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White Scar returns with "The Witch's Fingers". Introducing 4 new producers to the label.

The A1 is by Jucid from South Korea with a deep and progressive journey called "Essential to our Life". "Are You Neutralised?" asks Leeds based Zuul in his signature melodic techno style on the A2.

B1 continues the pace with "Electro Samurai" by the talented Argentinean born, now Berlin based, Desiree Falessi. Last but not least on the B2 is the first released track by unknown producer, Boheme. "Spiral" closes out this EP perfectly with its swirling and catchy melody.

Before "Svengali" came to describe any vaguely megalomaniacal personality in the entertainment industry-from the genuinely evil Phil Spector and Colonel Tom Parker all the way to their Diet Rite equivalent Jack Antonoff-he was a literary character who was probably the prototypical megalomaniacal personality in the entertainment industry. The antagonist in the famously mid and otherwise unmemorable 19th century novel Trilby, Svengali is depicted as a machiavellian manipulator who transforms the guileless titular character into a famous singer. Mo Troper's Svengali is a deeply psychological record with the throbbing heart of a fragile giant. It is a meditation on evil-ness. At certain points across Svengali's 13 tracks, Troper relishes his own innate evil-ness; just as often he's repulsed by it. Like any Mxo Troper album, Svengali is a collection of razor-sharp pop songs that sound like they were written yesterday, or in 1990 by Paddy McAloon, or in 1966 by Brian Wilson, or in 1936 by some unheralded Tin Pan Alley great. Troper has always belonged in the Pop Hook Hall of Fame but his latest and sixth LP of original material is, lyrically, a "look, there are levels to this" moment.

Atlanta's leading deep house outlet NDATL welcomes the always on from DJ Aakmael for its next outing and as always with this producer the results are smoky and seductive. His signature sound is all about cuddly, dusty drums with deft little melodies, horns or gospel samples that lodge in your mind while you move to his compelling grooves. That's true again here with a Latin-jazz-infused opener in the form of 'Track 109.' 'Imagination' is a truly hypnotic house sound and on the flip are 'This Is Not A Game,' a killer collab with label head Kai Alce, and '102.5' which has a bassline smoother than chocolate. Another doozy from Aakmael, then.

20TH ANNIVERSARY DELUXE EDITION

“One Day,” the critically acclaimed Bambu Station album now celebrating its 20th Anniversary with this Deluxe Edition Double Vinyl and digital release. Bambu Station believes “Vibes is everything” and their impact on fans and their community activism have been just that. Founded in 1997 by lead singer, songwriter, producer Jalani Horton, of St. Thomas, Virgin Islands, Bambu Station is the culmination of a lifetime of love for music and the quest for sharing and uplifting through sound, poetry, words, and action, which has since grown to a musical force supported by roots fans around the world. The sound of Bambu Station is best described as heavy, natural and
relentlessly captivating. From its conscious roots music to its powerful, insightful and timeless lyrics, Bambu Station's sound is very percussive, profound and inviting.

As the explosion of roots reggae music from Jamaica in the sixties and seventies turned to dancehall, unexpectedly there came a resurgence of roots reggae from the Virgin Islands. Bambu Station was a main progenitor of that resurgence. It would be a band that would create music and write songs that reach into the difficult spaces in the lives of people. It would be a band that would have a positive impact on the lives of people. It would strive to keep a mighty torch lit -- lit by ancestors and musician-prophets alike. On the first release of their breathtaking third album “One Day”, many songs quickly became instant favorites. Fans, writers and industry experts all continue to praise the album as “classic”, “very powerful”, and “one for the ages”. From The Beat Magazine, Reggae Reviews, Urban Ambience Journal and countless others, critics dubbed Bambu Station’s “One Day” as one of the most significant albums of the modern reggae scene. Creation Steppin’ Radio selected “One Day” as its “Album of the Year” for 2003. The D.C. Annual Reggae Awards selected “One Day” as “Album of the Year 2003,” the song “One Day” as “Song of the Year 2003” and Bambu Station as “Producer of the Year 2003.” Terry Wilson ‘Midnight Ravers’ on WBAI FM, NY says, "Bambu Station is the best and most important band in Reggae music." “This is a fabulous album that demands a place of pride in every cultural fan's collection.”

Many of the instant favorites on “One Day” include the provocative opener “Humanity Bawlin’,” “Gunsmoke”, the first single from “One Day”, a very deep, roving and powerful reflection of the rampant gun violence that hit the Virgin Islands hard and haunts us in America and around the world today. "The anthemic “Fya!”, and the mesmerizing “Move On”. "Pass It" captures the passion and spirit of the roots rockers era, while the haunting title track "One Day" is reminiscent of The Specials at their best. The heart wrenching tribute to “Amadou Diallo” is in memory of the brutally slain innocent West African immigrant in New York. “Eyes of Men” is a call for female dignity and homage to Betty Shabazz, Malcolm X’s widow.

The title track of Unklevon’s ‘UN1C’ album starts with a steady snare-heavy beat, foreboding atmospherics and a futuristic vocal. It introduces the France-based producer’s Detroit-inspired electro LP and also marks his debut full-length, landing on Boysnoize Records, a label Unklevon’s been affiliated with since 2022.

For the second track on Unklevon’s ‘UN1C’ LP, the International Chrome & Nechto artist is joined by Maral for ‘Bag Secured’, adding her sensual vocals to a raw cut featuring rough synthlines and racing rhythm. ‘Science Club’ then continues with infectious and hypnotic energy driven by a deep, earworm vocal before ‘Speed Chains’ picks up pace with speedy basslines and rhythms shot through with bleeps.

Ukranian singer Alina Pash infuses Unklevon’s ‘High Key’ with fantastic modern hip-hop flair, with ‘All 4 Homies’ returning to the club with cut-up sampling and tripped-out electro sonics. Boysnoize Records’ Boys Noize also teams up with Unklevon for ‘Spa8cid’, a menacing dancefloor heavy-hitter which eases into the acid madness of ‘Miami South Express’ which follows.

Next up, Unklevon and Vel drop the aptly named ‘Transed About U’, a true peak-time roller boasting hypnotic trance-like gated vocals, with German electro superstar DJ MELL G joining him for ‘Wizard Snakes’, taking a more classical approach with rich synth lines and crisp drum work. Closing out this fantastic first album from a promising name in the global electro spheres is ‘Call Me Von’, another amped-up, bass-laden track ready to rock the warehouse.

The opening line of Emily Dickinson’s short poem ‘‘Hope’ is the thing with feathers’ inspired the central image of Emily Barker’s new single ‘Feathered Thing’, written while she navigated cumulative grief.

When Barker was first introduced to producer Luke Potashnick (Gabrielle Aplin, Jack Savoretti, Katie Melua) in May 2022, she brought with her a full album’s worth of songs. But after visiting Potashnick’s storied studio, The Wool Hall and hearing his ambitious production ideas, she was inspired to write one more song.

“I also needed to process some heavy news” she comments. Barker and her husband Lukas Drinkwater had been trying to start a family. Following a couple of failed IVF cycles (and other “starts that we’d lost”), they investigated adoption and had decided to relocate to Australia to be closer to Barker’s family.

“It felt like we couldn’t work out what we wanted, but we finally reached a point where we both felt at peace with not having kids,” Barker recalls. “It had been an incredibly intense time, coinciding with a house move and the pandemic.”

And then Barker found she was pregnant. “We’d done all these things to try to make it happen, and then it happened naturally (and against all biological odds). Having previously navigated losses throughout our pregnancy journey, we now had to get our heads around what having this new person in our lives might look like - emotionally and practically.”

Soon after work began on the album, Barker had a miscarriage.

“Songwriting has always been a way of processing throughout my life.” Barker reveals how the new song came quickly as she sat at her piano at home. She shared an early version with Potashnick and remembers him politely asking, “Do you mind telling me what this is about?”

“I think I’d left it too abstract, initially,” she reflects. “It was difficult to open up about the miscarriage, but Luke was very supportive and encouraged me to dig a little deeper without necessarily being specific. I revisited the lyrics, and the result is much stronger.”

“I went to the burnt-out woods/ A tourist with some damaged goods/ Remembered how the trees withstood fires before…”

“The opening line is a metaphor for knowing that I’ll get through this,” Barker clarifies. “It’s about recovery and hope, allowing yourself both the space to grieve and permission to move on”. But Barker’s optimism is never misplaced – she knows the imprint of imagined futures and lost children are carried in hearts and minds forever:

“It’s so hard to let go, wanted to know wanted to know you …”

“I think that it's important to share and normalise these stories, which are all too common, yet not openly spoken about. People hide their pain and don’t want to burden friends and family. I think behind all this anguish, there’s a deep, often untold story.”

Now that Barker is settled back in Western Australia, she’s embracing being an auntie. “I’ve got three younger siblings over here who I’m close to, and they all have kids,” she enthuses. “I look after my brother's kids, aged two and five, one morning a week.”

Recorded - along with the entirety of the new album - at The Wool Hall, ‘Feathered Thing’ begins gently, with oscillating piano and distant drums, until the arrangement gradually transforms into an instrumental dervish of vibrant strings, bass drones and cymbal crashes. Throughout, Barker’s vocals float tantalisingly like a slipstreaming feather.

Watch the video, filmed at The Wool Hall here. The Wool Hall is a studio in Beckington, Somerset, set up by Tears for Fears in the 1980s and used by artists including The Smiths, Pretenders, Joni Mitchell and many more.

Emily Barker is an award-winning singer-songwriter, best known as the writer and performer of the theme to the hugely successful BBC crime drama ‘Wallander’ starring Kenneth Branagh.

Her last album, 2020's ‘A Dark Murmuration of Words’, was produced by Greg Freeman and recorded at StudiOwz, a converted chapel in the Welsh countryside. Lyrically probing, by turns both dark and optimistic, Barker searches for meaning through the deafening clamour of fake news and algorithmically filtered conversation, delivering a timely exploration of the grand themes of our age. It garnered widespread acclaim, with Uncut calling it “…a kind of Australian equivalent of PJ Harvey’s Let England Shake”.

Barker has released music and toured as a solo artist as well as with various bands and collaborations, most notably her long association with Frank Turner, and has written for TV and film, including composing the soundtrack for Jake Gavin’s lauded debut feature ‘Hector’ starring Peter Mullan and Keith Allen.

‘Fragile as Humans’ is scheduled for release on May 3rd 2024 through Everyone Sang/Kartel Music Group. The album will also feature earlier singles: the vast, cinematic ‘Wild to be Sharing This Moment’ and the meditative, crestfallen ‘Loneliness’.

In the dynamic landscape of contemporary jazz, Scottish pianist and composer Fergus McCreadie has carved a remarkable niche. Since 2021, his career has skyrocketed, marked by two acclaimed album releases that propelled him into the limelight – shortlisted for the Mercury Prize and clinching the Scottish Album of the Year (SAY) for "Forest Floor." His debut with Edition Records, "Cairn" (2021), set the stage for a journey deeply rooted in natural themes. McCreadie's latest venture, "Stream," continues this intriguing exploration, this time delving into the essence of water. Accompanied by his long-standing comrades, David Bowden and Stephen Henderson, the album flows with the fluidity of its namesake. It's a musical stream that flows through the rich landscapes of Scottish folklore and the sophisticated avenues of contemporary jazz, blending them seamlessly. The album's narrative is a testament to the trio's evolving musical identity, meticulously crafted to mirror a journey from darkness to light. McCreadie shares, "What I like most about this album is that it evolves from dark to light as the album goes on. It's a sort of cloudy skies to sunnier skies journey, quite different from previous albums where the track sequence was more arbitrary." Their sound, a nuanced tapestry woven with delicate touches and bold strokes, speaks of their confidence and exuberance in forging a distinct path. "Stream" is an exploration of shared passions and expressions, pushing the boundaries of their musical language and vocabulary to new depths. With "Stream," Fergus McCreadie, Bowden, and Henderson offer a refreshing antidote to the predictable. Their music is a celebration of individuality, a journey that resonates with the trio's unique voice. It's an invitation to listeners to immerse themselves in a soundscape that's both familiar in its Scottish roots and revolutionary in its jazz execution – a goal every artist aspires to achieve. "Stream" is a musical narrative that flows like water – sometimes calm, sometimes tempestuous, but always moving forward. For those seeking a fresh, engaging, and authentic musical journey, Fergus McCreadie's "Stream" is a listening adventure not to be missed.

Stream by Fergus Mccreadie, released 3 May 2024, includes the following tracks: "Driftwood", "Sun Pillars", "Stony Gate", "Coastline" and more.

The VA theme on the LP series under the name Untitled || continues to explore the subject of 8 different minds from different corner of the globe connected by the principle and love for the audio frequencies in line with Exarde. Featuring two artists which already dear to label due to the fact of past releases on it and six new ones who have become instant people of love and admiration for me.

From the more deep and mellow to the higher pressure for the brain this double disc shall meet your demands. The art theme of this one is blobs & globs from space, whether they are emerging, fighting with their own shadow, or just simply floating and co-existing. This shall conclude my rambling for this body of work as I go and put these eight essences through my ear canals once again. Great deal of thanks for the hard work and dedication of these talented conductors.

Rising, enigmatic Brighton songwriter Milo Korbenski delivers his debut album proper When You Gonna Tell ‘Em the Truth, Aaron?, a stunning collection of haunted, heavy, unique art-dream-indie-pop earworms.

Milo Korbenski is a shadowy, anonymous Brighton solo musician only publicly seen in a featureless white mask, Stetson and denim jacket. However, his deeply expressive take on lo-fi slacker indie invokes a heartfelt intimacy, singing straight from the soul. This new album - an official debut following a period of self-releasing - displays endless catchy-as-hell hooks, clever lyrical wordplay, and deceptively lean instrumentation that belies its own simplicity.

The music of WYGTETTA? (Milo’s own stylisation) crosses references points as broadly spread as Kurt Vile, Helado Negro, Black Sabbath, The xx, The Cocteau Twins, Siouxsie Sioux, Jagwar Ma and Calvin Johnson while retaining a vitally singular energy. Milo’s underlying unreality is more haunted than the indie-leaning acts mentioned here, and the readymade homespun cassette sonics lend a charm beyond the prettified sheen of his pop influences.

The Swedish quartet Goran Kajfes Tropiques present Tell Us, an album consisting of three long pieces composed by the group, is "slow music" to the bone, a deep body of work utilising the language of jazz as its core mode of communication but echoing way beyond. The quartet is expanded with strings, adding wings to the music and helping it lift off the ground in a personal, highly engaging manner.

LIMITED 200 COPIES CRYSTAL CLEAR 10" POSTER EDITION (stickers included)

Our third Trip 10" with two long storytelling acid tracks is from our resident artist SOUR, boss of the Warehouse303 club in Florence, Italy.
SOUR takes you on an acid journey with twisted basslines, deep and distorted sounds and trippy synths!

A resident of Berlin's long-running Gegen, a multifaceted queer techno and performance art event, Samantha Togni has seen her profile rising with appearances on Mixmag's Lab series in London and a heavy release schedule on established and upcoming labels: Stay Up Forever, Noise Manifesto, her own Boudica, and others, quickly accumulating a significant discography since her 2019 debut. Her latest is the Lunaversal EP on Rant & Rave, representing another edgy release from upcoming female techno talent. It leads off with the title track, not exactly as cosmic as implied with buried, indecipherable vocals and buzzsaw synth riffs seesawing between intermittent breakdowns which only serve to increase tension 'Minor Goddess' takes an old school rave approach with abrasive, rising stabs and dissected vocals against a hammering framework of kicks and crushing bass pressure. With its lilting ambient chopped vocal samples slightly counterbalancing the surging forward motion of the rhythm, 'Pit of Truth' hits deeper, but the pit in the title obviously leans more towards dungeon or grave. 'Jesters Have a Heart Too' rubs unstable synth sweeps against blasts of industrial noise and jackhammer percussion, reaching peak intensity in its brutally chopped final run.

DUBFIRE INVITES CHRIS LIEBING, TRUNCATE, CARL CRAIG, DRUMCELL, NADIA STRUIWIGH & MORE TO HIS REMIX ALBUM
EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.
The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, DEAS, Carl Craig, Truncate, Drumcell, Chris Liebing, and Luke Slater as L.B. Dub Corp who have all given the original music in their own unique style.
With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

The Cat's Miaow return to World Of Echo with Skipping Stones: The Cassette Years '92-'93, their second compilation for the imprint, and the fourth in a loosely defined series of reissues associated with the group (also including The Shapiros' Gone By Fall: The Collected Works of The Shapiros and Hydroplane's Selected Songs 1997-2003). It's a smart selection of songs by one of Australia's finest independent pop music groups, whose initial run, across the nineties, was as mysterious as it was bewitching. A generous double album featuring thirty-five songs drawn from The Cat's Miaow's history, Skipping Stones lets listeners in on a bunch more secrets. The four cassettes that Skipping Stones draws from - Little Baby Sour Puss, Pet Sounds (both 1992), From My Window, and How Did Everything Get So Fucked Up (both 1993) - were released or assisted by Toytown, a Melbourne cassette label of rare taste, savvy and intelligence. Diving into that two-year period, Skipping Stones is full of surprises, rich with unexpected and inspired detours, while reminding everyone just how clear and distinct The Cat's Miaow's music was from the very start. Looking in from the outside, they always felt like a group that knew just what they were doing, but intuitive as they are, they weren't forcing anything: these songs always sound exactly what they need to be, rough edges, playful moments and all. The Cat's Miaow may have been bedroom dreamers, but their songs were richly informed, with the sweetest of girl-pop moves sashaying into walls of tremolo-d and distorted guitar, jangling six strings tangling with melodic bass that's pure Peter Hook/Naomi Yang, while the gentle trickle of a drum machine or the earthy twitch of brushes on drum skins provided the spine for Kerrie's and Bart's lovely, unforced singing. This double LP on World Of Echo feels like the very core of the thing - some of the most heartbreakingly beautiful, effortlessly lush and deeply moving pop music you're likely to hear. RIYL: Hydroplane, The Cannanes, Magnetic Fields, Belle and Sebastian, Jesus and Mary Chain

Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.

But the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS.

The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band prior to the release of their exhilarating, cacophonous 2023 EP,FUNNY WHAT SURVIVES.

OBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation–a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?

Leading Danish trombonist Lis Wessberg is grounded by the concept that a strong melody, and a rich sound are the two most important elements in composition and performance.A continuation of the refined contemporary answer to the"Cool Jazz" sound she"s been cultivating for the past 30 years, her sophomore album"Twain Walking" is set to release on April 12th onApril Records. With more than50 album credits to her name, and having performed and toured with renowned artists including Marilyn Mazur, Fredrik Lundin, Joyce Moreno, Kid Creole & The Coconuts, Ernie Wilkins Almost Big Band feat. Randy Brecker, and more, 2021 saw the release of her debut album "Yellow Maps"to critical acclaim from all around Europe. Diving deep into the personal exploration of her creative roots, "Twain Walking"hails from the warm vitality of New Orleans jazz, to the reflective hum of the ECM sound, and the boundary pushing songwriting of Radiohead. With a respectful nod to her influences such as Miles Davis, Curtis Fuller, Danish Erling Kroner, and Palle Mikkelborg, Wessberg operates within thetraditions they established. However, resisting producing a mere echo of the past, she cultivates her owndistinctaesthetic inspired in equal parts by her heroes as well as contemporary zeitgeist. Led by Wessberg"s dynamic trombone playing, her breathlike approach to the instrument mimics a lamenting human voice singing intricately lyrical melodies. Rock inspired drum grooves, thick synth timbres, and cavernous reverbs craft an expansive and dream-like contemporary soundworld in which Wessberg"s thoughtfully crafted compositions can unfold. From spacious,Nordic ballads todance floor psychedelia, the ensemble tackle all ten varied compositions with confidence, maturity, and a dedicated sense of self-expression. Featuring Estonian rising star Karmen Roivassepp on vocals, her effortless soloisticcontributions explore lyrical themes of recognising the beauty in love in life, elevating the record"s melancholic and reflective tone.

Finland's UNEARTHLY RITES are preparing to release their debut album. On Ecdysis UNEARTHLY RITES' potent old school death metal songwriting offers a rallying cry against corporate greed and environmental negligence, with a scathing rebuke of those culpable of ecocide and climate destruction. At the beating heart of Ecdysis lies UNEARTHLY RITES' insistence for a better world, with the perilous effects of capitalist interests taking precedence over nature and human life at the core of the group's concerns. Through their collective work in environmental activism, including anti-mining campaigns in the arctic north that focuses on the challenges faced by the indigenous Sámi peoples, Ecdysis is less a despairing cry as it is a plea for change. The band's caustic approach to extreme metal and punk adds a feverish urgency to proceedings, with the rhythm section of bassist Vikman and guitarists Simo Perkiömäki and Santtu Markko evoking the genre's most brutish traits against Sisli Piisilä's visceral vocal delivery. Despite their rage and despondency at institutional apathy on the title track and the harrowingly doomy highlight cut Sacrifice Zones, album closer Doomed shuns inaction and resigned complicitly by directly challenging the listener to choose their side for humanity's sake and future.

Limited edition Cream and Black swirl PICTURE DISC is for Indie stores only.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

B2 Recordings keeps it classy with another new deep house offering from label head Bengoa. It comes hot on the heels of his last outing here in December but this time all three tracks are straight-up solo cuts with no featured guests. 'Hustler's Convention' is an emotionally intense humid, steamy cut even though the grooves are warm and hypnotic.

'Apollo' has more raw percussion and scratchy drum textures overlaid with trippy vocals and last of all is 'Fanatic,' which pairs leggy bass and drums with more swirling vocal samples and interesting broken beat patterns. Another fine outing from Bengoa then.

In the dimly lit corners of a nondescript basement party, amidst the cacophony of laughter and clinking glasses, a pulsating beat cuts through the haze of alcohol-induced euphoria. It's a track that none have heard before, yet it feels instantly familiar, echoing the electrifying energy of Underworld's iconic 'Born Slippy'. The song, discovered by accident during a drunken deep-dive into the depths of an online music platform, becomes the unexpected anthem of the night. Titled "Macht over het Stuur", this track is an odyssey of sound, blending relentless techno rhythms with haunting, ethereal vocals that seem to drift in from another world. The opening notes are a siren call, drawing listeners into a whirlpool of synths and beats that mimic the heartbeat of the city at night. It's music that doesn't just want to be heard; it demands to be felt, pulsating through the veins and igniting a fire in the soul. As "Macht over het Stuur" unfolds, it weaves a narrative without words, telling tales of fleeting connections, electric glances, and the raw, unfiltered essence of human emotion. It captures the spirit of those who chase the dawn, those who find beauty in the blur of lights as they speed past on their way to nowhere. The track is a paradox, both a celebration of the present moment and a longing for something just out of reach, a sound that encapsulates the feeling of being utterly lost yet exactly where you're supposed to be. The discovery of "Macht over het Stuur" on that drunken night feels like unearthing a treasure, a secret shared among friends that would soon ripple out to captivate a wider audience. As word of the track spreads, it becomes more than just a song; it's a movement, a collective memory etched into the minds of those who experienced it firsthand. It stands as a testament to the power of music to unite, to transform an ordinary night into something magical, a reminder that sometimes, the most unforgettable moments are those we never see coming.

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"

James’ longevity – with over 25 million albums sold over their 42-year career and their celebrated reunion period since 2007 earning them more Top 20 album placings and faster ticket sales than their whirlwind initial run from 1982 to 2001 - is miraculous itself, but with simple cause. James, you see, are more than a band; they’re sonic belongingYummy – the band’s 18th studio album – is a quintessential James record: comforting yet adventurous, electronic yet human, dark yet life-affirming, experimental yet familiar, heart-warming yet deeply introspective on both the personal and human scale. “This record is really uplifting and joyful, but a lot of that comes from the music,” says singer Tim Booth of a career-high album that confronts ageism, conspiracy theory, AI control, the mental health pandemic, ecological apocalypse, mortality and modern love in all its shades. “Some of the lyrics are pretty hard-nosed.” UK Arena tour with special guests Razorlight in June 2024. 'Yummy' has already received 4/5 in MOJO, 4.5/5 in Classic Pop Magazine and 7/10 in Uncut

"The winding flight path of Torn Hawk lands at 'Trustfall', a hilarious and poignant spoken work of rewarding density. It’s almost 34 minutes of Luke talking— talking over, against, and to himself, with sporadic, slyly deployed SFX and quotes of his own music, using a childhood memory as a generative node for a funny and emotional tale of transformation.

Luke Wyatt/Torn Hawk has been pushing more into speech-focused work in the last few years, using his NTS residency as an R&D space. His 2022 album “Toxic Sincerity” featured speech pieces of newly raw intimacy, and a cassette for Cav Empt saw a longer-form exploration of these efforts. Honed from a 2023 performance at NYC’s Issue Project Room, “Trustfall” is where all this talk has been heading.

It’s branching allusions— to the ’86 Mets, WIlliam Rehnquist, Boy Scout regalia and behavioral weirdness, etc etc— take us on a wild but strangely cohesive, funny-sad path, which finally points at the deeply neccessary and spiritual utility of self-expression."

Some of us love PIC vinyl but some don't. NWW do loves PIC vinyl, but please take note - that picture “vinyl” is no audiophile format, it’s a collectible format. Especially for music like NWW with its wide stereo spread, swirling high frequencies, and deep droning basses. The more stereo and bass, the wider and deeper the grooves have to be, to provide all information to the needle. But picture discs have only a very thin plastic foil over the pictures, it’s no vinyl, just plastic, similar to pet bottles. On picture “vinyl” can not be pressed so deep and wide grooves, that it would sound as well as a real vinyl. That’s the same for ALL picture LPs, not only NWW.

General conclusion:
Of course, our picture LP editions are enjoyable to listen to! But to get the best sound quality, you should choose the 2CD version, those sound best. For your collection just buy whatever you think looks best.

Includes digital pre-order of Thunder Perfect Mind. You get 6 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.

Warehouse Find! Test Pressing!

It's Toby Tobias time folks! Ahead of his brilliant LP which will be dropping here on DOG in September we give you a little reminder of why he's one of the heroes of the underground UK house scene. Toby has been honing his skills as a producer, DJ, promoter and all round nice guy for years now and we're very happy to be offering up fresh new club business from the man himself in the form of The Rising EP. Never one to go for the obvious, he always puts his neck on the line and pushes his productions in an interesting and often unexpected direction, making full use of his fully analogue studio to get those 'happy accidents' into his tracks which gives him the edge over so many others on the scene today.

Even with a straight up club banger like The Rising, Toby makes sure things stay edgy, raw and just a little bit mental. At the end of the day this is a Chi-town influenced filter disco banger but with fresh spin that'll make sure it creates the perfect vibe when you drop it in the clubs.

Taking things in a deeper direction we have Jitterbug on the remix, keeping the pace and drive but dipping the original in a vat of thick, syrupy treacle which gives us an altogether more heady, spaced out vibe for those moments when only the trippiest shit will suffice.

Flip over for Toby's own dub version of The Rising which strips it all back and warps it out for a loopey, Soundstream influenced take on the original. Full of attitude but keeping the bags of fun times feel with more punch than Frank Bruno (in his heyday!)

Warehouse Find!

It always gives us an extra little buzz to bring you a debut release from a new artist, especially when you know it’s going to be the launch pad for someone that is going to grow to become a heavyweight player. Parisian Larry Quest has been slowly but surely paying his dues, promoting, DJing and generally immersing himself in the underground House Music scenes of Paris and then London after moving to Hackney eight years ago. Growing up playing in punk bands, then studying Jazz at music college has given him the attitude as well as the skillset to create music which is both intensely raw and rugged whilst still being musical and deep. For his debut EP he delivers four drumheavy cuts which bring together elements of Detroit techno and house to form a forward-looking sound which will make an impact wherever you play them.

Opener Conun Drums packs a serious punch with simple synth line sitting on top of a lo-slung bumpy groove. Perfectly timed synth stabs bring a touch of light to the thumping bass and metallic percussion and already we get a sense that we’re in safe hands with Larry Quest at the controls.

Red C Mellow D follows, treading similar water with live drums laying the foundation and touches of colour coming from echoing synth lines and an acidic bassline.

Flip over for the curiously titled A Frog Rovin’, which is about as quirky and off-kilter as the name suggests. The major tonality brings an optimistic vibe which sits in contrast to the thundering saturated 909 drums and speakerwobbling low-end.

Closing out this brilliant release we have Solar Assailer which plays with our sense of time as drums and filtering stabs dance around the beat completely throwing us off the scent of where the one is. Finally the elements fall into place and lock into the groove which is underpinned by the pulsing throb of the bassline. Larry’s jazz background rears it’s head now and then, coming out in the little flourishes of fusion-era chord sequences and moogy lead lines. What a debut, we hope you agree!

Recorded across three sessions over the last three years, ‘Behold’ is a testament to Parsnip at their most creative, catchy and collaborative. This album showcases the multi-talents of all four members, with spirited performances adding dazzle to the thirteen tracks.
Paris Richens lets the bass playfully roam. Carolyn Hawkins tumbles feeling into the drum rumble. Stella Rennex’s guitar soars alongside her saxophone work, whilst a sprightly keyboard is tenderly attended by Rebecca Liston. Everyone sings amidst this lush canopy.
Patience, environmental cues and internal signals are integral for a garden to flourish. The same can be said of the conditions necessary for ‘Behold’ to emerge. It is an album gleeful in reassessment, changed priorities and anticipation. The roots are deeply anchored to mystery, drinking up a hidden wonderment that lies within. ‘Monument’ is a twist of melody and mania, “For what am I? But a channel of light” they attest amongst the whoops and hollers. ‘The Babble’ sounds like Ray Davies playing Wordle for enlightenment. In fact most of these songs are pointing the way towards growth and understanding. ‘Turn to Love’ is mesmeric and timeless, thoroughly serene and perfectly judged. Parsnip write songs as a form of communion with the intangible in our increasingly delusory world, but there is always a gentle reminder; don’t take anything too seriously! “My head is gonna split in two, fix it with flour and glue” they demand on ultimate bop ‘Papier-Mâché’, this juxtaposition of mature resolve with childlike astonishment packs a more powerful punch.
On ‘Behold’, Parsnip explore both the inner and outer realms of consciousness with quick wits and some seriously quality jangle and jolt. ‘The Light’ is a whip smart workout, sprouting naturally from the propulsive nature of their debut album ‘When the Tree Bears Fruit’ (2019). ‘Placeholder’ is also devastatingly honest and channels The Field Mice as it buries itself like an arrow into your heart.
Anti Fade Records and Upset The Rhythm proudly present Parsnip’s first album in five years, ‘Behold’. Available in all good record stores April 26th.

G Version III from Kyoto Japan arrives on Digital Sting via a correspondence going back a few years that grew out of mutual musical connections and a deep appreciation for the Jamaican soundsystem diaspora. G Version grew up with a love of Hip Hop, R&B, and Reggae and had a musical revelation at a Lake Biwako sound clash event as a teenager that was formative in spurring a deeper dive into Dancehall and soundsystem culture.

After some time spent studying in the UK and returning to Japan, working at Jet Set records along with meeting heavy weight producer Element the beginnings of her future musical output began to take shape. Downtime during the pandemic provided the time to concentrate on production. G Version's sound has a retro futuristic feel, equal parts Dancehall history and esoteric dub leanings, particularly in tune with the more experimental branches of 80's-90's UK Dub and Steppers. Influences being stated G Versions sound is thoroughly distinct and imaginative, not content to conform to any obvious genre tropes. Also included in this release are two dubs of G Version tracks by Digital Sting mainstays Feel Free Hi Fi.

G Version III- Scenery From Double Glazing DS008 Digital Sting Records

To live again has never been so good. So sexy. So groovy. Reelow's reeturning to the game with 'Reeborn' - his highly-anticipated second album on his own Reecords label. This one's not just about the music: Reeborn is the resume of adventures, friendships, missed flights, collaborations, and hundreds of hours in his Barcelona studio: a magnet that attracts artists, buddies, and music enthusiasts, becoming a meeting point and exchanging fulcrum. The Hungarian groove master and Solid Grooves resident delivers four irresistible cuts in perfect Reelow's fashion, diving between skipping drums, shuffling grooves, and jackin' bass tones, taking listeners on a road trip deep into his trademark rough and funky sound. Reeborn, now.

One day early in the global lockdown, Frédéric Blais scribbled four words on a Post-It note and pinned it up in his studio. When he headed to a studio in the mountains north of Montreal to start work on his fifth album as Fred Everything, those words went with him. They would not only provide inspiration during two weeks of isolated music-making, but ultimately provide the subsequent album with its title: Love, Care, Kindness and Hope.

Those sentiments – a positive mantra during a period of personal and collective vulnerability and isolation – resonate throughout the album, a gorgeously warm and beautiful affair that counts as Blais’s most personal, musically expansive, mature and sonically detailed set to date.

While each of the tracks began as a rough sketch laid down during Blais’ retreat, they evolved considerably over the months that followed. Blais reached out to a handful of carefully selected guest vocalists and collaborators, including Stereo MC’s, Robert Owens, Sapele, James Alexander Bright, Wayne Tennant, string arranger Pete Whitfield and multi-instrumentalist Finn Peters. He also lent his voice to several tracks, a first in a career that stretches back to the 1990s.

The results are magical, with Blais not only offering subtle variations on his own trademark deep house sound, but also nods to complimentary music styles and classic electronic albums from the late ‘90s and early 2000s.

Naturally, much focus will fall on the album’s high-profile guests, whose contributions work perfectly with Blais’ cultured dancefloor electronica and soul-soaked broken house grooves. Robert Owens – “the voice of house” himself – expertly delivers lyrics full of compassion and reassurance on recent single ‘Never’, Sapele infuses ‘A Long Time Coming’ with lashings of soulful spirituality, and UK hip-hop/soul legends Stereo MC’s make their presence felt on the subtly Latin-infused dub house excellence of ‘Soul Love’.

Then there’s ‘Breathe’, where UK singer-songwriter James Alexander Bright and backing vocalist Wayne Tennant rise above punchy broken house beats, Blais’ trademark square-wave bass and Pete Whitfield’s swelling strings on ‘Breathe’. By the time kaleidoscopic, sun-down breakbeat brilliance of ‘A Good Day’ arrives to draw proceedings to a close, you’ll be overflowing with Blais’ “love, care, kindness and hope” – just as he intended.

SCART records begins its journey with music from the mind of TRONTSEPHORE !
–
Hailing from the wild side of Dublin, Trontsephore cites influences such as Skee Mask, Om Unit, and Al Wooton as inspiration,
and his music is certainly crafted with the kind originality and quality those artists are known for.
The Elephant EP, on gorgeous transparent Orange vinyl, exudes breakbeats of finesse and sonic electro experiments, as we journey
deep into the realms of the subconscious.

On the B-side, ‘Elephant’ is twisted into a heavy techno mammoth, with remix from the mysterious INVNTR.



c b1 Elephant INVNTR remix



INVNTR remix

First EP from the RODF Sound System, based in center Japan.

A side brings a superb live : full of ideas and good surprises, kick changes, hypnotic sparks and breakbeats supports. Fresh and absolutly not dark ! Wicked !!

The flip opens with a deep mental Yogi bassline and a sweet Tribe pumpin kick...
The second tune is an experimental Tribe track, melting the SPAZ californian's oldschool ambiances to the KGB01 69DB Hit Hat... Xp oldschool i'd say ??

A japaneese production for the newskool underground never die fever !

Enjoy !

First tune, "Underneath Is The Need For Power" has a long intro, deep industrial techno... And then turns Tribal industrial hard techno...
The 3 other tunes are bloody good industrial techno groovers, weapons of dancefloor construction !

Dive into the soulful sounds of house with "Inhale Exhale," a label that takes you on a journey through deep, funky, disco, and soulful beats. Introducing "inextape003," our latest compilation that delves into the depths of rhythm and groove. Immerse yourself in tracks curated to elevate your senses, where every beat is an invitation to let go and feel the pulse of the underground. Inhale the vibes, exhale the ordinary, and let "Inhale Exhale" redefine your house music experience. Welcome to a world where the beats are deeper, the vibes are smoother, and the dance floor is your sanctuary.

Radio Slave's 'Venti' is released on Rekids on May 17th and is a twelve-track celebration of Matt Edward's most prominent alias' history. Starting life as a series of singles that began in 2023, 'Venti' sees Edwards explore lower tempos, House, Disco, and the Pop reinterpretations that birthed the moniker back in 2001.

From Venti’s opening track onwards, a glistening piece of piano-led house that's become an anthem at Sean Johnston and the late Andrew Weatherall's lauded ALFOS parties, it is clear that Edwards is keen to celebrate the past but through the lens of now. A Radio Slave favourite, 'Wait A Minute', is updated to include a powerful vocal from Nez. Kylie's 'Can't Get You Out of My Head' - a track that kicked Radio Slave into the modern dance music consciousness is reinvented as an Italo-inspired cover featuring Michael Love Michael delivering glorious vocals. 'Wild Life' and 'Wake Up', another two tracks that, as singles, dominated house and disco sets of the great and good in 2023, feel simultaneously fresh while paying homage to the origins of House - message-heavy vocals and all. A cover of Audion's 'Mouth to Mouth' and Edwards' tribute to Terry Hall, the Fun Boy Three reimagining 'The Lunatics' are keen displays of Radio Slave's knack for taking on beloved tracks and making them his own. The lasers-set-to-stun cut-and-paste nu-disco of Radio Slave’s 'Jaws' is a muscular and timely reminder that the punch of a track lies in its feel rather than tempo, while Edward's command of dub aesthetics and unmatched ability to stretch grooves into a tension-filled journey shines through on 'New Balance' and the epic closer, 'Thirty-Six'. Never one to entirely give into the throes of the 4:4, the cinematic electro of 'Stranger In The Night' and Balearic Cagedbaby collab 'Amnesia' round out 'Venti' as the whole Radio Slave experience - as intense as it is subtle.

One of the most prolific and critically lauded electronic music artists of the past two and half decades, Matt Edwards was born in Catford, London, in the early 1970s. When acid house hit the city, Edwards was deep in the scene, and he's remained there since. Residencies at the groundbreaking Ministry of Sound and an 'unofficial' residency that has seen him become one of Panorama Bar's most booked DJs during his 15-year stint living in Berlin have provided the grounding for an enviable tour diary that continues today.

His Rekids imprint, a label that has platformed some of dance music's biggest names, has been regarded as a high benchmark for two decades with Matt as sole A&R. Collaborations with legendary artists such as DJ Hell and Robert Hood, releases for Running Back, R&S, Innervisions, Figure and more, and a remixography that simply couldn't be repeated in modern music show just how important Radio Slave is.

Jimpster dons his Franc Spangler cap and joins forces with up and coming London-based producer and DJ Hudson’s Choice for a four track EP entitled Myatts Field. Touching on trippy slo-mo electronic grooves, tropical moods and percussive house jams it brings a more experimental and left field sound to Delusions Of Grandeur which we’re sure you’re going to love!

Opening track AcidMan sets the tone of the EP with a bubbling 303 line taking centre stage while pitched down vocals add a hint of menace, heightening the psychedelic mood. Dubby FX and analogue synth lines drift in and out of focus and give a live jam feel to the arrangement reminding us of something that might grace the decks of A Love From Outer Space. Heavily Percussed continues offering up a crazy percussion tool loaded with wonky cross rhythms, glitchy found sounds and a hypnotic synth sequence for good measure.
Flip over for Myatts Field, another slower tempo mutant discoid house groove which takes us on a deep trip into the jungle. Echoing sax and hazy vocals transport us to another world where Weather Report experimented with rolling four on the floor grooves and spacious dub.

Closing out the EP Roots picks up the pace with another percussion-heavy slice of tropical sounds which doffs a cap to masters such as Gregory and Osunlade. Steel pan melodic lines intersperse with chiming synth sequences making for an unusual yet hooky club track which will lock the dancers into its incessant groove.

As we continue the five part journey to say goodbye to the Telomere Plastic series we have Telomere 020.3 now available for preorder!
This five tracker VA, features producers, Hiroyuki Kato, Six Dreams, Ty Senrna Sherman C & Konerytmi!

We begin off the record with ‘Black from Hiroyuki Kato. This long play is over 9 minutes and is a beautifully structured deep & house tune. Perfect for your summer day time sets!

Next on the A2 we have ‘Static Es’ by Six Dreams, This moody minimal breakbeat tune is filled with heavy bass & lush chords, the perfect track to slow things down for a few minutes during your sets!

On the B1 we have Ty Senrna who delivers a whacky groover! This acidic tech tune will work wonders and bring the spooky & trippy energy to the dance floor!

B2 is a tripped out phat acidic break beat tune from the mighty Sherman C. With some tripped out vocals & classic Sherman breaks & bass, this one will get the dance floor rockin’ full speed!

Lastly, we close out the release with a classic tune from Konerytmi. As expected we are gifted with his signature electro & bass beats!

Very limited black copies with a few colored copies available via the Wex bandcamp, be quick!

"Less Is More is the debut studio album by DJ and record producer Lost Frequencies. The Belgian youngster shook the world with debut single ""Are You With Me"" and soon found himself on top of the world, following up on his worldwide smash with global sensation ""Reality"" and ""Beautiful Life"". Now, he shows the full extent of his potential through his debut album. Harboring a plethora of ridiculously catchy singles alongside the before-mentioned hits, Less Is More shows exactly why Lost Frequencies' signature sound is so widely acclaimed. Easy on the ear, increasingly addictive, and filled with gorgeous, laid-back vibes, the songs on the album allow minds to drift and emotions to flow freely, all made possible through the delicate arrangements and a strong choice of sounds. Lost Frequencies describes the album himself as being ""all about the simplicity of good feelings blending together, bringing a chill, but still energetic vibe."" Less Is More is available as a limited edition of 1000 individually numbered copies on gold coloured vinyl. The vinyl package includes an insert with lyrics. "

Less Is More by Lost Frequencies, released 22 March 2024, includes the following tracks: "Beautiful Life", "Reality", "In Too Deep" and more.

This version of Less Is More comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc. Another vinyl is pressed as a gold disc.