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Bouquet Records features Olive T. for their sixth EP release on vinyl to infuse their 2021 roster with the desired verve and energy that dormant club kids are thirsting for.

Releasing in early summer, the energetic dance tracks herald a return to the dance floor, uplifted by soul-stirring synthesiser orchestral strings.
The native New Yorker and scene fixture was influenced by 90's house, inspired by Raze, Deee-lite, Green Velvet, and smooth disco flows.
The ascension sensation of 'Goin' Up' builds on familiar house grooves with digital synths and a thoughtful utilisation of today's technology.

Known to play a range spanning hip hop to club, jazz to funk, disco to garage, and more, Olive T has DJ'd countless venues and over international airwaves.
An early exposure to house and techno, combined with a wide span of diverse musical taste, shaped her unique style. In 2020 she started her own 2 hour radio show on The Lot Radio.

Olive T worked with Tiro! due to her admiration of his use of traditional sounds of the 90's era, sensing he also listened prolifically to 90's house and techno. Tiro!'s remix of 'This Is A Bop' adds organic flare to the original.
A long-time fan of Matt Karmil, she invited him to remix 'Opaque' - He flips the track upside down to reveal a different, but still vibrant interpretation, with his technical approach to remixing.

Olive T has released singles and remixes on Nervous records, 2MR, and on her own. The four track record 'Goin' Up' marks Olive T's first label-released EP, and first release on San Diego-based Bouquet Records.

Audiophile 180glp pressing includes eight 12"x12" art print reproductions of analog film stills by renowned experimental filmmaker Daïchi Saïto. The first purely solo record by Jason Sharp - where every sound is created by his saxophone, breath, heartbeat & modular synthesis rig. Sharp's customized electroacoustic biofeedback system utilizes a heart monitor to turn his pulse into signal & tempo responsively synthesized in real time during peformance & recording. Produced by Radwan Ghazi Moumneh (MATANA ROBERTS, SUUNS, BIG | BRAVE, ERIC CHENAUX, JERUSALEM IN MY HEART). For Fans of Fennesz, Christina Vantzou, Tim Hecker, Klaus Schulze, Ben Frost, Gas, Windy & Carl, Colin Stetson. Montréal saxophonist and electroacoustic composer Jason Sharp presents his third album on Constellation. The Turning Centre Of A Still World is Sharp's first purely solo record and his most lucid, poignant, integral work to date. Following two acclaimed albums composed around particular collaborators and guest players, Sharp conceived his third as an interplay strictly bounded by his own body, his acoustic instrument, and his evolving bespoke electronic system. The Turning Centre... is a singular sonic exploration of human machine calibration, interaction, expression and biofeedback. Using saxophones, foot-controlled bass pedals, and his own pulse - patched through a heart monitor routed to variegated signal paths that trigger modular synthesizers and samplers - Sharp paints with organic waves of glistening synthesis, pink noise and digitalia. Melodic strokes and harmonic shapes ripple and crest across ever-shifting seas, through an inclement cycle from dawn to dusk. The album's six main movements navigate a world where placid surfaces are always roiled and disquieted by a deeper inexorable gyre: the gravitational pull and tidal perpetuity of our bodies made of water, buffeted by terrestrial atmospheric pressures, wrung out by emotions, coursing with blood, sustained by breath, inescapably yearning for and returning to ground again and again. Sharp's heartbeat literally courses through these compositions - while only occasionally surfacing as a clearly audible pulse or rhythm, it physically feeds into a spectrum of generative synthetic processes that help constitute and conduct the music.

Michael Mayer’s latest EP, Brainwave Technology, comes at you purposeful, stealthy and sly. It’s a glorious left turn for the redoubtable producer, one that sees his typically lean and lithe productions buffed to a metallic, futurist sheen. There’s a gleam in the eyes of tracks like “Brainwave Technology” and “Alpha” that speaks of serious fun, of the intersection of the pleasure zone and the frontal lobe.

“Brainwave Technology” itself is informed by Mayer’s deep dive into the thorny terrain of artificial intelligence, transhumanism and posthumanism. Inspired by reading German philosopher Richard David Precht, Mayer found himself heading down the “proverbial rabbit hole,” as he describes it, “watching hours of YouTube material by self-proclaimed prophets of these ‘inevitable’ changes to come.” Never one to be taken in by the egotist’s dance, Mayer’s cynicism about the whole endeavour is tempered, a little, by the deeper questions that these figures gesture towards: “Is it really an evolutionary step that man and machine become one? Or is it rather a marketing plot by Silicon Valley billionaires?”

On “Brainwave Technology”, Mayer plays the charlatans at their own game, turning their logic against them by exposing the fruitiness of their ‘visions’. “I chose irony as my sword with which I chopped off some quotes from some of those batshit crazy prophets and self-promoters,” he explains of the drooling psychobabble he drops in the track’s lacuna. There’s a sense of humour here – how could you not laugh at these hungover egotists? – but there’s levity too, a sense that Mayer’s using sound to expose the contradictions and double-speak at the heart of these half-formed ideas. It’s a Burroughsian tactic, to slice into the heart of the voice to see what hidden truths surface.

It was Burroughs, too, who once said that “when you cut into the past, the future leaks out”; Brainwave Technology cuts into the logic of the futurologist to leak out the messiness of modern reality. On “Alpha” and “Gamma”, Mayer seems to conjure up the stark, ominous music that’d soundtrack a science fiction reinterpretation – or preinterpretation – of our modern malaise, all funereal wreaths of electronic noise and clatterboxing beats. As the EP resolves with “Device For The Young At Heart”, Mayer’s questions are piling up: “Do we want to become immortal and live on as a download? Do we really give up on Earth and put all our effort into colonising Mars?” There are no answers, of course, but plenty of imaginings-to-be. Brainwave Technology soundtracks both dystopian and utopian possibilities of what could come next.

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
Continued over…
sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”

“One of the vital pieces in the jigsaw puzzle of ’90s British rock music.” Pat Gilbert, Mojo magazine While his own name has yet to grace an album front cover, for more than a twenty years Gem Archer has been a key contributor to some of the UK’s highest profile guitar bands, beginning with Oasis in 2000, Beady Eye in 2009 and the touring version of Noel Gallagher’s High Flying Birds since 2015.
Before all that there was Heavy Stereo, caught up in the mid ‘90s music maelstrom where their only album ‘Déjà Voodoo’ took its place alongside Paul Weller’s ‘Stanley Road’, The Charlatans’ ‘Telling Stories’, Super Furry Animals’ ‘Fuzzy Logic’, Supergrass’s ‘I Should Coco’, The Boo Radley’s ‘Giant Steps’, Ride’s ‘Carnival Of Light’ – and, of course, ‘Definitely Maybe’ and ‘(What’s The Story) Morning Glory?’ by Oasis. It is easy to understand why any album could get overlooked in such exalted company. ‘Déjà Voodoo’ and the four singles – ‘Sleep Freak’, ‘Smiler’, ‘Chinese Burn’ and ‘Mouse In A Hole’ – all display Gem’s deeply held affection for old-school rock’n’roll values. In 1994/95, the outside world came into sync with his fondness for The Jam, Sly Stone, Hendrix, The Beatles, the Stones, The Small Faces, Motown, Stax, glam rock, punk rock and all other points on the compass of rock’n’roll cool, which coalesced into what became known as Britpop. And while those influences are in ‘Déjà Voodoo’ for all to hear, the album is far from derivative; this is a collection of well-constructed pop songs that still retain their swagger and zest.
Unavailable since it was first released on Creation Records in 1996, this new 25th anniversary 180g clear vinyl edition is a faithful recreation of the original 12-track LP.

Detroit Deep House from New label Upstairs Asylum Recordings.

Grey Vinyl

Nous'klaer presents their summer sampler of 2021! Eight hot tracks by new and known names on the label, to celebrate their 50th vinyl release. Starting with the haunting opener Faded Red by Djoser, to a deep techno cut of Pugilist and straight onto RAFF's banger Yeye. Floid debuts with his pumping 4x4 tune PJEE, and Panda Lassow delivers her signature trippy wonkiness that evolves into an addictive rave climax. The last tracks see Konduku and Oceanic making a return to the label with what they do best - and closing is the dubby debut track from Animalia's label owner Kia. Comes in silver vinyl and artwork, designed by Woody92.

German DJ and producer Marc Brauner returns to the Killer Cuts series which he kicked off for Shall Not Fade back in February, sharing five tracks of hard pumping house to lose yourself in.

Patience EP starts as it means to go on with "Your Heart"; a hot cut of anthemic earworm organ house that doesn't hold back on the summertime rave nostalgia. Brauner explores 2-step on searing A2 "Optimist" which is riddled with deep house energy and a syncopated bassline that'll put a swing in your step.

"Be Patient" channels how we have all been feeling this past year waiting for the return of the dance; it carries Strictly Rhythm influence and a prescient vocal motif. The record closes but doesn't fade away, ending with "Faster", where momentous uplifting synth stable tumble forwards to great effect. The digital bonus track is "In Love", another playful, hypnotic bassline complimenting the consistent feel good vibes.

Southern Avenue Announces New Album, ‘Be The Love You Want’. Out August 27 via Renew Records/BMG, produced by Multi-Grammy Winner Steve Berlin

(Memphis, TN) – Memphis soul powerhouse Southern Avenue has announced the release of their third full-length album. BE THE LOVE YOU WANT was produced by multi-GRAMMY® winner, Steve Berlin (Los Lobos, Deer Tick, Susan Tedeschi, Jackie Greene), and co-produced by Ori Naftaly. The album, arriving via Renew Records/BMG on August 27, 2021, is preceded by today’s release of the sultry first single, “Push Now,” available at all DSPs and streaming services.
BE THE LOVE YOU WANT is Southern Avenue’s most ingenious and personal effort thus far. Since their inception, the band has produced a wide-ranging collection of original music – predominantly co-written by Israeli-born guitarist Ori Naftaly and powerhouse lead vocalist Tierinii Jackson – that links them to their home city’s glorious past while at the same time, demonstrates their ambitious intent to evolve Memphis music to contemporary effect.

BE THE LOVE YOU WANT sees Southern Avenue teaming up with artists like multi-GRAMMY® award-winning pop superstar Jason Mraz and certified Platinum producer Michael Goldwasser from Easy Star All-Stars on “Move Into The Light” for a churning, funk-blasted burner. Besides writing with him on the first single, the band also collaborated with Cody Dickinson from North Mississippi Allstars for the song “Heathen Hearts.” The songwriting core grew within the band as well, as drummer Tikyra Jackson and bassist Evan Sarver collaborated to co-write “Let’s Get It Together” and “Pressure.”

The band brilliantly bridges the power of Memphis soul with jamband liberation, gospel blues, and R&B to craft their own timeless brand of American music. The ambitious sonic approach expertly complements BE THE LOVE YOU WANT’s rich themes of self-love, self-empowerment, personal accountability and the desire to push through towards something greater in life.

"Best Western" ist Rudi Maiers aka Burkini Beach Nachfolger zum umjubelten 2017er-Album "Supersadness Intl.". Produziert ist das Album von Simon Frontzek aka Sir Simon, mit dem Rudi Maier in den letzten Jahren ein Produzenten-Duo bildete und am gleichen Tag sein Album "Repeat Until Funny" veröffentlichen wird. So ergibt das die völlig unerwartete und umso mehr willkommen geheißene Wiederkehr gitarrenbasierter Songs, die mit vielen befreundeten Musiker*innen wie Thees Uhlmann, Marlene Weber (Little Big Sea) Sven Regener, uvm. im gemeinsamen Kreuzberger Hinterhofstudio entstanden sind. Es klingt wie Bright Eyes mit einem zünftigen Schalk im Nacken oder Arcade Fire in ihrer Discophase, nur ohne das lästige Sendungsbewusstsein.

This very one Lost Boy from Brazil washed ashore the Lowlands' 'Finis Terrae', a produce of first-generation 'Shock Doctrine' and a real 'carioca' borne on the New World's 'Bossa Nova' and 'Esplendor Geometrico' of old 'Ancien Regime' para-military junta hat delivers quite some maximally dark and manic minimal wave of late, at times even slightly reminiscent of Siouxsie and the Banshees and of Joy Division, and all sung through old and charming, slightly dissonant 'Samba' melody lines vaguely hailing from certain sinister up-hill 'Cicade de Deus' margins of a distinctly distant 'Vagamundo' Purgatory past in either the Portuguese, the English or the Spanish tongues, rendering the paranoia 'facsimile in Limbo' of the coming Futurist Global Orderly State, this deep-state 'Novo Estado Novo' within the current 'Nova Bossa Nova', this 'Guerra Nova Prometheida por uma Terra Nova Prometida', the World's Electronic New Wave 'Fado' of Digital Panopticon and similar forms of purely A.I.-bot-generated (nothing personal!) Totalitarian Torture 'Technique du coup d'Etat' in genuine random numbers as already foreseen and shown to all some long time before in the Magic Green on that 'Funky Dollar Bill', 'Novus Ordo Seclorum'... Mastered by Guy Tavares

Chuck E. Weiss is an American singer-songwriter known for mixing blues, beat poetry and rock and roll. Extremely Cool is his first full-length album, released In 1999. It features a collaboration with Tony Gilkyson and Tom Waits, who co-produced the album. As a result, the style is also similar to that of Waits, both musically and vocally. Johnny Depp also served as producer, for the track “Devil With Blue Suede Shoes”. This song features Toby Dammit on drums, whom had previously worked with Iggy Pop, The Residents and many more.

Shadow Kingdom Records is proud to present Hour of 13’s long-awaited
fourth album, ‘Black Magick Rites’, on CD and vinyl LP.
‘Black Magick Rites’ is the sweet sound of salvation...through damnation.
Hour of 13’s first full-length offering in over eight years, ‘Black Magick Rites’
was available digitally on the first of November 2020 for only 24 hours. Just as
uniquely, ‘Black Magick Rites’ also marks the first Hour of 13 album where he
handles not only all instruments, but also all vocals.
Indeed, Davis’ vocals evoke an ancient nostalgia, of doom metal before it was
“”doom metal”” - of the days when bands like Black Sabbath, Pagan Altar, and
Witchfinder General simply followed their respective muses wherever it took
them. And for Davis, ‘Black Magick Rites’ sees him taking his Hour of 13 muse
toward a rougher, more rock ‘n’ roll expression and yet tinged with an emotive
melancholy that resonates deeply within the soul.
No, no flavor-of-the-week “”occult rock”” cliches here, for Davis still prizes
blue-collared authenticity in his doom, but he likewise never lets it hamper his
immediately recognizable songwriting, which here ever so subtly inches closer
to classic deathrock territory (think the likes of early Christan Death and Voodoo Church).
Naturally, with a title like ‘Black Magick Rites’, an indulgence in occultism is expected, and you can literally feel the fingers of the black beyond reaching out
to you across every electric minute of this 44-minute monolith.

Music from the new series of Clangers, which has won a BAFTA for Best Pre-School Children’s Animation, a Kidscreen Award for Best Animation, a Broadcast Award for Best Pre-School Programme and a host of others.
Rated as one of the best programmes on CBeebies it is no wonder the show is screened all around the globe.
The album is produced by award winning producer John Du Prez.

LIMITED EDITION WHITE VINYL LP Jesca Hoop has a tradition of reimagining and rerecording her own albums and having previously created beautifully stark versions of her albums "Kismet" and "Hunting my Dress" it is the turn of "The House That Jack Built". Recorded in her Manchester based home-built studio in December 2020, these intimate and immediate reworkings shine the spotlight on Hoops intricate, complex song writing with her astonishing vocals front and centre "The Deconstruction of Jack's House" comes on limited edition white vinyl.

Guitarists Marisa Anderson and William Tyler distil deeply
rooted and varied traditions into distinctive voices all their own.
Anderson and Tyler are each unyielding in their desire to extend
through those traditions and the confines of ‘guitar music’ to
craft music at once intimate and expansive, conversational and
transcendent.
The duo’s debut collaborative album tethers together their
singular voices into unified narratives that glisten, drive and
sway. On ‘Lost Futures’, Anderson and Tyler’s guitars dance
through lush arrangements and pastoral duets serpentine and
reverent.
‘Lost Futures’ takes its name from writer Mark Fisher’s cultural
theory of the loss of potential futures, the hopes and ideals
which once felt inevitable but have since been interrupted.
Anderson and Tyler’s use of textural drones, rhythmic repetition
and harmonic shifts embody the building tensions of uncertainty
created by profound loss: loss of life, experience,
companionship, compassion. Across ‘Lost Futures’, Anderson
and Tyler mold their instruments into breathtaking panoramas of
blight and bliss. Each movement contains a dense biome of
transportive sound.
The duo’s music together reckons with mounting pressures as
well as the joy of newfound friendship and gratitude for being
able to play together. In tandem, Marisa Anderson and William
Tyler have composed a work of remarkable breadth, brimming
with resplendent odes of solace.
Marisa Anderson and William Tyler are both prolific solo artists.
Tyler has also toured with groups including Lambchop and
Silver Jews and Marisa has contributed to recordings by Beth
Ditto, Sharon Van Etten and Circuit Des Yeux among others.
‘Lost Futures’ features guests Gisela Rodriguez Fernandez on
violin and Patricia Vázquez Gómez playing quijada.
Package features artwork by Sam Smith. LPs include artworked
inner-sleeve featuring photography by Marisa Anderson.

Raised on a healthy diet of The All-American
Rejects and All Time Low, Australian-born With
Confidence have made quite a name for
themselves in the world of pop punk with over 125
million streams across their first two albums and
multiple headline tours throughout the US, UK,
Australia and Europe.
For their upcoming self-titled album, the band will
be shedding a bit of their adolescent “get out of my
hometown” skin, opting in for a more adult, altpopinspired sound that draws influences from
everything from The 1975 to The Strokes.
The new album will be a follow up to the band’s
sophomore entry, ‘Love & Loathing’, which
debuted at #3 on the Independent Record Label
Chart and #4 on the LP Vinyl Albums Chart, selling
over 7,500 copies in the first week.
For fans of Neck Deep, State Champs,
Waterparks.
LP pressed on ‘Bone’ coloured vinyl.

Yellow Vinyl

Next up on Just Jack Recordings mul.apin provides us with 3 contrasting tracks, the rolling infectious beats of 'A moment in Between' take the synths to another level whilst the bass screams 'BIG SYSTEM!!!!' at the top of it voice. A2 ‘From Earth’ is a darker more brooding affair, trippy and with a late night tribal feel but with the dance floor fairly in its sights. One for the more twisted among you!

Finally on the B mul.apin goes deep and techy with some beautiful synth work and his good friend Youandewan smashes the remix out the park as he jacks things up another level for the dancefloor.

Over the last 3 years, original 90’s D&B imprint Odysee has been steadily building its profile, both through its ‘Remix/Remaster’ series as well as a growing number of new releases. Label Partner Andy Odysee continues to develop his own unique sound with this third solo E.P. All three tracks work together as a triptych, whilst simultaneously maintaining their own unique identity.

Ruthless (In Purpose): Insidious (In Design) immediately establishes an ominous mood of brooding menace with its creeping bass stabs. As the drums enter, the track builds towards a drop of deep subs and driving breakbeat fury, punctuated by the ripped synth basses and curling drum edits that are fast becoming characteristic of Andy’s productions. There are subtle nods to the later Hokusai releases such as Sculptures Hide and even Black Domina; with eerie chiff-flute phrases, and those signature Mirage-style film-noire and dark avant-garde Jazz sounds nestling amongst the tapestry of beats and basslines.

As a contrast, Provocateur has a sweeter, almost sexier feel. A dreamy oscillating pad soon gives way to razor-sharp curling Jazz breaks and deep subs. The vocals border on the ‘saucy’ with their tantalising suggestions of ‘who thinks the technique is to make love to me’ and ‘the sexiest thing about me is my a**!’ There is a subtle darkness nonetheless to this track, with its plethora of dark film-noire samples. Although the framework of breaks & bass is strident enough for the dance floor, it is also the kind of track that is loaded with all those little production details that will reveal something fresh with each hearing.

The third track Status Anxiety is a frenetic, tense piece of music. Underpinned by a relentless bass synth stab that slips and slides throughout the track, the drum patterns are more elaborate, cutting between several different breaks, with abrupt stops to expose dark string sweeps, hammered Rhodes strikes and shimmering china cymbals. Again there is a subtle reference to the Hokusai releases, but with a fresh twist on that darker Jazz-infused style of Breakbeat D&B.

DJ Support
Source Direct, Law & Ben Repertoire, Mister Shifter, Basic Rhythm, Voodoo & Sensenet

Wave Particle Singularity debuts on Hot Haus Recs with 3 super deep slammin Houz kuts - introspective-laboratory-glitch-house the best it’s ever gonna get! Backed with a remix from DJ M4A4 (Running Out Of Steam / Distant Hawaii). All Killer no filler house techno & garage from the Hot Haus camp.

Incl Daniel Avery Remix

A pivotal figure amid London’s queer club continuum, Joshua James follows up an iconic trilogy of releases on Phantasy with a powerful swerve into pure techno with ‘Amber Rush’, complete with a remix by close friend and Phantasy labelmate, Daniel Avery.

Crackling with energy, its pendulous drums reminiscent of The Chemical Brothers in their Battle Weapon mode, ‘Amber Rush’ matches the thunder-dome ready scope of a big-room anthem with waves of psychedelic texture. The result is guaranteed rapid-fire synapse tickling within even the best (or worst) adjusted of dedicated rave brains.

Avery’s metallic-tinted reimagining subtly shifts the aesthetic of ‘Amber Rush’, gliding out of the strobe and into the fog. Wisely following the course of undulating euphoria mapped out by James, Avery transforms acid tension into graceful heights and somehow deeper plunges, ultimately settling on a killer groove.

Coming off a strong 2020 for the label with releases from Big Strick, Gnext, and Butterbandz, 7 Days follows up with an EP featuring all 3. This trio (or TRINITY) put on a fantastic showcasing of talent. The EP starts off with a sweeping dance tune from Big Strick titled Balance. The catchy piano keys lift your spirits as the drum programming moves your feet. The very animated baseline is a strong force in this song as well. Somebody's Watching shows us Gnext's deep side once again. Hard hitting drums, delayed hi-hats, warm synth pad, aggressive yet friendly bass line, and some acid sprinkled on top. What's not to like? Lastly we get to see more of what to expect from ButterBandz. Another classic in the making for the rising producer on the 7 Days imprint. Ultra Instinct also has a deep underground feel. He brings a thundering, in your face, base line on top of a systematic drum program and airy synth pad. The heat is turning up for 7 Days and this is just a taste of things to come.

The man with the funky plan is back! Known for his groovy disco edits, Todh Teri is back with Deep In India Vol. 9. This all new record features another fellow sampler and old time record digger - Kone Kone.

The album starts off with Sampadan 30 where Kone Kone works his magic to bring out delicious crossover disco beats that characterise the charming 80s flowing into the alluring 90s of the Indian cinescape, with the old school glam of electric guitars and synths. This thumping track is followed by Sampadan 31 which is reminiscent of Chicago house but with Todh Teri’s classic Indian touch. Next up is Sampadan 32, with a simple yet funky bassline and juicy vocals that make you travel back in time to a golden era, making it quite an enticing vibe. Find solace with Sampadan 33, the final track on the record, a quintessential dub version of another classic that will make your head bob and drift you off to a safe & happy place.All in all, this record is wholesome as it has something for each and every listener with a brilliant illustration by Costanza Chandra in collaboration with Masala
Movement

At the end of a crooked, narrow alley, tucked away behind a cluster of spindly palm trees that protect it from the intense, direct Southern California sun and shield it from the persistent dusty haze is the lair of Zen 2000, a new project from a Los Angeles native who's been intimately involved in the city's latest wave of electronic music and Nik Mercer, creative lead behind Let's Play House.

The imprint has set out to, through a tight and concise series of 7-inches, explore spacey textures and ambient colors from an amorphous cast of friends and family members, all either also from L.A. or with a deep spiritual connection to the city.

House of Ho, the name behind this debut single, is a little bit of both, stuck somewhere between the island of Hong Kong and the City of Angels; the pair of tracks included here were written, recorded, and produced between the two cities. Perhaps as a result of claiming both Western and Eastern Hemispheres as their place of origin, the songs sound fundamentally “in between”: in between sprawled-out, wandering ambient and sharply scored instrumental exercises; in between late-night trumpet figurations that twinkle around the Canyons and neon-lit karaoke-bar backing tracks that hit with a particular, sugary snap.

Type O Negative is an American goth-metal band formed in Brooklyn in 1989 by Peter Steele (lead vocals, bass), Kenny Hickey (guitar, backing vocals), Josh Silver (keyboards, backing vocals), and Sal Abruscato (drums, percussions), who was later replaced by Johnny Kelly. Slow, Deep and Hard is their debut studio album, released in 1991 on Roadrunner Records. The album, originally titled None More Negative and released in 1990 under the group’s former name Repulsion, launched the band’s career. The album has a rawness that was prominent in Peter Steele’s previous band, Carnivore, but it incorporates elements that became standard for Type O Negative, merging styles including doom metal, gothic rock, new wave and industrial music.
Slow, Deep and Hard is a semi-autobiographical album with heavy amounts of black humour, based on a failed relationship in which the vocalist/bass guitarist Peter Steele was involved. In keeping with the band’s notable humour, the album’s cover artwork is a blurred image of sexual penetration. According to guitarist Kenny Hickey, Steele based a riff of “Gravitational Constant: G = 6.67 x 10 – 8 cm – 3 gm – 1 sec – 2” (later known as “Gravity”) from the theme song of the 1964 American sitcom The Munsters. For the 30th anniversary of Slow, Deep and Hard, Roadrunner Records in conjunction with Run Out Groove, is reissuing the debut on vinyl in all it’s remastered glory.

Words can't fully express how honored we are to launch our label with this timeless masterpiece of a tune. And honestly, words will never do this monumental piece justice. Just focus, and the music will effortlessly take you further, and further, and further, into the beyond within. Deep and serious, yet light and uplifting, and so, so powerful. Truly devotional music.

On the B-side we find Deepbass taking the essence of the original into his signature trance-techno hybrid, suitable at any sequence of a DJ-set. We have already seen the track work wonders on dance floors up north.

Toffes Varld ends the journey perfectly with his unique eco-friendly style. The sound of an early, misty morning deep into the Varmland forests. where innocence and play still rule the environment. Wynja energy at its purest.

“The album is a celebration of the natural world, an attempt at immortalising the deep, transcendent feelings I have when I’m outdoors. In times of heartache, grief, deep love, or confusion, I look to the natural world for answers. I’ve learnt to breathe out, and tune in. This is what came through.”

This is incredibly Trees Speak's third album on Soul Jazz Records to be released in the space of one year - and it's amazing! Trees Speak's new album 'PostHuman' once again blends 1970s German electronic and 'motorik' Krautrock instrumentals (think Harmonia, Can, Cluster, Popul Vuh, Neu!), haunting and powerful 1960s & 1970s soundtracks (think Italian prog-rock Goblin and John Carpenter horror movies, Morricone and existential John Barry spy movies), together with a New York no wave electronic synth and guitar analogue DIY-ness (think Suicide, anything on Soul Jazz's New York Noise series or Eno's New York No Wave)! Drawing further upon German krautrock high-concept albums from the likes of Tangerine Dream and Klaus Schulze from the 1970s, Trees Speak create their own powerful new landscapes of sound that manage to be at once contemporary as well as both timeless and with a sense of science-fiction futurism. Trees Speak' segue together all these elements into 'PostHuman,' which follows on from their criticallyacclaimed debut LP 'Ohms', and 'Shadow Forms' released on Soul Jazz Records less than six months ago. This powerful new album is a high-concept collage of retro-futurist science-fiction music, fantastically illustrated by the artist Eric Lee, a dramatic vision of life after humanity. Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic night-time magic of Arizona's natural desert landscapes. 'Trees Speak' relates to the idea of future technologies storing information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively. The album includes an exclusive bonus 45 single 'Machine Vision' and 'Seventh Mirror' that will only be available with the first order of the vinyl edition of this amazing and ground-breaking new album. With 'PostHuman,' Trees Speak once again manages to take the listener deep into their unique musical world of unknown visions of the past and the future.

This collection showcases some of Coltrane's best recordings as a side artist and features collaborations with such jazz greats as Miles Davis, Thelonious Monk, Sonny Rollins, Tadd Dameron, and Art Taylor. Primarily focusing on Coltrane's recordings as side man from 1956 and 1957 on the Prestige, Riverside, and Jazzland labels, it also includes a guest appearance (and legendary tenor saxophone solo) with Miles Davis on the track "Someday My Prince Will Come" (from the 1961 Miles Davis Columbia album of the same title). The 2-LP vinyl edition contains two extra tracks that are not available on the CD and digital editions: Nutty (Originally released on the album Thelonious Monk with John Coltrane (Jazzland JLP 46) and Birks' Works (Originally released on the Red Garland Quintet album Soul Junction featuring John Coltrane and Donald Byrd). The liner notes were written by Doug Ramsey, winner of the Jazz Journalists Association’s Lifetime Achievement Award. Ramsey is the author of the award-winning biography Take Five, The Public and Private Lives of Paul Desmond. His other awards include two ASCAP Deems Taylors.

After taking some time off due to the pandemic, Moteur Ville Musique fires up its engine and delivers a roaring vinyl only release just in time for summer.

Side A kicks off with a sensational remix by Mike Shannon as he takes us on a journey of grinding psychedelic funk. The Mole switches it up and delivers a chuggy groover that is strictly for the heads, if you know what I mean.

Side B begins with a deep, hypnotic, psychedelic remix by New York phenoms J Gabriel and Chuffy Buffy. And closing things off, Detroit hometown heroes Ataxia kick in to overdrive with a true techno banger with their Re-dub that screams warehouse rave! The sound of summer is here!

Originally released on cassette by Good Person Recordings in 2016, Impressive Almanac is the culmination of Dan Shaw's bedroom experiments making minimalist post-punk. The entire album was tracked by himself at home shortly after moving from Seattle to his hometown of Holyoke, Massachusetts. Dan did not yet have any backing band at the time. The album shines with his raw and unfettered creativity, repetitive DI'ed guitars, and disaffected yet deeply personal lyrics about the banality of modern life.

Shaw says of the record: "Sharing this tape with friends in the Western Mass DIY scene soon led to the formation of Landowner as a full band. Even though we're a real band now with a real drummer and everything, the drum machines and repetitive riffs of these songs still serve as an important reference point for the vibe we strive to attain in our music today."

The album was quite formative for Born Yesterday Records. Co-owner and now Deeper bass player Kevin Fairbairn met Dan at a show in Western Massachusetts. Dan gave him a cassette of Impressive Almanac. When Kevin returned from tour, he was eager to show it to me and I quickly became obsessed with it. A year or so later when we were discussing starting a record label, we both knew that Landowner had to be one of the bands we talked to first. This release will roughly mark the three year anniversary of Born Yesterday's first release, Landowner's Blatant.

After a period of spending time in nature living in the Spanish coastal town of Dexo - producer Roi speaks of his experience of returning to city life on his second EP for Fanzine Records on Crunia EP. Set to drop this summer, Roi shares two tightly honed original tracks inviting Carl Finlow and The Exaltics to remix.

The EP is a counterpoint to Deixo EP - his 2019 EP on Fanzine that speaks from his opposite perspective of the self-knowledge born out of his isolation when he first moved to the coast out of the city. Crunia marks his time preparing the return to the jungle of the asphalt.

It's a new chapter moving from an introverted to extroverted existence and between nature and man's constructs in the city. Opening the EP Maianca works in deep breakbeats with shimmering synths with a jumping and uplifting feel. Carl Finlow's remix builds it into an ultra-funky electro boogie number that perfectly speaks of the carefree existence of living in nature.


Crunia takes the EP into a more frantic corner of urban life - to light up dark corners gritty warehouse dance floors. For their remix The Exaltics take's Roi's heavy handed lead and brings a heavily kicking version of Crunia to the mix ready to pump the city's sound systems.

Fanzine Records is part of Fanzine Project - promoters and educators based in A Coruna, Spain. They focus on developing and supporting local artists through Fanzine Records, Fanzine Fest and Fanzine School.

Guitarist Kenny Burrell debuted on Blue Note Records in 1956 and over the following seven years made a series of excellent albums for the label that culminated with his masterwork Midnight Blue. Recorded in 1963, the album waded deep into the blues, conjuring an alluring late-night vibe with a profoundly soulful cast including tenor saxophonist Stanley Turrentine, bassist Major Holley, Jr., drummer Bill English, and Ray Barretto on congas. Burrell originals including “Chitlins con Carne,” “Midnight Blue,” “Saturday Night Blues,” and the stunning solo guitar piece “Soul Lament” set the tone for this timeless classic adorned by one of the all-time great Reid Miles cover designs This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Fragments, The Debut Album From Trifecta (Beggs, Holzman, Blundell)
Trifecta, a new addition to the Kscope roster, features 3 of the contemporary
music scene’s most lauded and revered musicians - bassist and songwriter Nick
Beggs, keyboardist extraordinaire Adam Holzman and completing the line-up,
Craig Blundell - one of the world’s most celebrated drummers.
Having performed together as part of Steven Wilson’s band, the three would
jam together after soundchecks and from these sessions the fledgling ideas for
Fragments were born. Nick Beggs comments “after the last tour with Steven
finished, we had a handful of tracks ready to work on and as we moved through
our various separate projects we agreed to work on Trifecta.”
The record primarily leans toward a fusion of jazz rock, being instrumental except for the first single (the wonderfully titled “Pavlov’s Dog Killed Schrodinger’s Cat”), the lyrics of which, Beggs states, “are written from the perspective of
a layman trying to understand quantum mechanics...and failing.”
Each band member completed the recording and engineering of their own
contributions in their various home studios, helping to bring their individual
production ideas to each track. Adam Holzman mixed the record at his New
York home studio with the mastering handled by Andy VanDette (Rush, David
Bowie, Deep Purple, Porcupine Tree, Beastie Boys) in New York.
Asked what fans of the musicians can expect from Trifecta, Beggs says, “Fission!
It’s like Fusion but less efficient and more dangerous.”
The debut album resulting from this “fission” of these extraordinary musicians
is entitled ‘Fragments’ and will be released on Kscope on 20th August 2021.

Fuelled by an uncertain future and conflicting feelings towards the
connectivity and intensity of the modern world, Press to MECO’s eagerly
awaited new album ‘Transmute’ follows up from 2018’s critically acclaimed
‘Here’s to the Fatigue’.
Produced by Machine (Clutch, Lamb of God, King Crimson) in a 16th century
tower in the UK, ‘Transmute’ feels more defined, where the heavy moments
are brutal, the quiet aspects are beautiful, and the cinematic flourishes make
the whole thing feel epic.
FFO: Foals, Biffy Clyro, Billy Talent.
Print ads going in Kerrang, Rock Sound, Upset/Dork, Alt Press in UK, Visions DE
plus more EU TBC.
25k+ across socials, plus 300+ Discord group and guitarist has 500+ Twitch
channel
Key supporters of the band include BBC Radio 1, MTV Rocks, Kerrang! Radio,
Kerrang! Magazine, Alt Press, Rock Sound, Upset alongside editorial support
from Spotify, Apple Music, Deezer and Amazon Music.
Previous touring includes touring Europe with Shinedown, UK tours with
Don Broco, SikTh and Arcane Roots alongside performances at festivals
such as Download, Slam Dunk, Truck Festival, 2000 Trees, NAMM and Teddy
Rocks.

Comes with POSTER and digi dowload

Destruction by IND (Artist) - English version below.

Ce morceau est une tentative d'allégorie de la situation actuelle, entre confinement collectif et confinement individuel, ou comment en etant seul l'on peut se retrouver confiné en nous meme, et comment ce regard sur soi peut se transformer en catharsis si on ose le soutenir.
C'est un peu expérimental, j'espere que ça vous parlera!

C'est l'histoire de quelqu'un posé chez lui, seul.Dans sa solitude l'anxiété monte, et pour tenter d'attenuer cela, il décide de sortir à l'extérieur.il passe la porte de chez lui, se retrouve dans la rue, sous la pluie, dans l'orage.Les rues sont vides, vides comme son intérieur à lui, et ce vide ne fais que grandir cette anxiété qui le prend.Il marche, explore, pense, se perd, et finit par trouver un batiment dont il ne connait pas vraiment l'origine ni le but. Ca ressemble à une usine abandonnée, mais l'est ce vraiment?il décide d'entrer, se retrouve a l'intérieur, il fait sombre, l'angoisse grandit en lui.Pour retrouver un peu de lumière, il entrouvre une porte qu'il avait aperçu en entrant, au fond de la salle principale, et sort dans une petite court intérieur, quelques plantes ont poussé. Au fond de cette cours, et bien qu'il sache pertinemment, à l'image de son intérieur a lui, que certaines portes ne doivent pas,ne doivent plus être ouverte, il trouve une lourde porte de metal et l'ouvre.
Devant lui des escaliers, qui le mènent dans la cave, dans sa cave, a l'intérieur de lui meme, là ou la lumière n'arrive plu.Et attiré par la noirceur il descend.
Ses pas résonnent , et arrivé en bas, il découvre ce qu'il n'aurait pas du voir.alors l'instinc de survie reprends ses droits, et il court, il court et s'enfui, remonte les escaliers, ressort du batiment et revient dans la rue, vide, mais en sécurité, l'angoisse a disparue, car des fois, se confronter a notre noirceur la plus enfoui, permet de la mettre en lumière, et ainsi la dompter.

his track is a kind of allegory, a trial to express the feeling of these weird times , the lockdown we live ,wich is as external as its internal...How the anxiety grow and how our internal vibe could be felt as empty as the streets around us while seeing nobody all day long.
This is the story of someone, at home.He feel the anxiety grow in him, and decide to go outside, but all the streets are empty,like himself. he walk and as he walk the anxiety continue to grow.Finally he find a building, unknowing if its a factory or what but its abandonned, ,he goes inside to explore, arrive in an indoor course, and see a door...being intrigued, he decide to open this door and to go down the stairs he have in front of him...The more he descend, the more the fear and anxiety grow, as he goes down inside his mental.Finally he arrive in the basement, and what he see is too rude for him, and so he decide to run and escape from this, from himslef.
he run run run, go upstaris, open the doors and arrive in the street, safe.And without any anxiety, because sometimes, to go face to face with our deepest dark side, let us put light on it, and so let us tame it.

B2 Recordings founder Bengoa returns to the label this July with his ‘Sun Dub’ EP, comprised of three originals from the Greek producer and DJ.

The past year has been Bengoa unveil an array of material on his B2 Recordings imprint, ranging through a variety of style under the umbrella of House, from deep and intricate sounds by Peter Grummich, twitchy acid from fellow Greek artist Zak, Disco tinged material from Lex and of course dubbed out sounds from Bengoa himself.

Here, the head honcho returns again with a fresh three-tracker, opening with title-track ‘Sun Dub’, a high octane house workout fuelled by swinging drums, choppy bass stabs, airy dub chords and a classic Hammond organ hook line. ‘Negligence’ then opens the b-side, stripping things back to cavernous low-end pulsations and swirling stabs atop a robust drum machine jam. ‘Physique’ then wraps up the release on a deeper tip, bringing shimmering bell tones, a stab-led bass sequences and murky vocal chants into the forefront, while skippy drum hits and modulating hats carry the subtly nuanced, hypnotic groove.

LTD. BLUE SEAGLASS WAVE TRANSLUCENT VINYL

Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." Dorian Lynskey May 2021

Mause makes his debut release on npm with a stunning 4 track EP entitled ‘XOR’.

Starting with ‘LocriLogAcid Seq’ serving up soothing melodies that make you want to drift away on the dance-floor. ‘SeqTuningMlog Acid1’ proves that Mause isn’t averse to switching up tempos and beats with a powerful, trippy acid induced journey.

The cleverly structured ambient and melodically complex ‘Strimsang Baecon4’is reminiscent of early Aphex Twin with pure electronic bliss whilst ‘Sunday Multi Acid Seq20d’ is a strong finish to the EP delving deeper within the realms of electro and acid techno.



c 3 Strimsang Baecon4



c 3 Strimsang Baecon4

Philly’s DJ JAZZY JEFF debuts on TERRY HUNTER’S MIRROR BALL RECORDINGS with the funky soul & disco drenched 7 inch “EVIL". The release is an amazing flip of EARTH WIND & FIRE’S 1973 release with JEFF’S swinging drums & piano melodies incorporated. Major support from dozens of deejays!