me Hot” were both early Paul Parker demos; the former is a peak hour hi-NRG bomb, while the latter dips into Cowley’s zoned-out space disco sound. Jeanie Tracy’s soulful vocals feature on the demo version of “Low Down Dirty Rhythm”, which was later re-recorded by Sarah Dash. The slower, less-varnished rendition here hits with a wild psychedelic edge. Meanwhile, Patrick’s gifts for careful orchestration and infectious melodies shine on “Floating” and “Love and Passion”, which were likely demo tracks for Loverde. The songs on Malebox display the vitality and inventiveness of a brilliant composer taken from us too soon.

Malebox sleeve design was by Gwenaël Rattke, and features a hyper-color retro collage. Also included is an air mail envelope containing a letter from Patrick Cowley to French disco producer Pierre Jaubert as well as liner notes and hand-written lyrics. Malebox will be released on November 12th , which is the 40th anniversary of Patrick’s passing.

Merriware presents “Lectroniq Love Affair” - A split EP from the members of Australian dance music group Ménage, the fifth release from Naarm/ Melbourne based imprint Merriware.

Dashiell, Sam Brickel and Eugene Pascal each offer up a track of their own solo material as well as a collaborative remix of the title track giving an insight to their individual production styles and their sensibilities when working together.

“U Wasn’t There” the long-fabled collaborative project between superstar DJ/producer/Fool’s Gold founder A-Trak and New York trendsetter/lyricist/cultural icon Cam’ron—drops via Empire. Arriving nearly a decade after the elite duo dropped their first singles “Humphrey” and “Dipshits”, the album features masterful production by A-Trak, Just Blaze, DJ Khalil, !llmind, Thelonious Martin and more, as well as uniquely introspective verses from one of the most elusive rappers in hip-hop. “U Wasn’t There” recalls 2000’s-era Dipset sounds and sets the stage for Killa Cam to deliver his hard-hitting, sharply-penned wordplay exemplified on standout "What You Do" featuring Damon Dash. “All I Really Wanted”—a soulful Harlem anthem in which Cam effortlessly recounts his teenage years as a basketball player, growing up with fallen heroes Big L and Bloodshed, and hustling his way to legendary status—perked ears at Pitchfork, Rolling Stone, Complex, Vibe, Stereogum, and more. The cold-hearted “Ghetto Prophets” featuring Conway The Machine followed suit, earning nods from XXL, HipHopDX, Revolt, and Brooklyn Vegan. 1xLP + 24”x24” poster.

For the first release out on Entered Records it's EYA boss and London tastemaker, Jos, stepping up with four cuts of moody spirited machine sounds.

Entered, a label set up with the intention to create connection between the U.K, European and Naarm (Melbourne) scenes through music offerings. First up, the EP is full of spiraling emotive melodies and throbbing bass. This includes the introspective title track ‘Absence Of Thought’ with a refreshingly modern breakbeat rethink from Naarm based artist Dashiell alongside it.

Moving onto the B side you have rumbling 909 toms with dramatic swells of synth tension. Coiled energy in the restless amorphous zone, combining progressive elements of techno, electro, acid and everything in between. The EP closes fusing sci-fi melancholic synths, forward moving beats and a bass-line designed to ignite the dancefloor.

Heads-down, locked in music full of precision and class. A perfect alignment of analog sounds channelled from two sides of the globe. Out in July on Entered Records.

The Intergalactic Research Institute for Sounds is proud to present Requiem for Robots. For this latest transmission, Florina Speth aka Schloss Mirabell joined forces with a group of robots that were built by Kay Sievers (versioduo.c..). The musical question this record states is: “Who animates what?”

The physical body of these robots consists of a wooden cuboid, a single string around which a round, internally strung bow revolves, and a motorized finger which can press down the string. They produce sounds that are very similar to the cello. They display unusual characteristics such as motor noises, infinite sounds or sometimes scratchy and gruff qualities. In addition, there is the extraordinary level of kinetic expression created by the bow circling around the string. Taken together, precisely these peculiarities form a unique instrument profile, a character which is emphasized in the presented project.

Florina Speth, born 1983 in the mountains near Salzburg, started playing the cello and piano at the age of 6 and began studying music at the “University Mozarteum Salzburg'' at Clemens Hagen when she was 11. She won several prizes and was part of orchestras such as the Bayerisches Landesjugend Orchester and Salzburger Junge Philharmonie. Always keenly interested in contemporary music, she loves bridging experimental arts with science. She composes and works with cello and cello robots. She regularly collaborates with Dasha Rush, Hüma Utuku, Nicholas Bussmann, Lucile Desamory and Larissa Lackner.

Available for the first time since originally released in 2006 via Stones Throw, Dudley Perkins & Madlib are pleased for the reissue of their sophomore collaborative LP, Expressions (2012 A.U.), their acclaimed follow-up to their 2003 debut effort, A Lil’ Light. And albeit the former can be accused of being excessively avant-garde, it’s Expressions where both Perkins and the Beat Konducta find a more fluid symmetry.

In everything from his collaborations with MF Doom and the late Jay Dee to his more recent pairing with Freddie Gibbs, Madlib is easily one of hip-hop's golden revolutionaries. At times his production has been accused of being sparse, but that's not the case with Expressions. This time around, Madlib's production is hitting all the funky corners with layered grooves that evoke the attitudes and emotions of A Tribe Called Quest's The Low End Theory.

Perkins's objective to keep the grooves flowing on Expressions is laid down with first lines of opener "Funky Dudley": "A little bit of funk and a dash of soul/ A little bit of George borrowed from my Ol' gran' pappy's stack of old school/ One nation under a groove." From there on the funk samples dance famously with Dudley's vocal style, which cross-pollinates the worlds of D'Angelo and Ol' Dirty Bastard. From "Get on Up" to the James Brown vocal sample in "Dolla Bill," Expressions uses Perkins's voice as if it were a sample itself, incorporating it in the production and the rhythms.

Madlib's production works flawlessly, his semi-psychedelic influence on R&B, soul and hip-hop keeping Perkins's style fresh and original. All the parts seem to be in place on Expressions as producer and emcee work side-by-side to create a cohesive sound that not only represents the creativity of the underground but could also awaken the tired ears of the mainstream.

Following weeks of anticipation after an already banner year for the Hot Spitta, Curren$y gifts fans with his third release of 2022, The Drive In Theatre Part 2, the next installment in the cult fan favorite series. The 21 track album features appearances from Rob49, Fendi P, Dash, URA, Blü, I’sis, Premo Rice, and Jade Angelle, and sees production from Kino Beats, Trauma Tone, Harry Fraud, Cookin Soul, and more. In traditional form, Curren$y skates over smooth, jazz-infused beats and delivers a perfect album to put on and let play out while relaxing or working. If it wasn’t already clear, it’s safe to say that Curren$y is one of the greatest to ever do it. How many more timeless classics do you need?

Foyer Red’s debut LP, Yarn the Hours Away, plays out as a collection of short stories, each with its environment and protagonist(s) meticulously crafted by the band, with lead singer, vocalist, and clarinetist Elana Riordan at the helm. Foyer Red’s debut EP, Zigzag Wombat, showcased their playfully chaotic arrangements, which bridge art-punk, math rock, and sweetly sung indie with a dash of the zoomies.

The band synthesizes their homespun take on magical realist indie rock that was centered on their EP with their varied musical influences; taking cues from the otherworldly melodies of Cate Le Bon, Yucky Duster’s jangle-filled crayon rock, and the organized chaos of Deerhoof’s iconic polyrhythms. The songs that makeup Yarn the Hours Away are fantastical, surrealist stories that hinge on contemporary, post-digital life.

The lead single “Etc” captures this dynamic perfectly. Anchored by Eric Jaso’s hypnotizing bass line, the song unfolds with off-kilter call-and-response vocals between Riordan and Kristina Moore, their stilted deliveries bouncing around the mix. The track is searching but discontent with the algorithmic and claustrophobic realities of daily life: singer/guitarist Mitch Myers throws the song for a loop singing, “gathering information / will set you free once you’ve reached / 37 percent / of the database.” While there’s paranoia and cynicism undergirding the lyrics, the song itself is a thrilling and playful listen.

The songs on Yarn the Hours Away are uniformly exciting and compelling; each track feels distinct and sometimes even in direct conflict. The peppy opener “Plumbers Unite!” belies its themes of gamification of our daily lives and delves into the science fiction and fantasy songwriting of Foyer Red’s debut EP. Centered around a relentless rhythm section, their dueling vocals never abate; Moore and Riordan’s honey-sweet but getting more frantic as the song progresses, while Myers’ erratic talk-singing culminates in one final frustrated scream. Juxtapose this with “Gorgeous,” a lovely song about Riordan and drummer Marco Ocampo’s relationship that sees the band slowing their pace into a blissful sway. Riordan coos and sighs over the track while recalling “Marco-isms”; botched colloquialisms that Ocampo uses.

“Gorgeous” shares little in common with “Pocket,” a loose lamentation on late capitalism that touches on time travel and human evolution. Moore and Riordan’s exclamations are chopped up and used as rhythm instruments, layered over the intricately frenetic guitars of Myers and Moore. Foyer Red thrives on these extremes and contradictions. Where their first release was self-recorded, this LP found them in Figure8 Studios with a deadline. “It was really liberating,” says Jaso. “We're all just kind of throwing in our own voices and challenging each other to make the songs better.”

Yarn the Hours Away comes from a lyric on the closer “Toy Wagon.” The song that first marked the time Moore and the rest of the band worked together, a promising spark of a thrilling collaboration to come. “It harkens back to all of us coming together and spending the hours together in music,” says Moore. “There are few moments where you get to relax and exhale,” adds Riordan. “It's what happened when the five of us got together and started writing. We just wrote all of these out there songs and we didn't see a reason to dial that back. Its natural form is in its chaos and layered craziness.”

Southside sweethearts, the Dreamliners, first came into the scene as the Royaltones in 1961 when they were students at South San High School in San Antonio, TX. In 1963, label head Abie Epstein signed them to his Cobra & Jox labels producing 4 singles. On the way to a studio session, Ana (Ana) Wilburn coined "The Best Things in Life" on the dashboard of her car. Out popped a playful Farfisa and harmony-driven tune reminiscent of the Crystals or Ronettes. Ana also wrote and sang lead on the haunting ballad "Just Me & You." A song about longing and adolescent heartache that's perfect for any post-breakup kleenex session.

Southside sweethearts, the Dreamliners, first came into the scene as the Royaltones in 1961 when they were students at South San High School in San Antonio, TX. In 1963, label head Abie Epstein signed them to his Cobra & Jox labels producing 4 singles. On the way to a studio session, Ana (Ana) Wilburn coined "The Best Things in Life" on the dashboard of her car. Out popped a playful Farfisa and harmony-driven tune reminiscent of the Crystals or Ronettes. Ana also wrote and sang lead on the haunting ballad "Just Me & You." A song about longing and adolescent heartache that's perfect for any post-breakup kleenex session.

1st Science (Henrik Helenius) Has Been An Online Man Of Mystery For Some Time, And You'd Better Believe He Supplies The Goods Whenever He Resurfaces!

In The Early 1990s, Out Of The Uk's Rave Scene, 2 Genres Known As Breakbeat Hardcore And Jungle Were Spawned. A Decade Later, And A Modest Online Community Began To Try And Revive The Genres In The 2000s Within A Scene Dubbed "Hardcore Breaks". Henrik Became One Of Its Most Influential And Creative Contributors, Bagging Himself Appearances On The Likes Of Right Touch Records, Bat Beat Recordings (The Precursor To Renegadegenius's Paranoid Recordings) And Hardcore Lives, As Well As Becoming One Of The First Serious Juggernauts Of Sharing Music Online.

Based In Stockholm, In The Words Of Strictly Nuskool Blog, Henrik Swiftly Earned Himself The Title Of "The Swedish King Of Hardcore" Amongst Junglists... And That's A Tough Title To Pinch!

Skip Ahead To The Year 2023, And 1st Science Is Far From Done. Hell, Didn't You Know He's Only Just Started Tuning Up The Bunsen Burner? From The Ones Who Brought You "You Time" And "First Sign Of Trouble", Yes Yes, Erupt Proudly Presents A Shiny New Ep From The Man, Featuring 5 Of His Finest Tracks On Wax For The First Time. If You're Familiar With The Earlier Digital Release Of This Ep, Don't You Worry, For Being Patient You Get The Exclusive Bonus Track "Everlasting Night" Here.

So What Are You Waiting For? 1st Science Invites You To Participate In An Experiment Which Requires Your Subwoofers. An Absolute Treasure Trove For Any Techno, Breaks, Or Uk Retro Rave Lover.

Kayama Japan based artist DAISUKE KONDO serves up a hearty dose of Detroit inspired soulful house, with a dash of jazzy broken beat on this 4 tracker from Chicago's JITNEY MUSIC.

This 12" aims straight at the hearts and souls of fans of labels like SOUND SIGNATURE as well as artists like DEGO.

Since the release of RFR 014 Joannes has remained a quality source of solid techno. With this four track EP he proves his sonic versatility.
„Kiss“ sounds like a lucid dream, when you have spent the nights sleeping upon Robert Hood’s „Internal Empire“ for some time. A respectful homage to Detroit’s grandmaster, combining everything what made and makes techno so unique for decades.

The second track remains true to the minimal approach of this EP. Pictures of a humid rainforest, only sparsely lit by daylight, through whose overgrown paths you’re cutting your way with a machete. Certainly not a place for a „Date”, rather a spot for minimal techno in 90s garments.


A touch of tribal, Chicago infused percussions and gentle melodies are all that it takes to elect „Love“ as one of the highlights of this EP. A wonderful start for those often-underrated record flipsides.
Despite its title, „Hate“ might be the most accessible track of this EP. If you are into melodic Detroit techno with dash of…., you may fall in love with this one and hardly get away from it.

The movie, mirrors in the object hasn't even been screened yet, but the score/soundtrack has been set in stone by the guys Unit Nine from The Hague City. One of those track that could have been grabbed directly from a digging in the Crates compilation or a KPM library record, but in all fairness was recorded in 2022 in The Hague's grimiest studio The Womb. Filled to the brim with a healthy dose of Funk and Groove and a dash of Moerwijk street attitude to top it off. This is what we call a first single.

The rawness of The Veils' Nux Vomica can be enjoyed to a degree never heard before, with Ba Da Bing's limited edition pressing of the records with the original mixes by Nick Rainey left intact.

Originally released in 2006, The Veils sophomore album Nux Vomica was praised for its “Herculean intensity” by The Guardian, and called “a heady blast of gothic psychodrama” by The Observer, while Pitchfork praised leader Finn Andrews’ “magnetic, outsize persona.” Long out of print, the vinyl version was resuscitated by Music on Vinyl in 2017 and quickly sold out. Now, The Veils present the definitive version of their most heralded album to date, which dusts off the original mixes by legendary producer Nick Launay (Public Image Limited, The Birthday Party, INXS and Midnight Oil) and offers them to fans here for the first time. Taken from the original two-inch analog tape reels, each song was carefully remastered by Alex Wharton at Abbey Road Studios in London.

Nux Vomica was the first of many creative reinventions for Andrews, who at 22 had already released an album on Rough Trade, moved from New Zealand to London to form a band, then back to New Zealand where he once again started the band anew. The creative progression is clear in Andrews’ incisive lyricism and knack for hell-fire dramatics. From the positively mirthful “Advice for Young Mothers to Be” to the simmering ominousness of “Nux Vomica,” from the ornate spectacle of “Calliope!” to the Grand Guignol of “Jesus for the Jugular”, Nux Vomica is a remarkably accomplished album for a musician so young who was facing the pressures of British musical stardom.

All intentions to release this dark and raw set of recordings were dashed upon submission to Rough Trade for approval, who didn't like the results. They hired mixing engineer Bill Price to adjust the sound and add additional instrumentation. Launey’s mixes were shelved and forgotten about, while the album nonetheless went on to be a critical highpoint for the band and is much loved to this day.

To celebrate the release of The Veils’ massive new double album, …And Out Of The Void Came Love, Ba Da Bing is issuing a limited-to-1200-LPs simultaneous run of Nux Vomica in a form you have never heard it before. The brilliance of Andrews’ talents come through all the more clear in this version, which strips his songs to the core and allows the holes to show. Here’s where the seeds of a lifelong artistic talent really began to first take root.

Pyramid Of Knowledge fires up the jets again for the Seoul-based producer's second interstellar adventure on Dream Ticket. Almost 30 years on from the precise, angular breaks and acid of UR's Electronic Warfare and the components of those potent battle weapons remain in full service, here honed by POK's controlled studio hand and ready to dash full-pelt against the enemy. Whose side are you on?

If you're into the classic sound of the best releases from the seventies and eighties era Jazz-Funk or Fusion with a slightly modern and exciting touch, you don’t want to miss out on Fusion Affair’s first album: Venom! Proudly presented by Parisian label Chuwanaga, Venom is filled with sharp synths, electrifying basslines, serious guitar licks, amazing themes, in-the-pocket drums grooves and true excitement all over the six tracks of the album.

Starting with "Fruits Rouges" which introduces the listener to the beautiful and soulful harmonies spread throughout the album but also an overall overview of how Fusion Affair and Venom brings together strength and delicacy. Then, the impetuous and dangerous ride of "Venom" will leave you either dancing or shocked. A dangerous trip with a perfect climactic ending: watch out for the snakes! The serious but fun-filled groove of "Bounce" will take you back to Herbie Hancock’s seventies, with a jazz-funk style that you cannot resist bouncing your head to! Despite its chordal simplicity, the dreamier yet modern track "Dasha" begins with an unconventional use of berimbau. After several expositions of its beautiful main melody, the track intensifies with a perfectly executed drum and bass interlude. "Missing Cat" returns to a classic Jazz-Funk vibe with late seventies synth brass accentuating its playful theme. This one’s definitely got a vintage vibe! Finally, "Bougie Noire" ends Fusion Affair’s first album with powerful chords and orchestration while keeping it truly mysterious : to be continued...

Fusion Affair brings together the talents of French musicians from Lyon, Paris and Montréal, all gathered by the producer LeMatoux. Following many sessions at the infamous Studio Delta, record label Chuwanaga and the band are ready to spread their infectious groove all over the globe!

For over 28 years envy have been crafting soaring compositions with captivating melodies that owe as much to Explosions in the Sky and Mogwai as they do to Bad Brains and Cro-Mags. Their new EP continues to display a masterful control of tension and release in chords and melodies behind the steady spoken-word Japanese of singer Tetsuya. Throughout their storied career, Japanese ENVY have paved the way for iconic bands like Isis, Converge and Deafheaven with their unique sound blending elements of hardcore / punk with reverb-drenched tremolo-picked guitar lines owing to the world of post-rock. Envy sit right in between these 2 worlds, and prove that they are not as disparate as it seems at a first glance. Opening track ,Seimei` marries tear-inducing melodies with gut-wrenching grooves to create a soul journey, while ,Zanshin` (meaning ,uninterrupted heart` in Japanese) dashes forward with an upbeat groove and soaring post rock leads. On ,Tamayura', the energy is dialed back as reverb-drenched tremolo-picked guitar lines wash over you from behind alongside Japanese spoken word-parts and a throbbing heartbeat. This is ENVY at their very best. FFO Mono, Mogwai, Explosions In The Sky, Isis, Swans, Pelican, Caspian, Thursday, From Autumn To Ashes, Thursday, Birds In Row, Deafheaven Limited (400 copies ww) Single Coloured Tamayura (Dark Red Vinyl) Edition!

Searchlight features two sucsessful Irish drum and bass artists, Zero T and Beta 2, moving away from the heavy beats and bass and into the world of jazz and soul. The band was developed with guidance from Goldie for his boutique Fallen Tree 1Hundred label. Their debut album features rising Irish star Tolü Makay and also K S R who guested on the Children of Zeus album. The theme of the album is FUTURE RETRO - a new take on NEO SOUL with touches of broken beat, underground hip hop and a dash of 90s Baduizm.

Impatiently returning to the golden age of Ecuadorian musica national, this second round of retrievals is more of a selectors’ affair: less reverent, more free-flowing, with more twists and turns. There is no let-up in musical quality, maintaining the same judicious, heart-piercing balance between emotional desolation and dignified endurance, the same bitter-sweet play between affective excess and musical sublimity.

This time around, the woman steal the show. Laura and Mercedes Suasti were child stars, with an exclusive Radio Quito contract. Unlike nearly all the men here, they lived long and prospered: Mercedes died last year, at the age of 93. Gladys Viera and Olga Gutierrez both came to Ecuador from Argentina. To start, Gladys plugged the scandalous new Monokini swimwear; Olga performed for visiting British royalty in 1962. Olga was glamorous but tough. She would make little of the amputation of one of her legs: ‘I don’t sing with my leg.’ She is accompanied on our opener by quintessentially reeling, sultry musica national: haunted-house organ, twinkling xylophone, Guillermo Rodriguez’ heart-plucking guitar-playing, and lilting, dance-to-keep-from-crying double-bass. ‘Sometimes I think that you will leave me with no memories,’ she sings, ‘that you hold only disappointments in store for me… In the future your love will search me out, full of regret. By then it will be too late, there will be no consolation, only disappointment awaiting you.’

Other highlights include the two contributions of Orquesta Nacional: Ponchito Al Hombro, like an off-the-wall forerunner of the Love Unlimited Orchestra, beamed into the tropics from an unknowable time and space; and the tone poem Atahualpa, a mystical yumbo invoking Quito’s most ancient inhabitants, the Kichwa. Also the tremulous, gypsy-flavoured violin-playing of Raul Emiliani, who arrived in Quito from Italy, suffering PTSD from the Second World War; the inscrutable, sardonic experimentalism of organist Lucho Munoz; and the mooing and whistling of Toro Barroso — school of Lee Perry — in which a muddy bull dashes home to his darling chola, fearless, full of desire.

Lavishly presented, with a full-size, full-colour booklet, with transporting art-work and expert notes. Luminous sound, by way of Abbey Road, D&M and Pallas.

As 2022 concludes, Marcel Fengler opens a new career chapter with the announcement of '10 Years IMF', an inspiring compilation that marks a decade of his influential label Index Marcel Fengler. A "heart project" two years in the making, the work showcases 12 cuts from artists across the generations exclusive to the compilation, and in-line with the imprint's ethos, unites established and emerging artists.

At the same time, true to Fengler's own vision, it presents productions that span the full breadth of the techno genre - whether it be funky, elegant, industrial, atmospheric or broken beat, right through to the harder techno variety, '10 Years IMF' stands as Fengler's personal manifesto of techno and the artistic possibilities of the genre.

Each record includes a 10 Years special collectors item.

ZEHRA is proud to present the debut album ISTEHLAL by the MOHAMAD ZATARI TRIO, consisting of musicians from Syria, Iran & India. The trio merges traditional Middle Eastern sounds with contemporary vibes incl. interpretations of Hossein Alizadeh & Riad Al-Sunbati classics.

In a contemporary globalised world where music has lost its borders and is fighting a constant – yet particular – stream of Western commodification, the Mohamad Zatari Trio stands out as an original cultural artefact, aiming at transcending the boundaries between different music worlds.
Founded in 2019 the ensemble had its first public appearance in 2020 at the Outernational Virtual Festival. Comprising the performers Sara Eslami (Iran) on tar, Avadhut Kasinadhuni (India / Romania) on tabla and Mohamad Zatari (Syria) on oud.
Their debut ISTEHLAL plunges into its own aesthetics, politics and sound intricacies and represents the combined efforts of three musicians hailing from different, yet deeply rooted cultures. Over the course of eleven songs, the album transcends stylistic, ideologic and
geographic boundaries and reflects on the human condition in an interconnected and interrelated technological world. The repertoire includes not only original compositions in different stylistics
but also rearranged traditional pieces by influential composers Riad Al Sunbati (Egypt) and Hossein Alizadeh (Iran).
The Mohamad Zatari Trio introduces itself as a strong new voice within a new generation of young musicians that carry the musical heritage of great masters like Ravi Shankar, Nusrat Fateh Ali Khan or Zakir Hussain with a fresh and contemporary approach.

Mohamad Zatari is a composer and oud player from Aleppo, Syria, currently based in Bucharest, Romania. His artistic effort is devoted to deconstructing stereotypes and blending various musical genres. He has been taught traditional and regional music by Tarek Al-Sayed,
and has a Bachelor in classical composition at the National University of Music Bucharest (2021). His compositions were used for short films as well as educational courses. He performed in various ensembles and groups, in countries such as Syria, Romania, Hungary, Germany, Italy
and Austria.

Sara Eslami is an Iranian composer, tar and setar instrumentalist and improviser. She has a bachelor's in musical Performing at the Tehran University of Arts (2011).


Romanian/Indian Avadhut Kasinadhuni has a Master in Musical Performing / Violin at the National University of Music Bucharest (2022) and started studying tabla intermittently in India with Prof. Kamal Kant (2008) and Prof. Durjay Bhaumik (2017).

Credits:
Recorded by Alexandru Zaharencu at Avanpost media, Bucharest, Romania
on 29th & 30th January 2022
Mixed by Dirk Dresselhaus at ZONE, Berlin, Feb. 2022.
Mastering & lacquer cut by Anne Taegert at D&M.

Gemma Ray takes an unexpected detour from her
acclaimed psych-soul and torch song oeuvre with
a hard-edged experiment in cinematic electronica.
Epic despite its underlying simplicity and groove,
‘Gemma Ray & The Death Bell Gang’ blends the
funereal and the sinister with tenderness and
yearning, with a dash of automaton-pop and a
Dada-esque playfulness for good measure. Front
and centre are Gemma’s trademark stirring voice
and harmonies.
Released on eco-mix and splatter coloured vinyl
formats, with download card and exclusive pull-out
poster by British painter Deryk Thomas (Swans,
Angels of Light).
The record was recorded at Tempelhof Flughafen
in Berlin and features collaborations from sound
designer Ralf Goldkind (Fantastichen Vier, Mona
Mur), lap steel player Kristof Hahn (Swans), and
syncussion by Andy Zammit (Jon Spencer).
Accompanying videos for the singles ‘Come
Oblivion’, ‘Howling’ and ‘Procession’ by animator
Lucy Dyson (Paul McCartney, Beyonce, Courtney
Barnett).

Gemma Ray takes an unexpected detour from her
acclaimed psych-soul and torch song oeuvre with
a hard-edged experiment in cinematic electronica.
Epic despite its underlying simplicity and groove,
‘Gemma Ray & The Death Bell Gang’ blends the
funereal and the sinister with tenderness and
yearning, with a dash of automaton-pop and a
Dada-esque playfulness for good measure. Front
and centre are Gemma’s trademark stirring voice
and harmonies.
Released on eco-mix and splatter coloured vinyl
formats, with download card and exclusive pull-out
poster by British painter Deryk Thomas (Swans,
Angels of Light).
The record was recorded at Tempelhof Flughafen
in Berlin and features collaborations from sound
designer Ralf Goldkind (Fantastichen Vier, Mona
Mur), lap steel player Kristof Hahn (Swans), and
syncussion by Andy Zammit (Jon Spencer).
Accompanying videos for the singles ‘Come
Oblivion’, ‘Howling’ and ‘Procession’ by animator
Lucy Dyson (Paul McCartney, Beyonce, Courtney
Barnett).