quête:dr ill

Inhaltsangabe:Lautes Gekrächze und Hilfeschreie schallen durch den Park. Peter eilt zu Hilfe, als ein Mann von einem wild gewordenen Schwarm Krähen attackiert wird.Mit ihren spitzen Schnäbeln hacken die Vögel wütend auf den Mann ein und lassen nur schwerlich von ihm ab. Was hat die Krähen so in Aufregung versetzt? Justus, Peter und Bob folgen dem Ruf der Krähen und stoßen auf ein geheimes Projekt, das die Zukunft der Menschheit auf den Kopf stellt. Sprecher:innen & MitwirkendeErzähler: Axel MilbergJustus Jonas, Erster Detektiv: Oliver RohrbeckPeter Shaw, Zweiter Detektiv: Jens WawrczeckBob Andrews, Recherchen und Archiv: Andreas FröhlichGoldie June: Uli HeissigGordon Dust: Till HagenRoy Hancock: Nicolas KönigKimberly Cryder: Viktoria FleerBuch und Effekte: André Minninger - Regie und Produktion: Heikedine KörtingRedaktion: Maike Müller - Titelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Silvia Christoph - Design: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von André Minninger, erschienen im Kosmos Verlag, Stuttgart. © 2023Based on characters created by Robert Arthur. Mit freundlicher Genehmigung der Universität Michigan. Die drei ??? © 2024 Franckh-Kosmos Verlags-GmbH & Co. KG. (P) & © 2024 EUROPA a division of Sony Music Entertainment GmbH

Inhaltsangabe:Lautes Gekrächze und Hilfeschreie schallen durch den Park. Peter eilt zu Hilfe, als ein Mann von einem wild gewordenen Schwarm Krähen attackiert wird.Mit ihren spitzen Schnäbeln hacken die Vögel wütend auf den Mann ein und lassen nur schwerlich von ihm ab. Was hat die Krähen so in Aufregung versetzt? Justus, Peter und Bob folgen dem Ruf der Krähen und stoßen auf ein geheimes Projekt, das die Zukunft der Menschheit auf den Kopf stellt. Sprecher:innen & MitwirkendeErzähler: Axel MilbergJustus Jonas, Erster Detektiv: Oliver RohrbeckPeter Shaw, Zweiter Detektiv: Jens WawrczeckBob Andrews, Recherchen und Archiv: Andreas FröhlichGoldie June: Uli HeissigGordon Dust: Till HagenRoy Hancock: Nicolas KönigKimberly Cryder: Viktoria FleerBuch und Effekte: André Minninger - Regie und Produktion: Heikedine KörtingRedaktion: Maike Müller - Titelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Silvia Christoph - Design: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von André Minninger, erschienen im Kosmos Verlag, Stuttgart. © 2023Based on characters created by Robert Arthur. Mit freundlicher Genehmigung der Universität Michigan. Die drei ??? © 2024 Franckh-Kosmos Verlags-GmbH & Co. KG. (P) & © 2024 EUROPA a division of Sony Music Entertainment GmbH

LUMBEROB has always strived for maximalist sonic vaudeville, always hoped for real electro gabber hardcore noise art, always grabbed for frenzied illegibility, always lurched loosely improvised from a psych-swamp of love. On the new album, HUNTER GATHER, LUMBEROB swings swanky as proper pop deviance. Built from the same loopy logic which drives the stomping slaphappy force of his live show, these tunes are crafted out of lovely and weirdly thunk out loud and large soundscapes. Mixed and mastered by Shimmy-Disc founder Kramer (Daniel Johnston, JD Pinkus, Pan American), the album surprises, estranged from obvious categorization. These slippery little bouncy bangers are bold exercises in genre discovery. It sounds like nothing and it goes with everything. LUMBEROB is a tough act to follow, a surreally inventive performer who spins giddy with excitement, dancing dumb and banging hard. That's just what he does, and HUNTER GATHER is a refined encapsulation of that energy. There's truly a beautiful stupidity to be found here. HUNTER GATHER is noise-pop, art-rock, psych-primitive, dumb-dance. The album teams with bright sounds, spinning visions, and brut poetics. It curves furiously like a naughty noodle and, yes, it spins you dizzy at times. Nothing is old in that feeling ever. Listen loudly.

The color green can represent many things. It can symbolize money, of course, but also weed. And envy. It implies newness, the rebirth of spring, but it can also evoke illness and infection. It’s an apt name for a band that is defined by its adaptability, by its knack for doing many different things all at once. On the Color Green’s second full-length—their first as a quartet—they ground their cosmic jams in earthy melodies, drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and many other sources.

In the two years the band has been touring, it has already shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, and Young Guv. “When we play live, I don’t really know what’s going to happen,” says guitarist Noah Kohll. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.”

Adds drummer Corey Rose, “One thing about this band that I really appreciate is that we can camouflage into any environment or any show. We can play with Hiss Golden Messenger and lean into that funky country vibe, or we can play with the Brian Jonestown Massacre and get evil. We all love a variety of music, so let’s not put ourselves in a box.”

That wild, mercurial quality is reflected on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. Their songs are vehicles for self-explorations, not just a means of putting their feelings into lyrics and notes but molding them, night after night, into different shapes to get different insights.

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

repressed !

Classic Music Company are proud to present Black Girl Magic, the highly anticipated sophomore album from the inimitable Honey Dijon. An artist in every sense of the word, across 15 tracks of attitude, energy, heart and community, Honey demonstrates a broad range of disciplines and influences, enlisting A-List collaborators such as Channel Tres, Eve, Pablo Vittar, Josh Caffe, Mike Dunn and more for an unmissable, boundary-pushing LP.

Redefining what it is to be a DJ in 2022, this year Honey’s production capabilities have been enlisted by the upper echelon of musicians. Producing two records for Beyonce’s chart-topping album Renaissance and remixing lead single ‘Break My Soul’, as well as working in the studio with Madonna on new material. Now unapologetically expressing her own sound on Black Girl Magic, she unveils the next chapter of her development as a producer and songwriter.

Since the first teaser of the album, the BBC Radio 1 playlisted collaboration with Atlanta singer-songwriter Hadiya George ‘Not About You’, to the most recent single ‘Show Me Some Love’ featuring Compton royalty Channel Tres, the Black Girl Magic project has consistently illustrated Honey’s dedication to profiling diverse vocal talent. Shining a spotlight on a new generation of queer people and people of colour, Honey’s intentions to “keep this culture in the conversation,” are demonstrated with the featured artists on the LP.

Behind the scenes Honey has worked closely with Classic Music Company founder and close friend Luke Solomon, as well as regular collaborator Chris Penny on the production of the album. Her most adventurous and explorative output yet with a diverse range of influences, Honey’s Chicago musical upbringing is a driving force behind the LP, with her sights set on demonstrating how she first experienced the music of her hometown felt deeply across the record.

Working with British sculptor Jam Sutton, an artist who explores the relationship between technology and antiquity, 3D sculptural digital renderings of Honey have formed the artwork for all preceding singles leading into Black Girl Magic. Exploring identity, form, technology and classical portraiture, the artwork for the album comes as the final piece in the series of bespoke displays of Honey.

From her stratospheric DJ career, to her fashion line with COMME des GARÇONS: Honey Fucking Dijon, to soundtracking some of the most iconic fashion shows of the 21st century, Honey’s influence is felt far and wide across the worlds of music, fashion and art, with Black Girl Magic a powerful physical statement of her interdisciplinary artistic impact.

Warehouse Find!

Undoubtedly one of the most exciting acts to have emerged in drum & bass over the past decade, Voltage has joined forces with Hospital Records for the release of his long-awaited studio album 'Balance Over Symmetry' which marks the tenth year of his journey as a solo artist.

No stranger to the Hospital family with an album, 2 EPs and a handful of singles under his belt as part of drum & bass powerhouse group Kings Of The Rollers, it's now time to explore the solo sounds of Voltage which have slowly but surely carved him to be one of the most respected DJ & producers in the scene.

In his true rambunctious style, Voltage sets the swing with a wild card. 'So Close' is a sub-120BPM synthwave weapon which matches his retro-inspired fashion to his musical vibrations. The combination of catchy vocals, an 80s-esque bassline and an unforgettable topline melody sees the creation of something extremely different yet irresistible from Voltage.

Not straying too far from the roots of his influences, 'Natty Love' features the groove inducing vocals of sound system legend Sweetie Irie. Saturated sub wobbles juxtaposed with potent string plucks are intertwined with ease, peppered with that signature Voltage flair.

Teaming up with reggae and dancehall superstar Demolition Man known for his skill as a vocalist, producer, MC and sound engineer, 'Life Of A DJ' combines the sounds of Demo's with Voltage's unmissable sonic technique. 'Save Me From Myself' exposes
the lighter side to Voltage as he illustrates his versatility as an artist through a soul-heavy amen roller with a classic liquid bassline.

Reminiscent of the days of euphoric hardcore, 'Keep On Dancing' sets the vibe with uplifting piano chops and adrenalised vocals as crunchy snaps and rhythmic cymbals keep things moving beneath. An iconic duo to everyone who knows their drum & bass, Voltage and Evil B come together for 'Odyssey' which sees ambient soundscapes
and earnest lyrics on a truly heartfelt piece of music.

With releases on foundational imprints such as Metalheadz, 31 Recordings, RAM, Souped Up and Spearhead to name a few, Voltage's discography speaks for itself in laying down his years’ worth of experience within drum & bass. With support for his productions coming from a wide range of influential selectors including the likes of Andy C, Hype, Friction, Goldie, Bailey, Hazard and Bryan Gee, it's safe to say that 10 years of Voltage has been a remarkable decade to say the least. Here's to 10 more…

"When the stirring musical passions of piano virtuoso Robert Mitchell, celebrated double bassist Neil Charles, and drum wizard Mark Sanders came together as a trio in 2022, “The Flame” was born, altering sound forever.

Much like their first album, Vol. 2 is yet another sparkling contribution to the rich vibe that is British improvised music. This outstanding interplay among trio members brings together the perfect balance of adventurous improvisation, abstract rhythms, and dreamy melodies that linger oh so pleasantly in your mind. Robert Mitchell opens the album with a dedication to the woman who gave him life. He tenderly recites his beautifully written poem about the selfless sacrifice of a mother so devoted to helping others."

“This is the second half of The Flame’s debut show at Café Oto in Feb 2022,” explains Professor Robert Mitchell. “It also features my poem ‘A Son Of Windrush Reflects’ in tribute to my mother and all of the nurses who served in the UK’s National Health Service from 1948 onwards - and the ongoing Windrush Scandal (5 years and counting)."

Robert Mitchell - Piano, narration, percussion.
Neil Charles - Double bass.
Mark Sanders - Drums, percussion.

Recorded February 10, 2022 by Shaun Crook at Cafe Oto, London, UK.
Mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Illustration by Robert Mirolo.
Graphic design by Mark Smith.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

The lost soundtrack to "Chess of the Wind," Iran's banned 1976 queer-gothic-class-horror masterpiece, restored by the director and released for the first time. Not for the faint of heart!

The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he'd dreamed of; he'd previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn's autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon.

Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it.

"Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that we owe nothing to. "Breaking Points" harkens the times that we may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward.

Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date. The record pinpoints the duality at the heart of Solpara's sound, which is as plaintive as it is searing.

LIMBONIC ART kehren mit "Opus Daemoniacal" zurück! Das neunte Album der norwegischen Black Metal Pioniere ist schwarz wie ein Rabe, grimmig wie ein Wolf, majestätisch wie ein Adler und so mächtig wie die frühen Werke der legendären Band, die Sänger und Multi-Instrumentalist Vidar "Daemon" Jensen im Jahr 1993 gegründet hat. Auf "Opus Daemoniacal" bleibt der Norweger seinem geradlinigen schwarzen Kurs treu, den er zuletzt eingeschlagen hatte. Doch das Album lehnt sich gleichzeitig auch bewusst an die atmosphärische Dichte und das cineastische Gefühl von LIMBONIC ARTs bahnbrechenden Frühwerken an. Nach dem Anwachsen zu einem Duo erschien das Debütalbum "Moon in the Scorpio" im Jahr 1996 bezeichnenderweise über Nocturnal Art Productions - dem Label von EMPEROR-Gitarrist Samoth alias Tomas Thormodsæter Haugen. Die einzigartige Kombination aus hartem nordischen Black Metal mit erhabenen Kopfkino-Elementen, die ihre Inspiration aus romantischer und klassischer Orchestermusik bezogen, erwies sich in den folgenden Jahren als äußerst einflussreich. Mit dem Nachfolger "In Abhorrence Dementia" (1997) und dem dritten Album "Epitome of Illusions" (1998) reduzierten LIMBONIC ART allmählich die symphonischen Elemente in ihrem Sound. Im Februar 2003 löste sich das Duo auf, aber Daemon reformierte die Band im Jahr 2006. Es folgten die LIMBONIC ART Alben "Phantasmagoria" (2010) und "Spectre Abysm" (2017). "Opus Daemoniacal" verbindet die Gegenwart mit dem frühen Klanggefühl der norwegischen Kultband, was sowohl Freunde der ersten Werke als auch eine neue Generation von Liebhabern des klassischen nordischen Black Metal ansprechen wird.

"Although life is hyper-individualised, you rarely go about it alone. This rings especially for RADIOHOP, the 4-man band drawing in everything that derives from Jazz. Aptly titled, ‘All We Do’ sees the band culminating each member’s journey through life as a performer and music head, into one entity. It is a collection of various musical feelings; drawn from all of the widely diverse musical environments they are surrounded by. Their early explorations in Hip-Hop laid the foundation RADIOHOP jetted from. All We Do ventures into Soul, Funk, Jazz, Broken Beat, Brazilian harmony, Fusion and other genres that they see connections with. It engenders a journey through the peaks and troughs of a modern musical spectrum and is an undeniable act of successfully approaching a contemporary Jazz album.

Together, they drew on Jazz as a concept existing outside the walls of formality. In addition to sessions and gigs with like-minded musicians, they explored the Amsterdam nightlife and genre-bending concerts for inspiration. This 3.5-year exploration brought them unconventional writing, producing and performing experiences resulting in All We Do being as much a presentation of the people accompanying them on this exploration, as it is about the journey itself.

RADIOHOP are constantly surrounded by other musicians and creatives from all different genres, disciplines, and spaces. The album is a celebration of the creative, and the ecosystem they operate in. The band likes to root that in the philosophy of Hip-Hop: spoken word, rap, vocals, lyrics, flute solos, photography, digital art, graphic design, tagging and poetry all congregate on the limited vinyl, as they truly believe art should not see any material boundaries. All We Do appreciates the art and the artist's creative endeavour. RADIOHOP gladly shares that with others in a holistic creation that is this album."

fabric, the iconic hub of electronic music culture, proudly announces its latest addition to the fabric mix series: "fabric Presents The Streets". This eagerly anticipated compilation marks a milestone in the illustrious history of the UK institution, as they join forces to commemorate 25 years of groundbreaking club nights and genre-defining mixes. The release is accompanied by original material from The Streets in the form of two singles, the first to be shared is “No Better Than Chance”.

fabric Presents The Streets" is more than just a mix; it's a sonic journey through the pulsating veins of UK nightlife. Skinner's deft curation transcends mere selection; from the gritty beats of underground garage and bass music to the icy melodies of UK rap and grime, Skinner weaves together a tapestry of sounds that encapsulates the essence of fabric's legendary atmosphere. The compilation album will also be available in the iconic fabric CD tins.

fabric itself stands as a bastion of innovation and inclusion within the electronic music community. For 25 years, it has been a sanctuary for music lovers, a breeding ground for artistic evolution, and a beacon of diversity in an ever-changing landscape. Its impact on UK nightlife cannot be overstated; fabric is not just a club, but a cultural institution that has shaped the tastes and trends of generations. To commemorate the 25-year journey, fabric's labels will release a collection of exclusives. These will include five special ‘fabric presents’ compilation releases, ‘fabric Presents Shygirl’ was the first to be shared in March.

In addition to the mix album, fabric and The Streets unveil the brand new original single "No Better Than Chance," an electrifying track that encapsulates the spirit of both fabric and The Streets.

“I’ve spent many nights wasted but not wasted any nights in fabric over the years. The dedication to underground music and innovation, the way the bodysonic bass transducers sent the sounds through your body via your feet, the queues, the camaraderie and a real sense of being part of something that people will remember through the haze as the home of some of the greatest moments of their lives. When I was asked to do a mix for the anniversary series I couldn’t wait to get on with it. fabric has become one of the homes of bass music and that’s some of the music I’ve been playing out the most. It’s a pleasure to follow in the footsteps of so many incredible DJ’s in the fabric, FABRICLIVE and fabric presents series and be part of their celebration. Here’s to many more decades of hedonism.” - Mike Skinner

As fabric celebrates its silver jubilee, "fabric Presents The Streets" stands as a testament to the club's enduring legacy and commitment to pushing boundaries. This co

First time out for this wildly raw dubplate, sister-recording to the Pablo master-rhythm, shot through with other-worldly, illusively allusive incantation.
Surely that's Family Man stalking a sunken cavern, and his bro battering all seven shades out of his drum-kit, like Meters on fire, and Chinna on guitar, glazed and violent. The mixing rears up right in your face.
Producer Gussie Clarke says Theophilus 'Easy Snappin' Beckford is playing piano, with the front removed so he can strum the strings (like he finally snapped) — but he credits the work overall to Augustus Pablo.
Transferred from acetate — fuss-pots don't grumble, just be humble — though the flip brings a clutch of criss, unmissable alternates, direct from Gussie's tape-room (where the files are entitled 'Classical Illusion / The Sun').
Heavy, heavy funk. Simplicity People dug in. Stunning.

DJ Support: Don Letts (6 Music), Piet Blank Blank & Jones / Dj Ease Nightmares On Wax / Macca Nts Radio / Coyote / Mike Salta Music For Dreams / Pete Gooding / Layne Fox 40 Thieves / Chris Coco / Richard Dorfmeister Kruder & Dorfmeister / Bill Brewster / Simon Mills [Bent. Plus Loads More.

DJ Feedback:

Lovely laid-back vibes. Excellent! - Francois K [NYC, USA]

Ay what a beauty! Takes you away from the madness for a moment. - Macca (NTS)

Following on from Los Rayos Del Sol (2021) & the follow up Los Rayos In Dub (2022) NuNorthern Soul presents ‘Moonbeams’ by Ibiza based producer, per-cussionist and sunset selector, George Solar.

Inspired by nocturnal moods and illuminated by the moon in all its phases, this collection follows the vibrations of 'Los Rayos Del Sol.' It's a journey into night-time peace and harmony, embracing the moonlit atmosphere.

MEDIA LUNA (feat. Ken Fan)
Opening with angelic dubby downtempo, this track translated is 'Half Moon,' sets the tone for the night.

MOONBEAMS (feat. Ken Fan)
Featuring love poet JEN, 'Moonbeams' captures the rise of the moon and the message of love.

COUNTERMOON (feat. Ken Fan)
Originally a slower cumbia demo, this track evolved into a retro dance piece with a minimalistic touch. Reflecting the off-center vibe of lunar forces.

LUNATICOTINA (feat. Ken Fan)
A tribute to the global beats scene, this ritual tune incorporates grooves from all continents, dedicated to Ibiza's 'global beats' oasis LAYLAH venue.

O LUAR
Influenced by Samba vibes and the Brazilian approach to moonlight, this track combines Solar dub and cosmic stardust.

MOONBEAMS reprise (for KS)
A tribute to Klaus Schulze, a secret Solar Moon band member, this reprise is a spontaneous improvisation recorded in memory of the spiritual godfather.

On her sophomore album "Germ in a Population of Buildings", upsammy moves through her surroundings with the curiosity of a place-bending landscape architect. The album is rooted in her interest for ambiguous environments in constant shift, and the feeling of discovering strange patterns in different ecosystems. Often, the Amsterdam-based artist finds herself zooming in and out beyond a place's most recognizable surface features to inhabit the microscopic and gigantic. Gathering field recordings and evocative environmental sounds, she shapes this source material into vibrating electro-acoustic rhythms and unstable, psychedelic textures. upsammy's debut album, 2020's critically-acclaimed "Zoom", was praised for its careful reimagining of IDM, evolving vignettes that nodded towards the dancefloor without being shackled to its rigid set of rules. On "Germ in a Population of Buildings" her process has evolved considerably; the skeletal trace of IDM is still present but it's been trapped in amber, allowing her unique sonic landscape to develop organically. 'Being is a Stone' is a proof of concept in many ways, layering upsammy's contorted voice in rickety patterns beneath a lattice of fragile rhythms and faintly melancholy synths. It's never immediately obvious where the sounds are coming from - a hiccuping beat might be glass cracking underfoot, and larger pulses could be wet concrete, rusted iron or bent plastic. As the sounds develop they morph into each other, demolishing what came before and building on top of the ornamental wreckage. On the dynamic 'Constructing', upsammy's sound design fluxes through hyperactive bass music structures, abstracting expectations at every turn. Often her sounds are whisper quiet, rattling and vibrating until heavier masonry drops and disrupts the structure. And when discernible rhythms subside into the background, like on the album's eerie title track, they become almost illusory, morphing between the real world and the electronic. upsammy's processed voice works like a bridge between these realms, snaking between stark, whimsical melodies on 'Patterning', arching from AutoTuned detachment into cooing, dreamy intimacy. By considering the harmonies between each location she's visited, upsammy has been able to build a unique topology that's an uncanny digital amalgam of her lived experience. It's a thoughtful alternative in an era more concerned with flatting the landscape than crumpling it and examining its peaks and troughs.

2024 Reissue

Alphacut Records reloads its third wave with an upfront jungle plate. Meticulously selected over the years since the last allover amen statement Fundamentals EP as of cat.nr. ACR 3001, these four new killer tunes take no prisoners as well.

Sumone (with his Planet Mu fame) and Dan Miles (formerly Skubi like on Modern Ruins) as the midwest cowboys meet the North Sea sailors Istari Lasterfahrer (running his Sozialistischer Plattenbau) and Ill_K (on Nord and re:st)to execute this smashing Darka Mentors EP!

"Wicked Man Sound" is one of the most sinister jungle sciences we came across lately. Choppage on point, layerslike spread, stabbing basses, dark percussion, oldskool pads - you name it. "Crash!" feels like a UK hardcore banger, but is refreshingly switching breakbeats instead of gabba kicks. "Echo Chamber" drops an irresistible rave stab into the dubber dungeons and "Kuro" celebrates a very samurai style of a halftime cut to round up this breaksfest menu with ease.

Alphacut operates on a non-profit level, most releases cover their costs, if even. Half of any returns will be donated to Webster's Amen Break Gesture campaign II raising funds for the original creator of The Winston's Amen Brother breakbeat: Richard Spencer. With the deepest respect for this milestone of a sample!

2024 sees the release of Georgia’s fourth studio album - Cool Head. Written in the year after her husband and collaborator was taken seriously ill, Georgia describes the album as a long drive through night into morning. "Cool head," a phrase her dad would always use to urge calm thinking, presents a candid and affecting collection of songs, spanning wide-open Americana to 60s- influenced folk ballads. Recorded in Sain studios, near Caernarfon, the album features contributions by Iwan Huws (Cowbois Rhos Botwnnog), Stephen Black (Sweet Baboo), Gwion Llewelyn (Aldous Harding) and Rhodri Brooks (Melin Melyn). With Gorky's Zygotic Mynci stalwart Euros Childs adding his unmistakable vocals to a couple of songs, this is a truly Welsh affair. It also features string arrangements by Gruff Ab Arwel, whose ear for melody brings a new dimension to the songs. These are performed by Angharad Davies, Angharad Jenkins and Patrick Rimes. The album is co-produced with long-time collaborator Iwan Morgan