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« Lush Life » (1958) is among John Coltrane’s best endeavours on the Prestige (and Music) label. One reason can easily be attributed to the interesting personnel and the

subsequent lack of a keyboard player for the August 16, 1957, session that yielded the majority of the material. Coltrane (tenor sax) had to essentially lead the compact trio of himself,

Earl May (bass) and Art Taylor (drums). The intimate setting is perfect for ballads such as the opener ‘Like Someone in Love ». John Coltrane doesn’t have to supplement the frequent

redundancy inherent in pianists, so he has plenty of room to express himself through simple and ornate passages.

May provides a platform for Coltrane’s even keeled runs before the tenor drops out, allowing both Earl May and then Art Taylor a chance to shine.

The fun cat-and-mouse-like antics continue as Taylor can be heard encouraging the tenor player to raise the stakes and the tempo – which he does to great effect.

So I have a problem: I hate everyone and all music. Well, OK, not everyone. But c’mon - you know what people are like. Honestly, they’re the worst. And fair enough I might not really hate all music, but let’s be honest: have you ever actually heard any music? I mean, jeeez. If I’m gonna listen to a record, I’ll need something that matches this misanthropy; something that really gets the neurotransmitters firing on all cylinders and ready to obliterate the feelgood factor. Something like Cleveland band Cruelster, basically. Cruelster are made up of members of Knowso, Perverts Again, and a plethora of other Ohio noiseniks. If it seems like you’ve seen that name before, it’s highly probable - they released a demo back in 2012 and have been sporadically dropping bundles of rough-edged sonic snot ever since, thanks to labels like Lumpy (whose own Dumpers are at the very least sonically adjacent) and Turbine Piss. This singles collection compiles all the non-album tracks they’ve released since that early demo to make a thrillingly ‘orrible racket. Twelve years’ worth of punk rottenness and general stupidity contained in 29 tracks and 40 noisy minutes. It is, of course, fucking brilliant. From the gleefully melodic dumbness (and Booji Boy-flavoured additions) of ‘My Embarrassment’ to the malevolent rumble of ‘Double Trouble’, not to mention a fabulously energised cover of Icona Pop’s dance-pop smash ‘I Love It’, every track here is a winner. It’s the perfect tonic for your rage and the perfect foil to a cruel world where everyone else’s disdain seems more pronounced than your own. You owe it to yourself to complete your record shelves with this instantly classic comp - it’s punk rock par excellence. And as for that ‘hating all music thing’... ah, who cares, this is all gold. Listen immediately, you’ll be causing chaos to its raucous brilliance before you know it. Genre: Alternative / Punk

On Rotation returns with the second instalment of its Genetic Memories V/A series, showcasing the diversity of the label’s sound through 4 floor-focused cuts from a spectrum of global talent.

Fresh from dropping an EP with our good friends space:lab, Rambal Cochet delivers a mind-melting A1 to start things off. Deep, tasteful and making full use of his trademark sound design, “Meteora” is one for the witching hour!

Bolam steps up next with the party-starting “Dream Machine”. Colourful synths sit atop driving breaks, with the peak-time energy dialled up to 11.

Flipping the record reveals a darker, hazier sound. Moisk’s “GooSE Attack” is reminiscent of long nights (and mornings, and afternoons) in the smoky clubs of Berlin and Amsterdam, while the dark, rolling tech house of “X-Stream” by Aussie heroes Primitive Needs is pure afters’ fodder - a real B2 killer for those who know.

On Rotation is a Leeds-based event & mix series turned label, with 6 genre-defining releases featuring scene stalwarts such as Adam Pits, Solar Suite, Anderson, Roza Terenzi and Hybrid Man, Jamie Leather & more.

"Rationalizing our place amongst the Stars is a referendum. A mandate in the scale of a space-time continuum, which is a task that might seem infinitely cavernous to most, but a lifelong mandate to others. As nature's allowance of time just isn't favorable to an average human lifespan of a 100 years, this task must be inherited and handed down in the method of an acoustical trust. Rhythm considered as a safe depository.

Neo Tantric Parts is about high premium thought processes about simplicity and oneness. Diagnostic in the way it blends time, rhythm and harmony together as a proposal to consider placement in this moment of time". - Millsart



Footnote translations:

"Rationalizing our place amongst the Stars is a referendum".

The human lineage only diverged from our most recent common ancestor about 5 million years ago; less than half of 1% of that time, and modern Homo sapiens is only between 200,000 and 50,000 years old, depending on your definition. Such vast spans of time are hard for us to comprehend.

"A mandate in the scale of a space-time continuum, which is a task that might seem infinitely cavernous to most,but a lifelong mandate to others".

The singularity had no dimensions and space and so it stands to reason that it had no dimension in time. In other words, there was no time so there was no such thing as "before". By that reasoning, time itself is the same age as the universe, which is about 13.8 billion years

"As nature's allowance of time just isn't favorable to an average human lifespan of a 85 years"

The world average age of death is a few years lower at 68.9 years for men and 73.9 years for women. Within the European Union, these are 77.7 and 83.3 years respectively.

"This task must be inherited and handed down in the method of an acoustical trust. Rhythm considered as a safe depository".

A legal arrangement or understanding by which a person or organization looks after money or property for somebody else until that person is old enough to control it.

FRN Dancehall might have emerged in Jamaica, but over the last few decades the popular genre's tendrils have stretched out across the globe. In Kampala, Ratigan Era is adding a distinct Ugandan twist to dancehall, fusing it with East African humor and hyper-melodic afrobeats elements imported from Ghana and Nigeria. The versatile MC grew up listening to Jamaican music like Vybz Kartel, Busy Signal and Mavado - in his hometown of Kawempe there was almost no way to avoid it - and it blurred into the background, blending with local church music, US hip-hop and radio pop. He developed this diverse range of influences into a completely unique Afro-dancehall flow that simmers between Luganda, patois, Spanish and English, reflecting the melting pot of cultures and dialects that characterizes contemporary Africa. Ratigan broke out with a memorable feature on Pallaso's Ugandan hit 'Nsaba', a track that echoed throughout the country booming from nightclubs, motorcycle loudspeakers or from convenience stores. Now he's assembled his first album "Era", a furiously inventive interweaving of rubbery vocals and memorable chants backed by futuristic beats from Hakuna Kulala's most boundary-pushing producers. Congolese producer Chrisman takes the reins on 'Gorilla Attack', providing a downtempo groove that echoes recent Jamaican chop deployments from breakthrough artists like Skillibeng and Skeng. For his part, Ratigan ducks and dives between Chrisman's gqom-inspired low end womps and corrosive synths, commanding attention with his smart, dextrous flow and tongue-twisting lyrics.The Modern Institute and Golden Teacher's Richard McMaster handles 'Top Strike Force' leaving space in his wiry, minimal beats for Ratigan to flit between anthemic repetitions and ice-cold AutoTuned wails. On stand-out track 'Badman Style', Ratigan's guttural patois is measured against a dizzy trap-dancehall hybrid beat from HHY & The Kampala Unit's Jonathan Uliel Saldanha, aka Lithium Beats, while on the surreal 'Drop it Down', Japanese mad scientist Scotch Rolex brings out Ratigan's cheeky sense of humor with toytown bleeps and laser zaps. MC Yallah collaborator Debmaster appears on 'Gan Dem', meeting Ratigan's double-time raps with soundsystem destroying rolling subs, and veteran US noisemaker Kush Aurora sprinkles magic dust on 'Cool and Deadly', galvanizing the link between global bass mutations, Jamaica and East Africa.And despite the grab-bag of producers and inspirations, "Ratigan" is a strikingly coherent listening experience that accurately snapshots Kampala's colorful froth of sounds and phrases. Ratigan's outsized personality is welcoming and captivating, providing the sights, sounds and smells of the city with a frenetic rhythm that's as intimate and local as it is far-reaching. It might just be the future we so desperately need.

Saint Louis based Piscean Group return with a 45 showcasing their future funk jazz sound

Led and produced as always by Osunlade (Yoruba Records), this ever evolving group provide two new tracks; the first “Finger It Out” a driving groove punctuated by explosive horns and an irresistible drop, backed with “Kushti”, a beautiful downtempo meditative jam with loping beat and spaced out guitar licks that transports you to a new time and space.

DJ Support: Claptone, Sasha, Gina Breeze, Tom Findlay (Groove Armada), DJ EZ, Horse Meat Disco, Richard, Gear, Gina Breeze, Mirco Violi, Moody Boyz, DJ Caspa, Ruff Stuff, Dom Rimini, Don Diablo

Bristol born ARLO begins a special series of releases with Food Music. Party Response does exactly what it says on the tin - Hi NRG Dance music across the board - including a collab with Shadow Child (set to be released on vinyl only), and a huge remix from J.O.S.H.U.A too. Expect more in the Party Response series, and enjoy vol 1!

Toki Fuko – Hues Of Movement After his notable debut on
Submersive’s VA Osmotic Particles in 2021, Toki Fuko makes a
captivating return with his first solo release on the label. ‘Hues of
Movement’ comprises three original tracks and two remixes by Anthony Linell and Artefakt, embodying Submersive’s ethos of a deep, hypnotic journey into organic yet dancefloor-ready Techno. In the three original tracks, Toki Fuko once again mesmerizes with his evolving soundscapes. Electrical pulses are enhanced with expansive reverbs and woven into groovy drum sequences. The tracks gradually evolve, reminiscent of a drop of ink dispersing in water, inviting listeners to immerse themselves in the sound and lose control as they become one with the music. Anthony Linell, who performed at Submersive’s inaugural party in Paris in 2017, offers a Train remix that seamlessly bridges his signature style with Toki Fuko’s sound. The track emerges like a living entity, combining dub-influenced meditative atmospheres with ecstatic elements, growing into a full-length auditory experience.
Artefakt rounds off the release with their ‘Warble’ remix, taking listeners into depths where light cannot penetrate. The Dutch duo presents a darker take, subtly manipulating elements and maintaining high tension, keeping the end of this sonic adventure tantalizingly out of sight. Accompanying the EP is artwork by Swiss-Moroccan artist Zineb Mezzour, offering a fresh interpretation of the concepts of surface and water that Submersive explores in each release. Known for her intricate work on paper and ceramics that evoke a microscopic, organic, and spiritual world, Zineb has performed a unique visual for this vinyl. She began by drawing invisible shapes in water, then brought them to life by adding ink that transformed into unpredictable fractal shapes. This artistic process was captured to create both the cover and the video teaser for the EP.

2024 Repress

Another episode of the notorious 'You Can Trust A Man With A Moustache Series. Containing 4 crazy electro house energizing nu-italo top hits! A1 The mysterious super hit wanted and sought after by many DJs, played at numerous clubs and festivals by Moustache records label boss David Vunk, the mega anthem by the super collective ; Tending tropic - Hondebrok!!! A2 Cafius the super talented electronic music producer hailing from Ukraine is part of Moustache family now. He Delivered a massive club banger for the dancefloor: Cafius - Tonight is the night. Already played by DJs around the glove! B1 Im Kellar the infamous project by 30 years friends David Spanish and David Vunk ebm electro, dark and pure from the analogue cellars of downtown Rotterdam city, Im Kellar known for their super rare always sold out 12inches. Im Kellar - Not to be compromised dont miss this killer track with that strange melodie ;) B2 Moustache is super pleased to have the boss of Barca on board. Italo moderni label ceo Adrian Marth with his electro house hi energy track: Icon of the night! Expect deep basslines and peaking party drops. You can trust a man with a Moustache Vol. 5 comes in a super great designed 12inch sleeve full colour Artwork. Dont sleep on this ultra rare vinyl super limited only 500 copies no repress! Don't play this record underwater!

Code: Selfish is a 1992 LP by British rock band The Fall. Their 14th full-length studio album, it entered the UK chart at number 21, although it spent only one week on the chart.

The album is characterised by its harsher sound in relation to the previous year's Shift-Work, and is influenced by techno music (techno fan Dave Bush had been added on keyboards and computers).7 Despite this, the album also has some notably mellow moments, with "Time Enough At Last" (named after an episode of The Twilight Zone) and "Gentlemen's Agreement" being at odds with the overall sound of the album.

Largely recorded in a converted church in Glasgow, Code: Selfish features the group's only self-penned Top 40 single, "Free Range". The album would prove to be their last for the Phonogram label, as the group were dropped following the release of the Ed's Babe EP later in 1992. Simon Ford reports in his Fall biography Hip Priest that Phonogram had to compensate the band for the early termination of their five-album deal and that these funds were used to record what became The Infotainment Scan.

The album was re-released by Voiceprint in 2002 under licence from Phonogram, and also appeared in a double-CD set coupled with an edition of Shift-Work on the same label in 2003. This edition added "Ed's Babe" and "Free Ranger" to the track listing. It was reissued again in expanded and remastered form by Universal in May 2007.

Standing in a Greyhound Bus station, wearing a Sylvester t-shirt and huge duct-tape-covered glasses, Baltimore ’s Dan Deacon doesn't invoke the image of a composer to the other bus riders. The two suitcases he loads under the bus, which accompany him from city to city, hold the sweat-and-grime-soaked electronics that he uses to craft his raging, maxed-out party music and light show. After 12 tours and 300+ shows in little over 2 years, the gear is beaten and battered, but the show and the energy it produces is anything but.

Dan Deacon has garnered a reputation in the underground as an intense performer and classic showman. The table top full of pedals, a sine wave generator, vocoder and casio blasting through the PA, joined by a makeshift light board with various bulbs and green skull strobe light, make his all out dance-til-you-drop performance a complete experience.

But it isn't all fancy feet and bouncy beats. Deacon is a classically trained composer with a Masters degree in electro-acoustic composition. He has released 7 albums from 2003 to 2006, but those self-produced recordings do not contain the vocal-based experimental pop that he has fine-tuned in live performance. His latest full length, Spiderman of the Rings is the first album bridging the gap between party performer and genuine composer. A mixture of his live show dance anthems, intricate instrumentals and humorous monologues, Spiderman of the Rings establishes Dan Deacon as a new type of entertainer in the contemporary underground.

After his first two one-off singles "Black Pegasus" and "Day Without You" introduced DJ Swagger's massive songwriting abilities and love for recording instruments, his first album on Kommerz Records, "Chemistry Forever", showcases his background in UK-leaning elec- tronic music as well as new tendencies towards neo soul, indie pop and jazz. Welcome DJ Swagger to the Kommerz Records stage and prepare for the album to drop on March 22nd.
The 25-year-old from West Germany's Bielefeld is pretty much the archetype of a so-called Wunderkind. At his young age the producer, DJ, multi instrumentalist and songwriter released more than 40 vinyl records including two solo albums and endless rave tracks since turn- ing 16. As of most recently and even though coming from an electronic music background DJ Swagger's creative agenda ventured more and more into classic songwriting and taking over the role of lead vocalist of his one-man-band. His third solo album "Chemistry Forever" show- cases this transformation from UK-influenced electronica towards neo soul and indie without losing its listeners at any point. His subtle melancholic vocal performance and the just as subtle, yet constant pop appeal make this equation solve itself magically. From electro, 2 step and breakbeat over hip-hop, indie and R&B to a final bebop (!) madness - "Chemistry Forever" is a trip for music lovers while each and every song has heavy potential to be listened to on repeat.
Besides his own vocal performances DJ Swagger also invited rappers TripSixVivo (London), Vitus04 (Bielefeld), Kaba (Paris) and poet Dainell Aiken (NYC) for mesmerizing guest perfomances. Additional production work came from Hamburg dance producer Speckman and jazz outfit Jonas Gersema Trio.
Aaaand since we called him a Wunderkind: Be aware that he's not only a next level musician, but studied graphic designer, illustrator and most likely many more things. Just an example: Most recently he sold self-made perfumed candles through his D.I.Y. label and fashion brand Goddess Music. He obviously designed everything around the album, directed the music videos and merch drops are to be expected.
For us, brothers Lukas and Jonathan, the love story goes way back though. In the midst of the long gone lo-fi house hysteria (2017-2018) we discovered the Bielefeld native's dance floor productions, which fused hip-hop braggadocio with pumping electronic music. We kept following up on his ever evolving musical journey into new genres and felt super honored when he reached out to release his upcoming projects via Kommerz.

1-2-3-4! Here we are and here we go! Broken Cuffs aus Kalifornien / U.S.A. veröffentliches ihren längst überfälligen ersten Longplayer und machen dabei keine Gefangenen. Aggressiv-vorwärtstreibender Streetpunk in bester Casualties , G.B.H. oder Exploited-Manier. Keiner der 11 Songs knackt dabei auch nur annähernd die 3 Minute Marke und auch textlich sind die Songs als Kampfansage gegen das Establishment und System auf den Punkt gebrachte Wut mit F**K You!-Attitude! ''Never Give Up The Fight. Fight ! Fight! Never Stop Fighting, This Is Your Life! knallt es aus den Boxen und das zieht sich durchs komplette Album. Extrem wütend, angepisst mit der perfekten Balance an Melodien und Chören! Ursprünglich 2005 gegründet um ein Jahr später schon wieder history zu sein, haben sich Broken Cuffs 2015 wieder zusammen gefunden und in den Folgejahren insbesondere auf den Clubbühnen für ordentlich Furore gesorgt. Diese geballte Power haben sie auch auf ihrem Debut-Album eingefangen! The real deal und genau SO muss Punk auch heute noch klingen!!!

Hailing from Yerevan, Dave N.A. drops his 'Altura EP,' a seamless blend of jungle and deconstructed club. This marks his debut on no•id, the second release on the label. The four tracks showcase Dave N.A.'s nostalgic yet innovative sound, with sharply cut breaks, a lush palette, and vivid effects, solidifying his place in the label's diverse lineup. For the occasion, 'Pulse' and 'Novox' were co-produced with Belgium’s freq444. The DJ’s join forces around a sultry groove: it goes down smooth as cocoa on a freezing winter’s day.

Nach den ersten gemeinsamen Demos war klar, dass das geplante Albumprojekt viel mehr als eine Aneinanderreihung von Tracks werden muss. Und so kreieren die beiden Producer-Kings kurzerhand einen Soundtrack für ihren eigenen late 80s-Thriller, verzichten dabei aber komplett auf gängige Klischees. Nicht nur der Albumtitel, entliehen aus dem gleichnamigen Filmklassiker von 1989 sondern das gesamte Konzept von Tango & Cash ist eine Liebeserklärung an atmosphärische, auf VHS-Tapes gebannte Verfolgungsjagden der späten 80er und frühen 90er-Jahre.

Um das Kopfkino beim Hören perfekt zu machen, ist die Tracklist wie eine Auswahl an Filmsequenzen zusammengestellt. Die Sprach-Interludes als akustische Verbindungselemente zwischen den Tracks und das von Wörn Dauerfeuer designte Albumcover lassen die Hörer*innen ab der ersten Minute in eine moody Filmkulisse eintauchen und machen Tango & Cash zu einem Gesamterlebnis. Als Topping verleiht das analoge Mastering von Dextar dem Album die notwendige Wärme. Tango & Cash ist die musikalische Version eines Vintage-Thrillers, perfekt ins Jahr 2024 überführt.

Classic west coast electro by Romanian dj and producer Andrew Red Hand who drops his final part of The Cemetery series on Rotterdam Electronix. The title track gets a stunning melodramatic remix by Electro overlord The Exaltics. Killer electro cuts for the dark & cold days that lie ahead.

This is a repress of Tycho's second release with Ghostly International to celebrate the 10 year anniversary of this masterpiece, while Ghostly International celebrates its 25th year anniversary. For nearly a decade, Tycho has been known as the musical alias of Scott Hansen, but with the release of Awake - his second LP for Ghostly International - the solo project evolved into a three-piece band. Relating closer to post-rock than ambient soundscapes, the record is situated in the present, sounding more like Hansen than drawing from his influences. This is, in many ways, the first true Tycho record. Following 2011's Dive LP, the San Francisco-based designer toured extensively, and with a full band on stage, his sound coalesced into a percussive, organic whole. Zac Brown (guitars, bass) rejoined Scott on the road for this tour, but it was the particular addition of Rory O'Connor's live drumming that ultimately sent Hansen back to the studio with a more precise vision. "After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album," Hansen recalls. Bringing musicians into Tycho's creative process was a step towards expanding his own songwriting and advancing the project beyond its current sound. In a cabin near Tahoe last winter, Zac and Scott began fleshing out the structure of the new record, but it wasn't until they set up shop in the hills of Santa Cruz with Rory that it all fell into place. "It crystallized the vision of how the drums would come to the forefront on this record," says Hansen. The sound was much more stripped-down and concise with more organic instruments in the fold. Songs like "Montana" and "Awake" are a departure from Tycho's previous material - unique to the group effort poured into the songs on the new record - while "See" and "Dye" echo ideas from previous works, bridging a middle ground between the old and new. Working with Count Eldridge, who also engineered Dive, the team could fixate on the pulses that Tycho might previously layer under synthesizers and exhume them with distinct bass and guitar patterns. Also known for his design work as ISO50, Hansen's visual and sonic efforts have dovetailed throughout the course of his career. "This is the first time in my life I've dropped everything to focus on one artistic pursuit," notes Hansen. Previous Tycho releases came to fruition when an amalgam of songs were nearing completion, but Awake is where music becomes the focus and true expression becomes the result.

Fixed Rhythms is proud to release a masterpiece double LP by Texas techno young star, Decoder aka Gautham Garg (as seen on Axis Records, Float Records, Amotik, Molecular, Science Cult, Subsist and more). He also runs the fabulous new imprint Toca alongside Jay York. Fixed Rhythms released a 12” EP entitled “Boulder” under his Cratan alias in 2021, and copies zipped on out the door. Not expecting this to be any different.

This is 8 tracks of hypnotic, bendy techno (with a C1 electro switch-up). You’re instantly transported to the depths of the cosmos within your mind on the first needle drop. User beware, this will hypnotize the dance floor. A track for all moments of the deep dance, with a D2 that ends the double LP with a powerfully optimistic sonic statement.

Mastered by Dietrich Schoenemann.
Design by Nick Owen.
Distributed by One Eye Witness.

Limited edition of 300 copies on black vinyl. Don’t sleep!

Following their success in recent months with releases like ‘Let It Go’ and ‘Y’all Ready For Dis’ amongst their club-ready dubs, rising duo Y U QT now drop their highly anticipated ‘BABE?’ EP via LG105. Growing exponentially in the past year, Y U QT have earned support from names like Interplanetary Criminal, Prozak, Daffy, Notion, and more whilst expanding their fanbase across radio airwaves as well as club floors on their headline, six date ALL NYTE LONG sold-out UK tour, and a debut Boiler Room performance alongside DJ EZ, Jyoty, and p-rallel.