Search:duo

AIR 's Jean-Benoît Dunckel & Jonathan Fitoussi have joined forces to release Mirages II, a sonic exploration of analogue synthesis, moving from the minimal to the cinematic.

"After their first album as a duo, released in 2019, JB & Jonathan have gone back together to build another work, in which their two personalities unfold even more surreptitiously, always very attentive to each other.

At their heart, an electronic spirit, anchored to a very mineral rhythm.

There are glimpses and echoes of the great German musicians of the 70s, with their infallible metronome.
There are also ghosts of Detroit's hypnotic machines.

Above all, this album moves forward as if it were running slowly, its rhythms giving a cadence that calms and radiates, in sparkling harmony...

These mirages, second chapter of that name, are at their zenith."

J. Ghosn

And another! One Eye Witness rounds up 4 more acts to deliver the latest instalment of their V/A series, WITNESS07. The EP brings together names from across Europe: here fresh faces — the likes of Bristol’s JoeLy — rub shoulders with more established dancefloor exponents such as SameSame from Germany and Rome’s Christopher Ledger, all utilising the hypnotic tech house aesthetic championed by O.E.W.

Young Adults’ “It’s Only Temporary” kicks the EP into gear, a perky cut loaded with bounce. The The Hague duo employ a rubbery bassline and sound palette with plenty of boing, whilst working in a playful nod to a certain 1997 Loveparade anthem. Christopher Ledger gets classy on “Change That”, its slinky, steady break keeping hips in motion whilst tricky dubwise FX swirl across the stereo field. JoeLy slows things down and reigns it in with “Transitional”: beneath the filter sweeps, a seductive, sliding acid bassline is accompanied by augmented 303 action. As punchy as it is textural, the fittingly titled “Novel End” by SameSame seems draped in gauze — delicate drones wrap the drums in a soft cocoon, offering something a little more cerebral. WITNESS07: A tech house Tour de Europe, brought to you by Amsterdam’s all-seeing eye!

Nox Anima is the new opus of french electronic duo Scratch Massive, 11 strongs and emotional tracks going from electronica, new wave to electronic pop. Included 2 featurings with french artists Yelle and Jeanne Added.

No matter how much of their filthy riches Munich’s oh-so shiny and smart glitterati are going to spend on generic pest control, they’ll never manage to exterminate SPINNEN (n.b. German for “spiders” – and also for “being bonkers” ;) Instead, SPINNEN will spread even further, they’ll form new networks, take over new corners, new spots, connect more musical dots with invisible, incendiary cobwebs.

Whereas these two SPINNEN – Sophie Neudecker (drums) and Veronica “Katta” Burnuthian (bass) – have been doing their spidery thing(s) in countless muggy, experimental corners of Munich for years (think bands such as Bombo, Uschi, Apian, The Living Object, Friends of Gas + other art ventures, tats, Schaufel & Besen Records…), the duo’s first full-length offering for Weilheim-based Alien Transistor sees them move on towards a warm kind of light – “Warmes Licht”. Inspired by Lambrini Girls, Peaches, McLusky, Amyl And The Sniffers, and all things loud and gain-heavy around their hometown, the album – obviously two body parts (A + B side), 8 legs (tracks) – is set to arrive in March 2025.

“Zusammen wachsen/Zusammen fallen,” meaning grow together/fall together feels like a fitting motto on opening track “Träume,” an initial onslaught of shouts, spiky basslines, crunchy chords, a whole lot of awesome friction in that lovely lower end. “Visionen folgen/Kämpfen und Erschaffen,” is another apt line while doing just that, fighting, creating, turning visions into soundscapes, into pure sonic fun & resistance. Putting even more pressure on the mosh pit with wordless “Wirken,” that titular warm light eventually breaks through towards the end of hypnotic “Moment”: The lyrics might talk about a calm state of mind – but these two are certainly not slowing down, not aiming for consistency, or for “making it”…

“Warm” has no drums, no message, it’s pure light, all playful organ hypnosis, paving the way for the b-side that opens with first single “Geister” (spirits/ghosts/genies): Arriving with a rough wind that immediately turns things upside down, it’s all screams and riffs, turbines and propellers – one of many moments that make you realize how bad you want to see this hi-octane duo live, how good it must feel to have them scare the shit out of your body (“Verscheuche mich aus meinem Körper”). They’re like two genies coming from the same smashed bottle, offering three wishes to those who’re lucky enough to listen (Fuzzy Noise Pop? Punk Catharsis? Rrriot Krautsound?).

Following a quick melancholy breather (“Lichter”), things once again get restless as they rush towards the punk finale via slow-burning demolisher anthem “Ermüdend”/“Immer wieder,” only to unleash one last battle cry, one last middle finger made of light and noise to the heated room (“Mäuse”) they’ve long taken over.

It’s certainly no coincidence that a certain square/fine/upstanding citizen named Margit O. gave Munich’s Bürgerpark Oberföhring a scathing 1-star review on Google Maps exactly four years ago – at the very moment that Sophie and Katta first met just there, which eventually lead to the formation of SPINNEN. The reason for O.’s negative rating: “Too loud”.

This brand new deluxe edition of "Bag Talk", the acclaimed 2019 collaborative album by Pink Siifu and Yungmorpheus, is a masterful expansion of the duo's underground classic. Originally celebrated for its gritty beats, sharp lyricism, and boundary-pushing creativity, the album saw a first deluxe release in 2022, but with this one the duo is taking the original project to new heights, featuring six brand-new, unreleased bonus tracks that deepen its raw, introspective vibe.

From soulful loops to hard-knocking drums, the chemistry between Siifu and Yungmorpheus shines even brighter on these exclusive tracks, offering fans a deeper dive into their rich sonic world.

This brand new release features 6 brand new bonus tracks, new artwork by artist Alina, and has been mastered for vinyl by Davide "Bassi Maestro" Bassi for enhanced listening experience!

2025 marks the return of Cologne-based electronic outfit Urban Homes with their first new music in over eight years, following an unintentional hiatus driven by side projects, relocations, the pandemic, and the unpredictability of »life.« After over eight years, the duo is back with their first new material: a fresh batch of purely instrumental downtempo and dub-influenced tracks, marked by a somber and atmospheric vibe that distinctly separates this new material from their previous work. Inspired by themes of extraterrestrial life and the paranormal, the four new tracks compiled on the »U.F.O.« EP release were crafted during recording sessions split between Cologne and Berlin before languishing for years on neglected hard drives, finally »ripening« into their current form.

Formed in 2008, Urban Homes initially emerged as a post-punk group, debuting live in 2009. Their first release—a four-track demo tape recorded in late 2010—already hinted at an evolving sound that would soon embrace a more experimental and electronic direction. By 2011, the band swapped their live drums for a drum machine, a shift that would profoundly shape their sound in the years to follow. Over the years, Urban Homes has explored a broad sonic landscape, merging electronic production, rhythm-driven compositions, and experimental song structures. Drawing influences from early house, balearic, disco, dub, avant-garde electronica, and pop, their music continues to defy easy categorization.

In March 2013, the duo released their debut album »Centres«, earning the Pop NRW Prize for Best Newcomers that same year. Their 2016 follow-up, »Jams«, was met with critical acclaim. A love letter to dance music's roots, Jams fused pop sensibilities with open-ended experimentation, built from years of MIDI-driven jam sessions that were painstakingly edited and reconstructed. Both released by Altin Village & Mine, »Jams« was also licensed by the Japanese label Fennely / Moorworks for an exclusive CD edition in 2017. Over the years, Urban Homes supported their releases with numerous tours and festival appearances across Germany and a memorable tour of Japan in 2017.

THOMAS ANDERS SINGS MODERN TALKING: THE 1ST ALBUM - Brandneue Aufnahmen plus neue Bonustracks! Zum 40. Jubiläum von Modern Talking überrascht Sänger Thomas Anders mit einem ganz speziellen Album-Projekt: EINE HOMMAGE AN MODERN TALKING!
„The 1st Album“ als 2-LP (24 Tracks) und 3-fach CD (36 Tracks) in der Jubiläums-Sammelbox bereits enthalten, sowie alle weiteren 5 Alben als CD und Vinyl bereits jetzt im Vorverkauf.
Der erste deutsche Künstler, der sein komplettes Frühwerk neu interpretiert! 6 Alben komplett neu aufgenommen - modernste Klänge und Nostalgie im frischen Soundgewand vereint.
Seit 2003 geht das erfolgreichste Duo der deutschen Popgeschichte bekanntlich getrennte Wege, doch die Modern Talking Songs, zu denen man bis heute in aller Welt tanzt, bleiben nach wie vor weltweit unsterblich.
Über 125 Millionen Tonträger hat das Kult-Duo bis dato in aller Welt verkauft - mehr als 300 Millionen Hörer jährlich erreicht die Musik aktuell auf den Streaming-Portalen.

"Chewing The Fat" marks a new chapter for Franc Moody.

This album delves into the duo's creative depths, breaking away from traditional norms and

showcasing a more refined sound than their earlier work.

Partially recorded at LA 64 Sounds Studio and Damon Albarn’s Studio 13 in West London,

the album’s sonic landscape is significantly shaped by Albarn’s collection of synthesizers,

especially some Russian models.

Drawing inspiration from live performances by Massive Attack and LCD Soundsystem,

the result is a sound that leans less toward disco,

embracing a grungier, more gritty attitude.

With its vinyl-only releases, Phosphor pays tribute to true lovers of electronic music. Blending retro influences with contemporary sounds, the label’s identity is rooted in authenticity and modernity. // Retro influences and modern sounds define the label's unique direction.

Designed as an homage to the golden age of 2000s electro, Exploration Begins explores every corner of the genre, blending sharp percussion, deep basslines, retro 80s synths, and 'old school' vocals. The “shiny” Side A radiates luminous, featuring hypnotic, sun-soaked melodies, while the “dark” Side B dives into a deeper, more club-oriented dimension.

With Making Up My Mind, Blue Vision—the duo behind the Phosphor label—showcases their vision of a quintessential electro track: groovy basslines, soaring melodies, and relentless drums, all steeped in the unmistakable sound of the 2000s.

Parisian talent Occibel once again lives up to the high expectations placed on him. With Shake The Future, he demonstrates his knack for crafting vibrant bangers. The track’s catchy melody and signature percussion combine to deliver a sound that is equal parts radiant and danceable.

Cologne-based DJ and producer Kolter takes the lead on Side B of Exploration Begins. Dark and weighty, his contribution draws power from haunting vocals and evocative melodies. Venturing beyond his usual boundaries, Kolter leaves a lasting impression with Electronic Mind.
True to its name, Navigator is a journey through a spectrum of influences. Sometimes hard-hitting, sometimes brooding, yet tinged with moments of melancholy and hope, Eric OS brings this Various Artist release to a masterful close.

Crafted from solo recordings of 42 top-notch improviser musicians mostly drawn from Berlin’s multi-layered experimental scene, the monumental Phantom Orchestra project by Raed Yassin is finally getting released on Morphine Records. More than 1000 minutes of source material, recorded at the Morphine Raum during the fall of 2021, is distilled into a cogent work marked by a dazzling display of editing and blending, and packed into a double LP containing 7 “movements” of the Phantom Orchestra composition.

Crafted from solo recordings of 42 top-notch improviser musicians mostly drawn from Berlin’s multi-layered experimental scene, the monumental Phantom Orchestra project by Raed Yassin is finally getting released on Morphine Records. More than 1000 minutes of source material, recorded at the Morphine Raum during the fall of 2021, is distilled into a cogent work marked by a dazzling display of editing and blending, and packed into a double LP containing 7 “movements” of the Phantom Orchestra composition.

The Lebanese composer, musician and visual artist Raed Yassin has built a career straddling artistic mediums and communities, his devotion to improvisation, his connection to experimental electronic music, and his interest in the archive distinguishing a progressive impulse rooted in historic exploration. In 2020 Morphine Records released his wildly ambitious Live in Sharjah, made by a kaleidoscopic expansion of Praed, his duo with clarinetist Paed Conca. He resumes his interest in large-scale projects with Phantom Orchestra, conceived during the pandemic when most European improvisers were forced to redirect their energies into solo work,

Each set of the Phantom Orchestra’s solos was cut on a Dubplate, ready to be performed on 12 turntables routed to a six-channel setup, to create a unified and breathtaking composition from the spontaneous material. The resulting material was then edited and prepared to be cut on a Double LP format, marshalling a staggering variety of improvised footage into an air-tight collage that locates abstract consonance, stunning sonic rhymes, and unusual harmonies without shutting out the sort of exhilarating collisions and fraught tensions inherent in collaborative improvisations. With this final stage of the composition, Yassin offers a vibrant testimony to the diversity of Berlin’s community of improvisers, to say nothing of his own refined artistic sensibility in achieving such a remarkable feat of blending so many contrasting voices into a truly unified piece of music. “For me it's about how to learn to be a community again,” he says. “And how to live in a world together again, which is a very difficult question for me.”

“This Album was published with the support of the Arab Fund for Arts and Culture – AFAC”

Nach Releases auf Too Pure, God Unknown und Big Scary Monsters erscheint das neue Album des Londoner Brüderpaares Cassels auf Human Worth. Produziert von Alex Petersen (aka Vincent Vocoder Voice) ersetzt das Duo scharfzüngige Charakterskizzen mit einem berauschenden Cocktail aus Philosophie und Körperhorror. Vorbei sind Flirts mit Indie-Rock und Elektro, stattdessen wird eine aufregende Vision dessen präsentiert, was harte Musik sein kann. "Tracked In Mud" ist der Soundtrack zum Leben in den letzten Tagen einer arroganten, technokratischen Höllenlandschaft. Die LP erscheint auf Ecomix-Vinyl in Topausstattung. 10% aller Einnahmen gehen an das gemeinschaftliche Lebensmittelzentrum/Vertriebsnetzwerk The Hornbeam Centre.

‘The Pattern Speaks’ is the debut album from Austin via Glasgow space-gaze duo SKLOSS, blending heavy
psychedelia, post-metal drones, meditative drums, and raw distorted riffs performed with honesty and
deliberation. Across these eight equally pulverising and ethereal tracks, the result is a powerful,
atmospheric and reverberating wall of sound that indulges SKLOSS’ heaviest and gentlest sonic impulses
all at once.

Die 13-fache Grammy-Preisträgerin Lady Gaga veröffentlicht am 07. März ihr siebtes Studioalbum „MAYHEM“.
„MAYHEM“ ist eine triumphale Rückkehr zu Gagas Pop-Wurzeln und verbindet ihre eklektische Energie
mit einer furchtlosen künstlerischen Vision und erfindet ihren frühen Sound mit einem kaleidoskopischen
Ansatz neu.
Unter den 14 Tracks des Albums befinden sich die bereits veröffentlichten Hits „Disease“ und „Die With
a Smile“ mit Bruno Mars.
„Disease“ wurde von The Independent als ‚ihr bestes Stück seit langem‘ gefeiert, und The Guardian lobte
die ‚zischenden, verzerrten Synthies‘ und den ‚stampfenden, leicht industriellen Beat‘. Das von Tanu Muino
gedrehte Musikvideo zu „Disease“ wurde von der Vogue als „eines der besten Videos des Jahres“ gelobt.
„Die With a Smile“, Gagas chart-erobernde Zusammenarbeit mit Bruno Mars, hat sich zu einer weltweiten
Sensation entwickelt. Die Ballade, die sich derzeit in der dritten Woche auf Platz 1 der Billboard Hot 100
befindet, ist für 2 Grammy Awards dieses Jahr nominiert, darunter für den Song des Jahres und die beste
Pop-Duo-/Gruppen-Performance.
Zu den Produzenten des Albums gehören Gaga, Andrew Watt, Cirkut und Gesaffelstein.

It took a certain determination (and a fair amount of recklessness) to embark on the path of coldwave music in 1982, in Nancy, eastern France. Spatsz worked the machines while Mona sang and played guitar. KaS Product, an unusual duo, debuted with Try Out, a true slap in the face. Synths sent out waves of varying degrees of unease, while Mona Soyoc's voice lent a suave, at times even jazzy tone to this dark, interl...

180G vinyl pressing

After releasing their well-received 7” and 12” singles ‘Night Time’ and ‘Feel It / So Hot’, Isle of Jura is pleased to present Exotic Illusions, the debut album from D.D. Mirage, the Sydney-based duo of Josh Dives and Disky Dee.

Having first played music together during the mid-2010s in the indie-psyche and punky-shoegaze bands King Colour and SCK CHX, the two Australian musicians/DJs came up in the warehouse party scene that fermented in the wake of the Sydney lockout laws. While organising mixed media events under the Yeah Nah Yeah brand, they discovered the joys of disco, dance-punk and the Balearic beat through Pender St Steppers’ DJ mixes and reissue releases and found themselves changing direction in response.

Written and recorded with a range of vintage keyboards and preamps, instruments and digital studio software, Exotic Illusions is a cosmopolitan love letter to the immaculate blend of Italo disco, Neopolitan funk, Nigerian boogie, cosmic house, synth-pop, UK street soul and lovers rock sounds that have inspired D.D. Mirage since they began this iteration of their ever-evolving musical relationship.

“The name Exotic Illusions refers to our fascination with all of this music made in other parts of the world,” they explain. “During lockdown and thereafter, we indulged in these exotic sounds as an antidote to our lack of travel. This fascination continued as the world opened up again, and we started working on tunes together. It’s also a way of acknowledging that we feel like tourists partaking in these styles and established sounds. They aren’t ours and weren’t born out of the place we’re from, but we hope we’ve been able to add something unique to them.”

In recognition of this, rather than just reinterpreting genre motifs through an antipodean lens, D.D. Mirage opened up lines of communication with some of their favourite musicians from the Neapolitan scene, bassist Daniel Monaco (Rush Hour, Periodica Records) and drummer Andrea De Fazio (Parbleu/ Nu Genea), who recorded the rhythm section for ‘So Hot’. They also wrote to the Manchester-based singer/producer Private Joy, who graced ‘Night Time’ with a smoother-than-silk street soul vocal that helped the single secure crucial plays on NTS and BBC Radio 6.

Opening with the tropical melodies, post-disco machine beats and jilted art-punk singalong chants of the title track, Exotic Illusions unfolds as a series of sturdy, internationally-minded dancefloor excursions. ‘Piranesi’ is boogie with a South American shuffle. ‘So Hot’ is Neapolitan funk with a Leichhardt strut, and ‘Antenna’ (featuring Jofi) is D.D. Mirage’s love letter to ‘80s drum machine bossa nova from Brussels.

On ‘Feel It’, the duo hit a sparking groove that reaches into an eternal sunset of the mind before throwing out a bubbly disco-not disco spoken word bounce on ‘Cat’s Cradle’, featuring psychedelic-pop singer Jermango Dreaming. From there, D.D. Mirage bring it home with a cheeky Aussie drawl on ‘Living Upside Down’ and the nocturnal excellence of ‘Night Time’, making a case for themselves as a significant new force from Australian music to the world.
full sleeve artwork from Bradley Pinkerton.

Einige nannten Studio, das Projekt der schwedischen Musiker Dan Lissvik und Rasmus Hägg, "das fehlende Glied zwischen The Cure und Lindstrom", Pitchfork hörte Durutti Column und Can, als das Duo sich als Teil einer sich locker entwickelnden Szene entfaltete - zunächst neben dem Label Service (Jens Lekman, The Whitest Boy Alive) und später Sincerely Yours (The Tough Alliance, jj) - und den Boom der 2010er Jahre an der Schnittstelle von elektronischer und psychedelischer Musik, angeführt von Indie-Größen wie Caribou, Four Tet und Darkside, vorwegnahm. "West Coast, ihr bahnbrechendes Debüt aus dem Jahr 2006, fängt eine ferne Romantik der Balearen ein, die auf Krautrock, Disco, Dub und Afrobeat trifft, mit Pop-Lyrik aus dem New Wave, modernisiert von zwei Göteborger Kunsthochschulabsolventen. Sie zitieren DJ Screw, J Dilla und Joy Division sowie fühe 80s Live-DJ-Sets von Beppe Loda, DJ Mozart und Baldelli. Damals auf Vinyl gepresst in limitierter Auflage über ihr eigenes Information-Label und bis heute auf den meisten Streaming-Diensten nicht zu finden. Im Nachglühen des Albums im Jahr 2007 verschwanden Studio hinter einem Berg von Remix-Anfragen (darunter ein Remix für Kylie Minogue, der veröffentlicht wurde) und der Bürokratie des Labels. Eine erweiterte Version des Albums erschien unter dem Titel "Yearbook 1" auf CD und erreichte Platz 23 der Pitchfork-Jahresliste der Top-Alben des Jahres 2007. "West Coast" landete schließlich auf Platz 57 auf der "Best Albums of the Decade"-Liste von FACT Magazine.

Pacific Rhythm is honoured to share the debut self-titled EP from Inner Flight, a duo comprised of Cooper Saver and Chris Macintyre. Inner Flight began as a long-distance collaboration during 2020 inspired by rural Canadian landscapes, natural beauty, and a myriad of musical fluencies spanning The Second Summer of Love, Andrew Weatherall, early Factory Records, and the deeper corners of the 4AD catalog.

It has since grown into an introspective and sometimes ecstatic body of work that weʼre elated to share with the world. Elevate your state of being with this idyllic soundscape from two of North Americaʼs finest vibe practitioners.

Belgian duo Borokov Borokov present their new EP on Magma Records. Inspired by a surreal, feverish dream by one of its members, World War captures the raw energy of the band's live performances.
Incorporating live musicians, including the voices of Lara Chedraoui (Intergalactic Lovers) and Frankie Traandruppel, and co-produced with Youniss Ahamad, the EP showcases Borokov Borokov's distinctive blend of chaos and artistry while venturing into new dimensions of their sound. Departing from their signature DIY approach, the band enlisted Youniss Ahamad as a co-producer to bring out a visceral, live feel. Drums, bass guitars, and brass instruments layer over their electronic foundation, with guest vocalists adding depth to each track's unique intensity.

World War is a molten blend of sounds and emotions-a dance between chaos and order, built to radiate heat that pulls listeners into its burning core. Balancing raw analog sequences, mesmerizing chants, distorted effects and hypnotic synth loops, their new output embodies the sounds of a post-apocalyptic dream, influenced by DFA-inspired Electro Funk, echoes of the Italo Disco era, angular post-punk, and trippy Acid House.

Designed for the eccentrics of the dancefloor, the EP is slated for release on February 28 on vinyl and all digital platforms via Magma Records.

Mannequin Records proudly presents the debut release from Children Of The Night, a dynamic duo whose music is rooted in cinematic soundscapes. The project brings together Mexican techno producer Alejandro Barba, also known as Dellarge, and French documentary/film producer Pierre Labret, forging a distinctive creative partnership. Their collaboration masterfully combines dark, atmospheric elements with driving electronic rhythms, drawing heavily from the worlds of classic horror and psychological thrillers. The result is a collection of soundscapes that are as eerie as they are captivating, creating an immersive and haunting listening experience.



This album stands as an unconventional horror soundtrack for a film that never came to be—a tribute to the legendary Spanish filmmaker Jess Franco, known for his prolific work in the exploitation and horror genres. Born out of the quiet chaos of the pandemic, this project was originally intended to accompany a slasher film that was halted due to financial constraints. Despite the film’s cancellation, the duo pressed forward, turning the unfinished narrative into an imaginative auditory experience. The soundtrack will serve not only as a homage to Franco but also as a nod to Juan Mendez, better known by his alias Silent Servant, whose dark, minimalist electronic productions have left a deep mark on the underground music scene.

Dellarge and Labret’s creative process is shaped by an eclectic array of inspirations, pulling from both literature and cinema. They’ve cited films such as Franco’s "Paroxismus," "Gritos," and "Faceless" as vital to their sonic direction, as well as the eerie black-and-white imagery of F.W. Murnau's "Nosferatu." Additionally, the duo draws on the disturbing psychological tension of Stephen King’s "Carrie" and "Misery," and the surreal dystopian world of Stanislaw Lem's "Congreso de Futurología." The giallo horror aesthetics of Dario Argento's "Deep Red" also serve as a significant influence, merging surreal visuals with nerve-racking, visceral soundtracks—elements mirrored in Dellarge and Labret's own compositions.



The LP is not only rich with atmospheric storytelling but also boasts a range of remarkable remixes by prominent artists in the electronic music scene. Contributions from Alessandro Adriani, David Carretta, Legowelt, and Broken English Club inject new life into the original tracks, offering reinterpretations that span from industrial techno to Italo disco, further enhancing the project’s depth and versatility. Each remix complements the overarching horror theme while adding a modern, avant-garde twist to the duo’s work.



This debut album promises to be more than just a musical release—it's a vivid exploration of the horror genre through sound, creating a sensory experience that brings forgotten films, unrealized visions, and nightmarish stories to life through music. As the lines between fiction and reality blur, Dellarge and Labret invite listeners into a world where the echoes of lost films can finally be heard.

Orange-farbenes Vinyl mit DLC sowie Digisleeve-CD! Memorial Waterslides" ist das Debütalbum von MEMORIALS, dem Duo bestehend aus Verity Susman und Matthew Simms (zuvor bei Electrelane und Wire). Es handelt sich um ein surrealistisches Pop-Album, das sowohl zeitlos als auch zeitgemäß ist und eine seltene Mischung aus klassischem Songwriting und Avantgarde-Attitüde aufweist. MEMORIALS kreieren einen Panorama-Pop, der auf Vertrautes und Fremdes zurückgreift, aber bekannte Pfade aber auch neue Wege beschreitet. Mit ihrem verspielten und experimentellen Stil, kombiniert mit einer Liebe zu Melodien, stehen sie in einer Reihe mit Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo und Tortoise. Das Album ist voll von Bildern, die eine verlorene Zukunft, eine verschleierte Gegenwart und eine tagträumerische Vergangenheit heraufbeschwören, wobei jeder Song eine Rolle bei der Schaffung einer wirbelnden Breitwandatmosphäre spielt und den Hörer mit auf die Reise nimmt. Der Sound des Albums, das die beiden komplett selbst produziert haben, wurde von den Experimenten mit Tonbändern inspiriert, mit denen sie zunächst auf der Bühne herumspielten, als sie begannen, ihre vielschichtigen Aufnahmen für Live-Auftritte als Duo zu entwickeln. Nach ihren gefeierten 2023-Soundtracks "Women Against The Bomb" und "Tramps!", einer Europatournee mit Stereolab (sie wurden als "Stereolabs böser Zwilling" bezeichnet) und einem neuen Musikauftrag des Centre Pompidou in Paris kamen Verity und Matthew auf MEMORIALS in umgekehrter Richtung an, indem sie ihren Soundtrack-Alltagsjobs entflohen, um kosmische Reisen durch den Gartenschuppen in psychedelischen Rock, abgefahrenen Folk und wilde analoge Elektronik zu unternehmen. "Exciting and unpredictable" The Guardian. "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus.

"Kind Regards" is the second duo release from guitarist Oren Ambarchi and drummer Eric Thielemans, out via AD 93. The record captures an expansive performance in Poitiers, France in November 2023. First working together in an unpredictable trio with minimalist legend and eccentric extraordinaire Charlemagne Palestine, Ambarchi and Thielemans quickly established a remarkable musical chemistry that led to an ongoing series of duo concerts, including the performance documented on their LP Double Consciousness (Matière Mémorie, 2023). Kind Regards finds the duo refining their shared language while continuing to take risks, allowing the music"s gravitational pull to lead them from meditative calm to unexpectedly expressive passages of melodic invention and rhythmic drive.

"Whistle from Above" is David Grubbs" first Drag City release in over a decade and his first-ever instrumental album for the label. The suspiciously youthful Grubbs is four decades into his career, with former bands including Gastr del Sol, Squirrel Bait, and Bastro, along with a wild ride of collaborators including f.e. Bitch Magnet, Codeine, The Red Krayola, Royal Trux, Dirty Three, Will Oldham, The Underflow and The Wingdale Community Singers. "Whistle from Above" is the first solo collection David has released since 2017"s Creep Mission. During the 2020 shutdown, David played what he precisely quantified as "a shit-ton of guitar," more than he could recall playing ever previously. Reinvigorated by this period of enforced woodshedding, he produced a series of new pieces, mostly for guitar, but also a piano composition and an exceptionally eerie bit of musique concrète. Meanwhile, David was reconnecting with the Gastr del Sol archive, as a new collection of old performances was being prepared from extensive archival material. The duo magic of that storied collaboration (released in 2024 as We Have Dozens of Titles) left David hungry to play in this format again - as he had recently with Loren Connors, Alan Courtis, Manuel Mota, and Liam Keenan. These duo experiences showed David the path forward to complete this new solo material. Thus he sought out collaborations with folks he"s called "some of the musicians whom I adore most on the planet" - Rodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley, and Cleek Schrey - and their stunning contributions flesh out Grubbs" innate, deeply person brand of minimalism. "Whistle from Above" is a colourful, compulsive set of instrumental pieces in which David and his chosen collaborators interact amid the steady roll of an expansive landscape based in the hypnosis of David"s immediately recognizable guitar style.

Dj Spinna’s very own Wonderwax record label is back with yet another soul-infused EP of trademark remixes from the man himself. This time around the Brooklyn producer unleashes for the first time on wax his brilliant vocal and dub versions of two tracks from critically acclaimed RnB duo King.

The 4 track EP includes the highly anticipated and unsurprisingly ace Galactic Soul remixes of “Mr Chameleon” plus the vocal and instrumental remixes of “Red Eye”, released digitally back in 2017 and never before on vinyl, showcasing once again Spinna’s amazing touch with downtempo beatdown jams.

Repress

Samosa Records swings back into action for the summer months with Afrikano Vol. 1 - a scintillating four tracker EP from Various Artists which you will fall in love with on the first listen.

On the A-side, the always impressive Vagabundo Club Social kick things off with the enigmatically titled ‘Mr. Mista’ - a hypnotic, (almost calypso inspired) rhythmic explosion of Mibra guitar, whirling organ, horns and a wicked high end laser sweep. This is a pure chugger, folks. At a deceptive 120bpm it will have you dancing til dusk.

A2 brings us ‘Sweet Dance’ where C. Da Afro met De Gama: after a brief shuffle beat start (liberally peppered with rhythm guitar and organ stabs), the unusual duo make sure it’s all about the beat and horn breakdowns. Pre-drinks in Lagos, people watching and waiting for the night to start is the order of the day here. Cut this in half and it has ‘summer’ stamped right through it. Gloriously sweet.


On the B-Side, Atchoum & Grincheux take centre stage with ‘Demokoussé’. Les Inferno applies the special retouch here, and straight away we’re treated to a gloriously produced trip through breakbeat inspired beats, deep, throaty horns and an outrageously soaring sax. Oh you want more? Well try the addition of the gorgeous spiritual vocals that put the bow nicely on this African sizzler.

Finishing the EP on B.2 is Lego Edit and the aptly titled ‘Afromaniaco’. A pulsating, horn inspired shaker, this track grabs you right by the beat bone from the off and won’t let go. Lego Edit’s trademark deft touches and attention to detail is all on display here - sweet sounding African vocals weave in and out of the almost melancholy horn stabs and washboard beats. A soundtrack for one of those incredible sunsets, ‘Afromaniaco’ is the missing piece of this diverse jigsaw.

With Afrikano Vol. 1, Samosa Records has found the perfect accompaniment to what is hopefully a long, hot summer. So Samosa, so brilliant.

2025 Repress

AFAR is a Berlin based music duo consisting of Elena on vocals and guitar, and Joseph on synthesizers and live hardware. Their forthcoming album stems from the misty heights of the pyrenees, hidden and sheltered within thick, old walls. The whole album was written and recorded in four winter weeks. An intense and demanding period, yet liberating and empowering. »The Refuge« is the collection of stories, the process of it is a story on its own. All tracks are touching, drifting, driving. Soft and raw voices meet between rough synthesizer lines. The result ranges from powerful breakouts to fragile moments. Honest and vulnerable, bold and brave: A true journey, a real refuge.

Synapson's latest album, Blue Jeans, is described as timeless and irreplaceable, much like a beloved pair of jeans that only gets better with age. The album is crafted with care, featuring diverse collaborations that resonate with a wide audience, reflecting the duo's commitment to inclusivity and unity. Celebrating their 15-year career, Blue Jeans represents a milestone in Synapson's journey, highlighting their evolution and enduring impact on the music world. This album stands as a tribute to their dedication to music and their fans, poised to become another classic in their storied career.

Following "Shadow People" (2018) and "De Pelicula" (2021) done with Laurent Garnier , The Limiñanas are making their big comeback with their new album entitled "Faded" , whose first single is "Prisoner of Beauty" featuring Bobby Gillespie (Primal Scream), supporter of the band for years. The French psychedelic - garage duo has also gathered on " Faded" for duets artists such as Jon Spencer, Bertrand Belin, Rover, Penny, Anna Jean & Pascal Comelade.

Neuauflage 2024, Purple Vinyl! Die Destroy Boys aus Sacramento kombinieren Garage-Punk, Pop, Hardcore und Indie-Rock zu einem rohen, zukunftsweisenden kalifornischen Punk-Sound auf ihrem 2021er Album! Die Band wurde 2015 als Akustik-Duo von Alexia Roditis (Gitarre/Gesang) und Violet Mayugba (Gitarre/Gesang) gegründet, die eine breite Palette von Einflüssen anführen, darunter Misfits, Siouxsie and the Banshees, Dog Party, The Who, Lady Gaga und Bikini Kill. Nach der Veröffentlichung ihrer Debüt-EP Mom Jeans wurden die beiden von Schlagzeuger Ethan Knight kontaktiert, der sich der Band anschloss, bevor 2016 die Grimester-EP und das Album Sorry, Mom veröffentlicht wurden. Die Band erhielt mehrere Nominierungen bei den Sacramento Area Music Awards 2017. Sie nutzten diesen Schwung für eien ganze Reihe an energiegeladenen Singles und Auftritten mit wechselnden Bandmitgliedern, immer voran Roditis und Mayugba. Schon bald teilten sich Destroy Boys die Bühnen mit Bands wie Mannequin Pussy, Face to Face und Lagwagon und tourten durch UK. 2018 wurde Hopeless Records auf ihren zweiten Longplayer Make Room aufmerksam und nahm die vielbeachtete Band in ihr Roster auf. Mit Open Mouth, Open Heart, das ursprünglich 2021 veröffentlicht wurde, lieferte die Gruppe eine Reihe aggressiver und selbstbewusster Songs, die sich den Themen emotionalem und physischem Missbrauchs, Mobbing und Sucht annehmen. Die Band besteht aktuell als Quartett mit Roditis und Mayugba sowie dem Schlagzeuger Narsai Malik und dem Bassisten David Orozco.

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

Sexe Fort is the seventh studio album by Patricia Kaas. With this album, the singer has maintained her status as one of the most important chansonniers of her generation. The album is notable for its many collaborations with important French singers and songwriters such as Jean-Jacques Goldman, Stephan Eicher, Pascal Obispo, Patrick Fiori, Louis Bertignac and Renaud. The album was a huge success in Belgium, France and Switzerland and had "Où Sont Les Hommes" as a popular single. This is the first time the album has been released as an LP. Sexe Fort is a limited edition of 1000 numbered copies on white coloured vinyl.

Iro Aka are back on Hivern Discs with two new EP's showcasing some of the most edgy and fast paced music they've released so far. Aural and Aural II are a deep dive into the Catalan's duo universe, a proper follow up of their album Planet Earth released back in 2023. This time focusing on mental sequences, ethereal pads and acid melodies.

Iro Aka are back on Hivern Discs with two new EP's showcasing some of the most edgy and fast paced music they've released so far. Aural and Aural II are a deep dive into the Catalan's duo universe, a proper follow up of their album Planet Earth released back in 2023. This time focusing on mental sequences, ethereal pads and acid melodies.

"The title is a description of what I do - making music in the home studio on a keyboard (real and virtual), reflecting some kind of dream world. Initially I had read in a book the phrase Homemade Pipe Dreams which I changed to Homemade Ivory Dreams - referencing ivory that often describes a piano keyboard."

First released digital only, June 2, 2017

From a review in Classical Ear August 2017:
It carries itself with all the vivid – and here often hallucinogenic – intensity typical of Doyle’s work. Structure and detail, rhythmic propulsion, tonal variation and textural intricacy all reveal his equally characteristic meticulousness. There’s a palpable emotional energy to, a discernible intellectual interrogation of, pieces that are acutely personal, adroitly framed and superbly realised. It’s as if Debussy had collaborated with dance-music duo Orbital.

So laut das Duo auch wird, so lässig agiert es am Ende und schüttelt laufend groovende Garage-Knüller aus dem Ärmel, die durch und voller Pop-Momente. Klar, bei THE PIGHOUNDS steckt 90er Alternative drin, Punkrock, Grunge, stets eingängig und catchy – und auf "Tutti Frutti" sind einige neue Seiten zu hören, die durchaus zu überraschen wissen. Aber sie haben auch den Pop geschluckt und schreiben Hymnen und Hits, wenn sie nicht immer einen Tick zu kratzig und ruppig sind.

Gitarren? Wer braucht schon Gitarren im Heavy Metal? YEAR OF THE COBRA können locker darauf verzichten - zumindest auf die mit den dünnen Saiten, die vor allem zum Herumfummeln taugen. Frontfrau Amy Tung Barrysmith holt aus ihrem Bass einen derartig fetten Groove und satte Heaviness heraus, die als Raketentreibstoff mehr als ausreichen, um den dröhnenden Zwillingsmotor aus Doom Metal und psychedelischem Sludge ihres selbstbetitelten dritten Albums anzutreiben. "Year of the Cobra" ist eindeutig aus der Saat seiner beiden Vorgänger, "...in the Shadows Below" (2016) und "Ash and Dust" (2019), erwachsen - und übertrifft sie noch. YEAR OF THE COBRA konnten ihr Songwriting verfeinern, kommen noch mehr auf den Punkt und punkten mit eingängigen, aber dennoch superschweren Melodien, die exakt auf die stärksten Aspekte der Band zugeschnitten sind. Amy Tung Barrysmiths mal samtene, mal raue Altstimme und das nahtlose rhythmische Zusammenwirken von ihrem Bass und Jon Barrysmiths gefühlvollem Schlagzeugspiel gelangen dadurch in den Vordergrund. YEAR OF THE COBRA wurden im Jahr 2015 in der US-Regenstadt Seattle gegründet. Als Duo mussten sich YEAR OF THE COBRA zunächst eine eigene Nische suchen, was ihnen mit scheinbarer Leichtigkeit gelang. Sie kreierten einen Sound, der mühelos von klassischer Doom-Melancholie bis zu beklemmend schweren Riff-Architekturen reichte. YEAR OF THE COBRA gelang es zudem, eingängige, fast beschwingte Rock-Momente in wirbelnde Psychedelik zu verwandeln. YEAR OF THE COBRA sind bereit für den nächsten Schritt, wie ihr selbstbetiteltes drittes Album unwiderlegbar beweist. Die Wüstenschlange bohrt ihre Fangzähne mit "Year of the Cobra" gnadenlos in eure Ohren und lässt nie wieder los!

If there’s one thing we know at International Feel, it’s that good things take time. But sometimes, just sometimes, they take a little longer than expected. Enter IFEEL088, a split remix 12” that stitches together two albums, two projects, and a collection of kindred spirits who understand the delicate art of sonic transformation.
Charlie Charlie (the Swedish duo of Chords and Bella Boo) have been long-time admirers of Mondag, ever since their ears first met the melancholic splendor of Sad Soup. When it came time to create Save Us, they had one request: a sax solo from Kristian (of Mondag fame). A beautiful idea, but as the fates (and studio schedules) would have it, the horns never made it onto the album.
Fast forward, and what began as a missed opportunity has now come full circle. Mondag, still taken with Save Us, took matters into their own hands and offered up a remix – a shimmering, unexpected rework of a track that already carried so much weight. Charlie Charlie obliged. And, because there’s no such thing as too much of a good thing, Bella Boo herself offers a tight and nimble edit, while Gerd Janson drapes the track in an ambient mist for those more horizontally inclined.
Hypernatural exists in some liminal space between waking life and dreamstate, it makes sense that its remixes should play with perspective. The trio—Dan Whitford (Cut Copy), Mirko Vogel, and Mike Gamwell (a.k.a. Knightlife)—crafted their album between the Swedish coast and the Scottish highlands, capturing the sublime and the surreal in equal measure. Now, it’s time to hand things over to new guides.
Mike Gamwell himself steps up, delivering a fresh take that bends and stretches time, while Gerd Janson follows, offering another piece for the puzzle—one that slots seamlessly into the hazy, transportive nature of the Hypernatural sound.
One record, two projects, three perspectives, and infinite interpretations. IFEEL088 is a reminder that sometimes the best things in life are worth the wait.

China Crisis BBC Sessions have been compiled onto vinyl by Scottish label Last Night From Glasgow, released in early 2025. The release features the band's two John Peel sessions recorded with the BBC in March 1982 and January 1983, now remastered and available on vinyl and CD. The album includes the BBC session recording of hit single Wishful Thinking. The Complete Sessions follows on from recent album China Greatness released in May 2024, a collection of the band's best tracks now newly arranged and mixed. China Crisis remain one of the UK's most beloved pop bands. Formed in Merseyside in 1979, the core duo of Gary Daly and Eddie Lundon remains unchanged 45 years on. They rose to fame in the early 80s with chart success single Christian and single Wishful Thinking, album Difficult Shapes & Passive Rhythms reached No.21 in the UK album charts in 1982. China Crisis continue to tour extensively and boast over 325,000 monthly listeners on Spotify.

In ihrer bisher zwölfjährigen Band-Historie veröffentlichten Nicolás Jaar und Dave Harrington, zusammen bekannt als DARKSIDE, die beiden Alben ""Psychic" (2013) und ""Spiral" (2021). Mit ihrem langjährigen Freund und Kollaborateur Tlacael Esparza als neues Bandmitglied und Schlagzeuger kommt jetzt ihr drittes Album ""Nothing". Das Ergebnis ist faszinierend und vielschichtig. DARKSIDE schmücken ""Nothing" mit prägnanten Rhythmen, verzerrten Vocals und kreieren eine ganz eigene, wie ungewöhnlichen Ästhetik.

Um die Entwicklung zu verstehen, muss man die Hintergrundgeschichte kennen: Jaar und Harrington lernten sich in den frühen 2010ern während ihrer Schulzeit in Providence kennen. Während der Tour zu Jaars Solo-Debütalbum fand eine spontane Aufnahmesession an einem freien Tag in einem Berliner Hotelzimmer statt. Die Session war wortwörtlich brandheiß, denn sie endete mit durchgeschmorten Lautsprechern. Der Raum füllte sich mit Rauch und der an diesem Tag entstandene Song wurde ihre erste gemeinsame Single ""A1", DARKSIDE war geboren.

Zwischen den ersten beiden Alben legte das Duo eine sechsjährige Pause ein. In dieser Zeit verfolgten Jaar und Harrington jeweils eigene kreative Wege: Jaar etablierte sich als Solokünstler und Produzent, während Harrington als innovativer Gitarrist und Experimentalmusiker die Underground-Szene in L.A. aufmischte und die Rock-Band Taper"s Choice gründete. Die Geschichte setzt sich dann im Herbst 2022 in Los Angeles fort als das Duo eine Reihe von Shows buchte, um sich nach acht Jahren erstmals wieder als Live-Band zu vereinen. Esparza kam als festes Mitglied hinzu und veränderte grundlegend den Klang und die Energie der Band. Die Idee von ""Nothing" entstand während der Suche nach Achtsamkeit und Harringtons stillen Momenten mit seiner neugeborenen Tochter, in denen er Schönheit im Nichtstun fand. Für Jaar wurde ""Nothing" zu einem Symbol für die allgegenwärtigen, wie überwältigenden Probleme, unausgesprochene Gefühle und den Stillstand in globalen Krisen wie Klimawandel, politischer Heuchelei und wiederkehrender Gewalt.

X or Size deftly frays and soothes the ‘floor with a 3rd LP of craftily textured ambient house scuzz for Good Morning Tapes in a vein shared by Huerco S, NWAQ, Actress, Michael J.Blood and Madteo, but pushed farther into groggy and loosey-goose limbed abstraction.

Formerly known as part of ambient drone duo The Geese with Recital’s Sean McCann, and member of psychedelic mutators Regal Degal; Josiah Wolfson has, in recent years, come into his own as X Or Size, whilst retaining the trippy sense of play and experiment that coloured and defined earlier works. His 3rd outing as X Or Size continues a tradition of punning titles and subtly psyched-out, edge-of-the-‘floor dance music with six bits of submersed trippiness idealised for bobbing bodies with eyelids at halfmast, on a slow arc to other dimensions.

Blessed with the finest grasp of heady equilibrium, X Or Size pull strings like a gently psychoactive puppeteer on the 10-minute opener of dreamlike physics, and aching psych-soul downstroke of ‘Anonymous AD'. ’B O M H’ follows with thee gauziest breeze of filtered vox and harmonised textures rolled out in sun-dazed motion that makes us hanker for warmer times, and ‘Ceremonism’ sustains that flow with sloshing beatdown drums paced like an offcut of NWAQ’s ‘The Dead Bears’ marinaded with special ingredients by Madteo.

With minds/bodies well massaged and acclimated to his vibe, ‘oSSo’ screws off into even trippier zones with a nervy offbeat swing and parry spangled by wettest spring reverb, before bringing up for air in the 11 minute title piece of astral planing bliss, ready to roll another one or go head first into the pillow.

Humphrey Aniakor started Duomo Sounds after a trip to Milan. The idea was to produce a new sound for the emerging generation. A sleek funky but refined, Nigerian disco sound. This compilation captures all of that intention with a broad array of artistes. The music is sometimes sung in local Nigerian languages and sometimes in English but always with an African Accent. Modern grooves for an African market.

After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.

There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.

And he would call it—what else?—Duomo. Duomo Sounds Limited.

This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.

The voice of Ella Thompson has been a fundamental part of Naarm’s soul and funk history. She has toured and recorded with funk pioneers The Bamboos, lit up dancefloors with electronic duo GL and won hearts and minds across Australia with indie cult favourites Dorsal Fins. Ella now returns to her soul roots and releasing music under her own name with a brand new single ‘Cool Down My Heart’, self-produced in collaboration with multi instrumentalist Liam McGorry and featuring cameos by local heavyweights Hudson Whitlock (drums) and Will Morrisey (saxophone). Cool Down My Heart is a rich, imaginative, pop/soul track which foregrounds Ella’s beautiful voice and considerable songwriting skills.

Stix Records, a sub-label of Favorite Recordings, proudly presents the new and 3rd single by Mato & Ethel Lindsey. Following to their stunning cover of the famous “What You Won’t Do For Love” by Bobby Caldwell, and “Baby Come Back”, the underground AOR/Blue-Eyed-Soul classic from The Player, the duo this time takes over “Georgy Porgy” by Toto.

As usual Mato’s unique reggae production skills delivers a blazing version of the multi-platinum worldwide hit, and Ethel Lindsey’s vocals match perfectly with his strong AOR influence and style. To complete and provide the release with a special twist, they also decided to cover the more underrated French version of the song, originally released by Dwight Druick on his Tanger album.

Ethel Lindsey is currently preparing his 1st album to be released on Favorite Recordings, Ethel has a long music and singing experience, unless an almost blank discography. From his very young age, he’s developed a deep passion for AOR and Blue-Eyed-Soul artists.

Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime, he developed a real trademark: taking over classic French, Hip-Hop, OST, Classical or Pop songs, into roots reggae-dub new versions. His 15 years collaboration with Stix Records and label honcho Pascal Rioux gave life to many masterpieces and the story seems far from the end…

Kenny Dope's Top 10 Billboard Club Hit original "Be Your Freak" featuring Josh Milan of Honeycomb Music and former half of legendary Soulful House duo, Blaze now on 45 with Instrumental on Side B

Meet Leng’s latest signings, Liminal – a Danish duo comprised of guitarist, multi-instrumentalist and producer David Rosenkilde, and DJ, producer and sound engineer Morten Troest.

The pair first met when Rosenkilde was booked to perform as a session musician at Troest studio. They clicked immediately so with Troest’s studio skills and inherent knowledge of what works on dancefloors paired with Rosenkilde’s abilities as a musician they decided to produce their own music together working to one simple rule: try out every idea, however outlandish!

Since then Rosenkilde and Troest have been recording their debut album that’s set for release on Leng later in 2025. First, though, we get a taste of their talents via ‘Keep Coming Back To Me’, an impressive debut single that blends electric and electronic instrumentation while keeping its focus fixed on the dancefloor.

Ushered in by shakers, rubbery bass and flanged guitar licks, ‘Keep Coming Back To Me’ giddily blurs the boundaries between colourful nu-disco, low-slung dub disco and the sun-splashed beauty of the more club-friendly end of the Balaeric spectrum. It boasts a hazy, multi-tracked and lightly glassy-eyed lead vocal, as well as a nagging TB-303 acid line that works its way to the fore as the track progresses, adding extra layers of excitement and energy as it unfolds.

Remixer Ray Mang (AKA long-time friend of the label Raj Gupta) takes the latter element as his inspiration on a stunning, nine-minute plus remix that brilliantly re-frames the track as a blend of tactile 21st century nu-disco colour, hypnotic proto-house and analogue-rich, acid-fired Chicago jack. Re-playing the bassline in an early Chicago house style and reaching for lo-fi and spacey synth sounds, the veteran British producer frequently strips the track back to the groove before re-introducing the vocal and the dreamiest of chords.

Liminal also display their sonic diversity on bonus cut ‘The Moon Is Changing’, a wonderfully atmospheric and star-lit affair in which spacey ambient chords, twinkling electric piano keys and intergalactic electronics slowly usher in a mid-tempo Norse nu-disco groove. The pair build slowly, adding vocals and layered guitar licks. The results are hard to pigeonhole but thoroughly impressive, offering a tantalising glimpse of what’s to come on their must-check debut album.

Paris punk-jazz duo La Récré is back to complete their trilogy of EPs. After 10 and 12 inches, Forever Pavot and Cédric Laban are now invading the grooves of a brand new 7 inch record. This double-single includes their fantastic trip to the moon 'La Lune' previously released on BMM Records' Groove Dingueries compilation, and a brand new track diving into abyssal depths at a speed of 137 BPM.

It took a village to create Le Motel’s Odd Numbers / Số Lẻ. Beneath its pulsing, shimmering tones, the record is alive with the sounds of everyday life—purring mopeds, idle whistling, the din of kitchens and whisper of rain, voices joyful and contemplative, scenes of bustling cities and domestic intimacy.

Le Motel—who runs the Brussels-based record label Maloca—gathered sounds, photographs, and videos while traveling in Vietnam in 2023. From Hanoi he ventured to Hmong communities in the mountains near the border with China, building out a network of contacts gathered from friends and friends of friends. But Odd Numbers / Số

Lẻ—which takes its title from traditional Vietnamese numerological beliefs and customs—is wholly unlike the extractive product typical of exploitative modes of Western tourism; the album’s final shape was deeply dependent upon the participation of the people the artist met in Vietnam.

Back in Brussels after his travels, as Le Motel began working with his materials, he sent early drafts to his contacts, inviting their input. This back-and-forth eventually yielded a dynamic collective effort in which nine of the album’s 15 tracks feature multiple composer credits. Among the album’s diverse collaborators are Yvonne Quỳnh-Lan Dươn, an educator and ethnomusicologist; Chi Chi, the daughter of a Hmong shaman; and Phapxa Chan, who contributes three poems inspired by landscape and Le Motel’s own music (and, in one case, psychedelics).

The result is an album that is not about making sound, broadcasting it as a one-way communication, but instead about the empathic practice of listening—about listening as an integral and even ethical part of musical creation, even (especially!) when that music is created on a computer, rather than conjured by a group of players sharing space in real time. It’s an album that adopts many of the traditional trappings of ambient music while reminding us of the importance of intentional modes of creation. Brian Eno famously said that ambient music must be as ignorable as it is interesting, but Le Motel’s Odd Numbers / Số Lẻ suggests, to the contrary, the richness of experience available to us should we make the effort to open our ears.

Complementing the album, Le Motel’s Odd Numbers / Số Lẻ also takes the form of a multimedia exhibition including photographs, video, and text-based works created in collaboration with Belgian designer and programmer Antoine Jaunard and Vietnamese poet Phapxa Chan. The exhibition is on view from January 23 until March 2, at Brussels’ 254Forest gallery, as part of Photo Brussels Festival 2025.

Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Purple Tree Fog Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Memorial Waterslides" ist das Debütalbum von MEMORIALS, dem Duo bestehend aus Verity Susman und Matthew Simms (zuvor bei Electrelane und Wire). Es handelt sich um ein surrealistisches Pop-Album, das sowohl zeitlos als auch zeitgemäß ist und eine seltene Mischung aus klassischem Songwriting und Avantgarde-Attitüde aufweist. MEMORIALS kreieren einen Panorama-Pop, der auf Vertrautes und Fremdes zurückgreift, aber bekannte Pfade aber auch neue Wege beschreitet. Mit ihrem verspielten und experimentellen Stil, kombiniert mit einer Liebe zu Melodien, stehen sie in einer Reihe mit Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo und Tortoise. Das Album ist voll von Bildern, die eine verlorene Zukunft, eine verschleierte Gegenwart und eine tagträumerische Vergangenheit heraufbeschwören, wobei jeder Song eine Rolle bei der Schaffung einer wirbelnden Breitwandatmosphäre spielt und den Hörer mit auf die Reise nimmt. Der Sound des Albums, das die beiden komplett selbst produziert haben, wurde von den Experimenten mit Tonbändern inspiriert, mit denen sie zunächst auf der Bühne herumspielten, als sie begannen, ihre vielschichtigen Aufnahmen für Live-Auftritte als Duo zu entwickeln. Nach ihren gefeierten 2023-Soundtracks "Women Against The Bomb" und "Tramps!", einer Europatournee mit Stereolab (sie wurden als "Stereolabs böser Zwilling" bezeichnet) und einem neuen Musikauftrag des Centre Pompidou in Paris kamen Verity und Matthew auf MEMORIALS in umgekehrter Richtung an, indem sie ihren Soundtrack-Alltagsjobs entflohen, um kosmische Reisen durch den Gartenschuppen in psychedelischen Rock, abgefahrenen Folk und wilde analoge Elektronik zu unternehmen. "Exciting and unpredictable" The Guardian. "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus. (Limitiertes) Pink farbenes Vinyl mit DLC sowie Digisleeve-CD!

Linea Aspera is the London duo of Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). They began the project in November 2011, technically drawing inspiration from electronic music from the early 1980s. Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for the writing and performing of the electronics, as well as recording and mixing of the final recordings. For their debut album they utilized small, simple analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from early electronic body music, classic synth-pop and, in some instances, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera serve up an icebox of dark doom riding on Alison's powerful vocals with a soft but sharp touch.

Finnish-born producer and pianist Idealism (800K Spotify Monthly Listeners) and French transplant Lucid Green (175k SML) are no strangers to each other’s subtle, yet potent productions. Having worked together on „Untold“ their Sophomore, fully collaborative LP “Unsaid” is a natural journey into the beautiful ambient, downtempo, lo-fi worlds they’ve each created. Through visits to Lucid’s flat in Paris and ideas being exchanged remotely, the duo experimented with different sounds, instruments and aural environments, in the process crafting a natural partnership that sits in a comfortable, melancholic pocket.

With lulling guitar and poignant piano progressions that provide a pillow to rest your ears, and downtempo percussions that keeps you ebbing and flowing along on a subtle current, unsure where one wave ends and the next begins, only the albums progressions dictate the head-nod. The album soars, reminiscent of life’s simple, yet wholly memorable moments.

As with all 823 releases, the project is a visual one as much as it is a musical project. The first singles visualizers are a fusion of Hopes & Dreams Club & 823’s design aesthetics with personal super8 footage captured by Idealism & Lucid Green, beautifully expressed from Hopes & Dreams Club membersi. Each visualizer and single art will easily stand on its own, transporting you to worlds familiar, yet undeniably groovy and sonically comfortable.

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (630 SML). With an astute attention to detail and an ethos that appreciates the everyday things in life, 823 doesn’t stick to any particular genre. Past 823 releases include “So Far To Go” EP via Cabu (500k SML), Ta-ku and matt mcwaters’s duo project “Black and White,” featuring Masego collaboration “Flight 99” (38mil streams on Spotify), the “All Things Considered” compilations, a curated, collaborative series featuring both budding and well-established artists around the world and have included Idealism, Wun Two, pastels, L.Dre, Flobama, SwuM, Jinsang, Tenderlonious, among a host of others, as well as multiple sold out clothing capsules.

Wrekmeister Harmonies, the duo of JR Robinson and Esther Shaw, are sonic shape shifters with expansive ideas. From special performances to collaborations the band have worked with David Yow (Jesus Lizard) Ryley Walker, Ken Vandermark, Bruce Lamont, Mark Solotroff, Sanford Parker, Jamie Fennely (Mind Over Mirrors), The Body, Mary Lattimore, Olivia Block, Jamie Stewart (Xiu Xiu), Chris Brokaw, Fred Lonberg-Holm and Thor Harris (Swans). Inspired by artists such as Glenn Branca, Rhys Chatham, and Lou Reed, the duo approach each album as a new sonic adventure. Flowers in the Spring was born of deep, careful listening as much as composing. It explores music as a meditative practice with a focus on microtonal shifts and intersectional overtones. Robinson explains: "It"s the subtle movements within and without, the fine threads of sound, loud or quiet, interior or exterior that become valuable." Limiting himself to just four mixer channels on each piece; precisely layering guitar and electronics, intently listening and manipulating either the intensity or the duration of each loop to yield unexpected interactions, moments of beauty as well as dissonance. "Flowers in Spring" emerges from fizzing distortion, hewing monolithic slabs of drone from the rock face while electronics push through fissures. "Fuck the Pigs" uses layers of noise as it metaphorically shifts into the depths of winter, arctic winds howling while the guitar scars like frost across a windowpane. In contrast "A Shepherd Stares Into the Sun" is pure light and heat, overwhelming in its sheer celestial enormity. "Flowers Variation" was born of nature"s microscopic subterranean movements in its primordial gloom and buzzing synth pads. Each track holds multitudes of micro sonic details coming together to form the album"s expansive ecosystem.

Wrekmeister Harmonies, the duo of JR Robinson and Esther Shaw, are sonic shape shifters with expansive ideas. From special performances to collaborations the band have worked with David Yow (Jesus Lizard) Ryley Walker, Ken Vandermark, Bruce Lamont, Mark Solotroff, Sanford Parker, Jamie Fennely (Mind Over Mirrors), The Body, Mary Lattimore, Olivia Block, Jamie Stewart (Xiu Xiu), Chris Brokaw, Fred Lonberg-Holm and Thor Harris (Swans). Inspired by artists such as Glenn Branca, Rhys Chatham, and Lou Reed, the duo approach each album as a new sonic adventure. Flowers in the Spring was born of deep, careful listening as much as composing. It explores music as a meditative practice with a focus on microtonal shifts and intersectional overtones. Robinson explains: "It"s the subtle movements within and without, the fine threads of sound, loud or quiet, interior or exterior that become valuable." Limiting himself to just four mixer channels on each piece; precisely layering guitar and electronics, intently listening and manipulating either the intensity or the duration of each loop to yield unexpected interactions, moments of beauty as well as dissonance. "Flowers in Spring" emerges from fizzing distortion, hewing monolithic slabs of drone from the rock face while electronics push through fissures. "Fuck the Pigs" uses layers of noise as it metaphorically shifts into the depths of winter, arctic winds howling while the guitar scars like frost across a windowpane. In contrast "A Shepherd Stares Into the Sun" is pure light and heat, overwhelming in its sheer celestial enormity. "Flowers Variation" was born of nature"s microscopic subterranean movements in its primordial gloom and buzzing synth pads. Each track holds multitudes of micro sonic details coming together to form the album"s expansive ecosystem.

Prolific Norwegian trumpeter and ECM veteran Arve Henriksen returns with Estonian guitarist/composer Robert Jürjendal in tow, matching his idiosyncratic shakuhachi-style melodic condensations with Jürjendal's glassy electro-acoustic soundscapes and sonorous percussion.

Henriksen releases a lot but is remarkably reliable; his playing is so versatile that hearing it dematerialise into different ensembles and individual methodologies is always a treat. Jürjendal is a veteran guitarist, but doesn't approach his instrument from a purely classical standpoint, taking a Fripp-inspired path towards texture, processing and looping his sounds until they're barely recognisable. The duo share a similar love for Hassell's Fourth World ambience, and here inject new life into that mood.

Jürjendal's percussion is impressive: he offsets cascades of oddly-tuned electronics on 'Tuonela' with booming, ritualistic tom hits that punctuate Henriksen's melancholy phrases; and on the brilliant 'Ancient Bells', plays a set of gongs and gamelan-style instruments, creating swirling hammered tonal clusters that quiver beneath Henriksen's echoed-out, spirited improvisations. It's not always that corporeal, either; on 'A Remarkable Flow', he loops guitar phrases, creating gentle vibrations that rumble in the background while he mirrors Henriksen's pitchy zig-zags with high-pitched oscillator vamps.

Even on the peaceable 'Miraculous Lake', discreet kalimba loops set a celestial tempo that anchors the duo's gaseous soundscapes. And although they veer towards end-credits loveliness on the Göttsching-influenced 'Reunion Hymn', it’s balanced by the album's darker passages, like 'Rebirth' and 'Another Me'. On the latter, Henriksen's trumpet is transformed into a voice-like warble, while Jürjendal replies with glacial E-bowed drones that resonate creepily alongside his lysergic FM pads.

First of two EPs dedicated to the dark futuristic sound of Lorenz Attractor, legendary experimental Hardcore-noise duo from UK.

"Girl Missing" ist das zweite Album von Albertine Sarges, der einzigartigen Berliner Künstlerin, die bereits mit Holly Herndon, Colin Self, Kat Frankie und B O D I E S zusammengearbeitet hat und Teil des italienischen Synthwave-Duos Ostia ist, und folgt auf Albertines gefeiertes Debüt von 2021, "The Sticky Fingers". "Girl Missing" lädt die Zuhörer zu einer intimen Erkundung der Schwesternschaft, der Widerstandsfähigkeit und der Überwindung von Trauer ein und geht dabei mit einer großen Portion Positivität und Ermutigung für das hervor, was vor uns liegt. Die Entstehung des Albums fand in einer Zeit persönlichen Verlusts statt. Als eine enge Freundin vermisst wurde, schrieb Albertine unveröffentlichte Skizzen, überarbeitete sie und baute langsam ein musikalisches Mosaik auf, das ihr Verständnis von Abwesenheit zum Ausdruck brachte. "Ich habe eine klingende Biografie der Liebe geschaffen", überlegt sie und verwebt dabei die Themen weiblicher Freundschaft. "Girl Missing" entstand zwischen ihrem Aufnahmestudio in Ostberlin und Margate und ist sowohl nachdenklich als auch verspielt, geprägt von Sarges' flinker Stimmakrobatik. Mit ihrem langjährigen Partner Lo Selbo beschäftigte sich Albertine mit komplizierten Klanglandschaften, arrangierte luftige Flötenstimmen und Chöre, "um Platz für Verletzlichkeit zu schaffen", und nahm dann Vintage-Orgeln und E-Pianos auf, um Wärme und Seelenfülle zu erzeugen, "um den Schmerz zu lindern". Albertines Arbeit wird von einem anhaltenden Gefühl der Sehnsucht angetrieben, einer Kraft, die ihrer Musik poetische Lebendigkeit und eine ansteckende Anziehungskraft verleiht. "Girl Missing" oszilliert zwischen dem Philosophischen und dem zutiefst Emotionalen und vermischt Launen mit Schatten. Das Album endet mit einer verspielten Note ("Wie nennt man einen Fisch ohne i? A fsh."), doch im Kern erzählt es eine lebendige, zutiefst menschliche Geschichte über monumentalen Verlust und die Hoffnung auf Erneuerung. Durch das Nebeneinander scheinbar widersprüchlicher Gefühle entsteht ein Hörerlebnis, das noch lange nachklingt, nachdem die Musik verklungen ist.

Following "Shadow People" (2018) and "De Pelicula" (2021) done with Laurent Garnier , The Limiñanas are making their big comeback with their new album entitled "Faded" , whose first single is "Prisoner of Beauty" featuring Bobby Gillespie (Primal Scream), supporter of the band for years. The French psychedelic - garage duo has also gathered on " Faded" for duets artists such as Jon Spencer, Bertrand Belin, Rover, Penny, Anna Jean & Pascal Comelade.

Recorded during a residency in Tenerife powered by Keroxen Festival and Discrepant back in 2020 - amidst the pandemic, no less -, the duo of Carlos Godinho and Mestre André return after their 'Mãe D'Água' debut on Sucata Tapes and an entry on Keroxen's Aquapelago Series through a split with tropical druids Lagoss. Mostly captured in performance through a quadraphonic system placed inside a huge disused fuel tank, with a few tracks recorded out in the open throughout the island, 'Lava Love' evokes the tectonic shifts and motions inherent in their title in 13 tracks.

Based around Godinho's percussive arsenal, from found objects to instruments from all sorts of cartographies, and André's electronic processing, each of these expositions is a point in a map that is created between the island's concrete and fictional existence, discarding any superficial overdubs and crescendos, to focus on the balming and transporting properties of sound itself. From stripped down vignettes like 'Bajamar I' & 'II', 'Chacho' or 'Tangana I' to hypnotic tapestries that confuse the real and imagined like 'Haha No!' or 'La Gomera', Banha da Cobra conjure a collective dream of the island.

All tracks performed and recorded by Banha da Cobra in a quadraphonic system inside an enormous fuel tank (Espacio Cultural El Tanque, Santa Cruz de Tenerife),except Bajamar I and II (recorded outdoors at cantonera de Bajamar, with Lagoss), Taganana I and II (recorded outdoors at Playa de Almáciga) and El Guachinche de Los Realejos (recorded outdoors at Playa de Castro, with Lagoss).

Our debut single with Senpolya was born out of desire to create some modern Russian pop infused with references to the 80s dance music. While making 80s-inspired tunes is popular nowadays, this decade means different things to different people: be it A-ha and Modern Talking or African boogie and Chicago house. But we ended up making neither one nor the other.

The crowd who contributed to this release is absolutely legendary. Each time I listen to it and think of them, a new dimension opens up in my mind, adding up some deeper layers of context Ive immersed myself in over the past few years.

An italian producer and bass player Marco Boccamazzo created the first remix. By adding bass guitar and strings, he took the track back by another ten years.

DJ Popinjay, an alter ego of a tropical disco master who wishes to remain anonymous, provided the second rework.

The third remix or more like an essentially an entirely new track, comes from Sonestrose, a duo consisting of Andrey Algorithmic, an art director of Moscow Powerhouse, and Alexander Basian, the studio's sound engineer.

Ignat Akimov, also known as DJ Pecan and an art director of Esthetic Joys Embassy, crafted the fourth hallucinogenic remix, which spans from acid house with Indian drums to cool jazz sound.

Lipelis and Scruscru help me in making some key decisions about the tracks structure, arrangement, and mixing.

Ilya Varankin made a photo of us (on film!) and Nikita Demin designed the cover picture inspired by Daptone Records.

At last, I want to thank my wife, Masha Dostoewskaya, without whose love and patience I wouldn't have been able to see this project to an end.

Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly group A), joins Other People with their debut album "In Rupture," capturing the same mesmerizing energy for which their live sets have become known.

“In Rupture” is not painless but in rupture lies possibility. The elasticity of this time pitching us across unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision,shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the layers through discord and harmony, exciting the inversion of expectation, towing the listener to depths and back up again to illuminate the senses. At times metallic and feral, at others murky and sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem.
The opening track “A Void” calls to mind some mutation in its mechanical ecstasy, but for what purpose remains unknown. Even in the near moments of stillness, “Needle Pierces the Threshold” breathes a forceful disquietude. Tommi’s vocals pulling the listener down into some subterranean
madness, to unravel upwards from all sides, flooding the once parched landscape. In “Embers Kissthe Eye”, all of time emerges in one moment, compelling the subject’s gaze towards a new horizon.
The album follows its subjects through exile, exhumation and discovery. Through this process plates shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return.

The debut full-length album from Los Angeles duo Cash & Skye, following their successful 7” No More Candy (Third Man Records) in 2021. This alluring infusion of Americana and Rock and Roll, executed with a punk-rock ethos, documents the 7 year musical journey of songwriters Henri Cash and Sophia Skye de Reeder, and features players from Cash’s prolific and beloved band, Starcrawler.

"‘man oh man !’ is the sophomore 11 track album from indie singer-songwriter Martin Luke Brown.

Marking a significant new era in both his personal and musical life, Martin tackles a myriad of themes; self-awareness and personal growth, treasured friendships, swept-off-your-feet romance and gut wrenching heartbreak - all with a laidback, indie singer-songwriter sound that naturally shapes the album into three linear phases: the end of a relationship, new beginnings and the consequential feeling of accepting change.

Described by Martin as a ‘time capsule’, each track on the album was written and recorded in one day, making for a raw and honest snapshot of Martin’s life experiences at the time. Instrumentation is simple and recorded with producer and friend Matt Zara using almost exclusively analog technology – tape machines and vintage mics, a messiness that the duo embraced from the get go.

Martin has released over 100 songs as either a co-writer or a producer, with BTS, Dylan, Jacob Banks, Gavin James, Sam Tompkins,James Smith, Sody andJack Kane. He has also seen a wealth of success as part of pop supergroup FIZZ alongside Orla Gartland, dodie, and Greta Isaac, earning widespread praise from the likes of Rolling Stone UK, Dork, DIY, Clash & more."

Jules Reidy"s sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin"s fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy"s extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy"s guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener "Every Day There"s a Sunset" are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy"s collaborator in the duo Sun Kit. On "Satellite," cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on "Every Day There"s a Sunrise," fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album"s whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy"s inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

Jules Reidy"s sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin"s fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy"s extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy"s guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener "Every Day There"s a Sunset" are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy"s collaborator in the duo Sun Kit. On "Satellite," cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on "Every Day There"s a Sunrise," fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album"s whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy"s inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

‘Night Wobble’ is the sixth long-player from Saarbrücken, Germany duo Pretty Lightning and their
second instrumental record following 2022’s ‘Dust Moves’. It’s a set of downtempo, repetitive grooves
that course through dusty spaghetti-western psychedelia, Tuareg-derived desert-blues, library music
and '70s progressive. It’s always cinematic but shot through with trippy, off-kilter moments that bring a
sense of alien to the widescreen.

Amsterdam-based keyboardist, producer, arranger and DJ Soul Supreme reached out to NYC drummer Jay Mumford in 2021 to lay the down groove on his re-imagining of Q-Tip and J-Dilla's "Let's Ride". That paved the way for future collaborations: a cover of A Tribe Called Quest's "Award Tour (We Gettin' Down)" and two tunes on Soul Supreme's Poetic Justice LP. But when the pair began doing brief covers of their favorite funk, jazz and hip-hop tunes on Instagram just for fun, followers of both musicians - and often, the covered artists themselves - began to take note. Two of those 20+ covers were particularly well-received, and the duo decided to answer the peoples' call for a 7" release with the songs pushed to their full potential. Similar to "Award Tour" and "Let's Ride", a hip-hop classic and a fan favorite are pushed to their full potential here. This installment goes coast to coast and explores Digable Planets' "9th Wonder" (the "East" side) and People Under the Stairs' (PUTS) "Crown Ones" (the "West" side).

The iconic synth intro of "9th Wonder" makes way for Jay's thunderous ode to a slowed down Clyde Stubblefield groove. Sure to be a favorite with DJs, Jay eventually detours into a syncopated New Orleans funk break, before getting back to the groove for Soul Supreme's funky wah wah clavinet work. Throughout, the arrangement expands beyond both that of the original and all of its DNA. The addition of cascading horns (featuring a trumpet solo by Lourens van der Zwaag) and a second, more aggressive break from Jay bring it back full circle, completing a modern update of a classic that manages to pay homage to '70s jazz-funk, breakbeats and '90s hip-hop - all while staying both modern and raw.

Diehard PUTS fans will recognize Soul Supreme's catchy Rhodes line as soon as the needle drops, but Jay's heavy funk groove quickly separates it from the original and takes it from hip-hop cover to heavy funk tune. Soul Supreme's Rhodes solo pushes it far beyond the confines of instrumental funk as the groove intensifies, while his chops as an arranger are on full display: his horn parts - featuring van der Zwaag, trombonist Olav Schloorlemmer and Job Chajes' Contra-Alto Clarinet that channels The Headhunters - counter his synth melodies in a discussion that completes the record as a heavy slice of uncut jazz-funk.

Einige nannten Studio, das Projekt der schwedischen Musiker Dan Lissvik und Rasmus Hägg, "das fehlende Glied zwischen The Cure und Lindstrom", Pitchfork hörte Durutti Column und Can, als das Duo sich als Teil einer sich locker entwickelnden Szene entfaltete - zunächst neben dem Label Service (Jens Lekman, The Whitest Boy Alive) und später Sincerely Yours (The Tough Alliance, jj) - und den Boom der 2010er Jahre an der Schnittstelle von elektronischer und psychedelischer Musik, angeführt von Indie-Größen wie Caribou, Four Tet und Darkside, vorwegnahm. "West Coast, ihr bahnbrechendes Debüt aus dem Jahr 2006, fängt eine ferne Romantik der Balearen ein, die auf Krautrock, Disco, Dub und Afrobeat trifft, mit Pop-Lyrik aus dem New Wave, modernisiert von zwei Göteborger Kunsthochschulabsolventen. Sie zitieren DJ Screw, J Dilla und Joy Division sowie fühe 80s Live-DJ-Sets von Beppe Loda, DJ Mozart und Baldelli. Damals auf Vinyl gepresst in limitierter Auflage über ihr eigenes Information-Label und bis heute auf den meisten Streaming-Diensten nicht zu finden. Im Nachglühen des Albums im Jahr 2007 verschwanden Studio hinter einem Berg von Remix-Anfragen (darunter ein Remix für Kylie Minogue, der veröffentlicht wurde) und der Bürokratie des Labels. Eine erweiterte Version des Albums erschien unter dem Titel "Yearbook 1" auf CD und erreichte Platz 23 der Pitchfork-Jahresliste der Top-Alben des Jahres 2007. "West Coast" landete schließlich auf Platz 57 auf der "Best Albums of the Decade"-Liste von FACT Magazine.

DOVS are the duo of Vienna’s Johannes Auvinen, aka Tin Man, and Mexico City’s Gabo Barranco, aka AAAA. Psychic Geography is their second album together, but it differs considerably from both their respective solo work and their 2019 debut LP together, Silent Cities: Where that album’s hardware-based acid kept its gaze focused squarely on the dancefloor, Psychic Geography is a strictly ambient affair.

The album has its roots in a trio of beatless tracks that peppered Silent Cities; this time, the duo decided to try making an entire album with no drums. “It opened up the chance to make a different, more narrative style of music with more complex structures,” Auvinen says. Ambiguity and uncertainty are key watchwords for their music, which moves with eerie, liquid grace. Untethered from 4/4 kicks, their music drifts and morphs; familiar acid sequences give way to surprising shifts in tone and mood. And with no drums to distract the ear, the seeming simplicity of their silvery synth lines opens up to reveal remarkable depth and dynamism.

Barranco and Auvinen recorded the album together in the studio utilizing machines like the Roland TB-303, Juno G, Prophet 5, Elektron Octatrack MKII, Make Noise DPO and René, Mutable Clouds, Roland SH-101, Behringer TD3, and Sherman Filterbank. Listen on good speakers or headphones, and you can tell: Their gear yields a tonal richness that recalls the ambient and cosmic music of decades earlier. You can practically feel the heat from their circuits warming the air.

The meaning behind the name DOVS is as ambiguous as the duo’s music. (Dig, if you will, the picture of Picasso’s dove of peace—or, perhaps, the outline of a bird pressed into a small white pill.) But Psychic Geography needs little explanation. DOVS’ album is a collection of mental maps of imaginary places. Set your coordinates for the mirage on the horizon and prepare to dissolve.

Grammy-winning DJ and producer duo Deep Dish are back with a bang and return with 2 new versions of two seminal classics, both with 2024 reworks.

The 2004 hit ‘Flashdance’ has a fresh new Redux Remix along with a Deep Dish Does The Chug Remix, something to spark a fond memory whilst appealing to the sound of now.

The new versions of ‘Say Hello’ again offer a nod to the classic sound of 2004, whilst bringing the legends that are Deep Dish back to where they belong…the dancefloors.

"Way Out West" is the debut studio album by the English electronic music duo Way Out West, released on 1 September 1997. The album peaked that same year at # 42 on the UK Albums Chart. It features four singles: "Ajare," "The Gift," "Domination," and "Blue." Several tracks incorporate samples from other music. Most notably, "Blue" includes a melody loosely based on the theme from the film "Withnail and I," while "The Gift" samples Joanna Law's cover of "The First Time Ever I Saw Your Face" (titled "First Time Ever"), and "Ajare" features a sample from "Do Your Dance" by Rose Royce.

The original track came back in February and proved an immediate hit. Next to the original, versions from the likes of DJ Spen & Gary Hudgins also helped make this a breakout tune in the first quarter of 2021. Now comes the turn of Kenny Dope, one half of Masters at Work, the most seminal house duo of all time. Kenny Dope is an obsessive record collector, studio wizard and all-round musical encyclopedia whose influence on the scene cannot be overstated. He has been involved with numerous projects, from The Bucketheads to running his Dopewax label and never fails to impress.

This new remix from the Brooklynite is a glorious one baked in the sun's warming rays. It's built on a loose, Latin-tinged beat with big chords, expressive xylophone stylings and plenty of irresistible syncopation. The buttery smooth vocals bring the soul up top and help make this a timeless tune that will unite all dance floors. An instrumental mix is also included that strips things back, shows off the track's effortless musicianship, and draws out the beats for extra dance floor impact.

These two vital versions are the sort of life-affirming, and feel-good house sounds the world is desperate to hear right now.

Seit ihrem Debüt als Brijean hat sich das Projekt der Schlagzeugerin/Singer-Songwriterin Brijean Murphy (der perkussive Herzschlag für Live-Bands wie Mitski, Poolside und Toro y Moi) und des Multiinstrumentalisten/Produzenten Doug Stuart mit Einfallsreichtum bewegt und Psych-Pop-Abstraktion mit Dancefloor-Sensibilität verschmolzen. Durch Körper und Geist, Rhythmus und Lyrik geben sie den Welten um sich herum und in ihrem Inneren einen Sinn. Das Album "Feelings" von 2021 zelebrierte die Selbstreflexion, die EP "Angelo" von 2022 verarbeitete persönlichen Verlust und fiel mit der ersten Headliner-Tour des Duos zusammen. "Macro", das im Juli 2024 auf Ghostly International erscheint, ist das zusammenhängendste, dynamischste, kollaborativste und songorientierteste Werk von Brijean. Hierzu holte sich die Band verschiedene Gastmusiker in ihr Wohnzimmer in LA, mit dabei sind u.a. Chris Cohen und Khruangbins "DJ" Johnson Jr.. Farbenfroh, kollaborativ, anspruchsvoll und mit viel Spaß belebt das Album einen Makrokosmos mit Charakteren, Stimmungen und Standpunkten, die in der Vorstellung verwurzelt sind, dass kein Gefühl endgültig ist und der einzige Ausweg ein Durchgang ist.

Cape Verdean singer Mayra Andrade's multi-layered music embraces a blend of radiant, dancing colors, velvet beats and spicy melodies. Her voice is subtly seasoned with pepper, as if the Europe of pop had always been atropical archipelago. Andrade is arguably the front-runner of the many talents that have emerged from Cape Verde over the years.

Her vividly-hued music which is full of energy and a warm, adventurous upredictability is sung in Cape Verdean creole, English and Portuguese. Mayra’s pop spans the world’s entire vast sweep from Western romanticism, Southern sensuality, domestic reggae and African. It is topical, tropical, traveling pop that, in the words of Mayra, is “music that reflected my life”.

On this live album recorded at Union Chapel Mayra Andrade presents her new guitar and vocal collaboration ‘reEncanto’. The Cape Verdean singer performs her repertoire alongside musician Djodje Almeida, inviting us to discover the source and the essence of her songs which she was the author all along her discography – since Navega (2006), to Manga (2019).

Mayra Andrade se revisite en duo voix et guitare dans une ambiance intimiste appelée reEncanto. La chanteuse capverdienne accompagnée uniquement de son collègue musicien Djodje Almeida, nous invite à redécouvrir l’origine et l’essence de certaines de ses chansons dont elle a été l’auteur et compositrice tout au long de sa discographie – de ‘Navega’ (2006), à ‘Manga’ (2019). Cet album a été enregistré live en novembre 2023 à Union Chapel à Londres durant la tournée du même nom.

After four years of solo festival appearances, the duo formed by Rebeka Warrior and Vitalic is making a grand comeback!

The release of the new album is planed on january 24 and a European and French tour, including a sold out show at the Olympia (Paris) in April 2025 and at Zénith Paris - La Villette on November 5th, 2025.

Fresh from beasting the end-of-year charts with her 'I Miss Your Love' remix project, Ghost Assembly, aka Manchester DJ and writer Abigail Ward, is back with a double A-side: RESIST! / I Keep on Making the Same Mistake.

RESIST! (Extended 12" Mix)
Laid down quickly and angrily after attending a demo in Manchester city centre, RESIST! aims to capture the galvanising spirit of protest and put it on wax.
A 111bpm acid chugger that will leave dancefloors of an ALFOS or Optimo persuasion begging for more, this is uncompromising machine funk at its crudest.
Duelling 303s twist around each other whilst a taut, snaking 707 groove underpins unexpected blasts of Arabic rhythm, almost as if DJ Pierre had remixed 'Get UR Freak On', relocating it to the Middle East.
As a stuttering Harper Hay vocal sample urges us to RESIST!, the track climaxes with an ice-cold acid house string coda banged out on a disobedient synth. Please note: the sub on this record may trouble your duodenum.

RESIST! (Utter Kunt Mix)
The Utter Kunt mix is a sparse and daring Sleng Teng-inspired avant-dub affair strictly for discerning dancefloors only. Improbably combining hints of the Mission Impossible theme, Les Negresses Vertes' 'Zobi La Mouche' and the rough-hewn sampling of 'Duck Rock', this is a radiant obstacle in the path of the obvious. Warning: collectors of On-U, EBM and New Beat could experience a spate of nocturnal emissions upon purchasing this record.

The A-side closes with a BONUS BEATS version of the Utter Kunt Mix: a must-have DJ tool.

I KEEP ON MAKING THE SAME MISTAKE
Picking up the pace to 120, 'I Keep on Making the Same Mistake' sees Ghost Assembly returning to her string-drenched sad banger comfort zone, pairing a chilly breakbeat with a bass riff reminiscent of Joey Beltram having a gut-wrenching cry wank. Keening vocals supplied by Hazel Grove are chopped up, tormented and eventually hurled down a K-hole as the strings build and the drama escalates.
When the credits roll on this cinematic masterpiece we hear a wistful French lesbian talking about 'borrowed bliss'.

A future comedown classic; also sounds good slowed down to 33rpm.

The E.P. signs off with a stunning string-a-pella that will linger long after the needle hits the run-out groove.

Since 2013 - Brighton & Barcelona duo PAYFONE have been releasing records on respected NYC and UK labels GOLF CHANNEL , LENG and DEFECTED.

Now releasing on their own OTIS imprint - PAYFONE deliver another deep 12 in preparation for their debut album.
In September 2024 PAYFONE released their WILD BUTTERFLY EP which appeared in many best of 2024 end of year DJ charts whilst gaining the support from the likes of Richard Dorfmeister, Leo Mas and Daddy G.
Phil Passera and Jimmy Day's productions continue to gain fans across the disco world with a template of synth and bass that equates to a heady and intoxicating excursion into early electronic soul disco circa late 70's / early 80's.
Known for their atmospheric, mid-tempo sultry selections, PAYFONE offer up another deep dive of synth-driven drum machine pleasure with remix duties courtesy of San Francisco trio 40 Thieves: Corey Black, Layne Fox and Jay Williams.

Latest offering VOLT to VOLT is a moody meltdown of Moog bass and full frontal vocals featuring the talents of North Carolina's JO GABRIEL HARRIS and New York City's TERI JACKSON.

Always a cut above, this Payfone release will be VINYL ONLY.

Get with it !

Payfone have released over 16 individual 12" releases, including Phonica's 'Record of 2023 - 'I Feel You'