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It’s been a few years since Captain Mustache took a ride with Kompakt – 2021, to be exact, when he released the “Everything” single, and subsequently made an appearance on that year’s entry in the Total series. But this visionary French producer has been busy, indeed fiercely productive, ever since, appearing on Helena Hauff’s Return To Disorder and John Digweed’s Bedrock, collaborating with Dave Clarke, Popof, The Advent, Paris The Black Fu, Keith Tucker from AUX88... and two beautifully eloquent albums, Tourbillon Nocturne and Indigo Memories. But with The Super Album, Captain Mustache returns to Kompakt with his most sublime collection yet. On The Super Album, the Captain soundtracks an imagined “whole day for party people.” He welcomes friends old and new on board: opening with the poetic club banger of “About Love”, with guest appearance from Speakwave (aka dynArec), The Super Album shifts gears into the lush, sunny “Shifting Basslines”, where Captain Mustache’s pulsing electro-disco is the perfect fit for a third collaboration with electroclash pioneers Chicks on Speed. After the deep techno pulsations of “Laser Me” and the glitzy pop shine of “Gimme Ya Mustache”, more guests arrive: Arnaud Rebotini of Black Strobe on the slinky “I Love Watching U”, and then a spoken cameo from the truly legendary French disco diva Amanda Lear on “Mustache Of The Universe”, a glitzy glitterball of a song that’s shrouded in ghostly synths. All those tracks appear on the 12” version of The Super Album – download the digital version and you get six more slices of Mustache magic. Here, the narrative turns more insular, more dancefloor focused – the party people have moved through the daytime and they’re in their element, diving deep into the night-time economy. The album spirals, beautifully, into stark electro, driving techno, with great moments of beauty and melancholy – see the pointillist arpeggios of “Everything” (which features Play Paul), the disco stomp of “Acapulco Citron”, and a breath-taking double-bill of stripped back psychedelic electro on “Pulsions Organiques”, and the layered, luscious, swooning “Clair-Obscur”. From there, it’s an astral glide into the Dopplereffekt-ish “Galaxian Symbiosis” before Foremost Poets join Captain Mustache to wave the night goodbye with the brittle, brilliant “Floorwax”. It’s a day in the life, but all in service to the pleasures of nightlife; the dancefloor is The Super Album’s beacon, your body the pliable material moulded into evocative new shapes by this dense, hypnotic, brilliantly pop album.

Mal- One’s new single tells us about the punk fanzines that initially appeared in late 1976, but really exploded in 1977.They provided vital information on the scene and later became a great artefact of the time. A quick, fast, format, put together by fans of the music. It provided a great way to communicate with likeminded people. A couple of interviews with band members, that were keen to encourage the support. Culled together with some reviews of gigs attended and reviews of new releases, then quickly photocopied, stapled together and away you go. It’s amazing how many fanzines there were. Some examples are listed in the lyrics of this track. If you got your fanzine copies to Rough Trade, who seemed to take them all !!!, man you got it made. The hard copy these days seems a thing of the past and is sadly missed. Today’s messages arrive mainly in digital format. To take another example from the lyric ..Punk Rock Fanzines way to go…. and only 25p a go…

180g Vinyl Only
No digital promotion

- Each record includes a download code for the release + 2 digital bonus tracks -

BlueBox is the first of its kind! The new colored series on Front Left by Elad Magdasi.

Elad is going back to his roots while trying something new. Keeping a balance between his serious and playful side, the release includes 4 DJ tools that are different yet embody Elad's sound in every way.

All the tracks are named by their position on the record, similar to the oldskool way, focusing on the music alone.

All BlueBox tracks were produced at the same time, on the same wave of inspiration, they compliment each other though being completely different.

Front Left Love.

Adinda Dwimadasari and Dea Barandana take you on another dancefloor oriented voyage (to the Moon?) of originally written and produced contemporary disco wellness. Precious Bloom continues to carve out a sound of their own with 4 beautifully executed tracks. A selection of hand picked instrumentalists in addition to Dea's multi-instrumental studio prowess, the scene is set for Adinda's vocals to unravel in dreamy cosmic nuances from mysterious soft spoken word style voices to romantically sung lyrics in astrophysics. Truly refreshing in today's dance floor sound dominated by synthetic/digital convenience. Recorded in Jakarta and mastered in Berlin.

Chansons for the replicates. Hymns for the algorythmed. Operatic minimal wave. Spoken words. Otherworldly electronica. Oh pop, Oh techno. Oh Pose Dia. Now on R.i.O. simulating herself on an album full of weeping synthlines, melding melodies, unreeling theatre between the notes, camouflaging in fashion and rhyme. Impulsive, destructive, yet so perceptive, gently repetitive. “Simulate Yourself” is her second album since “Front View,” released in 2020 on Bureau B.

Now the Hamburg-based filmmaker, DJ and musician Helena Ratka, aka Pose Dia, brings a notion of digital archeology. Nine otherworldly chanting cold blooded Lieder and tracks, manic, longing for the real in the un- real. The matter of her poetic-abstract lyrics is rhizomatic, linking psychological “Suspiria” fantasy with sociology, media theory and all that never obsolete post-structuralism. Hyperreality for the hyped. Fully illusionistic. Wrapped in touching airs, drilling into cold waving Risiko spheres. X-mal rotating towards novel corners, shading light on old ones. Track make-up transforms into lacquered songs. Fog and fire. Night and light. Hairspray and cigarettes. Pose Dia transfers fine-tuned dissatisfaction to all those fully satisfied. Welcome to the other side of the Ocean.

Brandon Spivey & Richie Anderson have been producing incredible music since 1993 when they released under the name "Prole Sythesis" on Alien Reign records. In 1994 they put out a series of highly sought after picture discs on the UK label Kill Out Recordings under the name A'Simetric. They went on to produce releases on USA labels Drop Bass Network & Six Sixty Six records out of Milwaukee!

These tracks are a mixture of new and old tracks. The original 90's tracks recovered from old DATs!

This release has some seriously special artwork by Mattthieu Bourel aka EK Dojo. He's had work commissioned by the New York Times, The Guardian, Washington Post, Esquire, New Scientist, Vice Managzine and many more. He has also done album covers for Venetian Snares, Carl Craig & Somatic Responses in the past.

Also comes with a free download code for the digital release of this EP.
LTD 200 COPIES

Welcome to the unmissable second part of this momentous collection, collecting the output of a true outlier in UK creative culture, an artist that has helped change the landscape of electronic music, KRUST.

Introducing 'Irrational Numbers,' a meticulously curated collection of five parts, available on both vinyl and digital formats. This compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

This 2nd volume of seminal and forward thinking music from the legendary Bristol producer and DJ boasts a plethora of unmissable cuts; the staccato and clipped jazz funk of 'Blaze Dis One', the widescreen epic futurism of 'True Stories' and the all-time classic anthem 'Warhead' all feature, proving what a formidable and original force Krust is.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.

‘The Nature of Nature’ is the debut LP by Hanegi Koen, the Japan-based creative duo composed of British ¦lmmaker Sam King and Canadian label head Sean Mallion (ADSR Collective). Picking up where they left off with their 2021 EP ‘Well Worth A Visit’, this album continues the legacy of spaced-out ambient guitars and driving analog beats the band nicely cued up for us. It has continuity from their previous work, going even deeper this time, further de¦ning the contours of their sound. As the title suggests, Nature was a big influence on the record. Many of the track titles are from the season they were recorded in – for example, ‘Hanafubuki’, when the cherry blossoms fall, ‘Tsuyu’, the rainy season, or ‘Kaminari’ which was written during a crazy thunderstorm. The sights and sounds of those times are reflected in the tracks, with ¦eld recordings helping to supplement the atmosphere. Hanegi’s founding ethos of only using analog instruments and drum machines to compose and perform, minimizing the need for the computer as an interface, is alive and well in this album. The tracks got tested in front of an audience and improved on, based on feedback from playing them live, leading to a psychedelic, synth-rich, analog journey. “We like all things analog. We both use computers and digital screens a fair amount in our day job, so it’s nice to give our eyes a rest from that and allow the music to be created from everything we have on the table.
Similarly vinyl records, ¦lm photography, and simply walking around outside in the forest – all these things are a way of slowing down and escaping the digital world.”

Greatly influenced by the wild contrasting outdoors of their home in Japan, the mountains, forests, and ocean, ‘The Nature of Nature’ is an open invitation to unplug to reconnect, a feeling that Hanegi Koen want to share with you. Released on August 18th, on vinyl and digital via Subtempo. Credits: Written and composed by Sean Mallion and Sam King Mixed by Aoki Takamasa Mastering by Manmade Mastering Album art by Laine Butler Design by Rocco Tyndale

More than a decade after the release of ´Land Lines', the mythical Humboldt County, California based duo of Brian Pyle and Merrick McKinlay reappears seemingly out of nowhere with 'Atheistsaregods'. With past releases on such cult-like labels as Root Strata, Weird Forest, Blackest Rainbow or Digitalis, Starving Weirdos were an indelible part of a sprawling and loose network of artists in Northern America whose DIY work ethic and extreme activity revolved around shoestring-budget constant touring, numerous limited editions on CDR, tape and vinyl and a relentless drive to push the boundaries of genre.

Out of that cauldron, Starving Weirdos stood out as one of the most persistent and visionary acts, developing a mind altering body of work that went from warm soundscapes through droney digressions, freeform improvisation and raucous noise summoned from a myriad of instrumentation and low budget processing - vocals, keyboards, violin, flute, percussion and an assortment of less identifiable sound sources. 10 years on their legacy remains a timeless and wildly under-appreciated one, but hopefully this new album will shine a light on their idiosyncratic approach. As time itself was never a constraint. This is music suspended outside of it.

Right from the start with the echoing percussion, dissonant keys and processed vocals of 'Haiku Nagasaki', 'Atheistsaregods' draws a continuous flux of psychedelic elevation that goes from the gloomy electronic motifs not unlike the early Cluster vibes of 'Invocation' into the dank percussive maze of the appropriately titled 'Barulho do Samba'. The self titled track induces a sense of post-apocalyptic vertigo via hallucinatory scraps of voice, suspended synth tones and reverberating field recordings, connecting into the droney mystics of 'Dudukahar (Reed Prayer)'. Coming full circle, 'For Vinny' brings back the echoing percussion amidst hypnotic cello lines until it drifts off into the unknown. With the same palpable sense of urgency, Starving Weirdos feel as vital as ever. And even if we didn't realize it we were in need of them. Welcome back.

Highly energetic Trance, opiatic Trip-Hop and deep drumless alienoid excursions from Bolognese collective Lost Legion.

The EP FACE II is a continuation of the Faces EP series, of which the first EP was released in october 2022. The basis here is also a literary fixpoint with KAFKAS VER- WANDLUNG.

the examination of the urban modern man has its origin in the album JAHRE and is now explored in more detail here. What happens to us in a time of digital transparency as a glass human of the city and night.

It starts with THE VOID, which was originally intended as a poem about being lost. We go out into the night, some to search, some to forget and some to never come back as the same again. On our journey we often take substances that we expect to make this journey easier and faster. the escape from ourselves and from our relationships to the environment and humans can‘t just be skipped. a fast way is always a dangerous way and often leads to an even bigger EMPTINESS.

In THE GHOST something appears to us late at night, it is like a shadow of the previous hours, something that has followed us on the streets and accompanied us un- discovered until we reached our home. We wake up and at first it is unclear whether we are dreaming.

In half-sleep the dimensions blur together and the whole polyva- lence of the different existences gapes open. We blink into the DARKNESS and try to recognize something, the light remains far away and yet we hear this piercing sound, which in the end leaves us only with ourselves. we are the spirit of the night, trapped on an old tape in the chest of nothing.

The next section THE MOON shows us the light in the darkness. The shadows and ghosts give way for a moment and the light flows through our veins and molecules. The poem describes our unspoken longing to follow the light, in the light our fears disappear and everything blurs into an unknown familiarity. We stagger back and forget the encounters with our inner DAWN.

In the light the ghosts disappear like childhood memories left behind.
The last chapter is written by THE DAWN, a stanza from the poem of the same name as a spoken reconciliation with the world. In spite of everything, we seek harmony and connectedness. No one wants to become an exile, even if we can‘t always bring it about ourselves. We love LIFE and we hear and feel everything around us, if we let ourselves ...

ALL LOVE
AMAS_DHE / AMAS_PHI

Following on from the successes of their first two LPs, "Kalba" and "Small Small", Isaac Birituro & The Rail Abandon return with the "Kontonbili EP". A collection of seven tracks that trace the traditional West African roots of their sound whilst adding their unique touch, largely courtesy of Isaac's xylophone, Sonny Johns' folky embellishments and the vocal prowess of powerful Ghanaian songstress Wiyaala.

The lead single "Hado Deeli" roughly translates to "My Rival" and is a vibrant discussion between two rivals, one of whom is always making a fuss about anything and everything, even when things are all good! "Gargar", with its collaboration of xylophone, whistles, Wiyaala's effervescent vocals and relentless groove represents, quite literally, the band's "joining together" for this EP. In contrast, "I Know" sees Sonny Johns takes over lead vocal duties to lament the breakdown of a relationship accompanied by muted horns and Wiyaala's soothing backing vocals. "Nimmbalia" continues in a mellow and reassuring tone before emerging as one of the most uplifting and simultaneously fierce cuts on the EP! The traditional version of "Bawa" - the original take of which can be found on last year's "Small Small" LP - strips things back a little, before culminating in a battle of xylophone, whistles and choir. "Yeri Villa" has a wonderfully laid back, sun drenched feel with some truly beautiful vocal refrains, and finally - only available on the digital version - comes the deeply percussive and trance inducing "Darpeny", rounding off a rather stunning EP from this cross continental outfit.



All tracks feature Ghanaian singer, song-writer, model and actor, Wiyaala. With a strong fanbase in Africa and beyond, "the lioness" made her mark on Wah Wah 45s and BBC 6 Music last year when she featured on the A-listed "Senye", described as "perfection" by Annie Mac and "pure joy!" by Tash LC.





e 05: Bawa (Traditional) feat. Wiyaala

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.