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Soul Jazz Records’ new collection, ‘Electro Throwdown - Sci-Fi Inter-Planetary Electro Attack on Planet Earth 1982-89’, is a journey into the outer reaches of electro, a galactic roller-coaster ride of turbo-charged sci-fi grooveology.
The album is comprised of mainly private-press and independent label electro jams of the highest calibre (with some as rare as space ships landing on Mars) all created in the 1980s, at a time when a vocoder, a Roland TR-808 drum machine and a groove was all that was needed to get the party started.
With a few notable exceptions (Michael Jonzun’s Jonzun Crew and The Packman) the album features mainly under-the-radar killer tracks from a host of one-off artists and back-room electronic pioneers – including Pretty Tony, Planet Detroit (James McCauley, aka Maggotron) and Rich Cason – who together helped shape the sound of electro across the USA from Miami to New York, Los Angeles and beyond during the 1980s.
This album is released on super-loud double vinyl, packaged in a gatefold sleeve complete with full sleeve notes (from Derek Walmsley of The Wire), plus download code and digital.

Exploration, collaboration and curiosity define the rhythm at the beating heart of Mehmet Aslan’s exemplary compositions. The Swiss-born producer of Turkish heritage has already forged a singular path through production, DJing and full-band performances, navigating the more esoteric corners of Berlin’s club culture without sacrificing his musical heritage or innate creativity.

A conceptual new LP ‘Auguri’ follows on from 2021’s gnomic, ornate ‘The Sun Is Parallel’, which saw Aslan musically associate with the likes of Valentina Magaletti and Niño De Elche. ‘Auguri’ also has its foundations in collaboration, born out of a musical lab at Lyon’s annual
Nuits Sonores, the forward-thinking festival with whom Aslan has maintained a lengthy creative relationship.

The resulting audio-visual performance, ‘Bird Signals For Earthly Survival’ introduced Aslan, to the Greek filmmaker Stratis Vogiatzis. Drawing on the philosophy of Donna Haraway and envisioning new ways of being, of living on earth, Aslan and Vogiatzis crane their necks to the sky to witness flocks of birds performing spectacular movements in unison. Fluid and ancient, their organic waltz provides inspiration for Aslan’s extension of the project, spanning sonic shades of electro, ambient and modern folk psychedelia.

On the coastline of Vogiatzis’s home country of Greece, as in many places across the world, climate change threatens to effect the ancient migration pattern of millions of birds, just as their fellow beings on terra firma become increasingly entangled in a man-made disaster of their own creation. In unison, ‘Auguri’ is adorned by artwork from designer Xavi Bou. Known for his ‘ornithographies’, this striking visual captures avian life not only as a force, but a wry observer.

“We need to transform our connections with other living beings to protect the Earth and live together harmoniously”, reflects Aslan. “Personally, this project has made me more sensitive to this issue. I wanted to give back in return for the inspiration I've received."

Perhaps upending expectations of a more traditional ‘ambient’ album, Aslan commits some of his finest compositional work and understated songwriting to this urgent imperative, creating original music that nonetheless, has nature flowing through it. ‘Critters’ presents a spectral sound collage on which Aslan himself speaks from the texts composed at the residency, conjuring visions of “the birds flying… shape of the future”. Meanwhile, the undulating, psychedelic ‘Pigeon Blinks’ takes inspiration from more domestic scenes, charting the unexpected roosting and hatching of an egg on a kitchen window, while ‘Auguri’ gives the album it’s title in connecting to a higher plain, demonstrating Aslan’s ability to lure melody and catharsis from looping hypnosis.

Opener ‘Spectra’ provides a forceful, almost industrial breakbeat that establishes the exigency of the album as well as its sense of wonder, while ‘Euphoria’ reaches the potency of its promise slowly, with Aslan’s modular melodies meeting the flourishing percussion of guest player and multi-instrumentalist, POPP. Finally, ‘Aura’ delivers a cinematic conclusion, mixing an elegiac organ motif, haunting guitar chords and the prophetic sense of a scorched earth. Here, with patience and soaring production, Aslan once more makes the abstract and the unthinkable somehow tangible, mixing in sampled birdsong.

Accordingly, ‘Auguri’ is being released in accordance with EarthPercent, the music industry’s climate foundation, co-founded by Brian Eno. A portion of the album’s publishing will be credited as part of ‘The Earth As Your Co-Writer’ initiative, allowing artists to directly credit The Earth in their new compositions. Here, streaming and publishing from Aslan’s recorded sounds are automatically paid back to a number of vital initiatives worldwide.

Leaning into some of the most vital questions and anxieties of our time, ‘Auguri’ is not a project without a sense of hope. From studio to sea, Mehmet Aslan continues to look to the skies and beyond.

Eaux proudly announces a new collaborative mini-album from label boss Rrose and Polygonia. Containing six tracks and over 40 minutes of music housed in a fully printed sleeve with artwork by Jon-Paul Villegas, the record focuses squarely on the dancefloor while infusing it with the kinds of psychoactive drones, intricate polyrhythms, and relentless modulations that have come to identify both of their approaches to sound. Featured heavily are their shared interests in sonic shapes that resemble natural forms and conjure tactile feelings, in this case related to themes of skin-like surfaces and circulatory systems experienced simultaneously on a micro and macro level. While several of the tracks hover in a flexible tempo range between 125 and 130 bpm, "Stretcher" reaches up to 142, and the closing track "Vena Cava" trades the kick drums for spectrally processed percussion and endlessly diverging high-frequency pulses.

The story behind the release starts in 2022, when Rrose reached out to Polygonia after noticing that her tracks were appearing in their sets more frequently than any other artist. Never before had Rrose proposed a collaboration with someone they hadn't met before, but there was such an obvious connection in their approach to sound that it felt necessary. As it turns out, Polygonia had only become interested in techno after hearing Rrose perform at a festival in 2018. It all made sense, and they began sharing sketches and unfinished ideas with each other, trading them back and forth until they reached completion. Without any announcement of their collaboration, the two artists have since been asked to share the stage together several times. It seems there are other people out there sensing a connection...


Bios:

RROSE

Rrose is an alias of the multi-disciplinary artist Seth Horvitz, born and raised in California, and currently based in London. Active since 2011, the Rrose project explores the intersection of hypnotic techno, experimental composition and psychoacoustic phenomena with a meticulous touch. The first major breakthrough was 2012's "Waterfall" for Sandwell District which followed "Motormouth Variations," a collaborative project with composer, improviser, and activist Bob Ostertag. After the shuttering of Sandwell District, Rrose established Eaux, a home for further solo productions and collaborations. Building on his studies in electronic composition and history at Mills College, Rrose's electronic pieces blur the lines between thrillingly claustrophobic club tracks and destabilizing sound art explorations. In 2015, she released an extended version of James Tenney's postcard composition "Having Never Written a Note For Percussion" for solo gong, and in 2018 collaborated with Charlemagne Palestine on "The Goldennn Meeenn + Sheeenn" for two grand pianos. These works overlapped with the development of Rrose's singular techno: EPs like "Vanishing Pools," "The Ends of Weather" and "Arc Unknown" as well as 2019's debut LP "Hymn to Moisture" and last year's follow up "Please Touch." Rrose is also active as a touring DJ and live performer, equally comfortable commanding sweaty warehouse dancefloors and seated audiences in historic concert halls. Appearances include Unsound, Atonal, Semibreve, Dekmantel, Mutek, Sonic Acts, Nuit Sonore, Mostra, Parallel, Theatre Graslin, Nextones, and Berghain.
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POLYGONIA

Polygonia represents a multidisciplinary music and art project conceived by Lindsey Wang from Munich, Germany.

She draws inspiration from her many years of practicing various acoustic instruments and her keen interest for other cultural forms of expression, which she translates into the digital language of electronic music and art.

Her productions' soundscape exudes a mystical, organic quality, featuring intricate and compelling rhythms. Polygonia's sound palette ranges from energetic, groovy Deep Techno, Downtempo, Grey Area to textural and/or harmonic Ambient. Besides, she is not afraid to include influences from the genres House, Drum and Bass, Electro etc.. In addition inspiration from nature play a major role in many of her productions. Exemplary for her style are for instance her 'Otro Mundo' EP (2023) on Bambounou's Bambel Imprint, her 'Bloom' EP (2022) on the American record label Sure Thing, the release 'Deformed Human Nature' (2021) on her own label IO, as well as the album 'Abbilder einer vergessenen Welt' (2021) on the Korean label Huinali.

Her DJ and live sets too reflect her passion for different genres. Depending on the time of day and setting, Polygonia shows a different musical side. What unites all her dance music sets is the hypnotizing effect that invites to completely lose oneself in the world of sounds for a longer period of time. Several voices from the audience also confirm that the musician always tells a complex story within her mixes, allowing for very clear highs and lows. In the same set there can be very harmonic passages, which provide emotional moments and on the other hand extremely texture-heavy dark tracks, which establish a connection with the subconscious and put the listener in a kind of trance.

Polygonia has already visited numerous of prestigious venues. She is now a regular at Tresor or Berghain in Berlin and additionally started her residency in 2023 at Munich-based BLITZ club.

RARE & PREV. UNRELEASED PSYCH-FUNK AND GARAGE ROCK !!!

Say hello to Down & Wired Vol. 7 as Perfect Toy Records unleashes yet another instalment in its long-running compilation series! Once more, the label provides a delectable selection of obscure funk and soul-influenced psychedelic and garage rock tracks to delight even hardcore collectors of both genres.

And make no mistake, there is plenty to discover among these eleven tracks. At the funkiest end of things, Function's Free Style morphs from West Coast psychedelia to country funk to swamp rock and back again in its sub-three minute length, Dandy King provide psychedelic funky-soul and The Whiz Kids take a heavy dose of funkiness with them into psych-rock territory – sample fiends watch out for the fat twenty-second drum break towards the end of the latter! Purer psychedelia can be found in the offering from Third Stone while Würzburg band Prisma provide all-out epic psych-rock carnage. And if rock carnage is your thing, you'll be feeling the dirty garage rock onslaught of The Comin' Generation and a previously unreleased cut by Synod - soon to be a 45 single on Perfect Toy. That just leaves The General Store, The Soul Society, The Vestells and another unreleased cut from The Villagers (from whom the label will be dropping more unreleased material soon!), to close the circle by adding a heavy dose of garage soul.

A worthy successor to the previous volumes, Down & Wired Vol. 7 is once again accompanied by an insert containing detailed information and photos of the bands and a download code is also included with every vinyl LP.

The Subdermic, AKA Lilly Phoenix, is a Cambridge, U.K. based electronic artist of mixed genre disciplines who first appeared on the electronic music scene in 2010 with her highly rated electronic anthem ‘Electric Cabaret’. Since then, she’s went onto release techno, electro, acid and abstract ambient music over numerous renowned labels around the globe.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’re very squiggly wiggly proud to present our first ever strictly acid release. And who better to have on it than the educator of acid herself, The Subdermic, with her first ever solo vinyl release.

In her alias as The Subdermic, Lilly has limitless skill in manipulating her veritable vicious machines to do her ethereal acid bidding. Her ever so bright mind with accompanying golden feathers and electronic voice, a representative of death and rebirth, and with her powerfully infectious height of the night acid bomb club shenanigans, is what this strictly acid RIOT release is all about. This four tracker features relentless acid abuse from the get go, the first two tracks come screamin’ n’ howlin’ and the third is an overt offering of acid-jack overdose. Then to meld even further into the rising flames, Cruel Diagonals delivers unearthly divine vocals of such piercing emotional clarity, it’s really quite mesmerising, to finish the release off in style, or when the sun goes down, or rises, it’s your choice. Be who you were born to be, rise anew like a Phoenix.

WARNING: YOUR ACID ADVENTURE, SHOULD YOU CHOOSE TO ACCEPT THIS RIOTous MISSION, WILL SELF DESTRUCT IN …………….

"A Seamless Symphony of Harmonious Electronica" - Jazziz

Emerging from over a year of creative hibernation following their debut album, Stavroz's upcoming EP "Kick Up the Dust" jolts them back into action. The EP flows gently, yet the overall mood of the journey isn’t always easy to pinpoint. There’s a certain vagueness to Stavroz’ sound which allows for bizarre experiments to seep through without interrupting the course. “We like to keep it lightly twisted, like a wink with a frown,” says the band.



In the title track however, Stavroz boldly steers towards the heart of the dance floor: efficient, remorseless, powerful, intense and most of all... elegant. Guiding you harmoniously through the club is a delightful duet of trumpet and saxophone, timed perfectly to heal you where it hurts most.



"Her Eyes Were Red" does what it says on the cover. There's melancholy - without sadness. Power - without force. Love - without lust. Stavroz's music possesses a distinct power that feels both natural and organic, never resorting to brute force or aggression. In their own way, the Belgian quartet offers an astonishing journey of saxophone & duduk, supported by broken beats and chopped vocals.



In Dae-El, a track featuring the Brussels-based producer and sound designer Poltrock, ethereal-sounding synths and duduk are combined with ghostly high-pitch distortions. Despite a backbone of muffled beats, the tune has vaporous qualities, reverberations that wobble and tinkle into space – it’s an easy listening experience but in a trippy, spaced-out way. “We’re trying to go for the sweet spot between the couch and the club”.



Adding further depth to their EP, Stavroz collaborates with Brazilian singer and composer Castello Branco in "Valente." Here, intimate Sade-like vocals harmonize with rubbery scratches, acoustic guitar, and horn segments, crafting a lush lounge piece that seamlessly balances both relaxation and empowerment, transparency and provocation. It's a testament to Stavroz's versatility and their knack for creating music that defies easy definition, leaving listeners eagerly anticipating the next twist and turn in their captivating musical journey.

The Concealed Club Manifesto project pays homage to the mid 2000s underground UK club music scene, an era of music which acts as well of inspiration and creativity for the Nouveau Monica, and has no doubt helped shaped his sound. For the French producer, the UK club scene holds a special allure and mystique, especially since he observed this phenomenon from afar, and was idealized as one of the most “pivotal” moments in underground club culture, making it seem intangible, hence concealed. Nouveau Monica’s sound palette is deeply rooted in the UK scene, which he combines with his own personal musical background. This mid 2000s UK club sound is what the producer defines as his “Golden Era” and the genres created during that time are the building blocks of the Concealed Club Manifesto EP.

“See the Light” closes the EP as a triptyque. First with the OG version, cut out to be the straightforward, grimy, clean, and uncluttered bass track the producer always seeks for when going for the uncompromisingly strong raw material.

The second version conducted by Nouveau Monica as an alternate 4/4 version of the same title, harmonizes the repetitive chopped vocals with a technically syncopated drum loop designed for a new mental perspective, an after-hours sensation that blurs the line between euphoria and melancholy.

The last iteration of “See The Light” comes from none other than Hodge himself. A club tailored cut with a heavy groove, pattered with percussive elements, followed by sun drenched melody and sweltering pads that unleash into a a bellowing bass track, perfectly suited for peak sunset hours at a day rave an unforgiving Soundsystem.

Leaving the putrid confines of Pigfuck, TN's dankest basements, full time rock and roll heroes emerge. Prepare for battery acid guitar solos, Johnny Paycheck death screams, blackened humor, and a little old fashioned fuckin’ in the USA--all clocked in for a full 9-5. You don’t christen yourself FILTH lightly—forget the classics, forget poetry, forget respect. Don’t come here looking for an honest job. Take your punk and shove it and let the scene heads fracture. Welcome to Full Time Filth.

Balmat began our journey in 2021 with the release of Luke Sanger’s Languid Gongue. Now, three years later, we turn an important corner as the Norfolk musician rejoins us with Dew Point Harmonics, the first repeat appearance on the label. Sanger’s new album feels like a natural extension of his inaugural record for Balmat: It’s a bewitching collection of esoteric synth sketches that slips unpredictably between consonant repetition, poignant melodies, and gnarled bursts of noise that catch in the ear like burrs in hiking socks.

That natural metaphor is perhaps not accidental. Despite having been composed on Sanger’s diverse array of hardware and self-written software, many of the tracks were first conceived while Sanger was hiking in a particularly wild and isolated section of the Norfolk coast. The field recording that opens the album, on “6am Beach Walk,” was taken on one of his many early-morning walks there, in which he and his dog might go for miles without seeing another soul. The album’s title was inspired by the overnight condensation covering the long marram grass in the dunes, glistening in the early light (and drenching everything coming in contact with it) before evaporating in the morning sun. Indeed, the concept of dew point—the temperature at which water vapor condenses into a liquid—feels like the perfect metaphor for Sanger’s music, in which foggy ambience is distilled into glistening quicksilver orbs, transient spheres of perfection eventually absorbed back into the atmosphere.

A shapeshifting collection of richly detailed and deeply expressive electronic miniatures, Dew Point Harmonics is both a testament to the mysteries of transformation and an invitation to get lost in the wilderness of your own imagination.

DJ support - Jeremy Underground, Alex Kassian, DJ Sprinkles, Willie Graff, Severino Panzetta, Rimarkable, Ella Knight

After a short hiatus To The Rock are back and it’s a lively one!
A repress of the definitive Danny J Lewis UKG classic Best Friends, this time around accompanied by 3 new remixes coming by the way of Chicago’s Garett David, newcomers Late Nite City and multi-instrumentalist Mom Tudie.

If you’re a Garage head, then you already know what the Spreadlove remix is saying. But for those hearing it for the first time it’s the sound of London 1999. Stripped back drums, choppy vocals, dubby synths that’ll transport you straight “back in the day”.

Garett David has done what he does best. Bringing Best Friends straight into 2024 with his unique style of garage and house influences. The elements hit hard on this, coupled with a full vocal it’s already getting love in all the right places

Late Nite City’s remix is a fresh 4x4 take on the original, giving a nod to the old (think 94 MK). Swinging drums, bright keys, thick choppy snares coupled with an organ that rings true of the glory days.
Last but by no means least, Mom Tudie flips the release on its head. This one takes us into new era soul territory that perfectly complements the preceding 3. Mom’s take gives the remix more space to breathe and in true Mom Tudie fashion the trumpet solo hits the spot.

Love International and Test Pressing commemorate yet another cracking festival with the latest instalment in their collaborative compilation series for their LIXTP label. For The Sound Of Love International #006 they’ve chosen Jay Donaldson aka Palms Trax as their selector. He’s a regular at Love International.

The Berlin-based DJ, known for his eclectic sets and long-running NTS show "Cooking With Palms Trax," delivers a diverse selection of tracks gathered from his global journeys.

The majority of the tracks included were self-released / privately pressed and in many cases the often mysterious artists’ only recorded outings. So, in putting this together Palms Trax has unearthed hidden gems, creating a magical, floor-filling journey through music.

Must Have ! Act Fast !

Not so long ago in 2017, the first release on Michiel Claus' and Ailsa Cavers' Basic Moves saw the light of day and especially the shine of night. Produced by founding father Walrus, BM01 set the tone for a record label that focuses on releasing hidden archives from the 90s, whilst combining them with modern club music from the here and now. By highlighting the musical heritage of the Belgian electronic music scene, the label illustrates the continuity between past and present, history and shaping identities of 21st-century artists, undeniably building on the strong foundations of their forerunners. Seven years and nineteen releases later, Basic Moves is rounding off the series with BM20, a final double 12'' by one of the major figures from the Belgian underground: Circadian Rhythms also known as Dj Deg. After many years of collecting, deejaying and producing music, his musical spectrum ranges from synth, library and wave, to jazz, funk and disco, from house to techno. His journey started in clubs like Bocaccio (1988 - 1993), and La Gait? (1979 -1989), where young Deg came across deejay's like Olivier Pieters or Eric Beysens who made him choose the path of becoming a devoted disc jockey himself. BM20 is a sonic witness of Deg's first musical encounters with his machines, revealing a withdrawn selection of six bedroom patchwork tracks produced between the years of '93 & '99, a time without the internet or user manuals to help you solve the riddles of technology. Though only at the very beginning of his creative process, Deg's unique personality is nevertheless already clearly identifiable: blending techno with jazz, where the sharp edges of 16-step drum-sequences are smudged and bent in different directions. In the lower countries, the second half of the 90s was a period of fast & funky, happy Detroit, 140 BPM techno. Whenever Deg was not oscillating between record shops or gigs and had a moment on his own, mostly during morning hours after the club, he would spend his leftover energy in the studio. Either by himself or with his loyal ally Mike DMA, he would benefit from these moments to slow down and give space to a different, introverted sound - processing moods, feelings and thoughts. This record therefore gathers only a few of many (unrecorded) one-shot live sessions which were never intended to be shared - and only existed for the love of music and its power to take you beyond all things known. Thank you Deg for sharing your music and giving us a glimpse of your universe. Without your productions, your memorable warm-ups and closing sets - many of us would not be where we are now, and Basic Moves might never have been founded. As a last note to a closing song, BM20 is about being fully committed to the music and the club, a medium and place of fruitful settings for encounters, creativity and growth. Where dreams and ideas have a chance to exist, being almost ready and thought out to shape future times to come - and many party nights. Gurl, December 2023

These tracks were taken from the album ‘Head’s Above Water’. Over the last one and half years, we have been on a journey to record this album. A journey that has enabled us to discover more about ourselves, our surroundings, our desires, and our fears. We are thankful to be able to share this and we hope you’ll enjoy this music we’ve worked hard to create. - David & Frank

Ambien Baby is the collaborative project by D Tiffany and NAP, which serves as a borderless zone for both friends to channel a freewheeling experimentation with whatever sounds they happen to be jiving with in the moment. Simply put, Ambien Baby is two BFF's letting loose with no rules, just pure freak and joy. The nature of this joint exploration is clearly evident throughout their raucous and varied releases, which have ranged from downtempo to electro and deep into techno and trance regions.

We're delighted to have Ambien Baby landing on Turbo for their collaborative debut on the label. The Canadian connection bears fruit with the Masa EP, which lifts off from a psychedelic foundation drenched in Latin influence. Across the three original tracks, D Tiffany & NAP shift through percussive breakbeats, dubbed-out techno, and trippy vocal chops a-plenty. Roza Terenzi & DNGDNGDNG provide remixes for the late-night affairs.

“The Blue Hour” is the second VA of Berlin-based THISBE Recordings, following “Black Ink” released in 2022. Curated by label owner Pyrame, The new compilation is an invitation to cruise through the blue hour, that unique time of the day from dusk to night.

During that special time lapse, as the sky goes through several shades of blue, so goes the record: Dominik Marz´s “Bura´s Hymn” brings us straight above the Earth´s surface with a track as atmospheric as it can get, before Radial Gaze & Balam´s collab tune “Foreclosed” sets the scene for a groovy dance above the clouds.

We have already lost sight of the ground when World Wild Web initiates an immersion into an enigmatic phase of the voyage with his track “Extase”, where we do not really know in which time-space we find ourselves any more. Agle hints at a possible spot: “Sahel”, a tune that feels like a breeze across the desert, before Philip Lawns shakes everyone up with the upbeat “Johns”, bringing our feet back just above the ground. Volta Cab wraps up our imaginary trip with “Krasnodar Nights”, bringing a treat for the soul and some peace of mind. The night can now settle down.

DJ TEETH’s Tremendo Recordings proudly presents its debut release, Orion. Rescued from DAT archives by Belgian-based Holographic Hallucination, the release revitalises a selection of rare or previously unreleased tracks from the early/mid-90s golden era.

The title track never made it to release, with just 200 promo copies made in ‘94, reflecting an eye-watering price and a high want list count on Discogs. Now, after years of relative obscurity, this release aims to introduce this sought-after work to a fresh audience. Orion is a 14-minute-plus journey of nostalgic arpeggiated baselines, coupled with mirroring in and out synth lines and swirls, creating an almost ominous mood.

First on the B-side ups the pace with an unreleased dub version of Rumble, a head-down, arms-up, feet-stomping raver track which was released on their label Holographic in ‘93.

The EP closes with an unreleased track produced that same year, Horizon, whirling through your ears and leading to feelings of transcendence.

TRANCE ATLANTYK is dropping some serious heat with the upcoming release of EARLY ZEROS, the latest EP from label founders PANKOFF & DJ VARIUS TRAX. After experimenting with some polish vocals on their “Sound of Poldon” debut EP, the duo serves us this time a modern high-energy tribute to the early 2000s—an era when progressive house and trance ruled the dance floors.

The EP kicks off with "Early Zeros," a track that’s pure nostalgia wrapped in a slick, modern package. Think of it as a sonic time machine, zooming you back to those legendary nights when the bass was thumping, and the vibe was electric. It’s got that uplifting, feel-good energy that’s impossible to resist.

Next up is "Schemes," a track that’s as deep as it is groovy. This one’s all about the journey, with layered beats and hypnotic rhythms that build and evolve, taking you on a ride through the trippy side of progressive house and early trance music. It’s got that classic, boundary-pushing vibe that’ll have you lost in the music.

On the B side the duo slows down the tempo with the track “We Can Rebuild Him” that pays homage to the 6 Million Dolar Man, one of Pankoffs favourite TV series. Piercing cascading synths, a driving bass line and some breakbeat percussion thrown into the mix make this one a great choice for the eclectic dj’a out there.

And just when you think it couldn’t get any better, Bliss inc steps in with a remix of "We Can Rebuild Him" that flips the script in all the right ways. This remix increases the tempo of the chuggy original and transfoms the track into a stomping peak time banger that some might label as furious progressive tech trance.

EARLY ZEROS isn’t just an EP—it’s a party, a flashback, and a forward leap all rolled into one

Willie Roy Turner a native Mississippian, migrated with his family to the South Side of the city of Chicago during the 1950’s. Initially taking up employment at the Golden Rod Ice Cream Company, his first foray into secular music arose when he was accompanied by Muddy Waters Band at Smitty’s Corner Club and performed an impressive recital of the 1959 Big Jay Neely standard “There’s Something On Your Mind” at an Open Mic Night sometime in 1963. A regular talent show entrant, Duke would eventually meet and befriend fellow Mississippian, Garland Green. Green himself had been spotted at the Trocadero Theater by the then husband and wife team of Mel Collins and “Joshie” Jo Armstead, who signed him to their Giant Enterprises production company where he recorded several excellent singles for MCA’s subsidiary, Revue and Uni labels. Green’s third Revue single release, “Ain’t That Good Enough” was composed by Jo Armstead, brothers Howard and Walter Scott and session drummer Ira Gates. It was Green who introduced Duke Turner to the Scott Brothers. The Scott Brothers Review (later known as The Scott Brothers World), one of Chicago’s most respected bands, operated their own production company, Capri Productions, producing songs on both their own and other labels artists. With the Scott’s, Duke recorded his first 45, the upbeat funk mover “Doggie Dog World” b/w “Put Some Soul In Your Dance”. The tracks penned by Duke and respected arranger Johnny Cameron was released on Don Clay’s Omega label in 1968.



Duke then formed his own company, Spinning Top Records, initially releasing “Shake Your Rang-A Tang (Rang-Dang-Du) to be followed by a second single “(Let Me Be Your) Baby Sitter”. Originally intended for release with a b-side entitled “Friendship Or Friends” the studio engineer on the project Ed Cody persuaded Duke to drop “Friendship” in favour of a part 2 version of “(Let Me Be Your) Baby Sitter”. “Friendship Or Friends” was sadly never revisited and with Duke moving to several different addresses across the ensuing years, the tapes eventually became lost. Fast forward half a century, and following a conversation with collector Malcolm Collins who divulged the existence of a acetate of “Friendship Or Friends” won on e-bay by a British collector Russell Gilbert (now living in the Netherlands), the idea of releasing the song was born. When contacted, Russell was only too happy to loan to us the acetate as a mastering reference. Upon receipt of the acetate, we realized in addition to the unreleased “Friendship Or Friends” the version of “Baby Sitter” was a longer and different mix to the released 45 version. After confirming and reacquainting Duke with his long-lost masters a licensing deal was struck which will see the long overdue release of “Friendship or Friends” along with the alternative mix of “(Let Me Be Your) Baby Sitter” as part of a 3- track EP courtesy of Soul Junction Records that also includes the original 1974 version of “Give Me Some Sugar, Baby”, a song now finding favour with the ‘Lowrider’ scene. “Give Me Some Sugar, Baby” became Duke’s signature song, which he recorded again in 1983 under the title of “Sugar Baby Your Love” with his then band ‘Torch’, which included two young musicians that Duke had previously mentored, Terry Coffey and Jon Nettlesbey, the successful 90’s songwriting partnership responsible for several RnB/Pop hits for Howard Hewitt, Alexander O’Neil, Teddy Pendergrass and Keith Washington. Their credits also include Joey Diggs “Always Coca-Cola” hit commercial jingle.

This formidable double A- side single is comprised of two stern, industrialised workouts functioning in the murky, under- explored area where gothtronica combines with authoritative EBM. Slicing samples from an untapped musical realm where electronically tinged postpunk segued into new wave, experimental pop and, eventually early rudimentary house. Both of these tracks carry hints of that era's melodic archetypes and employ merciless rhythms to hammer them into the psyche. The standalone release acts as a companion to upcoming 8-track EP on Lex, and follow's March's expansive 'Parade/ Watchers' 12" on Erol Alkan's Phantasy Sound and 2020's acclaimed 'Lowlands' EP and 2016's 'Why Did I Pick Vienna To Use As A Metaphor For Rest of Your Life?' LP released on Where to Now? All of U's sonic output is consistently unexpected and exciting. U's work is constantly morphing and takes listeners on journey into the unknown.

shu twists sounds from the far reaches of his sample library into an expansive and versatile three piece sci-fi boxset. triple a side number that you won't want to put down.

Liquid Liquid loom large for many - their classic run of EPs on 99 Records has gotten a second, third, and fourth life thanks to devout fans like the Beastie Boys, LCD Soundsystem's James Murphy, and Domino's Laurence Bell. (This to say nothing of the fact that one of rap's all time classics - Melle Mel's "White Lines" - is based around their song "Cavern.) This new double a-side single from Murphy's own DFA features a torrential version of "Bellhead" he co-produced in 2004 alongside a completely new version of the Liquids classic "Optimo" by Glaswegian party crew Optimo (Espacio).

Mood Waves 010 by Ilkay Yeler! We are proud to be releasing another debut EP by a very talented producer! A friend and a resident at the famous Buerro club! Expect 4 unique tunes that represent the Mood Waves vibe:)

KR3.013_
Let's welcome Irene to our roster!
With "Forbidden Memories EP" the label celebrates its thirteenth release and kicks off KR3's fifth anniversary, which will be celebrated from September 2024 to Sept. 2025.
This 5-track EP featured a range of waves, from deeply romantic
Techno to heavier beats in pieces like 'Surrounded' and experimental droning in 'I'd Rather Be Sleeping' A 12" Hybrid designed to capture every emotion you wish to explore, embodying the sonic essence that - IA - consistently seeks in her role as both producer and performer.
KR3. 5 Years Down Road - Let Ireen drive us into the first dimension!
Order KR3013 now
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Triple Vision Record Distribution BV · Achterhaven 160 · Rotterdam, Zuid-Holland 3024 RC · Netherlands

Theme: collaboration. Or how to remain creative in the modern world. Nanocluster started as a bespoke one off pop up gig that turned into an album series. Built around Colin Newman from acclaimed UK post-punk band Wire and his partner in life and sound Malka Spigel from Minimal Compact with various guests, they define collaboration. Colin met Malka when he produced her band in 1985.The collaboration started there. They became a couple and created their own projects like the instrumental electronic duo Immersion in 1994 and Githead in 2004 - spaces where they both 'feel really comfortable.' Growing out of Immersion, Nanocluster was birthed as a series of one-off gigs at the Rosehill in their new hometown of Brighton in 2017 with an added cast of influential and cutting edge musicians. These were not ad hoc jams. The songs had been written and rehearsed prior to each performance. This adventure led to a debut album, Nanocluster Vol 1, released in 2021 with Stereolab singer/guitarist Laetitia Sadier, German post-rock duo Tarwater, electronic musician Ulrich Schnauss and experimental artist Robin Rimbaud (Scanner). Released again as double 10 inch with each collaboration taking up each disc, the new album Nanocluster Vol 2 has further developed this idea with a stark beauty that sounds like a future pop with sleek lines and unexpected great melodies. Disc one is built around Thor Harris, the charismatic percussion player from Swans and many other projects, who they met and performed with at South By South West in Austin, Texas in 2023. Thor adds ideas, his tuned percussion instruments, clarinet and trumpet to the sessions. Disc two is built around Cubzoa (Jack Wolter from the band Penelope Isles) who brings his musical craft, beguiling voice, guitar and much more. Meanwhile Matt Schulz from Holy Fuck plays drums across both combinations helping the resulting music become a third entity. What results is a true collaboration that, enhanced via Immersion's production, merges its elements to develop a new harmony. Key to the process is Colin and Malka's radio show for Slack City radio, 'Swimming In Sound' with its entertainingly diverse playlist that has widened their horizons. It's also helped build relationships not only with these collaborators but also musicians like ambient country masters SUSS, with whom they plan an extended Nanocluster tour in the USA with in 2025 and Brighton via Falmouth's "jangly pop punk" Holiday Ghosts with whom they will perform the next Nanocluster event in their hometown, as well as many more in the pipeline. Malka: 'Nanocluster is collaboration but in a very specific form. We don't have rules. It's a series of creative snapshots. We start as the gig with our collaborators with tracks that we rehearse because this is not a jam and where it stops is an album.' Colin: 'It's chemistry & music. Malka & I operate as a team and now we've taken it to another level. Malka comes from a band where they would stand in a room together and work out the material. In Wire, I would present the songs, so when Malka and I first started working together, we had to find a third path, and that was the concept behind our collaboration.' Nanocluster Volume 2 is a 21st century collusion of shared ideas, creating a momentary extended musical family. It's about musical and personal relationships and the meeting place in the middle. A temporary band of house guests. The place where Immersion happens.

The Błoto quartet had made a comeback six months ago with their first singles in over two years dropping “Szlam” and “Ścieki”. These tracks were pressed on a 7-inch vinyl by Astigmatic Records, but this only whetted the appetites of the band’s mud-loving fans, as the singles sold out instantly. And so, the band's musical onslaught continues. Ahead of their upcoming LP “Grzybnia” set to release in autumn 2024, Błoto is putting out another bacteria-laden 7-inch to conclude this brief series of singles. This time, the release features a remix by none other than the modern funk maestro DāM-FunK, hailing from sunny Pasadena, California.

Wading through the sludge of sewage, one can encounter colonies of bacteria. They are well-known for their dark side – causing serious diseases. Nevertheless, they are with us all the time. They exist in humans and all other living organisms – fungi, plants, and animals. They can be found in soil and water. They are even present in radioactive areas, proving that they are truly hard to eliminate. Such is the music of Błoto. Like a post-apocalyptic bacterium, it’s capable of surviving in the harshest conditions.

Sinister, biting, and primitive – just like colonies of microorganisms. This is Błoto's latest single. Drawing heavily from classic acid house, it can truly infect the mind, inviting you to join a rave in Błoto on the eastern flank of Europe. Quartet’s “Bakteria” is a direct continuation of their first 7-inch release. However, this time, during their collective improvisation at Studio Pasterka, the band has entirely forsaken acoustic instruments in favor of a full array of synthesizers accompanied by drums.

Certainly, the dichotomous nature of these organisms presents a paradox. While capable of causing harm, without bacteria, life as we know it would cease to exist, and human civilization would not have reached its current state. Bacteria fulfill numerous essential roles. They serve as decomposers, crucial in maintaining biogeochemical cycles, and contribute to processes such as fermentation and decay. As symbiotic organisms living within other organisms, they are vital for functions like digestion. Their versatility extends to diverse applications, from biological wastewater treatment to the production of various food products.

Such are the properties of the beneficial probiotic titled “Bakteria Re-Freak” by DāM-FunK (renowned for his classic albums released on Stones Throw, like “Toeachizown” and “7 Days of Funk” with Snoop Dogg). It offers a 180-degree transformation of the dark atmosphere of the original version. The track evolves towards G-Funk, brimming with sunny synths and a drum machine. It portrays a vision of a biopharmaceutical bacterium lazily roaming the streets of warm yet perilous Los Angeles.

The 7-inch will be released on July 19, 2024, by Astigmatic Records. The vinyl single is limited to 700 copies.

Calling all fans of cult soundtracks and genre-bending scores! Four Flies is thrilled to present a limited edition gatefold beauty containing the premiere vinyl release of the complete score to Matalo!, one of the most captivatingly unique Spaghetti soundtracks ever.

Matalo! is a 1970 'western crépusculaire' by Milanese director Cesare Canevari, known for his visually striking genre films, starring Swedish enfant terrible Lou Castel and Italian theatre actor Corrado Pani. Canevari adopts an experimental, atmospheric approach, relying heavily on out-of-focus effects and framing his shots unconventionally. This gives a dark and atmospheric turn to thewestern genre, with the typical dusty plains transformed into a windswept ghost town, while action sequences replace dialogues almost entirely, leaving actors with very little to say – and, therefore, putting the music center stage.

Composer Mario Migliardi – who was also a conductor, pianist, and Hammond organist – throws out the rulebook for Italian Westerns. Prepare for a wild ride of psych-rock textures, swirling electronic filters, haunting reverbs, and concrete sounds – a sonic tapestry that seamlessly blends influences ranging from Jimi Hendrix to Luciano Berio.

Migliardi masterfully combines traditional folk instruments like acoustic guitars and percussion withnon-canonical electronic processing, creating an electro-acoustic alchemy thatfeels both fresh and timeless today, probably way more than it did in the1970s. In particular, the Leslie filter, a hallmarkin the Hammond organs popular at the time, is applied to the entire soundtrack, resulting in a very distinctive and dynamic phaser effect.

The soundtrack's highlight is probably the rock song featuring vocals from Giano Ton, aka Giacomo Tosti, the only track to have found its way on vinyl prior to this LP (it wasthe B-side ofa forty-five released by RCA Italy at the time). Its 9-minute extended version, previously unavailable on vinyl, is a fantastichard-blues-rock jam à la Hendrix.

This limited-edition double vinyl LP comes in a stunning gatefold jacket with artwork by Eric Adrien Lee, who drew inspiration from the film's original posters and promo materials.

Definitely a must-have for collectors of unique soundtracks and adventurous music!



a Matalo! (Theme Song) feat. Giano Ton






h Matalo! (Theme Song) Instrumental





n Matalo! (Theme Song) [Single Version]




[s] Matalo! (Hey Gente) [feat. Corrado Pani]

[a] Matalo! (Theme Song) [feat. Giano Ton]






[h] Matalo! (Theme Song) [Instrumental]





[n] Matalo! (Theme Song) [Single Version]




[feat. Corrado Pani]

Truncate is back with his first EP in 2 years inviting label resident Kai Van Dongen on remix duty. Raw, jackin, straight forward machine funk. Expect no less.

Bread & Souls is a new project dreamt up by Italian entrepreneur and music lover Franco Fusari. Franco invited Mark de Clive-Lowe on board to direct and produce an album of collaborations with some of our favorite artists including the likes of Bembé Segué, Vanessa Freeman, Paul Randolph, Rich Medina, Tommaso Cappellato and more...

Presenting Chapter 4! Working On It (here’s the original - you heard the remix on Chapter 3), a mid tempo bossa-inspired track features the wordsmithery of Philadelphia’s Rich Medina speaking on the idiosyncrasies and journey of life, joined by Bembe Segue. Together features Vanessa Freeman on vocals - previously heard in remix form on Chapter 2 - a timelessly uplifting soulful house excursion. Domu returns to the project with a second remix of Little Did I Know - this time flipping it for the broken beat dancefloor in classic Domu style, and we wrap up with Neroli’s Volcov remixing Anybody Out There for the 4/4 lovers.

Be Strong Be Free's 7" series is on fire this year and now comes back with a third instalment. It is 'Nuit De Fievre' and it comes from label owner Gratts, aka the "Belgian down under," who revisits disco's golden era by assembling a stellar studio team starring the Moody Mae band in the company of Reinhard Vanbergen on violin and Jaj from Paris on vocals. What they cook up in return is elegant boogie and disco that will chime well with fans of Dimitri From Paris. The B-side features Pellegrino's jazz-funk rendition, adding Mediterranean flair straight from Vesuvius. Both sides promise deliciously uplifting grooves for any disco enthusiast.

2025 Repress
RAWAX proudly welcomes Janeret to the artist family! As big fans from day one, we are more than happy about this Fusion!

It's the first of hopefully many releases, we will do together. Momu EP is a fantastic debut, which couldn't sound better!
Highy recommended!

A true Detroit Techno masterpiece gets a well overdue re-master and re-press! Los Hermanos ‘On Another Level’, originally released on Submerge in 2005, is an unmissable collection of the most soulful spiritual techno ever made. Here with a new tracklisting including nthems like ‘Birth of 3000’, ‘Quetzal’ and ‘Resurrection’!

Body Mechanic has been turning out definitive Motor City techno on solid labels like Cryovac, and GASS for several years. This time out he lands-on Detroit Techno and serves up, well, some electro. It's classic 313 tackle though - heavy on the kicks, snappy snares and filthy dirty basslines that make you want to move. Ghoulish vocals add extra grit to the opener and from there 'Dance' gets more playful with jittery drum funk and scratching, 'Beautiful Bum' has a gorgeously tender and reflective vibe thanks to the minor chords and smooth electro rhythms, 'Magic (feat Tay) ' slips into a deep and soulful house groove and 'Househead' is jacked up, loopy and well swung amongst several more timeless cuts. All in all, a killer double 12".

Their debut album "Unbändige Kinder" by Angelo Repetto and Nicolas Balmer, alias Konstant, blossoms from the burdens of days gone by and describes their world in a phase of change and new beginnings.

Constantly looking ahead, driven by New Wave, Kraut and Post Punk, they define their own musical form. Both have been active in the Zurich scene for a long time and have come together to create their own language. The album is characterised by rawness, bluntness and the syllables from the heart. Honest and direct.

Recorded and produced by Domi Chansorn at Studio G5, the recording describes the rawness of our time. Perhaps the feeling of a generation – maybe just a breath of the wind.

For the release of "Unbändige Kinder", Subject To Restrictions Discs and Default Mode Records are joining forces and releasing the music into a world that needs it.

Somewhere between Solid State Survivor, Force Majeure and Danzindan-Pojidon you’ll find Shinichi Omata’s Boku ・ Neko ・ Platanus. Or rather you won’t – throughout his captivating debut from 1984, reissued by chOOn!! in 2022, you’ll hear connections to other music but its unique unbridled will keeps pushing those references out of mind.

Shinichi Omata is a fascinating figure – an unsung hero of early Japanese electronic music who between 1981–84 recorded three albums of incredible DIY techno-pop while studying as a student in Tokyo. At University, Omata worked and collaborated as a sitar player and keyboardist with artists such as Hiroko Yoshihara, Takami, DEA and various members of the LLE music circle, where he developed an expressive fusion of minimal synth and psychedelia.

This selection, lovingly extracted from Omata’s unreleased early recorded output, dating from 1981’s Neo Modernism through to 1983's With My Dog Ricky, demonstrates just how closely he clung to the original abstract ideal of moulding 8-bit bleeps and ungainly drum patterns into lo-fi triumphalism. On paper you wouldn’t give this aesthetic clash a pass were it not for the aural evidence of a unique sensibility, precociously openminded and visionary, charmingly transparent in respect of its influences yet possessed of a need for individuality.

Throughout this kaleidoscopic collection, all the ghost plastic in Omata’s head, Kosmische synthesis, synth-funk squiggles, arcade games and early Ambient is thrown together, reimagined and regarded affectionately – through a glass lightly, so to speak. Beneath the pulsing arpeggiated bleeps, Omata’s compositions show a remarkable economy and poise hinting at European classical influences - like a reimagining of Erik Satie’s piano miniatures that swaps 19th century Parisian boulevards for Tokyo’s 1980s technopolis. The music is sheer skin- puckering delight throughout, a delirious, mesmeric collage of dark disco bubblegum and eccentrically enchanting atmospheres that you cannot quite believe you’ve never heard before.

Available for the first time on vinyl, With My Dog Ricky: The Early Works of Shinichi Omata 1981-1983 is a vivid selection of synth miniatures lovingly extracted from Omata’s unreleased early recorded output.

Produced in cooperation with the artist for chOOn!!.

Mastered for vinyl/digital by Josh Bonati. Artwork by the acclaimed book designer Luke Bird

• Demon Records presents ‘Happy Nation’ the 1992 debut studio album by Ace of Base
• Ace of Base are one of the most successful pop groups who ruled the charts in the 1990s,
producing inescapable pop singles, including 10 UK top 40 singles
• Hits include; #1 world wide chart topper ‘All That She Wants’, alongside ‘The Sign’, ‘Don’t Turn
Around’, ‘Wheel of Fortune’ and ‘Living In Danger’
• This Reissue is pressed on 140g clear vinyl, with original artwork and printed inner sleeve

Embark on a dark and atmospheric journey with the collaborative release featuring Oleg Makovskiy, Osvit, Nechkin, and Yaklev. This vinyl showcases a blend of dark minimal and broken beats, taking listeners through mysterious landscapes and jungles. Oleg Makovskiy opens the door to this captivating journey, while Osvit and Nechkin guide us through the depths of the jungle. The experience concludes with Yaklevs powerful and energetic track, slamming the door shut on this exhilarating excursion. Get ready to immerse yourself in the haunting and mesmerizing sounds of this unique vinyl release.

After a duo of floor-stomping releases, Rhythm by Nature is back for its third release with one of the most prolific producers in the game — Tommy Vicari Jnr. The Sheffield-based musician went from being an enigmatic figure to becoming a true example of musical discipline, boasting a seemingly endless musical output under several aliases. With "Francis Bacon Size Hangover EP," Vicari presents a diverse four-track EP that showcases his ability to traverse various soundscapes without ever losing grip on rhythm.

'Francis Bacon Size Hangover' (A1) opens the EP in pure Vicari style, plunging atmospheric dub-infused pads, delayed drums and competently edited vocal breaks on a cosmos of shifting sound signatures. The result is an infectious dance floor weapon drenched in mind-boggling groove with funky, light-hearted undertones. 'B Doll' (A2) goes a bit jazzier, delivering an analogue-driven, breakbeat-tinted track with intricate percussion and deep, resonant synth work. B1: "Newdays" finds Vicari immersing himself in the essence of house music, powerfully rooted in Chicago's disco and proto-house aesthetics: punchy drums and propulsive basslines keep the track in constant motion while atmospheric textures forge an irresistible soundscape of skillfully layered, ingeniously sampled sounds. Originally crafted in 2004, 'Vommer' (B2) closes the EP by showcasing Vicari's longstanding dedication to his craft — a slow-burning, minimalistic dub track that's as beautifully understated as it is gracefully spaced out.

"Francis Bacon Size Hangover EP" is a testament to Tommy Vicari Jnr's enduring influence in the electronic music scene and proof that Rhythm by Nature is perfectly capable of continuing to build momentum.

"Niagara's third LP Afire is the rarest one from kraut drummer, formerly of Sunbirds, Klaus Weiss' band. An astonishing album which returns to the minimal sounds based on percussion and rhythm of their first album, yet retaining a feel of harmony all through it - this time not provided by the brass instruments that had been added in S.U.B., but though to the high emphasis put on combining a variety of drums each tuned to their perfect pitch, and the contribution of Embryo's bass player Dave King. Also present on the sessions were percussionists George Brown, Sabu Rex and Norman Tolbert. The phenomenal rhythms contained on this LP have made it a very sought after piece among those looking for cool samplers to mix.

Klaus Weiss is considered one of the best drummers of the German jazz scene, he was always very active and played with a lot of USA jazzmen travelling Germany like Hampton Hawes, Herbie Mann, Mal Waldron or Johnny Griffin, as well as with German greats as Klaus Doldinger, George Gruntz, Friedrich Gulda, etc. "

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things

Introducing entry number 3 in Analog Concept Records dynamic Various Artists Series. The fast track to long lasting electronic prowess begins with Fasme “Crying Robots” a fusion of atmosphere, permeating pad emotions, electro and even some breaks layers all serenaded by choice bits of dialogue and analogue phone dials and full of stimulating style. Navigation continues with CCO “Solar Sail” where ominous waves of percussion driven House prevail, beneath moody analogue acid basslines heavier than whales, while its chords leave the listener in a hypnotic groove spell.

We continue to fill your cup of tea on side B adding the nutritious ingredients from the mysterious duo UNWONTED with “Frontier”; it's an all out electrofunk affair, punchy and layered with sharp claps, dark dialogues, and an ice cold acid marinated bassline that will heat up the dance floors when it attacks.

The Ep concludes with Serge Geyzel “Flash” a photographic listening experience into relentless electrobass full of atmosphere, fine highs in sonic experimentation, and a doomsday bassline that bangs the speakers and your mind.

Curated carefully for plenty of encores, Analog Concept's Various Artists 3 is here to captivate the souls and floors.

Kolida Babo is the collaboration between two Greek woodwind musicians from separate regions - Socratis Votskos is from Pella, and Harris P. is from Athens. Their self-titled debut album was recorded in improvised live-take sessions beginning on the night of the “Kolida Babo” folk rituals of music and dance in northern Greece in winter 2013. They explore the ancient music of Armenia and the folk traditions of northern Greece’s Epirus and Thrace regions alongside abstract electronics and free jazz.

Their debut album was released by MIC Records (London) in 2019 to rave reviews. Other notable releases include the Jazzman Records jazz45 series and the soundtrack for the documentary ''Gospel of Michiel'' and "Loxy". Their music was supported by BBC 6Music, BBC Radio 3 - Late Junction, NTS, Soho Radio, WorldWide Fm as well as the Greek National Radio. Last but not least, they have performed in various places around Greece and Europe including festivals like CTM, Archipelago Festival and Vinterjazz Festival.

In their second full-length album Spirits of Mauronoros set to be released in 27/09/2024 by Veego Records, Kolida Babo revisit an old forgotten place in northern Epirus Greece, near the Greek-Albanian borders.

A spiritual music journey dedicated to the old village of Mauronoros (Black Mountain) and its people. This village is one of the many villages in Greece that is totally abandoned as a result of the economic crises and cultural changes that Greece faced in the last century. This profound depopulation of the area left behind ruins that echo its past trials and tribulations. However the traditional sounds of the village keep reappearing in urban centers like ghosts that haunt everyday life. This sonic dialogue between "modern" and "traditional", between "the peaceful countryside" and " turbulent urban centers" sometimes looks irrelevant and outdated but is of great consequence. It transports the listener in an unspecified time and place devoid of any cultural and geopolitical connotations and thus leaves them wondering for a freer and more authentic way of life.

Hiroshi Watanabe, a musician, photographer, and DJ from the Japanese electronic scene, based in Saitama near Tokyo, has been a prolific figure for twenty-five years. He has explored most major genres of electronic music through more than twenty albums. He proudly becomes the very first Japanese artist of InFiné.

After Ryuichi Sakamoto, he is one of the very few Japanese artists who have gained the favor of Western audiences, alongside notable names such as Cornelius, Towa Tei, DJ Krush, Ken Ishii, Susumu Yokota, and more recently Hiroshi Yoshimura. In Europe, he is best known for his project Kaito, which began in 2001 under the prestigious Kompakt label. The name Kaito, in addition to being the name of his son born the same year, carries a double meaning in Japanese, signifying both "universe" and "secret." These references hint at a spirituality visible in his photographic work and contribute to the elements that make Japanese artists masters of the ambient genre.

The collaboration between Kaito and the InFiné label began with his participation in the compilation "Music Activists 2020 (From Home)," which supported artists affected by the Covid crisis, followed by a remix for the single "Motion" by Rone and Vanessa Wagner in 2023. These initial contributions led to a new album featuring nine tracks of ambient music.

Kaito's new album ‘Collection’ comprises nine ambient and melodic tracks composed during the Covid-19 pandemic. These compositions present a majestic minimal and harmonious therapy in response to the world’s adversities, showcasing the producer’s return to the peak of his art. ‘Collection’ was remastered by another genre legend, the German Rashad Becker, and released on vinyl and CD by InFiné in 2024.

Matching breezy, Bossa nova-tinged sophistication with softly spiralling psychedelia, Testbild! arrive in the Quindi lounge as though they've always been there. On their 12th album, Bed Stilt, the Swedish collective cast their attention back to the earlier days of their 25-year trip through sweetly mysterious pop-not-pop rendered in warm tones and shot through with surrealism. It's tricky to get a precise fix on the story and structure of Testbild! The project was spearheaded by Petter Herbertsson in his hometown of Malmö in the late 90s, although the story on their website credits the inspiration and source material to a chance meeting and unpublished manuscript from a retiring scientist. The collective's evolution since then is a tangled web of facts and fiction spun by a revolving cast of collaborators including Siri af Burén, Katja Ekman, Rikard Heberling, Douglas Holmquist, Mattias Nihlén and Petter Samuelsson. Along the way, their music has touched on chamber pop, post-punk and modern jazz with the elaborate harmonies and catchy songwriting charm of the Canterbury scene. The tracks which make up Bed Stilt were in fact track recorded in Malmö back in the mid- 00s, lying in wait for the right opportunity to be brought to light with some delicate overdubs and finishing flourishes in the here and now. The core musicians working on the record were Herbertsson and Douglas Holmquist on a similarly expansive list of vocals, guitars, bass, synths and keys, Siri af Burén on lead vocals and Mattias Nihlén on synths and additional mixing. Meanwhile Tomas Bodén - better known as Civilistjavel - lent some additional synth work as well as mastering the record. Musically, Testbild! stay true to their idiosyncratic approach on Bed Stilt with six immaculately rendered sojourns through lilting harmonies and brushed rhythms, feeling nostalgic but beguiling in equal measure. Theirs is a luxurious sound, not least on the opening strains of 'The First New Years Eve,' which purrs to life draped in silky Rhodes and chiming vibes. Behind this comfortable veneer the enigmatic lyrical themes unfurl through Herbertsson, Holmquist and af Burén's vocal harmonies like fractalized puzzles waiting to be solved. The finger-picking delicacy and languid harmonica of 'Streams' strike a pastoral mood neatly countered by the elegant slide into dislocated ambience for the track's final stretch. By contrast, 'And Her Eyes Are Red' surges with a big beat urgency which plays beautifully with the mellow jazziness of the chord sequences, boldly toying with song structure to dart down curious tangents without losing the immediate impulse of a great pop record. Somewhere in this tension between clarity and chaos we can understand the addictive charm of Testbild! - a band steeped in the considerable craft of making accomplished and unconventional music so very easy to sink into. If that doesn't make for a perfect addition to the Quindi catalogue, we don't know what does.

Pyre Fyre's debut album finds the band celebrating their diverse roots as well as expanding the scope of the modern heavy metal lexicon.

Throughout their lifetime and a handful of releases, the trio have carefully fostered and perfected a style of music that is technical and beautiful but doesn’t shy away from any avant-garde, noisy, or punishing moments.
While you’re able to discern sounds brought from noise rock of the 80s and 90s, post-hardcore of the 90s and early aughts, as well as multiple waves of emo and screamo, Abandoncy’s affinity for abstract structure, strange time, and dramatic pause gives them a style all their own.
At its end it is breathtaking, addictive, and harrowing to experience.
On their third full-length, Assailable Agonism, you find the band pushing even further. All six songs boil over with masterful instrumentation and crushing composition.
Clocking in at just under 19 minutes, it feels like a brief but brutal haunting of all of your personal spaces.
Paranoid, blistering, and all-consuming, coated with the grime of drying riverbeds and dust storms. Through its juxtaposition of melodic and noisy elements, it has a presence that will draw in fans of all different styles of music.
"Assailable Agonism" is released by Vina Records (Italy), The Ghost Is Clear (USA), Learning Curve (USA).

Afterhours. continues its quest for exquisitely crafted minimal dance music and welcomes young talent Aron for its seventh release. "Limbic" features three original dancefloor cuts and a groove-focused remix by Arno, Pressure Trax's head honcho.

The "Limbic" EP starts with 'Prawn Repetitions' (A1), immediately locking the listener into a seemingly endless loop of stomping sub-bass, slippery drums, snipped chords and a mantra-like vocal stating "I'm a Shrimp" just enough times to hypnotize. 'Inverse Perspective' (A2) strips down the sonic space to focus on micro/macro rhythms, leaving just enough room for its haunting atmospheric pads to cut through. The track title "Limbic" (B1) is as wacky as it is catchy. Its sound design feels alien, not only in its wobbliness but also in the type of vocal snippets used and overall aesthetic graininess; yet, it remains highly stomping and dancefloor appropriate, with its second part elevated, and humanized, by (very) human melodies. Arno's Remix of "Limbic" (B2) deconstructs its every element, grounding the alien elements into a groove-centered, drum-machine-driven composition that embraces the harmonious aspects of the original without ever losing pace on its (very) insistent bass pattern.

Between the acoustic and the electronic, the four-by-fours and the breakbeat, Aron's tracks are as trippy as they are soulful: dense and detailed tracks with enough forward momentum to keep any room moving.

Rance Allen churned that rhythm smack between gospel music and soul. Rance brought the fire, his every performance a dedicated reach beyond expectations. It's like he lived in a realm above ours, and his performances were a ladder from our plane to his, an invitation to step up, step out, be good, do right, dance while doing it, jive and smile. And praise the Lord.
Rance sang about Jesus Christ, even when he didn't mention him. His music was an invitation to groove along, but it was also a stepping stone to church. He focused not on the fire and brimstone but on building community, helping those in need, a church of embrace.
His two brothers were his band, along with Stax guests. On "Everybody's Talkin'" you can hear disco coming around the corner and also the influence of Isaac Hayes. "You Need A Friend Like Mine" builds on the Staple Singers' "If You're Ready (Come Go With Me)", and it features some of Rance's finest falsetto, up there with Rev. Claude Jeter and Al Green.
Rance moves your spirit.

A decade has passed since we released our first vinyl in 2014 through the infamous ILLEGAL SERIES imprint.
To celebrate this milestone, we've invited Miki to create a mix that weaves together tracks from our entire catalogue, reminiscing of our journey over the past decade. We chose to release this mix on a classic tape cassette to better capture the essence of this special occasion.

The Legendary Joss Moog, One of the Pillars of Robsoul Recordings, Returns With His Highly Anticipated Ep “Intimate Assembly.” Known for His Deep and Groovy House Beats, Joss Moog Continues to Be a Driving Force in the House Music scene.
This Ep Features Four Tracks That Showcase the Full Range of Joss Moog’s Talent and Musical Palette, Promising Yet Another Classic Addition to His Impressive Discography. Each Track Is Meticulously Crafted, Blending Funky Rhythms With Soulful Melodies, Reflecting His Unique Style That Has Captivated Audiences worldwide.
Joss Moog, Co-Founder of the French Label Ondulé Recordings, Has Been a Prolific Figure in the House Music Community. His Previous Works, Such as “Room 25” and “Forever Pimpin’,” Have Cemented His Status as a Master of the Genre. With a Career Spanning Over a Decade, His Influence and Contributions to House Music Are Immense and Enduring....

Kniteforce Crew artist and council member Paul Bradley shows off this lighter counterpart to his epic Swamped EP! This killer slice of old skool rave has proper piano vibes, a summer feel and loops to die for. Heavy beats and uplifting vocals are the name of the game, and the game is being played at an expert level!

Kniteforce Crew artist and council member Paul Bradley returns with a double whammy of EPs! The Swamped EP leans heavily into reckless amens, deep basslines, menacing riffs and darker edged tones, showing off production skills that have been honed to razor sharp points....

Welcome to Aqualaxy, a collaborative project where Warning joins forces with art historian C.C. McKee from Philadelphia and international queer activist dia_shi from Berlin. Accompanying McKee’s book on the debut album by late-90s electronic pop band Aqua, Aqualaxy is a compilation of contemporary queer artists from North America and Europe commissioned to create their own takes on songs from Aqua's debut album. The result is an expansive blossoming variety of music, from sizzling trance pop, to eerie darkwave atmospheres, to cheeky dancefloor weapons.

With Aqualaxy, Warning presents a release that playfully deviates from the label's usual tracks, highlights trans musicians, and offers fresh takes on nostalgic favourites to the community. Embrace Aqualaxy’s endless fluidity, a space where everything becomes possible, where some changes aren’t even a second thought. Did you know that when the kobudai reef fish reaches a certain size she changes her sex from female to male? Did you know that when the largest female in a school of Clownfish dies the male swaps sex to take her place? Protogyny, protandry, it all just seems like fun; not to mention the host of genders and ways of fucking we don’t even have words for as humans! In Aqualaxy, everything is possible under the water. Imagination, life is your creation!

In this fourth release from Vibes Addikt, the two versions of N.O.B.A, which were initially available digitally on Dolma Records, make their debut on vinyl, accompanied by two new remixes from the Dutch duo Rakkatack, known for their dynamic style and their work with labels like DSR Digital, Elektrax, and Eclipse Recordings.



Joining them are the legendary Filterheadz, celebrated for their iconic track "Sunshine" on Carl Cox's renowned label Intec, along with collaborations like "Tribalicious" on N.E.W.S and "Ymanya" on ID&T.

Announcing Icon Roller's Debut Vinyl and Digital Release: "Anytime EP"
Following the success of Icon Roller's two digital-only releases, we are thrilled to announce the of his debut vinyl EP titled "Anytime EP." This highly anticipated release features four exceptional tracks that have garnered rave reviews and support from some of the most respected DJs and producers in the Jungle scene.
Tracklist Overview

A1. Anytime. The title track, "Anytime," is a masterful blend of influences from Source Direct and Total Science. It features filtered pads, dubbed-out effects, and intricately chopped-up Apache and amen breaks.
This track has received significant praise from Double O, who featured an early version in his Juno Daily mix. Jungle originator Bizzy B has also highly praised this track.

A2. Peaceful & Orderly. "Peaceful & Orderly" starts with a pulsing beep and filtered-down pad, as the filters rise, so does the track's energy, transforming it into a true dancefloor banger.
This track has received significant acclaim from the Bristol Jungle scene and has been played on radio shows by Amy Kisnobo (SWU/RinseFM), Leftarm (Eruption), and Aftershock (Afterdark Radio).

B1. Personal Riddem. Kicking off the B side, "Personal Riddem" is a dark roller featuring a warped, time-stretched melody.
This track has been played by Double O on his Rinse FM show and was featured in Bizzy B's YouTube show "Dubplate Wars," where it won the popular vote against nine other contenders.

B2. For The Listeners. "For The Listeners" is a chilled track that begins with a 2-step flow break and sampled Rhodes. In the second half, it transitions into more jungle territory with a syncopated and pitched break, offering a unique blend of styles that cater to both casual listeners and jungle enthusiasts.

Mastering and Production
The "Anytime EP" has been mastered and cut by Beau Thomas at Ten Eight Seven Mastering, renowned as one of the best in the industry. His expertise ensures that each track is delivered with pristine sound quality, providing an exceptional listening experience.
Stay tuned for the release of "Anytime EP" and join us in celebrating Icon Roller's debut vinyl release.

Ilian Tape have tapped up Jichael Mackson here for a double album of expressive and forward thinking electronic sounds. The atmosphere generally futuristic and intriguing, with tracks like 'Shangri La' riding on gentle breakbeats amongst air pads, 'Banana Jazz (Quartett)' is a high speed and live sounding jazz-breakbeat workout, 'A Jichalicious Something' is dubby and IDM inflected lushness and 'Good Morning Sunshine' is an interplanetary trip with distant cosmic pads and organic piano chords soothing mind, body and soul.

From Karma Recordings comes their ninth EP. Another huge producer in Dead Dred brings his famous basslines and overhauls the track Tina by DJ Ande. Adding awesome brekbeats and you have a sure fire jungle anthem on your hands Oldskool style.

The second track on the A side is the creepy original Tina which builds to a scary crescendo. We are very proud to be introducing the first vinyl release from Dubious, an absolute jungle master and his track Iron Lung fits on this EP with ease.

Then last but not least we have an absolutely blinding Tina remix from the hardware extraordinaire 12Bit Jungle Out There who hails from down under. An absolutely brilliant 4 tracker not to be missed. Karma Recordings are going from strength to strength.

The Funky French League is a collective of intergenerational DJ’s / producers /
musicians, composed of Young Pulse, Arthur Chaps, Woody Braun, Monsieur
Willy, DJ Asko and Uncle T.
Coming from diverse backgrounds, from hip hop to electronic music, the love of
groove brought them together. Their goal is to promote funk and its derivatives
through parties, mixes, remixes, radio broadcasts...
Much more than a musical style above all, they defend a state of mind:
celebration, diversity, inclusivity, good vibrations and the spirit of the party.
„Shake Your Body Down“ is the perfect follow up single to „Free“ and is a Young
Pulse next level production. Pounding, shaking, uplifting and 150% danceable…

2024 Reissue

Köhncke rides again with another 12“ having 2 sides that couldn‘t be more different: the A-Side, „Timecode“, is a clock-ticking electronic disco tease promising a joyous release by building up tremendous expectations over its course of 8 minutes – and of course not delivering the final dance floor orgasm since the night has to continue in mutual happiness and expectations on the floor. But well, surely lots of „pre-cum“ spreaded...

The „flip“, „The Answer Is Yes“, displays Köhncke‘s love with The Beatles or Prefab Sprout and the likes, in a masterly programmed digital simulation of the „played“ sound of the likes (Köhncke cannot play any „real instruments“ except for a bit of Barré-Punk-Guitar). It‘s a love metaphor about 2 photons in „entanglement“, which is a proven very psychedelic effect in quantum physics. The photons are „entangled“ and „know“ each other‘s „spin“ in immediacy, thus not bent to the speed of light, even if they are 100000 light years from each other - a theory that even Einstein considered absurd when the pioneers of quantum physics came up with this in the 1930s. So Justus put his fascination with quantum physics into a pop love song metaphor – how much more do you want?

Köhncke kommt zurück mit einer 12“ - 2 Seiten, wie sie unterschiedlicher nicht sein könnten: Die A-Seite, „Timecode“, ist eine tickende elektronische Disco-Versuchungs-Zeitbombe, die über ihre Laufzeit von über 8 Minuten extreme Erlösungsversprechen macht, sie aber selbstverständlich nicht in einem endfinalen Floor-Orgasmus auflöst, denn die Nacht soll ja weitergehen in gemeinsamer Glücklichkeit und Erwartung auf der Tanzfläche. Allerdings, eine Menge „pre-cum“ wird schon versprüht in dieser unwiderstehlichen Spannungserzeugung von Track.

Die „flipside“, „The Answer Is Yes“, stellt Köhnckes Liebe zu den Beatles oder Prefab Sprout etc. ins Licht, in einer meisterhaft programmierten digitalen Simulation des „gespielten“ Sounds der Großmeister (Köhncke kann keine „echten Instrumente“ spielen außer ein bißchen Baréegriff-Punk-Rhythmusgitarre, sein Instrument ist der Sequenzer). Es ist eine Liebesmetapher über zwei Photonen im Zustand der „Verschränkung“, was ein heute wissenschaftlich nachgewiesenes extrem psychedelisches Phänomen aus der Welt der Quantenmechanik ist: die Photonen sind „verschränkt“ und „kennen“ ihren aktuellen „Spin“ (Rotationsrichtung des Teilchens) unmittelbar, also nicht gebunden an die Lichtgeschwindigkeit. Auch wenn sie 100000 Lichtjahre voneneinander entfernt sind – eine Theorie, die sogar Einstein absurd fand („Spukhafte Fernwirkung“), als die Pioniere der Quantenphysik sie in den 1930er Jahren postulierten. Köhncke verewigt seine Faszination für Quantenphysik hier also in Form eine Retro-Pop-Lovesong-Methapher – was will man mehr?
Downloads

Classic R’n’b and Afro Beat a fusion and perfect match. Modern and warm, pounding beats and pulsing baselines are the ingredients of this German-Nigerian extra ordinary colabo. This is the door opener for our Sedsoulciety Recordings gold line, which displays the modern and zeitgeist driven section of our catalogue. Expect nothing less than powerful, driving beats and smooth vocals. The gold line embodies Rap, HipHop, R’n’b, Neo-Soul, Neo-Boogie and Neo-Funk, not necessarily in one track but as a pool of artists and productions.“Tell Me What You Want” and we deliver it. This time in two outfits, the Afro Vibe Mix on the A-side and the Groove Mix on the flip… This new release on Sedsoulciety Recordings is an unreleased exclusive vinyl 45!

Prince Istari in the 2nd Grade of the Riddim Dub School dropping an original classic cover in rockers style on the first side, while on the flipside he comes down for some stepper and playing his melodica. Made on earth with love, for space exploration and bass. Limited to 300 copies and comes in stamped cardboard sleeves.

Celebrating thirty years of collaboration, Loren Connors and Alan Licht performed for two nights at OTO on May 5 and 6th, 2023. The shows celebrated a new release titled “At The Top of the Stairs”; a document of the pair's reunion in 2018 after a period of 8 years not playing together. It’s a dark, swirling two-sided spectral noir session, put out by the duo’s home label, Family Vineyard, and we expected a similar kind of atonal abyss to appear at the OTO residency. On the second night however, with the stage lit in blue, Connors took up a seat on the piano stool whilst Licht picked up the guitar. What followed was the duo’s first ever set with Connors on piano - one of only a few times Connors has played piano live at all - here captured and issued as The Blue Hour. Its spacious warmth came as a total surprise live, but makes complete sense for a duo whose dedicated expressionism takes inspiration from a vast spectrum of emotion. Both opening with single notes to start, it doesn't take long before a surface rises and begins to shimmer between the pair. A run up the keys, the drop of a feedback layer on a sustained and bent note. When the two begin to exchange notes in tandem, brief touches of melody and chord hover and the hush of the room is palpapale. After a while, Connors picks up the guitar, stands it in his lap and sweeps a wash of colour across Licht’s melody. Sharp, glassy edges begin to form, open strings and barred frets darkening the space. When his two pedals begin to merge, Licht finds a dramatic organ-like feedback and it’s hard not to imagine Rothko’s Chapel, its varying shades of blue black ascending and descending in the room. When Connors goes back to the piano for the second side, the pair quickly lock into a refrain and light pours in. It’s a kind of sound that Licht says reminds him of what he and Connors would do when the duo first started playing together 30 years ago. It’s certainly more melodic than some of their more recent shows, and the atonal shards of At The Top of the Stairs seem to totally dissolve. What is always remarkable about Licht is that his enormous frame of reference doesn't seem to weigh him down, and instead here he is able to delicately place fractures of a Jackson C Frank song (“Just Like Anything”,) amongst the vast sea of Connors’ blues. Perhaps it's the pleasure of playing two nights in a row together, or the nature of Connor’s piano playing combined with Licht’s careful listening, but the improvisation on The Blue Hour feels remarkably calm and unafraid. There’s nothing to prove and no agenda except the joy of sounding colour together. Totally beautiful.

Lucky number seven arrives on our Prozpektiva series and for this record we turn to Cyan85. To date more so known for his electro-breaks sounds and although is technically not a new and up & upcoming artist we are happy to present a new sound which sees the producer turn to House Jams only on this record, serving a variety of vibes from dreamy to creepy, over funky to stumpy.

29 Speedway is a record label and performance series based in Brooklyn, NY featuring forward-thinking improvisational music and live multimedia. Founded in 2020 by Ben Shirken a.k.a. Ex Wiish (‘Shards Of Axel’, Incienso 2023), 29S serves as a platform for artists exploring the fringes of interdisciplinary art and music. Hosting D.I.Y-guerrilla style sound and performance art concerts at Pioneer Works (NYC), Public Records, and in Europe in partnership with Index Records, they have worked with artists such as James Hoff, J. Albert, Yolabmi, Robert Aiki Aubrey Lowe, AceMo, Flora Yin Wong, Nexcyia, Young Boy Dancing Group, UMFANG, Color Plus, Poncili Creación, Special Guest DJ, Arushi Jain, Drumloop, Isabella Koen, Ben Bondy, Kamran Sadeghi, Yawning Portal, James K., Syndey Spann, Debit, Pent and many others.

Resident Advisor called their most recent compilation record ‘Channel Plus’ “one of the most stunning documents of the ‘modern ambient-techno movement pioneered by labels such as Motion Ward and West Mineral’, with a focus on New York as well as a global outreach that encompasses chilled-out trap, electro, downtempo and even early '00s electroacoustic music”. Their debut solo artist release from J. Albert and Will August Park, entitled “Flat Earth” (2023), was based on free improvisation and ambient jazz, receiving praise from Philip Sherburne, Shawn Reynaldo, and was included in RYMs top EPs of the year. 29S has been written about on ID, Bandcamp Daily: Best Ambient, Boomkat, Paper Mag, Artnet, Dazed, Clot Mag, Nina Protocol, and Document Journal.

The newest release from 29 Speedway, UltraBody, is a compilation record featuring the music of Jake Muir, Pent & Dylan Kerr, Nexcyia & Mu Tate, James K, Flora Yin-Wong, Ex Wiish & Dorothy Carlos, Kamran Sadeghi, Tati au Miel, James Hoff, Eric Frye, Muein and Maxwell Sterling. The record is emblematic of the artists who have performed at 29 Speedway shows in New York and Europe during the past two years, and is the third in a series released by the label.

The record was born out of a desire to investiage how the self, spirituality, and language are intertwined with the intervention of subjectivity by new technologies. With increasingly sophisticated tech, and the supposed ability to remake the world and ourselves, what differentiates our individual discretion from the will imposed upon us by software? Quoting Walter Chaw from his piece on David Cronenberg’s Videodrome, “Decades of rampant, unregulated and ill-considered technological leaps have begun to evolve, to mutate, humans at a biological level”. This haphazard acceleration towards a techno-utopic transformation of humanity has faulted, and as William Gibson put it, is leading us to live in a “half assed singularity”. In this reality, artistic processes are influenced by excessive access to computational tools and assistance, but not utterly controlled.

This in-between state of dominion is explored in 29 Speedway: UltraBody. “Incoherences” samples the utterances of Dylan Kerr’s voice processed between Pent’s percolated glazes, muddying the gulf between vaporous ambient and reflexive sound design. The voice on James Hoff’s “A... ...Cha.... A... I feel l” was created by trying to get voice cloning technology to sing a gps data stream, the music an extrapolation from an earworm he got stuck in his head while shopping in Kyoto. On “Plogue Chain”, Eric Frye’s most speculative sci-fi observations spiral into a glazed pool of digital cacophony, while Kamran Sadeghi’s “Formula Fiction” is an experiment in (un)controlled generativity. Incorporating minimal pings from a 3D simulation scene based on gravitational interaction, cello bits evolve on “Assimilation”, a collaboration between Ex Wiish & Dorothy Carlos.

On UltraBody, sound has no separate existence from space.

Omni – meaning all-encompassing – is an apt title for celebrating over a decade of existence of Blue Hour Music. Marking the musical diversity and longevity of Blue Hour's imprint, the Omni V/A series brings together a wide range of artists from the full electronic music spectrum, plunging into a pool of techno, trance, breaks and everything in between.

First Word Records is proud to bring you 'The Making of Silk', the brand new album from Allysha Joy.

Allysha Joy is a deeply-expressive singer, songwriter, producer & keys player hailing from Naarm (Melbourne), known for both her solo work and as front woman for 30/70. A uniquely-talented artist, her husky soulful voice, formidable Fender Rhodes prowess and raw poeticism has garnered legions of attentive fans the world over.

As an integral performer in the modern day jazz-soul scene, previous support has included selectors Gilles Peterson & Jamz Supernova (BBC 6 Music), Jamie Cullum (BBC Radio 2), China Moses (Jazz FM) & Laurent Garnier (PBB France), along with stations such as NTS, Lot Radio, KEXP & KCRW, and publications including OkayPlayer, Dazed and The Vinyl Factory.

Along with a recent foray into the USA market with a string of successful shows, Allysha Joy has performed alongside acts such as Snarky Puppy, PJ Morton, The Teskey Brothers, Kokoroko and Children of Zeus, to name a few.

Joy has previously released two full-length solo albums 'Acadie : Raw' in 2018, 'Torn : Tonic' in 2022 and an EP, 'Light It Again' in 2020, along with countless collaborations and features over the past few years.

Entirely self-produced and affectionately poured over, 'The Making of Silk' is about a new understanding of the meaning of love.

Joy says, "it's the kind of love that bell hooks writes about, that lives in the poetry of Mary Oliver, Hafiz and the passionate dreaming of a Koryusai painting. It's about a love that is compassionate, that lives in open conversation, deep listening, the front lines of social movement and would never seek to stifle the light in you. It's about accepting our aloneness, the impermanence of all things and still forever wanting to prove it wrong, to say that I understand that all things change, all things end, hurt exists, but I will love regardless."

Riding on the waves of rich string arrangements, layers of vocal harmony and the raw poeticism she is known for, Allysha Joy's next album is embodying love.

'The Making of Silk' is due to be released on vinyl & digital worldwide, September 13th 2024.

Includes unlimited streaming of Atropos via the free Bandcamp app,
plus high-quality download in MP3, FLAC and more. s

Sometimes, we have the tendency to run away from distress because we do not want to deal with the feeling of pain, but the first step in spiritual healing is overcoming the fears and recognizing the pain. The sooner you address the cause of your difficulty, the sooner you’ll get freedom from the pain. Be aware of your situation.
Once you have faced the source of anxiety, you need to acknowledge the pain. Feel your emotions and question what their sources are. Be honest about your feelings. In this stage, it is normal to feel like situations are beyond your control, which can transfer the feeling of hopelessness. However, by allowing yourself to feel rage, it becomes easier for your wounds to heal. Honor your feelings.
Honoring your pain will teach you self-forgiveness. You should be able to feel the kindness within you and experience all the love you have for yourself. You will feel a conflict between the instinct to heal on your own, and the desire to accept the situation and seek support to get healed. You prove that you have an unwavering determination to get healed by choosing the latter. When you want spiritual healing, you have to place your faith in the universe, too.
Surrendering the pain means releasing the pain and seeking support from the universe. It will help you ease your sufferings.
The negative ego vanishes from within you and makes your heart feel lighter once you release your pain. This is a sign of spiritual wellness. You will start to feel a deep openness towards things and think with a peaceful mind. You will become whole again and you will develop the ability to deal with the disruptions of your life with tolerance. The inner peace will be restored. Feal.

We have invited for the first time in our closed creative community the soul and creativity of an old colleague, friend and fellow traveler on the road of DAO of life.

This is K▲NZ

If read from back to forth it comes from ZNAK, which means SIGN when translated into Bulgarian.

Originating and still gravitating in the suburban area of Lyulin district, these areas are known to give birth either to crime, or to art. In the case of Kaloyan “K▲NZ” Gavrailov, the shady Lyulin area, thankfully sparks the latter.

K▲NZ has had a lot of attention in regards to nightlife participation and on behalf of labels, but definitely not yet the deserved one. We are proud to present the platform for his first ever 12″ vinyl release with slightly odd in taste selection, and thus, rich in soul and creativity. -M-E-L-M-A-K-’s LKVBHR-12 installment is to be released also later this summer and by this we would like to tell Kalo: “welcome to the mob, big! Small-town-dogma-free techno rulez!”

Today Not Yesterday Records’ third vinyl release. Influenced by the 90s and early 2000 era of house music. Music to make people dance. House music for your body, your mind and your soul.

For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

2024 Repress

Mastered from the original analog tapes for the very first time, SHARP-FLAT brings you the WITCH DISCO SINGLES as you’ve never heard them before. WIT 5 hosts a single edit of “Erotic Delight” from the band's 1984 album Kuomboka backed with “Change of a Feeling,” an unheard WITCH track released for the very first time.

By the end of the 1970s, WITCH was a Zambian music institution. Active since 1972, they had survived the Zamrock years and left an impressive garage, psych and prog discography in their wake. But at the outset of the 1980s, the band was ready to embrace the modern sounds of a newera. Undertaking personnel changes and relocating to Zimbabwe, they were primed by the independence celebrations of their neighbouring country to undertake their mythical transformation into an African disco powerhouse.

With access to a state of the art recording studio in Harare, WITCH produced two exquisite albums in the early 1980s. Appearing in 1980,Movin’ On was preceded by the single “My Desire,” which featured new member Christine Jackson on lead vocals. With an upfront funky bass-line, falsetto backing vocals, swirling synths and tight horns, it was a searing hot disco offering that made no bones about the fact that the WITCH was ready to get down. Composer/vocalist Stanford Tembo’s mid-tempo burner “You Are My Sunshine" was the perfect fit for the flip.

Documenting the band’s drift from disco into boogie, WITCH’s final album Kuomboka was released in 1984 without an accompanying single. New lead vocalist Patrick Chisembele injected youthful energy and a modern soul edge, most notably on “Erotic Delight” with its crisp drums, slinky keys and intoxicating bass groove. Pop reggae was also within the album’s stylistic purview by way of the closer “Jah Let the Sunshine” as well as “Change of a Feeling,” the flip side of a recently discovered single that wasn’t originally released.

2024 Repress

Mastered from the original analog tapes for the very first time, SHARP-FLAT brings you the WITCH DISCO SINGLES as you’ve never heard them before. WIT 4 carries a single edit of 'My Desire' backed with 'You Are My Sunshine' from the group's classic 'Movin’ On' LP from 1980.

By the end of the 1970s, WITCH was a Zambian music institution. Active since 1972, they had survived the Zamrock years and left an impressivegarage, psych and prog discography in their wake. But at the outset of the 1980s, the band was ready to embrace the modern sounds of a new era. Undertaking personnel changes and relocating to Zimbabwe, they were primed by the independence celebrations of their neighboring country to undertake their mythical transformation into an African disco powerhouse.

With access to a state of the art recording studio in Harare, WITCH produced two exquisite albums in the early 1980s. Appearing in 1980,Movin’ On was preceded by the single “My Desire,” which featured new member Christine Jackson on lead vocals. With an upfront funky bass-line, falsetto backing vocals, swirling synths and tight horns, it was a searing hot disco offering that made no bones about the fact that the WITCH was ready to get down. Composer/vocalist Stanford Tembo’s mid-tempo burner “You Are My Sunshine" was the perfect fit for
the flip.

Documenting the band’s drift from disco into boogie, WITCH’s final album Kuomboka was released in 1984 without an accompanying single. New lead vocalist Patrick Chisembele injected youthful energy and a modern soul edge, most notably on “Erotic Delight” with its crisp drums, slinky keys and intoxicating bass groove. Pop reggae was alson within the album’s stylistic purview by way of the closer “Jah Let the Sunshine” as well as “Change of a Feeling,” the flip side of a recently discovered single that wasn’t originally released.

Review: Sade's Lovers Rock marks a significant evolution in the band's sound and image. Departing from their signature luxuriance, the album embraces a sparser, knottier sound that beautifully balances past influences with contemporary trends. Adu's vocals, thick and low as ever, blend seamlessly into the breezy landscape of acoustic guitar, reggae bass, and simple percussion, creating an atmosphere of understated sensuality. The album's themes range from new love to motherhood to societal issues, showcasing Adu's lyrical prowess and her ability to navigate the complexities of human emotions. Lovers Rock also pays homage to the cultural influence of Caribbean Britishness, both in its title and its musical style, adding depth to Sade's sonic palette. While the album was released amid a pop landscape dominated by shiny, slick productions, Sade remained true to their sound, avoiding obvious trends and opting for a more introspective approach. The album's impact reverberates through contemporary music and allowed Sade to maintain their unique identity and continue evolving with each release.