quête:deep spectrum

After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it's a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what's worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become "the accountable one" this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band's customary nods to the lineage of two-tone. It's further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they'd built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to. The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including "She's Kerosene", with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy in the U.S., when like the rest of the world, the band's plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road in mainland Europe in 2023.

After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it's a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what's worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become "the accountable one" this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band's customary nods to the lineage of two-tone. It's further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they'd built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to. The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including "She's Kerosene", with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy in the U.S., when like the rest of the world, the band's plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road in mainland Europe in 2023.

The French crew La Boomerie is back with its second EP produced by Sunaas. Deep dive into its musical Spectrum, produced with Birkenstock on feet and cat on knees for dancefloor and sofa purposes.

On May 20th On Rotation returns for their first VA release - Genetic Memories Vol. 1.

Anderson opens the release with the mystical ‘Polymorphic Magic’ - a low-slung builder combining deep synths with sampled instrumentation. 

“I’m a huge fan of self resonating / overtone instruments so using the Fujara was a no brainer. A naturally psychedelic sounding instrument, I wanted to accompany the flutey pipe with a deeper and low-mid tempo chug.” - Anderson

Next up is Musty Head Records main man Jamie Leather - combining the tight drums and skilful melodic work of his previous releases with all the influences we love, ‘Discovery’ is sure to get any party going.

Leading the B-Side of the record is Ed Hodge's ‘Atreides’ - a tough yet playful banger drawing influences from across the spectrum of UK music. Gun fingers guaranteed! 

“It’s probably the fastest, rowdiest track I’ve made under the Ed Hodge moniker and pulls influences from house, trance and speed garage.” - Ed

Closing the release, we speed things up and travel deep into the past with Phazma's ‘Arrakeen’. Featuring ethereal synths, driving rhythms and beefy low end, this floaty number works just as well at home as in the club - a perfect way to round off the EP! 

“After some help from my musical peers and some heavy inspiration from the release of the new Dune movie, I managed to come up with something that I’m pretty stoked with!.” - Phazma

Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. A seemingly disparate suite of selections of forgotten fables by more or less neverknowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery. From Scott Seskind's adolescent musical road movie to Karen Marks' icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience.

"Prime Sequences" is the latest album by dj and electronic music producer GummiHz, real name Alexander Tsotsos. Alex has an ear for what he describes as elastic frequencies, thus gummi-hertz! In other words, low bass lines, airy synth phrases and shuffle rhythms, playfully arranged within loose forms. A philosophy that comes across throughout this long player. Elements fall in and out of order, time swings back and forth, all together in perfect harmony! Pushing the boundaries of what has become his signature sound, a fusion of house and techno all the way from Berlin to Detroit! This package features underground music coming straight from the heart, or the Hertz more appropriately! The story unfolds within no less than nine tracks showcasing Alex's versatility in making waves!

The opening track titled "Berlinopolis" is a sonic portrait of the city of Berlin, where Alex lives since more than a decade. A smooth soundscape produced by combining abstract melodies with field recordings of the city's ambience. "'Second Wave" follows airy jazz chords and drum parts to launch the listener into trajectory. It feels like the sort of track that would probably make it into Herbie Hancock's deep house collection! The title track "Prime sequence" is a Detroit brewed piece with some Berlin minimalism rawness in the rhythm section! Combining a mixture of drama, suspense and shaking drums to dominate the dance floor. Next up comes "Submerge", a tight and hypnotic affair carrying the right amount of subtle release. It locks in right from the start and doesn't let go! "Prime Dub" dives deeper into the frequency spectrum. Rhythm and sound stimulate the brain waves as a heavy chord phrase cycles to infinity. "Proto Sequence" follows a simple still infectious groove laced with various modulations. This track has party written all over it! Inspired by proto-house motifs pioneered by artists like Chi-town's Ron Hardy. "Metafunk" reaches out to Berlin's club culture at its core. That is, the youth and street culture! The phrase on repeat signifies the urge to reclaim the streets, while endlessly flowing within finely tuned electronics. "Mindloop" is a track written for the after hours looping state of mind. Another minimal house cut with a fair dose of psychedelic sound design. Lastly, "Descension" relaxes the mood through deep pulsating rhythms and playful arpeggios. Pushing towards a meditative state by stimulating mind, body and soul!?

"Prime Sequences" covers a wide range of styles like ambient electronics, peak time house and techno, as well as seriously effed up after hour minimalism! Made for both djs and music lovers, this is the second long player by GummiHz to come out on vinyl after his debut album "Sleepless Nights" back in 2009! While it succeeds his latest EP, "Groove is in the Hertz". What makes it even more special is that it comes out on brainchild Claap, giving the artist total freedom of expression.

40-plus years since its original release, the pop-punk-new wave inventions of Anthony
Moore’s ‘Flying Doesn’t Help’ are freshly remastered, blasting the sparkling, angular
sounds into today with perfect vitality.
 After spending the early years of the 1970s making experimental music first as a solo
artist, then with Slapp Happy and Henry Cow, 1976’s ‘OUT’ sessions had reinvigorated
Anthony’s youthful love of the naive pop melodies of pop radio, the undeniable excitement
of songs. While ‘OUT’ ultimately went unreleased at the time, the iconoclasm clouding the
late ’70s air was addictive and transformative for Anthony. England seemed to be roiled
as violently as it had been in counter-cultural days a decade earlier; the UK pop charts
breathlessly reflected the changing spectrum with equal parts aging hippie and prog
delicacies alongside new ascendant sounds: rough-hewn pub and punk rock, plus dub
reggae and disco and ska and Stiff and Krautrock. This proved to be an ideal environment
for Anthony to make records by exploring, as he puts it, the “deep connection between
minimalism, repetition, working with tape and celluloid and forming the modules of a
three-minute pop song.”
 Caught up in a no-holds-barred era, Anthony was more than happy to play the out-of-hishead madman, raving through outrageous exchanges with the press, while ‘Judy Get
Down’ received Single Of The Week honours from the NME (with review penned by Brian
Eno). Represented by Blackhill Enterprises, Anthony did production work throughout
1978-1979, on Kevin Ayers’ ‘Rainbow Takeaway’, Manfred Mann’s Earth Band’s ‘Angel
Station’ and the first This Heat album, meanwhile cutting his own songs on a dead time
deal at Workhouse Studio with engineer / producer Laurie Latham. Through the wee
hours of countless nights, the two pieced together ‘Flying Doesn’t Help’, with a little help
from friends (an inspired bunch, including Bob Shilling, Charles Hayward, Chris Slade,
Robert Vogel, Festus, Matt Irving, Sam Harley, Bernie Clark, Edwin Cross and Martine
Moore on the telephone).
 Building upon the axis of pop and experimental impulses that distinguished ‘OUT’, and
informed further by the raw sensibilities exploding everywhere, ‘Flying Doesn’t Help’
blasts out of the speakers with its own unique blend of sophistication and aggression,
Anthony’s keyboard flashes between arpeggiations and outright stabs among the noise of
slicing guitars, funk basslines and the reverbed blare of the drumkit. Opening with
Anthony’s greatest hit, ‘Judy Get Down’, and containing a noise-laden remake of the
Slapp Happy/Henry Cow number, ‘War’, among other delightful sweet-and-salty
confections, ‘Flying Doesn’t Help’ never stops moving, fuelled with raw outrage and dark
satirical intent, churning with the energy of next-gen types like Tubeway Army and DEVO,
while shimmering with the elegance of the still-challenging old guard types, like Cale and
Bowie.
 Clearly, ‘Flying Doesn’t Help’ was steeped in the time, and the original release reflected a
deep mistrust of the corporation mindset. Information was a dubious concept, and
connections to any recognizable organization were seen as untrustworthy, so facts like
musician credits were left out of the package, and even Anthony’s name was altered (he
was credited as A. More on the album and Tony More on a single release). The label
name QUANGO was conceptual as well, standing for ‘Quasi Autonomous NonGovernmental Organization’; each record was sealed with red tape that the listener was
required to cut through in order to get to the music. Rather than recreate the conditions of
the original release of ‘Flying Doesn’t Help’, this reissue instead embraces the changed
environment of the current time and place: instead of no credits, now they are complete,
with Anthony’s full name restored and even the artwork subtly ‘relocated’ to reflect a new
set of relationships. All of which brings the forward-looking sounds of ‘Flying Doesn’t Help’
into the more independent-minded 21st Century syntax where it belongs.

We could tell you how this debut album from Lucita Octans is influenced by the full spectrum of electronica, with an unique palette of genre-busting sounds bursting forth from a singular mind. We could tell you this is raw but melodic, intense but deep, and tough yet fun.

Indeed we could tell you how Lucita Octans is a pseudonym for Melissa Speirs and how in another life she makes dancefloor destroying electro with Biochip (CPU, WeMe).

But really, perhaps it'd be better to just tell you how Melissa herself describes the world of Lucita Octans.

"Lucita Octans is floating adrift somewhere. She is looking for the perfect world.

Melodies kind of come to her by a somekind of phenomenon. She begs you not to take her too seriously. She was never here and neither are we."

New York-based duo Bottler, Pat Butler and Phil Shore, are the vanguard of their own distinctly eclectic sound. Raw, emotive, bold and highly creative, the duo has successfully carved out their own path with a series of EPs that represent the broad scope of their production prowess. Over the last five years Bottler have been working on their debut album, ‘Journey Work’, a milestone achievement that marks a pivotal moment in their music career. The LP is a distillation of the duo’s multifaceted upbringing, blending a variety of styles together bound together by an overarching attitude and approach that embraces creative freedom and self-acceptance.



Pat and Phil are childhood friends whose bond is akin to that of blood relatives. Their parents are best friends and they grew up side by side, developing their deep love for music together; sharing discoveries and inspirations, learning to play and perform, and nurturing their creativity together. Now formally ordained as Bottler, they channel their eclectic tastes into a sound that encapsulates the love and trust that forms the foundation of the friendship. The duo blends a myriad of styles to create songs that emanate warmth, joy, sorrow, pain and the full spectrum of human emotion.



The album title, like their music, is open to interpretation. The duo reveals themes related to chronicling life’s many ups and downs, the deep preparation that must be taken ahead of a spiritual ceremony or psychedelic experience, and, simply, the journey taken during the conception and creation of an album. A quote from Walt Whitman also partly inspired the title; “every leaf of grass is no less than the journey work of the stars”. However, the intention behind the title is to allow for ambiguity, giving the listener an opportunity to write their own narrative.



Across 11 cuts Bottler illustrate their distinct take on electronic music, weaving in elements of indie, pop, rock, house and techno with confidence and panache. ‘Journey Work’ starts at ‘Home’, a song that is fizzing with positive energy, Pat’s vocals welcoming the listener to the start of this meandering audio adventure.

‘Chrysalis’ opens with delicate piano keys that guide us into a bombastic bassline and energising drum beats. As it progresses, scintillating layers of synth and strings are added, creating a highly affecting, uplifting atmosphere.



‘Melatonin’ follows up next, merging heartfelt vocal delivery with a sombre instrumental, and a stirring guitar riff. A glorious demonstration of Bottler’s songwriting capabilities, which are also evident on ‘Vinyl’, an uptempo dance number with an unbelievably catchy chorus. Here we see the duo channel their experience of playing in multi-member bands, as the breaks and arrangement feel perfectly suited to a festival-sized crowd.



On ‘Tacoma’, Pat and Phil channel their appreciation of house and techno into a haunting cut that utilises reverse strings and extended vocal refrains to chilling effect. A heady club track for the twilight hours. ‘Meds’ incorporates muted singing, mystical pad work and a mesmerising riff to produce a captivating slice of uncomplicated dance music.



This is followed by ‘Hot Water’, which feels like a trip to a Californian beach, circa 1965. The vocals drift over a bouncing bassline with a complementary guitar riff. ‘Mako’ features Samurai Velvet singing about fireflies and afterlife in a wonderfully heartrending manner, Bottler’s instrumental keeping things simple, yet highly effective.



We head back underground with ‘Weed’, a dense, gloomy cut with inspired use of chopped up vocal clips, stuttered throughout, alongside a mean bassline. ‘You’re Old’ is the soundtrack to an explosion of festival euphoria, dancing shoulder to shoulder with your best friends, forgetting all your troubles and living in the moment. An anthemic song that transposes Bottler’s idiosyncratic style onto the pop blueprint. Finally, ‘Cicada Rhythm’ closes the LP with a pensive, yet joyful feeling. A chunky bassline is juxtaposed with Pat’s angelic vocals cascading over the top. A hint of tribalism comes through, as we approach the end of the Journey Work…



Five years in the making, fuelled by the desire to express their deep love for music of all varieties, Journey Work is symbolic of the long road it takes to accept oneself and be comfortable expressing one’s truth. Diverse, dynamic and daring with a rawness and honesty that is rare to find, the album marks a triumphant debut for Bottler and one that crystalises their unique identity.

Benoit B aka Terra Utopia breaks out into another auspicious alias for Step Ball Chain, Blu:sh - metamorphosed; coming in hot and heavy, sexy and sophisticated. Bass down, *ss up! The ambitious 6 tracker “Lovebite” fuses forms of dance; reworking elements from niche corners of the Step stratosphere that can result in freaky combustion. Breathing life and lust into every phrase, we are fortunate to be offered an intimate glimpse into a complex world of sound, filled with bold and brash inspired statements, rhythmically rolling the dice with snap lock precision. The cherry on top is served via a vocal collusion from fellow associate noff, the web expanding as the label delves deeper into futuristic tech territory, the prolific producer pushing their own boundaries and desires for new meticulous audio spectrum and ethereal realms.

The trio of flirtatious tracks laid bare on the A side read as a love letter to 4/4 naughty nocturnal testimonies. Opening auspiciously; Tighten Up dips into nasty grit, a sub centered excursion into the technological domain, sleazy and stripped back with modest tenacity. Candy Land sugarcoats the status quo of pumped up prog, playfully in the driver's seat and revving 100 miles per hour toward Hush highway; narrated by Greek cyber enigma noff.. An atmospheric deep trance kissed club chant. Opposites attract and find points of connection on the flip of Lovebite, the B side boasting a mutually slick sharpness permeating the record; blending sparse bass focused broken beat expeditions with liquid dnb; genially abstract mood boards of sampling mayhem; cut and spliced in addictive fashion. Flushes of gorgeous esoteric harmonic soundscapes fill out the rhythmical chaos, grounding and expanding the mind through a lush & plush tint woven in Recess and Heaven Spot alike.

A perfect prophecy destined for Step Ball Chain, Blu:sh’s first, yet expertly curated EP sets the bar high as hell. Divine dance music that can’t help but push boundaries; confronting and challenging our archival references and perceptions of genres and classifications, arguably the best kind of auditory statement.

Mr Emotinium goes rogue on a new breaks-heavy bop for Acid Waxa, riding a wave of mid tempo squelchers and industrial strength gurner-churners, pressed on vinyl for the very thirst time!

The tough breakbeats, slippery machine funk and fizzier end of the acid spectrum have always been a predominant driving force throughout most of Roy’s impressive output to date but on his new Fenix Break slab for Acid Waxa, Nottingham’s finest lays the mid-tempo gurner-churners on thick with a trowel and goes in deep on a wild, cement mixer bop.

Employing the use of an old Akai sampler avec floppy discs and the mega rare Cwejman S2 & Synton Fenix 19 synths alongside his usual acidic apparatus - Roy delivers six heavily-processed 303 sizzlers, recorded straight to tape for added rawness and pressed on to vinyl for the very thirst time, following a sold out, limited edition cassette version of Fenix Break, released in 2019.

On their third album »Constant Connection«, West Australian-based Erasers create hypnotic compositions of synth, guitar and voice, evoking the vast expanse of their native landscape and the shrouded emotions behind the senses. Comprising of vocalist, synth player Rebecca Orchard and Rupert Thomas on guitar and synths, Erasers have developed their earthly kosmische music into an open language based on drone, variation in repetition and minimal song structures. Based in Perth, regarded one of the most isolated cities in the world, Orchard and Thomas’s music has brewed in the city’s vibrant DIY/Outsider community and evolved into a meditation on landscape, power, the shadow-world of human emotions and stream of consciousness. »Constant Connection«, with its waves of sound and chant-like vocals evokes a trance that suggests an infinity just beyond the senses.

At the heart of each Erasers composition is the interplay between the instrumentation, played with stoic restraint and recorded directly with minimal effects and the transcendental states induced in the listener. It’s a magic that is performed in plain sight and all the more powerful for it. The recognisable vibrato of Fender Rhodes keyboards and simple drum machine loops, the subtle strands of analog synth melodies that snake in and out of the ear, above all the towering encantations of Rebecca Orchard’s undeniably Australian-accented hymns; all of this is presented with minimal ostentation and yet it instantly engenders a dream state, hints at an infinity beyond the material.

Shades of John Cale’s 70s work with Nico, early 70s German synthesists Kluster and even fellow Australians Fabulous Diamonds can be seen as stylistic touchstones for Constant Connection. Where Nico hinted at the macabre and gothic, Rebecca Orchard’s similarly gliding vocal is more zoned in to a kind of oceanic openness, with words becoming chants and spells that suggested themselves to the singer during recording sessions. It’s this hidden hand of improvisatory, automatic writing that lends a sense of expanse to the music. On opener I Understand, while the lyrics might hint at discontent the emotional spectrum it opens up is far more rich and complex, as layered as the waves of droning chords that are the bedrock of each Erasers track. The title track talks of flow, continuum and balance, the protagonist in the song seemingly weightless, gently pulled through a walking reality that borders on dream. In Erasers’ world, it seems, the borders between reality and dream, consciousness and sub-consciousness are blurred and eroded.

On Constant Connection, Erasers’ music might be deeply evocative of landscape but it’s never clear which one. The vast, open terrain that surrounds Perth is dusty, burned by the sun into desert and Constant Connection feels like the product of the heat and relative isolation, the altered states these elements can create. But it’s these altered states of mind that appear to be the real landscape described by Erasers. It’s a landscape that’s hazy, in-and-out of focus, with emotional undertows pushing and pulling you into a weightlessness. On album closer Easy To See the band dispense with percussion all together, field recordings of the water at the edge of their native city ushering in two duetting synths. Orchard’s vocal undulates with the flow, viewing both the geographical and psychological landscape from the perspective of a consciousness not bound by bodies and from a timescale measured in millennia. The album ends as it begins, with field recordings of the real world that the music seeps out from, temporarily, before regressing back into the other realm it feels like it belongs to.

Between these two recorded hints of reality, Erasers manifest a deeply sensual dreamscape that constantly feels like it’s dissolving at its seams. A desert psychedelia emanating from a real world that might not be that real in the first place.

"The follow-up to 2019’s critically acclaimed Mint Condition—hailed by Rolling Stone as a “gorgeous reflection on finding peace amid upheaval”—True North took shape from a deeply collaborative process between Spence and producer Jordan Lehning (Rodney Crowell, Andrew Combs). The album features 12 brand new songs written or co-written by Spence that explore the full spectrum of the human experience: love, growth, grief, and the endless complexities of human nature.
"

The debut LP from duo Sunflower Aquarium offers a full spectrum bloom into the electronic ecosystem. Dylan Batelic (Paper-Cuts) and Thomas Martin (Furious Frank) fuse together for a 7 track collection of low-slung immersive deepness, embodying a cycle of life via the ebbs and flows of sonic seasonal evolution. A collaboration of cyber synthesis; written simultaneously Melbourne through Adelaide during late 2021, the result a refined yet spontaneous take on dubbed downtempo through to driving dance deviance.

Beginning with a birth, the stand alone Intro’s saturated glow cultivates a vivid timbre and sun kissed sub-stratosphere. Sprouting melodic constructions continue to blossom throughout the record and growing pains are welcomed with open arms, a mature moodiness brooding delicately through assured drums and fleeting Janet vocal fragments. Broken beat patterns group together and tessellate, the woven sunken bass leaves space for flickering hi hat fissure in SA-124, this groove based atmospheric momentum evolving cohesively track after track. Bright, refined concepts that linger and dissolve in your subconscious for weeks. The B Side preserves the introspective tip but dives deeper, faster; Birds Of Paradise melting organic field recordings into blissful synth voices and ricochet breaks. Bubble (Contagious Mix) feels like a midnight highway dub drive, shooting and gliding fluently; coloured lights iridescently blurred as if it was all a dream... then the closing track, which induces a sharp sense of hypnosis. Traditional techno expressions flirt with your ears, layers of repetition locked and loaded, dwindling into the abyss; conclusion of the cycle.

Favorite Recordings presents Dark Is The Color, the first LP by Alan Shearer reissued on vinyl for the first time. Despite being initially composed and produced for the French library label PSI, this rare
and obscure in-demand gem from 1985 sounds retrospectively like a proper album with great coherence and sophistication all along. Indeed, these 11 tracks will delight synthesizers addicts. Expect deeply emotive instrumental compositions, with ingenious analogue sequencing on stimulating chord progressions. The result is a highly retrofuturistic album, sometimes almost anticipating 90's videogames
scores. Just imagine Wally Badarou in a bunker with Talking Heads watching New York 1997 from John Carpenter.
Composed mostly step by step on a Sequential Pro-One synthesizer, Dark Is The Color is the product of the exciting state of mind from the 80's era with new sounds, new tools and new trends on the music spectrum. Influenced by bands like Talking Head or Japan, the sirens of the new wave scene strongly resonate here with Alan Shearer's familiarity and craftmanship with synthesizers.
Back in the days, Alan Shearer aka Frédéric Viger was working for his father’s music label, “Musique Pour L'image”, and their sublabel “PSI”. He started with Marathon Life under his real name before taking the Alan Shearer monitor. These records were produced for radio, TV and cinema industries but as well for companies’ internal communication. They represented a real investment from the label and these catalogues are usually full of amazing music from great artists such as Martial Solal, Vladimir Cosma, Joël Fajerman, Harlem Pop Trotters and even Manu Dibango.
About his musical illustration process, Alan Shearer tells: "Soundtracks are indeed my biggest influences and I'm a real fan of American composers as Jerry Goldsmith or Elmer Bernstein. I've always considered soundtracks as the new classical music or classical music of our century. There is a real state of mind producing music for illustration: you have to stick to the video. You should not tell what the image is saying but accompany what it is saying. You have to find a unique link, people always told me music should not be noticed for itself in a movie, that's what makes it good.”

From the deep depths of Noord Brabant (NL), high school friends and long term collaborators Klont and Whistle aka Wessel and Luuk join forces once again. Growing up a mere few towns away from each other and even appearing in the same punk band albeit at different times, the meeting of minds occurred over their shared persuasion for absurdist humour and a fairly unconventional music taste.

They knew they had something special in their pursuit of gnarly breaks, textures and all things on the curveball spectrum, as Klont the ultra music nerd approached with a desire to sculpt sound whilst the breaks disrupter and club-goer-outer Whistle brought his all-around disruptive energy to the table. Separated by the pandemic they practiced their musical efforts away from each other with lots of late night video call jam sessions fiddling with ableton to produce a certified booty shaking masterpiece for ANUS Records.

Repressed !

Hear & Now's Story Is One Of Friendship And A Shared Passion For Music. It Began With A Chance Meeting On The Dancefoor At Red Zone In Perugia, One Of Italy's Most Legendary Clubs
Of The 1990s. Nearly Three Decades On, These Glassy-eyed Clubbers Have Joined Forces To Deliver One Of The Most Magical And Sun-kissed Albums That Claremont 56 Has Ever Released. By The Time Ricky L And Marcoradi Frst Joined Forces In The Studio In 2016, Both Had Become Established Producers Within Italy's Vibrant Deep House Scene. Between Them, They'd Released Records And Remixes On Such Labels As Ibadan, Uomo, Reincarnation, Top Tracks, Restricted
Tracks And Vega. Keen To Step Away From The Dancefoor, They Decided To Simply Create Beautiful Music For Bleary-eyed After-hours Sofa Sessions, Lazy Summer Afternoons And Early
Mornings Spent Blinking At The Rising Sun.
Aurora Baleare, Their Debut Album, Follows On From A Fantastic Double A-side 12' For Claremont 56 In February 2017. Those Two Tracks Take Pride Of Place Amongst An Eight-track Selection Simply Brimming With Evocative Workouts, Gentle Soundscapes And Noon-bright Sonic Bliss. While You'll Fnd Luscious Instrumental Cuts Designed To Inspire Baggy, Glassy-eyed Shuffing - See The Mid-tempo, Spine-tingling Brilliance Of salsedine', Mind-massaging hirundo' And Dreamy Slow-house Treat sabbia Magica' - It's The Effortless Brilliance Of Marcoradi's Improvised Guitar Playing And The Duo's tmospheric Approach That Really Catches The Ear.
Check, For Example, The Heady Horizontal Shuffe Of trasimeno', Where Poignant Ambient Chords, Jazzy Electric Guitar Solos And Deep Space Electronics Tumble Down Over Shuffing Beats And A Squeezable Synthesizer Bassline, And The Sun-down Adriatic Wonder Of stella Dei Venti', A Track So Effortlessly Loved-up And Blissful That You Might Be Overcome By Emotion (it Certainly Had Us Daydreaming Of Days Spent Exploring The Intense Natural Beauty Of Italy's Adriatic Coast).
Moments Like This, Where The Duo's Dreamy Electronics And Smile-inducing Melodies Seemingly Shimmer Across The Sound Spectrum, Can Be Found Dotted Throughout Aurora Baleare. There's The Darting Digital Synthesizer Motifs, Sparse Hand Percussion And Ricocheting Solos Of airone', The Italo-disco-inspired Chugging Positivity Of la Marsa' And The Title Track's Humid Beachside Breeze, Where Intertwined Electronic And Acoustic Lead Lines Seemingly Glimmer Like Rays Of Sunshine Bouncing Off The Surface Of A Becalmed, Crystal Clear Ocean. Their Roots May Be On The Dancefoor, But Hear & Now Are Fast Becoming Down Tempo Masters. You Can Dance If You Want To, But You May Just Want To Hug A Stranger Instead.

This recording is dedicated to nomads, space travelers, free spirits that visits earth for a brief time to make a mark here on their way to other worlds. They leave traces on tram wagons, walls and in our minds in our cities before moving on into the unknown. Especially one.

A slow build up to a jungle crescendo is how “Iris” develops. This is a fine example of how Fontän effortlessly makes crossover music – no compromises needed in neither end of the spectrum, this music flows naturally. The dreamy music box-sounding intro of “Mast” falls into a deep half beat where warm E-bow guitars and sweeping synthesizers carries the music higher and higher away from the ground.

These two tracks are a peaceful homage to all the cosmic kings and queens that have spent time here on earth. Safe travels!

A year after its first edition, the Open Space series returns in order to keep exploring what ambient music might mean nowadays.

A breadth of fresh artists, some new to the label and others renowned for their more dance-centric works, the compilation aims to give each individual artist their creative freedom to explore the space.

Techno producers such as Arthur Robert or label head Len Faki himself keep the beats present but this time focus on evoking states of introspection rather than the shuffle of dancefloors.
On the other end of the spectrum, we find seasoned multi-instrumentalist Laraaji, who has been crafting deeply meditative soundscapes since the 80’s. Using the special opportunity, the label reaches outside its usual sphere, inviting artists like the modular synth expert Jeremy Wentorth or Jimmy LaValle’s band project The Album Leaf. All while still featuring some well known veteran producers the likes of John Beltran or Exos.

No matter their respective scene or background, all artists are using their unique approach to display something deeply emotive. Be it the warm, expansive electro of Future Beat Alliance or a bubbly cosmic arpride by Hamburg Duo Can Love Be Synth.

Truly living up to its name, the Open Space series aims to open up possibilities for artists to freely pursue their creativity in a completely undefined area, a space for exploration and connection.

Grey Marbled Vinyl

But Only After You Have Suffered is a densely layered and deeply personal new work from multidisciplinary artist, composer, percussionist & producer Jamire Williams. Conceived as a spiritual, autobiographical artistic statement, Jamire applies sound collage practice to modern jazz composition, beat production, MC/vocalist features, and his uniquely impressionistic drumming style - making an album as akin to minimalist painting as an art-house film soundtrack or a classic hip-hop mixtape. A "self-reflective, almost testimonial work" that swiftly cycles across a vast spectrum of styles, it's the culmination of his five-year musical journey to the outer reaches of his own sound. It's the album he has always wanted to make.

A trio of tunes from Diahgonal’s brilliant debut LP “Spiral” gets remixed by label mates for this Special 12”. We’ve packed a sonic spectrum into this release: a tech-house shaker from Adriano Mirabile,
autonomic goodness from Driftsystem, ambient soundscape from Louis Haiman, abstract IDM chillage from Maps Of Hyperspace, and tribal techno tones from Robert Roos.

But Only After You Have Suffered is a densely layered and deeply personal new work from multidisciplinary artist, composer, percussionist & producer Jamire Williams. Conceived as a spiritual, autobiographical artistic statement, Jamire applies sound collage practice to modern jazz composition, beat production, MC/vocalist features, and his uniquely impressionistic drumming style - making an album as akin to minimalist painting as an art-house film soundtrack or a classic hip-hop mixtape. A "self-reflective, almost testimonial work" that swiftly cycles across a vast spectrum of styles, it's the culmination of his five-year musical journey to the outer reaches of his own sound. It's the album he has always wanted to make.

Georgian DJ and producer Vulkanski returns to BITE with his first full length album Skeptical Answers. Serving as a longtime resident at Tbilisi club KHIDI, he’s also known as one of the key figures pioneering the local electronic music scene. Achi Tabukashvili stands for rich, vibrant techno and grinding, metallic soundscapes that are elegantly arranged through his high fidelity productions and singular dj sets. Vulkanski’s Skeptical Answers traverses over 10 tracks the infinite ranges between tectonic club techno, to UK-inspired IDM and broken beat, while reaching to contemporary weightless and electro territories. Producer Tabukashvili describes and questions a period of a deeper esoteric search through the labyrinth of contemporary viewpoints on instrumental sonics and its unexpected answers. In addition, Vulkanksi is known as one half of duo Greenbeam & Leon who began DJing and performing throughout Georgia in 2002. They notably appeared on Boiler Room in response to the police raids at Bassiani and Cafe Gallery 5 years ago. With Vulkanski’s debut BITE EP Science Gardens in 2018, he illustrated his detailed vision of his own dense soundscape productions culminating in a memorable Berghain debut for label cofounder Phase Fatale’s Ostgut Ton album release party in 2020. Now, Skeptical Answers examines a wider spectrum of sonic possibilities, aimed towards the most daring of dancefloors existing between the liminal bounds of club music and its deconstructions. A dissection of his focused elements in heavy electronics. ALSO INCLUDES DOWNLOAD CODE….

White Marbled Vinyl

Georgian DJ and producer Vulkanski returns to BITE with his first full length album Skeptical Answers. Serving as a longtime resident at Tbilisi club KHIDI, he’s also known as one of the key figures pioneering the local electronic music scene. Achi Tabukashvili stands for rich, vibrant techno and grinding, metallic soundscapes that are elegantly arranged through his high fidelity productions and singular dj sets. Vulkanski’s Skeptical Answers traverses over 10 tracks the infinite ranges between tectonic club techno, to UK-inspired IDM and broken beat, while reaching to contemporary weightless and electro territories. Producer Tabukashvili describes and questions a period of a deeper esoteric search through the labyrinth of contemporary viewpoints on instrumental sonics and its unexpected answers. In addition, Vulkanksi is known as one half of duo Greenbeam & Leon who began DJing and performing throughout Georgia in 2002. They notably appeared on Boiler Room in response to the police raids at Bassiani and Cafe Gallery 5 years ago. With Vulkanski’s debut BITE EP Science Gardens in 2018, he illustrated his detailed vision of his own dense soundscape productions culminating in a memorable Berghain debut for label cofounder Phase Fatale’s Ostgut Ton album release party in 2020. Now, Skeptical Answers examines a wider spectrum of sonic possibilities, aimed towards the most daring of dancefloors existing between the liminal bounds of club music and its deconstructions. A dissection of his focused elements in heavy electronics. ALSO INCLUDES DOWNLOAD CODE….

For the second release in our Re-Issue Series we've teamed up with London duo Euphonic for a cherry picked deep dive into their back catalogue exploring some of their finest works, fusing Jungle, Breaks, and Down Tempo with unique programming, bass lines and traditional jazz/blues instrumentation.

The "Low Orbit Archives" 12" features a number of artists whom they have collaborated with since the project's inception back in 1997, including dr. Israel, Soothsayer, Kirsty Rock and Neech. Euphonic is led by producer Rob Henry and former Graffiti artist turned DJ Nick Trimm.

Following Part 1 of the project, the recently released 10" vinyl "Jah Science", the full LP follows, featuring an additional 5 tracks with Part 2 offering a wide spectrum of music for audio lovers and record collectors. All tracks have been taken from CD, Vinyl and DAT, unearthed and newly remastered.

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.

The Sublime Sculpture of Being Alive,’ the new album from
Los Angeles-based Media Jeweler, is a three-dimensional reckoning with
the contradictions of life in all its manic altitudes and claustrophobia.
Recorded over three chaotic weeks in Omaha, the band’s elaborate sonic infrastructures carry the same sense of studied experimentation as Palm, Guerrilla
Toss or Deerhoof, rollicking across an energetic spectrum that parlay the band’s
post-punk roots, jazz rhythms and art punk choruses into something greater
than the sum of its parts.
The most fully-fleshed release yet, a myriad of musical collaborators were enlisted uniting a finely-tuned sense of adventurousness that roves between the
personal and political to frame an acute portrait of modern day societal revelation.
‘The Sublime Sculpture of Being Alive’ is out on Fire Talk (Dehd, Deeper, Mama

Finnish producer Sasu Ripatti has been torching the fringes of electronic music since the mid 1990s, a process that's found him melting a wide spectrum of musical innovation into his cult brand of experimental minimalism. From the skeletal jazz deconstructions of his 1997 Vladislav Delay debut "The Kind of Blue EP" to the blurred dub techno variations of 2000's "Multila" and 2012's "Kuopio", Ripatti has betrayed a restless, voracious passion for sound. "Fun is Not A Straight Line" builds on this impressive legacy, retaining his sonic signature and adding a playfulness that harks back to his beloved deep house smash, Luomo's "Vocalcity". After becoming frustrated by the inflexibility of the 4/4 house idiom, Ripatti found solace in rap and bass music's rhythmic complexity and anarchic structures. "I bought Nas's 'Illmatic' when it came out in '94 and have more or less been listening to rap since," he explains. "I'm not really sure why now, but that rap influence wanted to come through." Chopped rap vocals, booming subs and gritty, neck-snapping beats are the primary colors of "Fun is Not A Straight Line", painted into the foreground and blended into an immediately recognizable rhythmic palette. The tracks cross into the same continuum as Chicago footwork, with stuttering samples that build thick walls of bass and flurries of wordless rhymes amid a narcotic haze of beats. On 'monolith', Ripatti's love of New York rap is in full focus as he obscures chipmunked vocals with tight, crackling percussion that disintegrates into rolling kicks; 'speedmemories' is even more upfront, channeling the raw sunshine energy of So So Def electro into rhythms that are powerfully skeletal. Elsewhere, syrupy Southern-fried TR-808 bass womps are tangled with molasses-slow vocals on 'videophonekitty', fuzzed into textured, dissociated ambience. Since the beginning, Ripatti has tried to find a balance between his experimental urges and drive to create more universal music. As his more recent albums have traveled into darker, more extreme realms, he has craved something different for balance. By drawing a crooked line between DJ Premier, DJ Screw and DJ Rashad, Sasu Ripatti has emerged with the most accessible and unashamedly enjoyable album he's produced in years.

Finnish producer Sasu Ripatti has been torching the fringes of electronic music since the mid 1990s, a process that's found him melting a wide spectrum of musical innovation into his cult brand of experimental minimalism. From the skeletal jazz deconstructions of his 1997 Vladislav Delay debut "The Kind of Blue EP" to the blurred dub techno variations of 2000's "Multila" and 2012's "Kuopio", Ripatti has betrayed a restless, voracious passion for sound. "Fun is Not A Straight Line" builds on this impressive legacy, retaining his sonic signature and adding a playfulness that harks back to his beloved deep house smash, Luomo's "Vocalcity". After becoming frustrated by the inflexibility of the 4/4 house idiom, Ripatti found solace in rap and bass music's rhythmic complexity and anarchic structures. "I bought Nas's 'Illmatic' when it came out in '94 and have more or less been listening to rap since," he explains. "I'm not really sure why now, but that rap influence wanted to come through." Chopped rap vocals, booming subs and gritty, neck-snapping beats are the primary colors of "Fun is Not A Straight Line", painted into the foreground and blended into an immediately recognizable rhythmic palette. The tracks cross into the same continuum as Chicago footwork, with stuttering samples that build thick walls of bass and flurries of wordless rhymes amid a narcotic haze of beats. On 'monolith', Ripatti's love of New York rap is in full focus as he obscures chipmunked vocals with tight, crackling percussion that disintegrates into rolling kicks; 'speedmemories' is even more upfront, channeling the raw sunshine energy of So So Def electro into rhythms that are powerfully skeletal. Elsewhere, syrupy Southern-fried TR-808 bass womps are tangled with molasses-slow vocals on 'videophonekitty', fuzzed into textured, dissociated ambience. Since the beginning, Ripatti has tried to find a balance between his experimental urges and drive to create more universal music. As his more recent albums have traveled into darker, more extreme realms, he has craved something different for balance. By drawing a crooked line between DJ Premier, DJ Screw and DJ Rashad, Sasu Ripatti has emerged with the most accessible and unashamedly enjoyable album he's produced in years.

Far Out Recordings is delighted to present Mora!, and for the first time ever on vinyl Mora! II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years with an expanded Detroit jazz brass section was shelved for decades to follow. A pan-American melting pot of hypnotic afro-cuban rhythms, frenetic batucadas and fiery sambas, Mora I & II are holy grails of latin jazz, masterminded by an unsung hero of the genre.

Born in Washington DC, 1947, Francisco Mora Jr is the eldest child of two highly prominent Mexican artists, Francisco Mora Sr and Elizabeth Catlett, to whom this project was dedicated. Being born into a mixed heritage bohemian family provided Mora Jr with what he called a “creative, progressive, and healthy arts environment”, building the foundations for a fascinating career journey ahead. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. Once he’d completed his studies in 1973, he very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour the world for the next seven years, a decent innings within a group famous for its constantly evolving line up.

Settling in Detroit after his years with the Arkestra, Francisco set to work on his self-titled debut, gathering an ensemble of musicians that included keyboardist Kenny Cox, founder of the legendary Strata Records, esteemed bassist Rodney Whitaker of the Roy Hargrove Quintet and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora’s own words the album intended to “manifest the African heritage presence in the American continent.” Epitomising this outlook, album opener ‘Afra Jum’ deploys a melody based on Haitian, African and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of afro-cuban inspired percussion.

The sequel Mora II was recorded shortly after with an expanded line up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, Hank Crawford, Eddie Russ and Wendell Harrison. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter ‘Amazona’, led by the rich vocals of Francisco’s wife Teresa Mora. The ‘Afra Jum’ concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum, but only now has it been given the high quality vinyl treatment it so deserves, presented as the sequel to Mora! as originally intended.

Through the 90s and into the the 21st century Mora would continue his Pan-American explorations, moving toward a more electronic afro-futurist direction as part of Detroit techno pioneer Carl Craig’s Innerzone Orchestra. Mora also worked with Carl Craig, moog synth wizard Craig Taborn, and his former Arkestra colleague, the legendary Marshall Allen, to form the Innerzone Orchestra spin-off Outerzone, released in 2007 on Premier Cru Records. Mora I & II will be out as two vinyl LPs, CD and digitally 16th April 2021.

After the first EP release on visible spectrum a year ago, we are happy to announce the second EP on this label. It was a crazy year of radical change, that has also affected the label and its curator for the choice of this release. For the second EP label founder Yuri Boselie, aka Cinnaman, dives into deep listening territories with the five track “Kingfisher” EP. With two guest contributions by Oko Ebombo and Tom Trago, he completed a refined and well-rounded dreamy ambient narrative.

The first track ‘Verité' is the exciting collaboration with the Parisian street jazz artist Oko Ebombo. It originated two years ago as Oko came to Amsterdam for a friendly visit, resulting in a weekend long musical session that produced this blissful slow house trip. The track ‘Lima' is inspired by a trip Yuri made to this wonderful city, where he made field recordings of sea pelicans flying over the sea while walking on the beach. The collaboration ‘Changes' with Tom Trago came together early 2020, in which emotional and painful events were captured in a deeper ambient piece.

Artwork is by Marilyn Sonneveld. 150 copies with post card insert.

Following the release of the single of the same name, Dutch duo Tunnelvisions return to Disco Halal with new EP ‘Gold Teeth’, out on Friday 27th November.

A three-track release, ‘Gold Teeth’ opens with an extended version of the title track, an infectiously feelgood house number, characterised by driving synths, busy percussion and catchy vocals. Next up, ‘Hyperfocus’ is a slow-burning progressive house cut that unfurls steadily across its six minutes. Closing things out, ‘Heat Wave’ harnesses an old school house vibe, characterised by deep bass and fluttering percussive elements.

Speaking about the EP, Tunnelvisions says: “We’re proud to present you our next EP called ‘Gold Teeth’. Three tracks combining our percussional and synthpop influences into something we’re very excited about.”

With an unmistakable ear for imaginative, melodic themes and entrancing rhythms, Tunnelvisions hit the sweet spot by seamlessly fusing worldly influences with analog synthesisers.

A diverse collection of tracks, ‘Gold Teeth’ sees Tunnelvisions skilfully explore various shades and tones on the house music spectrum.

The label’s first release seeks to offer an initiatory experience to Forbidden Teaching’s mission, namely to express the inexpressible.

The A side of the record is body oriented and is introduced with NN’s “The Blood Of A White Monark”, a track characterised by its forceful rhythm, cinematic breakdown and strong synths. Mind I Matter dives deeper in the EBM spectrum with “Thelema”, a track featuring a bassline that goes straight to the body and supported by an expertly crafted atmosphere, reminiscent of the notorious esoteric doctrine.

The B side of the record is soul oriented and begins with Antechamber’s “The Ephemeral Hallucinations”, an atmospheric track that elevates the listener to a place where earthly senses become blurry. Nigh/T\mare concludes the compilation with his track “Unconscious Traction”. It features a robust and hypnotic rhythm coupled with an intense atmosphere that leads the listener to a state where deeply buried emotions and desires could resurface.

2X12" repressed !

Welcome to - Industrie & Zärtlichkeit , the raw, quirky yet emotional debut album from Moon! Although the Berlin-based duo is revered for dancefloor bangers such as - Ze power', Johannes Albert and Johannes Paluka (better known as Iron Curtis) have put much effort into making this album a true listening experience without sacrificing their roots in House Music. - Industrie & Zärtlichkeit (which translates into - Industry & Tenderness ) effortlessly achieves what is claimed in its title, namely a fusion of seemingly disparate elements: the rough and the smooth, dirty beats and soothing harmonies, bizarre sounds and comforting chords. The title track is a fine example of this perfectly-dosed blend with its detuned strings that glide over a crisp electro beat and an infectious melody which would make Kraftwerk proud. Cafe Del Landwehrkanal' is a lighthearted and kinky gem while - Light Of Virtue combines warm synth pads (Detroit is not far) with dusty drums and an acid bassline. MFB Nights' and Machine Rhythm Tomorrow' are also illustrations of the duo's undeniable savoir-faire, with the former celebrating garage classics thanks to its cheeky vocal sample and gorgeous rhodes chords while the latter plays out as a dedication to the early 90's, a time when people didn't care about genres and just dived in the novelty of electronic dance music.
But as we all know, there is a dark and secret side of the Moon, an aspect which is best expressed via the freaky organ chords of - Proto and its detuned melody. Not to mention the excellent ambient pieces - Fjordig or - The Bitter End which showcase the duo's ability to venture into uncharted territory.
All in all, Industrie & Zärtlichkeit feels like drinking fresh orange juice gently sparkled with chilli... and it concludes flawlessly with two reworks that prolong the album's laidback yet assured vibe. First off is Black Spuma (Lauer of Tuff City Kids fame and Italian disco legend Fabrizio Mammarella) who rework the title track into a hands-in-the-air boogie monster that will definitely be a festival staple this summer. Finally, Lerosa emphasizes the deeper shade of the album's spectrum with an impressive new wave rework of - Appeal .

3 x LP - Live in Sharjah Box Set + Booklet. designed by Lorenzo Mason Studio.

If you’ve ever travelled to Egypt and wandered through its crowded streets, you probably ended up buying a cassette or a CDR of popular synth based music heard in most cabs, cabarets, or alleys around town: the almighty Shaabi.Raed Yassin and Paed Conca based their project PRAED on research between Shaabi and Mouled (traditional trance music from Egypt) and the hypnotic structures of both these genres. Repetitive beats, loud Mizmar and loads of energy, with a strong influence from psychedelic rock, free jazz and electronica.

During the years in which the duo produced 4 albums and performed on an endless number of stages around the globe, PRAED started working on anambitious expansive project: an orchestra that could transpose this study of rural and popular culture into an immense, iconic work. In autumn 2018, supported by the Sharjah Art Foundation, PRAED Orchestra! premiered “Live in Sharjah”, interpreting new material merged with some of the band’s iconic pieces. The composition process started with the choice of musicians: the line-up consisted of some of the most innovative artists coming from a wide spectrum of musical practices. Each musician was chosen for a defined role, and the common denominator was their capacity to interpret written material, and their ability to improvise effortlessly. Each role was clearly set to work in unison with the rest of the group, while simultaneously sustaining a centrality in the choir. Solo parts masterfully drawn over the structure as a fil rouge connecting every piece of the entire concert; massive and powerful orchestral sections leading to a breathtaking trance-like state of mind; all of this material ultimately coalescing into an Egyptian Operette that narrates the sorrow, love, and deeply rooted culture of this urban music called Shaabi.

Paed Conca: Clarinet, Electric Bass, Electronics
Raed Yassin: Synthesizers, Vocals, Electronics
Alan Bishop: Alto Saxophone, Vocals
Nadah El Shazly: Vocals, keyboard, Electronics
Christine Kazarian: Electric Harp
Hans Koch: Bass Clarinet, Soprano Sax
Martin Kuchen: Tenor Saxophone, Baritone Sax
Maurice Louca: Keyboard, Organ
Radwan Ghazi Moumneh: Buzuk, Vocals, Modular Synthesizer
Sam Shalabi: Electric Guitar, Oud
Ute Wassermann: Vocals, Mouth Harp, Whistles
Khaled Yassine: Drums, Percussion, Darbuka
Michael Zerang: Drums, Percussion

Recorded live at Calligraphy Square on November 3rd, 2018 in Sharjah, UAE by: Sudish Suman & Shuaib Ahmad Poonthala
Edited by: Rabih Beaini at Morphine Studio, Berlin, Germany
Mixed by: Radwan Ghazi Moumneh at Hotel2Tango Studio, Montreal, Canada. Mastered by: Harris Newman at Grey Market Studio, Montreal, Canada.
Artwork by Lorenzo Mason Studio.
Project manager : Simsara Music

We’re excited to presentStill Hope–the firstfull solo EP from Fluidity for Integral Records, following the success of ‘Feeling Inside’, his debut feature on the Glow VA series. This Bristolian is one of the future Dnb collective's rising talentsswiftly making his mark on the scene with a liquid style all his own;refined, subterranean, rolling.
Coming with four explosive tracks covering the full intelligent spectrum; fromthe very deepest and most intricate melancholic vibes, through to the harder edged sounds the listening journey is nothing short of pure vibe. Intertwining atmospheric pads, blissed out chords, slickened percussion and groove pass through harmonic growls and alluring sub basslines of infinitely emotive soundscapes.

Selva Discos keeps broadening horizons. Its next release celebrates the start of a new series called Novaterra, this time focused on showcasing the music of contemporary Brazilian artists. First up is Zopelar, known not only for his work with the anarchic-techno-punk act Teto Preto but also for the project My Girlfriend and his solo LP, both on Apron Records.

Novaterra vol. 1 by Zopelar is a mini-LP featuring 6 tracks that range from the introversion to the extraversion. In one hand you have an A-side banger like "Be Together", with its addictive looped-sample, and in the other, you get the laidback interlude of "Modo Avião", which sounds like one of those MF Doom's instrumentals – and between both, you will find a whole spectrum of music where you can experience the duel between super crispy beats (a signature in Zopelar's work) and the richness of melodies and harmonies that he's able to knit stitch close to perfection.

The opener "Livre" has a great deep house vibe that makes you think of Prescription Records and Jazzanova, featuring a catchy bossa ad-lib. "NOX" is a Hammond-led tune with a groove bassline and lead that gets you going in no time as if Cesar Camargo Mariano and Larry Young toured together in the late 70's, like, a big, fat jazz-funk tune. "Dias Tensos" is a nervous drum workout led by an automat Tony Williams as if jamming in a 16-bit version of The Tony Williams Lifetime. And to wrap things up, "Boogie da Paz" is one of those perfect comedown tunes – a true tearjerker that works its melody line like a good pill works your serotonin, making it one of those tracks that you keep under your sleeve for those special 6 AM moments on a dancefloor.

The artwork is courtesy of Colletivo Design Studio in Sao Paulo.

Birthed from a radio show and event series with iconic Los Angeles radio station DUBLAB, SOS MUSIC’s goal is to provide a platform for diverse and forward-thinking electronic music, with a keen emphasis on womxn talent from around the world. In conjunction with Berlin-based !K7, the label’s debut release, SOS MUSIC Vol. 1 is a 14-track eclectic compilation showcasing dance music from some of the best producers working at the moment including rRoxymore, Violet, Nightwave, Umfang, LCY & Minimal Violence - lovingly curated to uplift and celebrate the global electronic community in a time of deep uncertainty in the music industry. SOS MUSIC Vol. 1 is international to its core, drawing on in?uences from the artists’ respective backgrounds including the UK, US, Serbia, Spain, Japan, Slovenia, Portugal, Germany & Canada.

SOS MUSIC was founded in Los Angeles by Maddy Maia (UK) and Tottie (Spain via the UK). Maddy has a long history in independent music, and is currently VP A&R in the US for famed British indie label Ninja Tune. Tottie is director of events and special projects at DUBLAB, and curates music, art and cultural programming that re?ects the diverse landscape of the city and beyond.

A shared love of underground music and culture, Maia and Tottie’s bond started strong via throwing events and later with hosting a monthly radio show; The SOS Music imprint is a natural next step in the pair’s progression as curators and its goal will continue early principles the duo stuck to- to seek out diverse underground talent and amplify their voice or community, whilst championing diversity on all sides of the industry. Maddy and Tottie’s music in?uences and styles span wide across the spectrum of experimental dance music, ranging from left?eld house, orchestral ambient sounds, not forgetting a nod to their youth growing up in the UK rave scene.

Daniel Bortz, a staple among electronic music producers, returns with his new album "Stay". After "Patchwork Memories" on Suol from 2013, it's the second album for Berlin-born and Augsburg-rooted Daniel. From his early days of James Blake editing and riding the slow house wave, Daniel has perfected and diversived his production skills over the seven year course between the albums. His range spans euphoric techno, cinematic breakbeats, heart warming electronica and classic deep house, you can witness on his eps for Innervisions, Pastamusik (the infamous Bella Avgvsta trilogy) or even on the legendary DJ Kicks mix series from grandmaster Moodymann, who selected one of Bortz's tracks on his volume. After his three eps (one with his friend and long time collaborator Sascha Sibler and one under his DJ Hotel alias) on Permanent Vacation, Daniel takes the consequential step and releases his second full-length album with the Munich based label. With the 11 tracks on "Stay", Daniel Bortz evokes his teenage years and dreamwalks through his upbringing during the 90's. Musically he brings together what never should have been separated: House, Acid, Downbeat and Breakbeat all rooted in the sample aesthetic of Hip Hop, thereby capturing the full emotional spectrum of life and love. Music that came to stay.