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Since its original release in 1980 to generally indifferent reviews, Bauhaus" debut album has grown in stature and is now appreciated as an innovative foundation stone of "Gothic" music. Peaking at number one and remaining on the UK "Indie" chart for over two years, this dynamic collection defies categorisation, offering an incendiary tinderbox of driving jagged rhythms, screeching guitars, brooding atmospherics, provocative lyrics and wildly animated vocals.

John Prine's 2016 album, For Better, Or Worse, available on vinyl from Oh Boy Records.

Featured artists include Miranda Lambert, Amanda Shires, Kacey Musgraves, and Susan Tedeschi.

In the fall of 1978, John Prine returned home to Chicago for a concert performance at the city's famed, Park West. This show, captured on the originally limited edition album September '78, features another side of John Prine - backed by an electric band. Oh Boy Records originally pressed only 2000 copies of this classic album for Record Store Day back in 2015, but now you can have your own copy of this legendary recording on vinyl!

Dan Reeder's debut album is finally on vinyl! The packaging includes a gatefold jacket, written by John Prine, with a photo of the original letter explaining the story of how Dan found Oh Boy Records. Also included are credits, photos of Dan's homemade instruments and original artwork. Wowee!

Mastered for vinyl by Welcome to 1979. Pressed at Palimino Records. Dan Reeder's 2006 record on vinyl for the first time.

TACH! - Nach Single-VÖ das Punk/ Rock Debütalbum von PIA UNITED! Gelungene und respektvolle Coverversionen bekannter Hits und Geheimtipps plus eigene Songs! Von TON STEINE SCHERBEN über RAMMSTEIN bis zu SLIME, garniert mit eigenen Songs, die sich auf dem gleichen hohen Level bewegen. Das kennzeichnet dieses Debütalbum. Wenn man dann noch bedenkt, dass Frontfrau Frollein Höhne bei den Aufnahmen durchschnittlich 16 Jahre alt war und einen beachtlichen Teil der Gitarren- und Drumparts zu verantworten hat, kommt man nicht umhin zu staunen. Wir lernen hier eine Band kennen, die auf Traditionelles setzt, dabei aber nicht langweilt und für die Zukunft Einiges verspricht. Punk/ Rock mit Ecken und Kanten. Musikalisch und dennoch mit Drive und Feuer. Naiv, charmant, unterhaltsam. Digipack-CD oder klassich schwarzes Vinyl im Klappcover!

Ten years ago SofaBurn was fortunate enough to release Jeremy Pinnell's first record 'OH/KY,' launching a career and relationship that has exceeded any of our wildest dreams.

We couldn't be more excited to announce now that for the first time ever 'OH/KY' will be released as a standalone LP, re-mastered for vinyl from the original mixes by Mike Montgomery at Candyland Recording Studio

Two years after the release of the hard-hitting EP Act-U-All, Yesterdaze are ready to release their first
full-length album, Sentences. An unforgiving, raw album filled to the brim with energetic and
unapologetic rock. Sentences is an album built by contrasts. Emotionally deep messages are conveyed
through large melodic soundscapes, driven forward by playful guitar riffs, sweet bass lines and explosive
drums.

The Hippo Sound System is a collective formed in 2018 by Bristol UK’s notorious ‘samba junglist’ DJ Hiphoppapotamus. "Origins" is their long-awaited debut album!

Touring the festival scene across the UK and Europe their explosive live performances have earned them a well trusted reputation for blowing up dancefloors, moving feet and uplifting souls! Their tracks have been featured on BBC Radio 1, BBC Radio 1Xtra, BBC Radio 6 by Jeremiah Asiamiah, Don Letts and Craig Charles. Don Letts also included their track “Into The Jungle” on his “Best of 2020” round up. Fusing their favourite elements of world music and sound system culture, they explore new possibilities between musical cultures, fusing ancestral rhythms with modern dance music.

Percussive rhythms and heavy bass drive this vibe train as this Hippo and his percussionist/production partner, Munki, draw influence from all over, Including Afro/Latin/world music, Jazz, Hip Hop, House, Breaks, Dub, Drum and Bass & Jungle for their productions. The result? A uniquely high energy and psychedelic global bass sound – complete with the flair of live musicians and the exciting builds and drops of bass music! Passionate about collaboration with both their recordings and performances, they often call upon guest features from artists such as K.O.G, Franz Von, Simo Lagnawi (Electric Jalaba), MC Spyda, Dr Syntax and many more.

With almost no tempo untouched from 70-180BPM, they’re an extremely eclectic and versatile band that can customise sets for most stages and occasions.

NEW ORDER setzen die Serie der Definitive Boxsets mit dem 1986er Album Brotherhood fort. Das Boxset enthält das Originalalbum remastered auf CD und 180g Vinyl, plus eine CD mi Extras aus bisher unveröffentlichten Demos und Raritäten, sowie zwei DVDs mit den Auftritten der Band beim Festival of the Tenth im GMex, Manchester 1986 und Live in Brixton, 1987 zur Unterstützung des Welt-AIDS-Tages. Die DVDs enthalten zusätzlich Live-TV-Auftritte, Interviews und seltenes Bandmaterial. Im dazugehörigen gebundenen Buch finden sich zeitgenössische Artikel und Linernotes des irischen Radio-DJs Dave Fanning.

Das Boxset wird zusammen mit drei 12"-Singles aus dieser Zeit veröffentlicht: Bizarre Love Triangle, State of the Nation und Touched by the Hand of God - ebenfalls remastered und auf schwarzem 180g-Vinyl.

After leaving a huge mark in the techno scene with many high quality EPs on labels like Hayes, Klockworks and Planet rhythm, Portuguese mega talent Vil, finally releases his first long player on dolly's TS series! ''Birds Of Prey'' is a stunning mix of raw, percussive, groovy, distinct house and techno, with an elegant Detroit flavour. 8 tracks that lock you in on an impressive dancefloor journey where Vil shows his diversity as a producer. Switching effortless between the energy fields of deep melodic uplifting bliss and dark, out of the ordinary, groundbreaking drivers!!!

The first-ever official reissue of the pioneering 1986 ambient work, produced in full cooperation with Hiroshi Yoshimura’s estate !

"If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated.

— Hiroshi Yoshimura

Temporal Drift proudly presents the long-awaited, first-ever reissue of Surround, Hiroshi Yoshimura’s sought-after ambient classic.

Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces. A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang.

In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way."

Malt, music and mars bars: Glasgow goes hard, fast and deep-fried. Dream Ticket is no stranger to a cheeky snack on the way home, so here's four morsels from the Scottish city's Modus to get down ye: hell-for-leather juke n jits on the A side; braindance and jelly legs footwork on the B. As the old adage goes, jack yer wee booty!

2024 Repress

14 highlights from Aleksi Perala's "Spectrum Analysis" series on this triple vinyl album. Aleksi again conjures up repetitive, minimalistic techno cuts that use clever drum programming and his signature 'Colundi' scales to maximum effect.

his release marks the first complete album reissue on Canopy. Originally released in Nigeria in 1987, “Oppressor” was executive produced by Myke Moul himself and distributed domestically by EMI Nigeria & Tropic Records.

“Oppressor”, the album, finds the sweet spot between synth reggae, boogie, and euphoric Balearic island vibes.

Written by Myke Moul and arranged in collaboration with reggae star Majek Fashek in Nigeria, it was later re-crafted and recorded in France with a host of French musicians. Most notably the contribution of multi instrumentalist Pierre de St Front added engaging synthesiser parts and electronic drums.

Unfortunately the pressing of the album suffered from inherent technical flaws which adversely affected the sound quality and therefore even those lucky enough to find a copy, will not be able to enjoy it without considerable sonic defects. Therefore this remastered reissue will prove welcome to both collectors and new discoverers.

The titular track “Oppressor” stands out as a mid-tempo synth-reggae-boogie jam espousing the turbulent political times in Nigeria that were present in the late 80s. Elsewhere “Shadows in the Rain” is an instrumental cut displaying a jazz-funk sensibility which was unusual for a Nigerian artist at that time, and reflects Myke’s influences outside his home country. “Heading for the Top” is a boogie dance floor gem that shows the popularity of this genre at the time, as evidenced in many Nigerian releases and still sounds just as vital today. “Rescue us. O! Lord” shows Myke’s great song writing and Pierre’s fine musical skills working in tandem to create a reggae boogie tune, displaying the reggae & ska tendencies that were present in pop music in this era, from artists such as Grace Jones, Sly & Robbie or The Police.

All in all, the album demonstrates something fresh & exciting for Nigerian album reissues, touching down in a reggae fusion direction, with some fuller sounding production aesthetics, making the dynamics full and crisp on sound systems while also well suited to home listening.

Die italienische Power-Metal-Band FROZEN CROWN veröffentlicht ihr neues Studioalbum und Napalm Records-Debüt War Hearts am 18. Oktober
2024. Mit ihrem unverkennbaren Sound aus blitzschnellen Riffs, eingängigen Melodien und unbändiger Energie konnten sie sich in den letzten sieben
Jahren in der internationalen Metalszene einen Namen machen. Nun heben sie mit ihrem fünften Album War Hearts ihr bisheriges Schaffen auf ein
neues Level und treten mit der neuen gerade mal 18-jährigen Gitarristin erstmals als Sextett auf. Die brandneuen zehn Tracks werden sie im
kommenden Herbst auf der großen Europa Tournee von Kamelot gebührend feiern.
Seit der Gründung 2017 hat sich FROZEN CROWN mit ihren bisherigen vier Alben eine treue Fangemeinde aufgebaut und überzeugt mit einer
charakteristischen Mischung aus Power Metal, Old-School Speed und Heavy Metal. Aber FROZEN CROWN beeindrucken nicht nur auf Platte, sondern
auch auf namhaften Festivals wie dem Sabaton Open Air, Metal Fest Plzen und Rock Imperium Festival, spielten zwei Headliner Tourneen in Japan
und waren unter anderem als Support für Bands wie Dragonforce und Nanowar Of Steel auf ausgedehnten Europatourneen. Bisheriges Karriere
Highlight war die Skandinavien Tour im Herbst 2023 als Support für die Heavy Metal Legende U.D.O., die ebenfalls die erste große Tour für Gitarristin
Alessia Lanzone war.

Mariano Melo, also known as Marian Sarine, is a Brazilian multi-instrumentalist based in Sao Paulo, specialising in percussion and drums. His latest album, Asas Terenas, is his first under this name and started with organ recordings made with Felipe Pato in late 2019 and was completed with additional instruments added in the years that followed. Asas Terenas features a mix of rhythmic improvisations built on modal scales, combining dynamic interplay between notes and percussion. Drawing inspiration from artists like Charanjit Singh, who merged traditional North-Indian ragas with electronic music, and African organists like Hailu Mergia, it combines old and new sounds, merging spiritual elements with energetic rhythms. As Sarine himself says, Asas Terenas is a sonic mixture that moves the feet and lifts the soul, creating an experience that is both pristine in sound and transcendental on the dancefloor.

traight from the vaults, we’re bringing you a gem that’s been lost in the rave—an old-school breakbeat vinyl that’s guaranteed to teleport you back to the raw, unfiltered energy of the '90s. With its thunderous basslines, slicing snares, and infectious rhythm, this record encapsulates the heart and soul of the underground scene. Dust off your decks, because this is more than just music; it's a journey to a time where every beat told a story, every drop defined a movement, and every spin was a call to dance. Don’t miss out—relive the golden era of breakbeat

Known for his pivotal role in the Acid Techno sub-genre revival through his label, Involve Records, Regal's latest work revisits the genre's essence while infusing it with a fresh, modern twist. Under his ACIDBOY alias, his latest album, 'The Final Chapter', is a nostalgic and forward-looking expression of an artist who has grown and adapted but remains true to his core musical identity. This eleven-track project blends the high-energy sounds that first defined his career with the depth and maturity gained over years of evolution whilst also honouring an unforgettable era of one of electronic music's boldest and most expressive sub-genres and artists.

'The Final Chapter' is an album that goes against the current flow, bringing to light the sound of the sub-genres of Techno from the last 35 years. It's a clever balance between past and present, the old and new Regal aka ACIDBOY, emphasising his introverted artistic side, a lover of music and production as well as a story intended for a patient and cultured listener. The album defies superficial musical trends, offering a profound sonic experience that invites listeners on a deeper journey, far removed from the quick-hit tracks designed for social media.

The name of this album and Regal's previous EP 'The Last Summer' certainly leaves room for interpretation as these might sound like signs of a farewell to the music scene.

Pianist, Composer, Multi-Instrumentalist Eva Novoa Releases First Album from Her Newly Forged Trio with Sax Legend Daniel Carter and Beloved Drummer Francisco Mela

"It’s not a rumor. Brooklyn’s Eva Novoa has formed a new trio! Novoa / Carter / Mela Trio, Vol. 1 marks their first sparkling album together (which is also Eva’s third with 577 Records). The group performed live for the first time in Cambridge (Boston) in 2022 and at the NY Forward Festival in August 2024.

In an invigorating creative explosion recorded at New York City’s Sear Sound in 2021, the multi-talented instrumentalist unites with sax legend Daniel Carter and beloved drummer Francisco Mela. Prepare to be reawakened when you experience Novoa tickling the ivories, dominating the Fender Rhodes, and wowing with the electric harpsichord and Chinese gongs. Even her whistling will linger in your mind!

As captured in the electrifying tracks “Aire” and “Fuego", Novoa / Carter / Mela Trio, Vol. 1 is inspired by the four elements (earth, wind, fire, and water). “Hasta Mañana Vida Mia” weaves together Cuban tradition with soulful lyrics (sung by Francisco) and high-energy, rhythmic conversations with horns and drums. The musicians’ free interplay approach defines this eclectic trio and their sonic universe.

Born in Barcelona, Spain, Eva Novoa is a pianist and composer who’s been mastering her talents since childhood. Calling NYC home since 2012, she has rocked countless local venues with her thrilling performances and has played with many adored artists all over the globe.

Her new album drops on November 22, 2024, and will be available on vinyl, CD, and digital download. Don’t miss the stunning cover art by Novoa’s friend and collaborator, acclaimed street photographer Richard Sandler, and stay tuned for Volumes 2, 3, and 4!"

Piano, Fender Rhodes, Cinese gongs, percussion & whistling by Eva Novoa.
Tenor, alto & soprano saxophones, trumpet, flute, clarinets by Daniel Carter.
Frums & vocals by Francisco Mela.
Recorded April 18, 2021.
Recorded, mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.

Dreems returns with his second full-length album, a languid journey through ambient dimensions. Following up his self-titled debut from 2014, these two LPs will stand together as test of time, a snapshot of the atmosphere that surrounded him throughout the decade.

As a versatile club-DJ with a respected catalog of mixed-tempo club remixes, and as half of the ‘Krautback’ / elementally Australian industrial act ‘Die Orangen,’ Dreems merely hints at his musical identity as an album artist, an expansive space in which he truly does soar with the spirit of a true artist, plumbing the depths of his emotional being, achieving catharsis in the shimmering pleasure of sound.

Diamond Bay’s 12 tracks surprise and reward the listener with the great gift of capturing your attention without ever attempting to hijack it. In a world gripped by the algorithmic nightmare of millennial whoops and material hooks, Dreems has charted a course for something altogether different - a peaceful kind of sonic painting. These are pastoral, passing vignettes. They highlight our awareness without forcefully directing our thoughts, except on the vocal pieces which reinforce the contemplative themes, adding not only specificity, but bringing a real sense of intimacy to the record.

Following a fallow 2023, a rejuvenated Growing Bin return to your turntable with this sublime collaborative LP from Gosha Martynov & Natasha Sinyakova. On their first foray into the physical, the duo expand the spectral ambience and medicated breaks of their earlier work with lithe touches of organic jazz and Cafe Del Mar cool, creating a complex assemblage of dreamy downbeat and emotive electronica that's entirely easy on the ears.

Opener "Pozhaluysta" seduces with smart syncopation and beguiling melody, its flute and fretwork finding ample space to slip around Natasha's voice, equal parts Cocteau operatics and jazz-club coquette, in an expression of a want beyond words. The mood shifting "Osvobodi Menia" sees the solemn, snaking sound of a sampled duduk drift into an optimism of airy pads and escapist mantra, suspended in reverb until the end of time. "Ya Tebia Zhdala" began life as a break-led experiment, gradually evolving into a romantic and naive sketch rich with splashes of piano and dynamic chorus pads. Naturalist hymn "O Dereve" weaves a dark and intimate tale from the point of view of a veteran tree as its buzzsaw guitar loops blossom into multilayered vocals full of emotion.

Awash with sonar sweeps, sumptuous pads and rolling subs, the titular "Imena Rek" channels post-rave bliss into the hypnagogic anthem the contemporary IDM-ographic have been searching for. Infectious hooks and spaced out pads ride the breakbeat rhythm for a dreamy experimental pop banger from another planet. The sombre sway of "Rany", filtered through the fog of a broken cassette recorder, trance djembe and unpredictable bass tones rivals the finest Motion Ward or In:dex releases for crepuscular charm, while "Smeshno" sees serrated drones sink into a slinking rhythm, playing counterpoint to the tender chords and yearning vocals.

"Iskra" closes out the chiasmus with a return to the organic experience of the opener, the flute and acoustic guitar augmented with nuanced hand percussion and a music box refrain. Listening to this album is like a midnight walk through an ancient forest - an experience which both scares and tempts you at the same time. From touching damp moss to feeling the thick fog with your body and watching mushrooms glow in the dark, 'Imena Rek' guides you through the terrain.

Flawlessly arranged and executed, this LP alludes to a long lineage of innovative downbeat, feels absolutely essential in the present and pushes the trip hop revivalists towards a fascinating future - Gosha Martynov & Natasha Sinyakova have created a timeless piece of music,
but what else do you expect from the Bin?

Repress!

On 'Boogie Down' Bubbha Thomas and The Lightmen lean away from the jazzier moods that they were best known for, towards a mid-tempo boogie/funk workout featuring wide open drum breaks, analog synths, fat claps and vibey backing vocals.

The original 45, released in 1980, now goes for silly money if you can find one, so we thought it would be nice to make it available again. Dedicated to the extensive musical and educational work of Bubbha, who passed away at the end of 2020.

Remastered from original master tapes, officially licensed from Now Again.

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Volume 6 ululates with a rich flute and Fender Rhodes-rich microtonal fusion called "Cataracts" by Musica Orbis that even comes with some sparkling Afro-harping moments ala Dorothy Ashby; a 5/4 dreamscape conjured by the Fredric Rabold Crew called "Januschka" with enraptured wailing soprano; and a very interesting and likely heretofore unheard version of a tune that, in Dizzy's words, "... has withstood the vicissitudes of the contingent world and rocketed in an odyssey into the realm of the metaphysical...", A Night in Tunisia, with rich vocals and scatting.

Erste remasterte Reissue von Minoru Fushimis rarem Debütalbum 'Thanatos Of Funk' (1985) in limitierter Auflage auf rot-gold-farbigem Vinyl, ein Meilenstein der japanischen Underground- und Electro-Funk-/frühen Hip-Hop-Geschichte. Die von Fushimi selbst produzierte und vertriebene Rarität ist eine Liebeserklärung an die Gegenkultur, DIY, Drum Machines und Synthesizer, gepaart mit Killer-Shamisen und Gitarren. Die Neuauflage enthält den handgeschriebenen Original-Comic von Fushimi mit englischen Übersetzungen. Essentiell!

Originally released on Robs Records offshoot Pleasure, followed by a repress on Air Trance in 1995 featuring Francesco Farfa & Kiticonti on remix duty, the debut offering from French/UK outfit Prism - aka Pascal Eloy & Grant Wilkinson - ‘Vapour Trails’ EP eventually gets a much needed reissue on Cosmocities this summer, enhanced with a remix from Bliss Inc.

From its initial sortie on the label run by Rob Gretton, former manager of legendary New Wave bands New Order and Joy Division, onto making it to a then en-vogue Italian trance imprint, this record made waves and opened new portals for many lovers of the burgeoning electronic sound, including - years later - Cosmocities head exec himself, holding the special status of being his first ever vinyl record buy. Harder was the path towards that longed-for repress, but with a twist from destiny - after tracking down one half of Prism - Pascal Eloy - to no avail, the label managed to find him through his father, contemporary composer Christian Eloy, plans were set out to release a first EP, ‘Rain’ (2022), and now ‘Vapour Trails’, which comes as the icing on the cake.

A future-facing slice of fast-track trance bound to have ravers melting in XTC thru and thru, the lead single treats us to a deluge of prismatic arps and multi-faceted synthwaves, ushering us into a vivid, mind-expanding kaleidoscope of throbbing colours and propulsive groove; an absolute killer of a tune that’s lost nothing of its frenzied punch. In the hands of Italian duo Farmakit, the track morphs into a further corrosive churner tailored for peak-time rumble in the warehouse with its calibrated mix of acid-drenched bass whorls, hard house bounce and Tangerine Dream vibrations.

Flip sides and here’s ‘O.N.V.I.’ shifting gears towards a more tribal / spiritual kind of uptempo hoodoo, running the gamut wildly from ethereal choirs to warlike drum programming, via sci-fi-indebted cosmicness and proper 303-infused salvos from outer space. New addition to the bunch, the remix from Bliss Inc. treats us to a more focussed parade of jacking house percussions, hi-NRG acid tropes and Afro funk-minded psychedelia, revving up the engines as the room temp rises from hot to sweltering. No surrender

James Brown had several incredibly talented funky divas in his late 60s and early 70s stable, including Vicki Anderson and Marva Whitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hitmaker of that funky JB era. Her strong voice and commanding stage presence - which earned her the nicknames The Female Preacher and Mama Feelgood - quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving and ridiculously funky “Think (About It)” hit the R&B music world like a ton of bricks. As fans young and old know, thanks to its timeless, relentless groove and powerful vocals, “Think” gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling the platinum smash “It Takes Two,” by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance music artists up to the present day. But Collins was far from a one hit wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves this throughout her debut album, which was released in 1972 on James Browns new People Records - the imprint's second full-length release. To wit, aside from the title smash: a powerful and emotional cover of Bill Withers "Ain’t No Sunshine"; the socially progressive "Women’s Lib"; the Gamble & Huff-penned "Never Gonna Give You Up" (originally done by Jerry Butler); and even a daring, muscular take on the song “Fly Me To The Moon,” made famous by, among others, Frank Sinatra. Throughout Think (About It), Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown assembled musical crew that included Pee Wee Ellis, Fred Wesley and, of course, James Brown himself, the platter was bound to impress and succeed. And that it did.

Seu Jorge, the internationally successful Brazilian singer and actor, needs no introduction. In 2024, his second solo album, CRU, will celebrate its 20th anniversary. This album, which has become a "classic", has established him as the new "king" of Brazilian music. Released shortly after the cult Brazilian film "City of God", in which he plays the role of bus driver "Mané Galinha", CRU was immediately hailed by the international press and acclaimed by audiences the world over.

An integral part of La Fine Equipe's famous La Boulangerie series, La Boulangerie II had never seen its Part 2 released on vinyl until now. That’s now a thing of the past thanks to this double LP!

Peggy Gou’s Gudu Records is proud to present the label’s first ever album, from someone who’s been part of the family since the start: Brain de Palma.

Born in Ukraine, settling as a child in Turin and spending three years in Egypt before settling in his current home of Berlin, Alexei Versino has one hell of a story.

Musically, he’s been around for a decade now, releasing his previous music (solo as Panama Keys, and also as one half of the duo Stump Valley) on labels like Dekmantel, Soul Clap and Off Minor, before settling on Gudu with his Brain de Palma alias. But personally, his relationship to music goes much deeper: as a young child growing up in the former Soviet Union, a lot of European music was banned, so he relied on his well-travelled uncle to bring him back smuggled cassettes of Italo Disco, Depeche Mode, Kraftwerk, Erasure and early DJ mixes – getting an illicit musical education behind closed doors as a child.

He still carries that underground mindset to this day: the press release for his last Gudu EP, Purple Brain, reads: “dedicated to all the ravers, DJs, aficionados who had to go through the lockdowns … a shout out to people who keep on fighting for the underground culture!”. The perfect candidate for Gudu’s first album, then.

Comprising eleven tracks made across the past year, Versino describes Rhythmption as “my redemption through rhythm”, and a tribute to “seeing people enjoying themselves on the dancefloor, that feeling of unity where people become one thing, regardless of their life path or social status.” Opening with the gorgeous ‘Thandolwami’ (featuring South African vocalist Sfiso Atomza), Rhythmption charts a path through sun-drenched Balearic house, stuttering drum work-outs, Italo-inspired synth romps, trancey house and even a touching tribute to his former home of Egypt, taking in every aspect of Versino’s journey to date. After all, it’s not all about the destination, it’s also the sights you see along the way.

Maai proudly presents a split EP featuring two distinguished Barcelona based talents. On the A side, the Peruvian trio of JJ Beteta, Alonso Bauer and Stefan Cukic delivers a dynamic array of tracks. "Layers" kicks off with an energetic blend of dusty breaks, setting the vibe for the EP. Following this, "Go The Data" takes over with its driving acid bassline, strong rhythm, for a dark and hypnotic vibe. The trio wraps up their side with "Wonky Afthermath," a subtle yet funky combination of deep, groovy elements and breaks that keeps the energy flowing.

On the B side, Canarian artist Javier Carballo, performing under his Look Perry alias, offers a captivating contrast. "I Can't Love U" introduces a track enriched with otherworldly pads and synths, creating an immersive sonic environment. The EP concludes with "Stone Pilots", which takes listeners on a smooth journey through intricate breaks, providing a perfect counterpoint to the A side’s energetic flair. This split EP showcases a rich tapestry of local talent and diverse electronic sounds.

Hybrid is a word used indiscriminately in our daily lives. This record isn't a hybrid; it's beyond hybrid, post-hybrid, so to speak. Does this phrase sound complicated to you, and are you never overly convinced by music theory and its caricatural aspect? Then forget what you’ve just read and listen to both sides of this record. You'll soon realise that these tracks are deliciously deft, drawing their essence from dub while leaving room for some skillful jazz writing. For those of you intrigued by melodies, the art of musique concrète or the exploration of dub music’s deviant angles, this record will easily find its place on your turntable.

The two sides of the record are cut with play, improvisation and effects, while leaving room for themes and ideas. If this record’s first chapter was born from a request to remix and pay homage to Jackie Mittoo, its themes tell another story. They have been declined and even reduced to an explosion point. The tracks are also driven by subtle details of musique concrète, giving the record the effect of an intimate musical production – but, above all, one of uncategorisable beauty.

In Androo’s case, this is hardly surprising. He is a craftsman who is unassailable in every respect, a poetic dynamiter and, for this reason, one of the most unpredictable musicians in Geneva (and beyond). His appetite for dynamite is perhaps an indication of his conception of music as, first and foremost, an experience. His highly personal and inventive tribute to figures from free jazz and contemporary music proves the point. But perhaps it is also an indication of his attachment to Jean-Luc Godard. You'd have to imagine Androo at his mixing desk without a pre-written script. The idea of editing infuses the record. The two sides are very much in this style and spirit: (un-)shot, meticulous, (ir-)reverent. In this respect, this record is a formidable proposition, and perhaps difficult to understand, but not striving to be understood.

Its combination of improvisation and composition is underpinned by a razor-sharp precision and dexterity that's hard to ignore, especially if you're curious about the art of sound mixing and the romantic accidents. It has a dexterity that transforms musical grids into romantic essays and sketches. A romanticism in which Androo takes us on a liberating musical experience that makes us forget the inertia of the ramping formatting of the record industry. In any case, this record is an invitation to (un-)think the category, and will delight any ear curious to wander into territories of intuition where the word hybrid no longer makes sense.

Text by Carl Åhnebrink

Marionette presents 'dessus oben alto up', the first collaborative recording by Andrea Belfi and Jules Reidy. Hailing from different ends of the globe (Australia and Italy) but both longtime residents of Berlin, Reidy and Belfi’s approaches have much in common, bringing together compositional precision and electroacoustic rigour with improvisation freedom, the immediate gratifications of rhythmic pulse, and an overtly lyrical sensibility. Working together during a residency at the sound studio of Berlin’s Callie’s, an arts institution housed in a 19th century machine factory, the pair (with Marco Anulli manning the desk) have conjured up four expansive pieces where the beautifully recorded percussive clarity of Belfi’s drums threads through a sparkling haze of guitars and electronics.

Opener ‘dessus’ begins with Reidy’s distinctive just-intoned guitar figures, shimmering over a delicate substratum of Befli’s brushwork and bass drum accents. As in all of Reidy’s recent work, the guitar is twisted out of cliché by the unfamiliar tuning and electronic processing. Hanging almost inaudibly in the background for much of the piece, a rush of synthetic tones surges into the foreground to end it. ‘oben’ is built from kinetic patterns of picked guitar arpeggios, locking into irregular grooves with Belfi’s drums, which move from elegant rolls and cymbal patter to driving closed hi-hats and explosive rock interjections. Around the traditional instruments and across the stereo field, electronic sounds swarm and swirl, fizzing and popping in a sun-drenched soundscape that at points suggests both vintage analogue synth destruction and glitching harmonies. ‘alto’ begins in similar territory but turned up a notch, eventually settling into a propulsive 6/8 groove of shifting drum accents, manically strummed 12 string acoustic, and burbling synth chords.

The B side is dedicated to the fifteen-minute ‘up’, where the strategies adopted on the other pieces are put in the service of a more relaxed, slowly unfolding epic. Anchored by a steady pulse throughout, the piece combines chiming guitars, dubbed-out bass lines and constantly adjusted percussive details into a complex flux of sound. Change is at once so subtle and so ever-present that, at any given moment, the listener can never be entirely sure quite how they got there.

Featherstone returns to Ernest's Way with the “Pivot” EP, offering up six tracks that effortlessly blur the lines between various electronic music genres.

The A-side kicks off with “Pivot” where a driving breakbeat rhythm propels the track forward, enhanced by ethereal vocal cuts and rhythmic bass sequences. “Underneath It All” lightens the mood with swung drums, call and response vocals, and emotive string pads that draw the listener in, before “Moving Towards You” rounds out the first side with weighty basslines and acidic leads.

On the B-side, “After the Rain” locks into a repetitive rhythm while dreamy synths evolve and lift the energy as the track builds. “Eclipsed” deepens the experience, exploring a moodier and more intense sonic landscape. “Cipher” the final track, leaves the repetitive rhythm behind and delivers leftfield sound design scattered over a spatial broken beat.

Ursprünglich 2017 veröffentlicht, ist PHANTOM BRICKWORKS ein fortlaufendes Ambient/Drone-Projekt von Stephen James Wilkinson aka Bibio. Das Werk erforscht die menschlichen Echos, die noch immer an verschiedenen Orten in Britannien vorhanden sind. Wilkinson hat diese Orte besucht, ihren allmählichen Niedergang beobachtet und mit improvisierter und komponierter Musik reagiert. Neu im Jahr 2024 ist eine Fortsetzung mit dem Titel PHANTOM BRICKWORKS (LP II), eine 10-Track-LP, gemastert von Guy Davie mit einem Vinylschnitt von Hendrik Pauler. Die neue Platte lenkt die Aufmerksamkeit auf neue Orte – einige sind faszinierende, riesige Narben in der Naturlandschaft, andere überleben nur in lokalen Erinnerungen, historischen Clips und Fotografien. Einige bleiben aus dem alltäglichen Blickfeld verschwunden, während andere nur als Legenden und Geschichten existieren.

Der Londoner Keyboarder und Komponist Greg Foat legt eine wunderbar facettenreiche Karriere innerhalb des Jazzgenres hin und präsentiert mit "The Rituals Of Infinity" sein neuestes Werk, das er beim Worthy Earth Festival Ende September 2024 in Hampshire erstmals live aufführte. Die Titel sind inspiriert und benannt nach legendären Science-Fiction-Romanen und altgriechischer Mythologie. An dem Album wirkten prominente Jazzmusiker wie Art Themen (sax), Trevor Walker (brass), Natcyet WAkili (drums) und Jasper Osbourne (bass) mit.

2 years after his critically acclaimed “Ultrachroma” album, Kangding Ray returns to ARA with a decisively dance- floor LP named “ZERO”.

As the artwork suggests, his different explorations and influences converge into one point on this record, where sound becomes a raw vibration, precisely engineered to bring bodies into movement.

This record marks both a return to the source of his sound in its purest shape, with hints of his debuts on the experimental label raster-noton, as well as the hypnotic journeys he is now for with his DJsets.

As an artist who is constantly reshaping his own sound in search of new forms, Kangding Ray offers here a singular take on modern dance music, driven by a visceral and futuristic approach.

“When an audio signal crosses the X-axis, there is an infinitesimal moment of silence.
ZERO is inspired by this quiet instant, a point of inversion where vibrations die and are reborn at the same time” . KR