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Killer 4 tracker coming from Japan, by Yosuke Ikeda (AE35), co-founder of Tokyo Electro Beat Recordings. Deliver here a proper Miami style electro. Not to be missed.

Tel Aviv-based musician Eyal El Wahab uses homemade instrumentation, often made from repurposed household items and discarded junk, for his latest El Khat album Saadia Jefferson, which deconstructs Arabic musical traditions and examines his identity as a Yemeni Jew living in Israel.

In the digital age, words are no longer just symbols of communication, but a powerful tool that gives rise to meaningful interconnections between different universes.

Words have the power to transcend time and space, connecting two souls destined to meet.

Il Significato delle Parole (the meaning of words) is Adiel's new effort on her DanzaTribale, a crossover of two minds, generated together with musician Flavio Accorinti: techno sounds like the restless soul that pervades our days, deconstructed atmospheres like shattered generational dreams. The fusion of two cosmic currents, two ways of thinking and creating, characterized by an immanent power, pushing us to imagine new urban primitivism. Two creative processes, transcending individual boundaries to connect into a single overarching vision, to explore new forms of art and storytelling.

The EP, mixed by Donato Dozzy and mastered at Rome's Enisslab Studio by Giuseppe Tillieci, starts with Nulla Resta, a defragmented, dreamlike, ascending climax markedly cyberpunk: dense with references to 90s Progressive Dream, Nulla Resta, with its dulcet melodies, transports us to an artificial reality, a spiritual reality albeit dominated by technology. A reality suspended between fantasy and materialism.
Suspended, like the second track (Sospesa): dark trip-hop's echoes adorned by the voice of Jordie Devlin Mcmorrow. "Shadows on the walls orchestrate our downfall." Dystopian futures intertwine with mysteriously dreamy pasts in a fatal spiral of redemption.
But words remain the catalysing element of this EP.
Parole(words) represents a communicative rare faction that embraces tribes near and far. Black drums echo in the distance in an intimate ballad, in an epic ride, in an ethereal metaphysical journey to the dissolution of the boundary between time and space, between memory and perception.
Notturna, on the other hand, is the epilogue we all deserve; a solemn twilight, a lysergic, dragging escape from the objectivity of the real world.

The images of life do not simply exist in a vacuum. They are defined by the energy that surrounds them, and it is the explanation behind each of these words that we must find if weare to truly understand them. Thanks to the meaning of words, sooner or later, we will be all united again.

After the demise of Teenage Jesus and the Jerks, Lydia Lunch launched her solo career with Queen Of Siam, arguably her greatest LP. In true No Wave style, the album is a mishmash of irritants, but her palette is far broader here, lurching from slow dirges, excessive feminist exhortations, and raucous personal purges to a touch of disco and lounge music exoticism, as conjured by Voidoids/Lou Reed guitarist Robert Quine, Contortions bassist Jack Ruby, and John Cale’s drummer, Douglas Browne. Spirited, surprisingly broad and defiantly dissonant, Queen Of Siam’s dense layers were designed to provoke and inflame; listen closely to fully decode.

Bonzai Classics is thrilled to announce the highly anticipated release of the 3rd installment of the Bonzai Power Vinyl series. This 2 x 7" vinyl set comes in a stunning orange color and includes Phrenetic System's "Wayfarer," Aqua Contact's "Cinderella," B.W.P Experiments with "Organic," and Cyberdelia with "Deconstruction”.

This vinyl set is essential to any electronic music lover's collection. The tracks have been remastered for optimal sound quality and are presented in a beautiful gatefold sleeve. Be sure to grab your copy and experience the power of the 90s again!

French electronic post-punk/krautrock trio Veik recruit Sonic Boom and Vanishing Twin to reimagine tracks from their 2021 debut album, 'Surrounding Structures'. Both remixes have been pressed to wax by Fuzz Club, due out June 9 2023 on a heavy clear-blue 7" limited to 250 copies. On the A-side Sonic Boom (aka Pete Kember of Spacemen 3 and Spectrum) takes album-opener 'Difficult Machinery' and deconstructs it into a spaced-out, oscillating drone. Shifting gear on the B-side, 'Honesty (I Don't Wanna Know)' was already a piece of throbbing and discordant proto-punk and on this remix London psych-pop experimentalists Vanishing Twin turn it into an even more abrasive and unpredictable beast. Now being revisited via these remixes, Veik's 'Surrounding Structures' album was rooted in avant-garde krautrock and 70s no wave and inspired by brutalist and modernist architecture. It came highly praised by the likes of Loud & Quiet, Line of Best Fit, Louder Than War, BBC 6 Music, KEXP, France24, France Inter and more.

Following in the footsteps of his famed brother Madlib, Oh No has become one of the most celebrated independent hip-hop artists of the 21st century. His storied career has included not only rap success but an impressive resume behind the boards, with production credits for Mos Def, Freddie Gibbs, De La Soul, Action Bronson, Talib Kweli, Ab-Soul, and more. An innovator in the art of sampling with a history of exploring diverse source material, Oh No is now back with Good Vibes / Bad Vibes, a new instrumental album deconstructing the work of iconic vibraphonist Roy Ayers. A split collection with two thematically distinct halves, the album is entirely constructed from the early, jazz-centric realm of the Ayers archive. Good Vibes is "light and vibrant, with colorful layers radiating under the sun shine,” Oh No explains, while Bad Vibes contains “dark murky atmospheric tones for the angry moments, those times when it’s necessary to step in the mud.”

Sylvie Vartan's most wonderful songs beautifully remastered by Mr. Nick Robbins at Sound Mastering... Super cute, lovely, yet Rock n Roll artwork by Mr. Allan NoMan

Detailed liner notes by M.Jean-Emmanuel Deluxe, author of the acclaimed, beautiful, and definitive book "Ye-Ye Girls of '60s French Pop"

Imagine..if you will...a world in which your dearest chic girl pop singer guests a couple of humour records, goes on to have hit after hit, is all over TV and media, with the coolest radio shows and magazines for youngsters being almost fanzines for her. Then she gets her own TV shows and um, marries Elvis, and does a multi-night stand at the Paris Olympia where The Beatles are supporting HER! That world existed, it was early 1960s France, a marvellous, self contained world of music, film and art, where Vince Taylor was not a weird guy in leather pants who never really clicked with the kids,but the major star he was in his own head! And..Well, obviously, it wasn't really Elvis, but the French-World analogue Johnny Hallyday (handsome, good hair, and a great dancer!), so..in France it WAS!... But the hits? The TV shows? And the magazines and radio? Yes! Those really happened....and The Beatles did support her (and it was a big and lucky night in their career!)...Now, don't you wish we were there, in that world? A bizarro technicolor mix of....I don't know, Viva Las Vegas/HELP!/Les Demoiselles de Rochefort? I certainly do...or maybe pop this record on and let's pretend? Oh, I think so, yes...

After the success of their first full length album Midnight Ensemble, it's now time for a massive remixpack divided in 2 EP's; Part 1 followed by Part 2 (which will be follow soon after this).

The Dynamic duo asked some of their close friends, label residents and inspirators to rework all of the tracks taken from the original album.

On Part 1 you will find remixes from DJ Nobu, Rrose, Jeroen Search on the 12" added by 2 Digital Bonus tracks bij Pyramidal Decode and Hitam.

Expect a diverse range of techno cuts and ambient drones as you are used to
from Dynamic Reflection.

This is a Double LP Gatefold Silver plate !

Bacchus Harsh is the alias of Melbourne based multi-disciplinary artist Christian Bishop. Predominantly known in international music circles as Australian breakcore pioneer Xian, Bishop has expanded his already widescreen musical horizons to embrace an even broader creative cosmos under this new alias. Bacchus Harsh is the sonic embodiment of occult-themed electronics and deconstructed club music. De-territorializing exotica, occult psychedelia and industrial techno with polyrhythms and distorted blast beats, Bacchus Harsh confuses the dance floor.

Caveat Tumultum is an expansive double LP of icy post-breakcore industrial heaviness, where hallucinogenic cinematic atmospheres collide with sample-driven mania and complex mechanical rhythms. The resulting album is a 60-minute masterclass in foreboding electronic production, dystopian sonic manipulation and the thrillingly visceral experience of true underground party music.

This work takes its origin from the collaboration of C. Rocchetti with the Parma-based Fondazione Lenz, a contemporary theatre research collective/organization. Inspired by the writings of Hölderlin and Calderon de la Barca, and orbiting around the concepts of ›memory‹, ›sedimentation‹, ›presence/absence‹, Rocchetti produced several hours of music, a selection of which is collected in this album, that marks the 5th entry Die Schachtel’s series »Decay Music«, perfectly fitting its mission, which is to explore the ›intangible‹, ›decomposing‹ borders between experimental sound and ›proper‹ music with a special focus on the more interesting experiences of the contemporary Italian scene.

Here comes round 2 of Dimitri From Paris and Chatobaron’s live sessions on Le Heartbeat records. In a clear departure from their Silly Not Silly debut “I like (The Music That You Play)” the 10 piece crew returns with a slightly more trippy mid-tempo groover.

“Chez Madame La Baronne” nonchalantly mixes highly skilled musicianship with vintage lo-fi recording. Here, Chatobaron echo the sound of West Coast Jazz-Funk, as if trapped in a French sexploitation flick - imagine the Mizell Brothers visiting heady Baroness Brigitte Lahaie’s mansion, and you get the picture.

Once again, a lot of pleasure was taken by Dimitri From Paris who directed the proceedings, meticulously arranging the sophisticated material: drum breaks, solos and horny sections, leading to an orgasmic climax. It's lush but raw, and as enjoyable at home as it is effective in the club.

Long time friends The Idjut Boys join the party, deconstructing the original piece from the top down. Ripping it apart to hone in on its darker parts, they deliver a solid and psychedelic Fazz Junk Version in their signature dubbed out style.

With label partner & vinyl digger supremo Melik Ben Cheikh, Le Heartbeat Records continue their quest to bring the higher standards of yesterday’s music to today’s ears.

Early support from François K, Red Greg, Volcov, DJ Deep, Alex From Tokyo, Alex Attias, Hugo LX.

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

Mo H. Zareei (mHz) returns to Imprec/Cassauna with Proof Of Identity, an album of pulsating, pattern-based electronic pieces that evolve in ways reminiscent of Steve Reich's early work or Philip Glass' Music In 12 Parts. With Proof Of Identity, Zareei confronts issues surrounding identity and authorship in composition specifically when created by non-Western musicians. He simultaneously tackles orientalism and the normative take on identity politics.

Artist's Statement:

More than a decade ago, I made a piece of beat-based electronic music and titled it "Middle Eastern IDM" for a course assignment. After listening to it in class, my professor asked what was Middle Eastern about it. It was only a year after I had left Iran to study in the US, and I didn't know that I could say "I am. I made the piece". So I went back and superimposed a sample of Egyptian protest chants on top of the piece, to make it "sufficiently Middle Eastern".

What prejudiced conservatism and performative liberalism share is gatekeeping practices that box one in a preconceived state of otherness. While the former overtly regards that otherness as inferior, the latter exoticises it through patronising paternalism. To me, it is especially troubling when exclusionary practices are driven by some form of overzealous "diversity and inclusion" agenda. If you don't fit the diversity box they've made for you, too bad. It's your fault for being "insufficiently diverse". "Poor thing, you've been colonised!", they tell you, as they claim ownership over a collection of frequencies and rhythms. When you look at who gets to decide if something's indigenous enough, you see how decolonisation itself has been colonised.

When you listen to this piece, I'm very happy for you to keep in mind that it was made by someone from Iran. But I might need to clarify that this piece has nothing to do with sufism and the whirling dervishes, the interweaving patterns of the Persian carpet, the poetry of Rumi, or Islamic architecture. And if you hear those moments of "non-western" sonorities, that is because I have constructed this piece from samples of a piece of Iranian traditional music – an overplayed piece that was all over TV and radio while I was growing up Iran, one that I never found particularly inspiring or interesting. Here, I have tried to make it more interesting by completely taking it apart and reconstructing it through my personal compositional techniques, aesthetic preferences, and a wide range of musical influences. So in short, while this piece might not sound like your archetypical Iranian music, I assure you that it is Iranian enough.

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

New album from Jason Isbell and the 400 Unit, tackling issues such as gun violence, the opioid crisis, and women's rights all through Isbell's signature songwriting lens. Weathervanes is a collection of grown-up songs: Songs about adult love, about change, about the danger of nostalgia and the interrogation of myths, about cruelty and regret and redemption. Life and death songs played for and by grown ass people. Some will make you cry alone in your car and others will make you sing along with thousands of strangers in a big summer pavilion, united in the great miracle of being alive. A Jason Isbell record always lands like a decoder ring in the ears and hearts of his audience, a soundtrack to his world and magically to theirs, too. Weathervanes carries the same revelatory power. This is a storyteller at the peak of his craft, observing his fellow wanderers, looking inside and trying to understand, reducing a universe to four minutes. He shrinks life small enough to name the fear and then strip it away, helping his listeners make sense of how two plus two stops equalling four once you reach a certain age - and carry a certain amount of scars. Jason Isbell has established himself as one of the most respected and celebrated songwriters of his generation. The North Alabama native possesses an incredible penchant for identifying and articulating some of the deepest, yet simplest, human emotions, and turning them into beautiful poetry through song. Isbell sings of the everyday human condition with thoughtful, heartfelt, and sometimes brutal honesty. The record features the rolling thunder of Isbell’s fearsome 400 Unit, who’ve earned a place in the rock ‘n’ roll cosmos alongside the greatest backing ensembles, as powerful and essential to the storytelling as The E Street Band or the Wailers.

Total Annihilation Beach is the latest collection from Caveman LSD, one of the handful of monikers of Special Guest DJ / uon / sometimes just shy. Their releases under this name have always had the character of sonic transmissions – crushed sine-waves hurtling out of a wormhole, remote pirate radio bandwidths, whale-song picked up on radar, and so on. Here, the signal seems to come from a place whose remoteness is not defined by distance, but adjacency: these are alternate reality bops.

What does it sound like? Kind of solarpunk, but dirty; not at all an artifact from a hopeless culture. Percussion at the forefront; warm timbres and tones – never have I heard this producer play with tabla and tambourine loops as they do in “Lost Hours,” the opening track of the EP. The buildup holds tension and dynamics tight, with a vocoder-smoothed moan – sampled from the caveman’s own voice, on the low – alternating between two notes; when the beat decompresses for the first time two and a half minutes in, one hears the amorphous and cavernous pads we know so well from shy. “Bottle Service Angels” picks up with another acoustic drum loop, and a clap entering 18 seconds in swings the rest of the track into your hips – there’s even an alternate percussion interlude

sandwiched in the middle. The drums are turned over by a distorted and delayed wave, almost like a cop siren, which finds an answer in the track’s final seconds: we hear them blaring, but distantly (the demo version of this track, from spring 2020, was called “ACAB Beat”).

The B side begins with a textured, heaving slab of ambience: “The Sun Will Sink Into the Ocean.” It is perhaps the sun one sees setting over “Total Annihilation Beach” – a phrase that came to shy while tripping on LSD in San Francisco, which felt to them like a post-apocalyptic haven for the rich. Seems on point. There is a machinic repetition to the track, but also sweeping curtains of sound that move like mist. But what comes at nightfall? Not cops, not raiders nor bottle service angels – nothing, actually. Just a void into which one lobs praise. “H6 Remix” adapts a Mesopotamian hymn to the divine wife of a moon deity, dated to 1400 BCE; the strings of the sampled oud playing it out are rich and trail beautifully with reverb. Caveman LSD’s gesture of remixing such a song reads sincere – the reality we inhabit is likely just as brutal as the one to which these transmissions belong; however, in both, honor exists. Love follows.

After a bit of down-time, Spacetalk Records returns with something special: a stunning compilation of obscurities, rare cuts and secret weapons compiled by label co-founder Danny McLewin under his Skyrager alias.

Although most widely known as one half of Psychemagik, McLewin has long been regarded as one of the UK’s most decorated crate-diggers – a DJ and record dealer recognised for his ability to unearth slept-on gems, private press obscurities and campfire-friendly curios. He’s already showcased his curatorial skills on a string of acclaimed and now sought-after comps – see Psychemagik’s Magik Cyrkles, Magik Sunrise and Magik Sunset Pt 1 & 2 – but Traces of Illusion marks the first time McLewin has put together a collection as Skyrager.

There’s no grand concept behind Traces of Illusion, though McLewin’s selections are universally tactile, sun-baked and effortlessly summery, evoking images of nights spent camped out in the Californian desert or beneath the vibrant canopy of an English forest at dusk. As you’d expect, there are no well-known anthems or ‘big tunes’ here, just an inspired selection of largely unknown musical nuggets oozing in quality.

For now, the track list is under wraps but you can be sure there are plenty of highlights to savour amongst the 15 tracks which all add up to an eye-opening, head-soothing journey through the dustiest corners of McLewin’s record collection.

First-ever reissue of the 1988 album. Gatefold LP includes new and restored artwork and a chapbook, featuring forty-eight pages of lyrics, essays, photographs, and Gordon's extraordinary drawings for each song. The Choctaw, Assiniboine, and Texan poet, journalist, visual artist, American Indian Movement activist, and musician Roxy Gordon (First Coyote Boy) (1945-2000) was above all a storyteller, known primarily as a writer of inimitable style and unvarnished candor, whose wide-ranging work encompassed poetry, short fiction, essays, memoirs, journalism, and criticism. Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo. Along the way he cultivated close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon's primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West-and within the context of his own life and braided identity. The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. "Songs" is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R's. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it-high, lonesome, flat, and cold-blooded as a bare rusty blade-instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. Although Gordon's music at times incorporated powwow style drumming, fiddling, or unaccompanied ballad singing, the majority of it hews to an idiosyncratic spoken word style, accompanied by atmospheric, sometimes synth-damaged country-rock that skirts ambient textures and postpunk deconstructions. His songs are essentially recitations over backing tracks of finger picked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian. My life has been Indian and/or white. Maybe there's not a lot of difference-maybe. I guess that's mostly according to which white person or which Indian you're talking about. That's probably what this album's about. Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries.

The trio Amiira of Klaus Gesing, Björn Meyer and Samuel Rohrer has returned after a layoff of six years since their debut LP. It would be unwise to expect for them to pick up exactly where they left off, given all the turbulent change that the world has encountered since this time, and indeed the new Album Curious Objects reflects a clear expansion of the players’ abilities. The fundamentals that guided the
debut album – spatiality, refined coolness, the non-verbal “narrative” quality - are still very much present, but are this time reinforced with an even more pronounced feeling of communicating across wide
physical and conceptual spaces. Altogether, Curious Objects is a potent antidote for spiritual and musical fatigue; especially
recommended for those who have already left behind the limitations posed by genres. It is more than the sum of its parts, and its crossing of numerous different boundaries never feels like the goal in and of
itself: instead, all this activity feels like a tool for unlocking and decoding even more supposedly irreconcilable qualities and ideas.

GRAPH embarks on a search for sound beyond trends within electronic music. The focus is on sound and rhythmic structures that are constructed and deconstructed with the help of digital musical instruments and effects. The focus here is on the attempt to create a living, organic "soundspace".

On their seventh album, GRAPH work with vocals for the first time in their 17-year history, and the result is astonishing! The track "Mad World (astonished)" is a cover version of the Tears For Fears classic, dressed in GRAPH-typical electronic garb and produced atmospherically dense. With "Instabil", GRAPH present one more completely newly produced and extremely danceable track. The whole thing is rounded off with a remix of "Instabil" by Bob Humid. Stunning, astonishing, allways unconventional and very Düsseldorf!

The Magic Movement is more than happy to present the debut album of BRUO.

The Brazilian duo presents seven tracks with their very own blueprint of Ambient/Electronica music, generated from radically processed cut-up guitars and sophisticated glitch beats. BRUO, which means "noise" in Esperanto, is born from the deconstruction and re-editing of long improvisation sessions, arranged in succinct tracks and narratives which are stylistically located right in the middle between the minimalism of Alva Noto and the maximalism of Amon Tobin.

Their unique and immersive combination of sounds creates a cineastic world and invites you to drift with BRUO through the nocturnal streets of São Paulo, one of the most pulsating cities in the world and birthplace of this project.

Underground rap stalwart, Vinnie Paz returns with his seventh studio LP, Tortured in the Name of God’s Unconditional Love. The 18 track LP falls on the heels of Jedi Mind Trick’s 10th album, The Funeral and the Raven, which dropped in November of ’21, and succeed’s the April 21 release of Vinnie’s sixth studio LP, Burn Everything That Bears Your Name.

Weighing in at nearly one hour of all new music, the hard-hitting LP ranks among Vinnie’s most decorated line-up of guest appearances to date, with features from the likes of Method Man, M.O.P., Kurupt, Geechi Suede (Camp Lo), Ras Kass, ILL Bill, Lord Goat, Big Twins, Thirstin Howl the 3rd and more. To boot, Pazienza calls upon the production talents of DJ Muggs, C-Lance, Stu Bangas, Oh No and more to lay the foundation with their neck-snapping soundscapes.

Over the past two decades, Pack Pistol Pazzy has ranked amont the most commercially successful indie hip-hop artists in the underground, and with his latest solo effort his legacy is only further reinforced.

Spider-Man: Homecoming is a 2017 American superhero film based on the Marvel Comics character Spider-Man. The movie was directed by Jon Watts and the soundtrack composed by Michael Giacchino. Besides the original motion picture soundtrack by the award-winning composer, the score also features the theme from the 1960s cartoon series composed by Paul Francis Webster and Robert “Bob” Harris.

The film follows a young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, who begins to navigate his newfound identity as the web-slinging superhero. Thrilled by his experience with the Avengers, Peter returns home, where he lives with his aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man
– but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.

Spider-Man: Homecoming is available as a limited POP-UP edition of 2000 individually numbered copies on blue coloured vinyl with an etch on Side D. The vinyl package includes a 4-page booklet and movie poster.


[a] A1. Theme (from “Spider Man”) [Original Television Series]

Puce Moment is part of the French contemporary music scene. Their music is climatic, often inhabited by a strong emotional power. A procession of harmonic structures organized in a ritual way, sometimes close to trance. It can be written or improvised, vocal or instrumental. The electronic and electroacoustic arrangements summon new spaces and abstract landscapes, which can go from the purest sound to the most raw distortions. Vast, slower, deeper - distant echoes of half-faded things - and when we are lost, voices appear. Voices whose only reference would be the timeless SeeFeel.

Nicolas Devos and Pénélope Michel are visual and sound artists, one trained at the Beaux-Arts and the Fresnoy studio national des arts contemporains and the other a classically trained cellist, singer and multiinstrumentalist. They created Puce Moment, envisaged as a sound research laboratory open to experimentation, to multi-disciplinary encounters and to decompartmentalization. Their work is akin to a fictional ethnology expressed through protean projects and mutant visual, sound and musical creations.

»Epic Ellipses« is their 4th album.

They have composed the original soundtracks of more than a dozen dance performance, fiction or documentary films, virtual reality in variable formats (Christian Rizzo, Mylène Benoit, Vania Vaneau, Benjamin Nuel, Laurent Pernot, Carolina Gonçalves). Or in the form of film-concerts including David Lynch's cult film 'Eraserhead' with which they have toured intensively since 2012 in France and Europe, and since 2019 »Koyaanisqatsi«, the cult experimental documentary by Godfrey Reggio.

Nas King's Disease II Album Following the Grammy Award winning album, King’s Disease, the king returns to his throne with the second coming, King’s Disease II. The star-studded project offers tacit game on life, love, and loss, uplifting through action and lived experience in a way only Nas can. This is a body of work for the fans, for the day 1’s that contributed to the legacy. Alongside the decorated production savant, Hit-Boy, Nas remains rooted in lyrical prophetism while proving that he constantly reinvents the wheel. The sequel to last year’s King’s Disease features Ms. Lauryn Hill, Eminem, EPMD, Hit-Boy, Charlie Wilson, YG and more.

DAFNE VICENTE-SANDOVAL - MINOS CIRCUIT (2021)

Minos Circuit is the resonance of a double exploration, that of an instrument, the bassoon - an instrument dear to Dafne Vicente-Sandoval - and that of a listening, of a gaze, almost. The first exploration deconstructs the instrument, tearing it apart, reducing it to an archipelago of sound bodies stimulated by an electro-acoustic device that generates feedback and infiltrates each part of the bassoon, in order to carry out a methodical, systematic examination. The second exploration is the inner one of attention and listening, the one that measures, at each moment, the necessity or not of an intervention in the very act of the musical work, of this subtle balance that is established between composition and observation, between action and contemplation.

(fr) Minos Circuit est la mise en résonance d’une exploration double, celle d’un instrument, le basson — instrument cher à Dafne Vicente-Sandoval — et celle d’une écoute, d’un regard, presque. La première exploration déconstruit l’instrument, le met en pièce, le réduisant en un archipel de corps sonores stimulés par un dispositif électroacoustique générateurs de larsens qui vont s’infiltrer dans chacune des parties du basson, pour en faire l’examen méthodique, systématique. La seconde exploration, c’est celle, intérieure, de l’attention et de l’écoute, celle qui mesure, à chaque instant, la nécessité ou non d’une intervention dans l’agir même de l’œuvre, de cette bascule subtile qui s’établit entre composition et observation, entre action et contemplation.

LARS PETTER HAGEN - TRANSFIGURATION 4 (2018)

Both a “meditation on musical ruins” and “a study of the material of Richard Strauss’s Metamorphoses”, Transfiguration 4 works on the musical fragment as an expressive and poetic possibility that can be deployed below or beyond simple musical syntax, a syntax that is still too often equated with music itself. What Lars Petter Hagen highlights in this remarkable work is that the power of music lies at its fringes, that is, at the edge of its own disappearance. Transfiguration 4 floats in a particularly moving way in these troubled lands, where nothing is ever resolved, and where everything, however, is suspended, like a stream of blurred memories that memory would summon to form an intuition. A musical intuition.

(fr) A la fois « méditation sur les ruines musicales » et « étude du matériau de Metamorfosen de Richard Strauss », Transfiguration 4 travaille le fragment musical comme possibilité expressive, poétique, pouvant se déployer en-deçà ou au-delà de la simple syntaxe musicale, syntaxe encore trop souvent assimilée à la musique même. Ce que met en lumière Lars Petter Hagen dans cette œuvre remarquable, c’est que la puissance de la musique se situe à ses franges, c’est-à-dire aux lisières de sa propre disparition. Transfiguration 4 flotte de manière particulièrement émouvante dans ces contrées troubles, où rien jamais ne se résout, et où tout, pourtant, se suspend, comme un flux de souvenirs flous que la mémoire convoquerait pour former une intuition. Une intuition musicale.

Last year, Eartheater released her latest album, Phoenix: Flames Are Dew Upon My Skin, via PAN. After sharing a fully reworked version of the album, Phoenix: La Petite Mort Edition, digitally out February 26, 2021, PAN is now releasing a special, color vinyl LP edition of it. Originally conceived as a "sleep" mix for CRACK Magazine, Eartheater re-sculpted her entire album Phoenix into a seamless ambient edit. "This is Phoenix crushing, undressing, and compressing like carbon particles under the weight of boulders folded into silky soil, and decomposing. She is folding over and over and over and over like the rolls of young gummy stone. This is one REM cycle. I suggest listening to Phoenix: La Petite Mort Edition while asleep after climax. You are wet ash smudged across a pillow case." - Eartheater

Bjarki launches creative hub Differance Engine with new four-track EP, ‘Look At Yourself Pt.1’

The project sees the founder combine with creative Thomas Harrington-Rawle, building on the pair's recent AV show ‘Look At Yourself’ with a wealth of new projects and releases slated for 2023.

DJ, producer, live artist and label owner Bjarki, full name Bjarki Rúnar Sigurðarson, launches his latest creative project Differance Engine and label Differance with a brand new EP in February. Welcoming a new home for the Icelandic favourite to release and showcase audio-visual projects, the creation of Differance Engine sees him reunite with London-based creative and partner-in-crime Thomas Harrington-Rawle - the creator of Care More, featured on Nowness, ARTE and more.

Set to become the central focus for all things creative, Difference Engine will serve as a diverse ‘mother hub’ for a myriad of new projects from the pair, including GUM Magazine - an experimental print publication set to challenge existing publications and zines with a focus real conversations and forward-thinking audiovisual work - while also absorbing Bjarki’s longstanding imprint bbbbbb recors next year. The launch arrives on the heels of the duo's recent conceptual audiovisual show ‘Look At Yourself’ exploring and experimenting with ‘AI’ technology during ADE at Amsterdam’s renowned Nxt Museum, with forthcoming appearances in Foligno, Italy on 29th December and in London in the New Year.

Opening 2023, the label boss unveils the first EP in a three-part series, ‘Look At Yourself Part 1’. Comprised of four expansive originals, the release welcomes a first look at the new audiovisual direction crafted and shaped by Sigurðarson and Harrington-Rawle, featuring his recently released single ‘Do You Like Yourself’, and new single ‘I Wish I Was A Mode’ - out 9th December..

“Differance Engine is mine and Thomas’ new platform where we will be testing out all kinds of material. It will also operate as a label and an engine which will run both bbbbbb records and GUM Magazine. There are a lot of magazines dying out and having a hard time surviving. Thomas and I want to show some depth into the hearts and minds of individuals through music, visuals and with words. 2023 will be the year of vulnerability and real talks.” - Bjarki.

Wandering the line between perceived and actual reality, the four productions balance playful AI-generated voices with darker sonics, deconstructing societal issues and exploring human-to-human interaction within cyberspace. Accompanied by a warping video, B2 ‘I Wish I Was a Model’ is a trippy dive into Harrington-Rawle’s ever-evolving world as he warps and twists human subjects amongst their surroundings.

Eliott Litrowski and Voiski’s could have done so 15 years ago, after a first meeting in Paris on the Island of Swans, during a ‘Free Party’ event shut down by the police. But it didn’t. Each one followed his own way, and if their paths crossed many times, they only began collaborating in 2021.

Cracki Records’s 10th anniversary Compilation was the trigger: the two artists locked themselves in the studio to create what has become since their signature sound: The Friendship Spacecake, a perfect alliance, driven by their common love for analogic synthesizers, between Eliott Litrowski’s hybrid electro and Voiski’s post-trance.

Neither of them wanted to stop at this stage. One is living in Copenhagen, the other in Paris, yetcreating an album together quickly became the next obvious step.
This common desire led to the beginning of the suitably called Superski duo: a great name that encapsulates both artists’ committed live performances, their unusual musical language, between electro, trance and Italo, and their vision of an uncompromising, colorful and positive club culture.

Oberheim 6, Jupiter 8, TR808, Roland JX8P, Microwave XT and FutureRetro XS, all synthesizers are limitlessly pushed to their last breath, creating an almost retro-futuristic decor for the artiststo evolve in.

Their debut album “Mondo Moderno” will be out March 31st

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

LTD. 180g WHITE LP + CD + TAPE + DOWNLOAD-CODE (INCL. UNRELEASED BONUS SONG) BUNDLE!

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

Tape

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

Paul 'Damage' Bailey, one of the original resident DJs at Birmingham's House Of God club nights along with Surgeon and Sir Real, strikes back on De:tuned with 2 new relentless techno cuts. On offer, a mind-bending modular exploration that takes no prisoners from the Brummie powerhouse accompanied by top drawer remixes. James Ruskin transforms 'Hadal Zone' into a rare darkroom electro orientated piece, while Makaton turns out a deep pulsating 4/4 techno version of 'Decompression'. It's a real burner.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

If Es’ debut album for Upset the Rhythm explored the “tension between intent and interpretation”, the London group’s 2023 EP, ‘Fantasy’, constructs a coda for resistance against the distorted gaze. A four-track contact-high anxiety amid fact and facsimile, the new release attempts to define a sound that still resonates in an increasingly confused public theatre, where cerebral dreams manifest in corrupt fascination.
Echoing the legendary Pylon or the later, disco-inspired releases from PIL, tracks like ‘Emergency’ and ‘Unreal’ blend the band’s established disjunctive style of gothic restlessness with brighter, poppy, and danceable tones. These stylistically unwind in transition with the increasingly claustrophobic pieces like ‘Too Late’ and ‘Swallowed Whole’, syncopating a parallel design of the frantic and the fashionable.
Paired with a lyrical intricacy which emits a desire to break the fetish of false representation, ‘Fantasy’ reminds us that worthy punk records, like any manifesto of neurotic suspicion, balance testimonial, speculative-fiction, and social critique. Indebted to the past but pointed sharply to the future, Es deconstruct our modern wreckage of personhood and self-deceit, granting a sense of solidarity inside alienation. Inside ‘Fantasy’ we visualize our own estrangement, and it is only when this mirror fades that we find the tools to fight back.

green marbled vinyl

Paul 'Damage' Bailey, one of the original resident DJs at Birmingham's House Of God club nights along with Surgeon and Sir Real, strikes back on De:tuned with 2 new relentless techno cuts. On offer, a mind-bending modular exploration that takes no prisoners from the Brummie powerhouse accompanied by top drawer remixes. James Ruskin transforms 'Hadal Zone' into a rare darkroom electro orientated piece, while Makaton turns out a deep pulsating 4/4 techno version of 'Decompression'. It's a real burner.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!